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 an     c   h     o   r  1   e
home Got"     you   r*"    ^       G w©deh©use        n     o    v    e   1  s a    n      d
April, — 1998 That typo magazine fran CiTR 101.9 fm +# fee!
E      C   8    o
h     e       §    a  1  *   e    e    n    s
Cronos        quartet
n©     m      eansno
Freak     w    a   t   e   r DRAGONFLY    f MO'FUNK       f f MILLENNIUM
Seattle based duo playing tracks ^     COLLECTIVE ^5     PROJECT
irom their debut album Timestreom      The Mo'Funk clan takin' care ot Back on the Best Coast and
on Sweet Mother Recordings. | business one more time. | mokin' mi
WEDNESDAY APRIL fH FRI APRIL fD & SAT f3
SIDEWINDER    ! IfUNKdaucious
MON: LATIN JAZZ TUES; HOUSE [WED; HIPHOP SUN; DRIIM'N'BASS
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[SUBJECT TO CAPACITY & SPECIAL EVENTS] April 1998
Features
the salteens
the Weakerthans
ec 8 or
Nomeansno
Kronos Quartet
Freakwater
Issue 182
9
10
11
12
14
Columns
Looking Back ...
Demo Derby 4
Vancouver Special 5
Interview Hell 6
Where is not what you Wear    7
Printed Matters 15
Basslines 15
Seven Inch 16
Real Live Action 17
Under Review 18
Charts 19
On the Dial 20
April Datebook 22
Comics
April 1986
Botched Ampallang
Good Tasty Comic
4
19
Cover
e d i t r i x : miko hoffman
art director: ken paul
ad   rep:   kevin pendergraft
production manager:
tristan winch
graphic design/Layout: kenny, atomos
production: andrea gin,
ann goncalves, patrick gross, erin
hodge, iake, kelly, katrina
mcgee, christa min, stefan udell,
malcolm van deist, shane van
der meer
photography/i LLustrations: jason da silva,
ted dave, richard folgar,
andrea gin
contributors: barbara
a, james b, nic b, brady c,
bryce d, glenn d'c, greg e,
sarah e, sean er, anna f,
andrea g, noah g, patrick g,
steve g, anthony k, lori k,
siobhan mc, janis mck,
nardwuar, ken p, dave t, shane
v, jerome y
prog ramme guide:
namiko kunimoto
charts : megan mallett
datebook: tristan
distribution: mattsteffich
us distribution: tristie
pubLisher :linda scholten
Quietly sowing the seeds of a
poetic revolution, it's The
Weakerthans from Winnipeg,
Manitoba! photo by richard
folgar, duh-sign by kenny.
Oops
We forgot to credit the photographer, Mark
MOUSSEAU,  FOR THE  RaCHAEL KOZAK ARTICLE IN
last months's issue. Sorry!
© "DiSCORDER" 1998 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation 17, 500.
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course). Please make checks or money orders payable to
DiSCORDER Magazine.
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English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
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the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
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THE STUDENT UNION BUILDING • 6138 SUB BLVD. nous:
jOEEC   by red <Daye
Teo »Ave'9%
Demo
Derby
This column is about recent
and upcoming activist
events. A lot of doomsday
rhetoric is being thrown around
about the Multilateral Agreement on Investment (MAI),
but beneath it there are some
rather alarming implications. This
agreement will significantly reduce the power of governments
to regulate corporations. The
Council of Canadians' Maude
Barlow likens the conditions of
the agreement to those in Latin
America's Maquiladoras. These
are free trade zones where companies are not subject to taxes,
tariffs, or environmental or labour
regulations. A day of events
against the MAI at SFU attracted
a small but enthusiastic group of
people. This was not your standard activist event; instead, people painted a mural, read anarchist documents and listened to
the music of The Beans and
Web. A slideshow on The
Situationists was extremely
powerful. These '60s student radicals advocated breaking down
the false barriers between politics and life. They covered Paris
in revolutionary posters which
combined art, humour and sharp
4   april 1998
political analysis.
The Situationists would have
approved of the Reclaim the
Streets parties that have been
happening with increasing regularity in Europe. The idea is to
take over streets from those who
are driving, buying and selling.
The first Reclaim the Streets party
in Canada is happening in Vancouver on April 18th. The Vancouver location is being kept quiet,
iting    spot
n Commerc
but    the
Grandview Park o
The Bicycle People are
another group who believe in
reclaiming roads from the dominant car culture. The last Friday
of each month is Critical Mass,
when cyclists attempt to take over
a designated street. The last Critical Mass ride ended prematurely
when police blocked the cyclists
and issued $86 tickets for "failure to ride on the right side of
the roadway" and "failure to
wear a helmet." One police officer reportedly said, "The last
time I checked, the roads were
for cars." Those ticketed are hoping to have all their cases heard
in court at the same time in order
to set a legal precedent on the
right of cyclists to ride safely in
groups. Organizers expect a
higher turnout at the next Critical
Mass on March 27th at 5pm at
the Vancouver Art Gallery.
In a student demo of epic proportions, 2 million British students
walked out of lectures and filled
the streets. The protest was over
the proposed introduction of tuition fees of 1000 pounds ($2300
Canadian) a year. Students occupied lecture halls and had a
sit-in on Oxford Road.
Students in Indonesia have
also been active. Police beat
back students who were protesting President Suharto He
was recently "re-elected" as a
democratic ruse by a small group
of people who themselves were appointed by the aging President.
Reminiscing revolutionaries
should be sure to catch Che
Guevera's daughter Aldeida.
She will describe her memories
of her father and his continuing
impact on Cuba. Admission is by
donation at UBC's Hebb Theatre,
April 2 at 7:30pm. If you have
any info you want to pass on to
Demo Derby, call 822-5334 or
email citrnews@mail.ams.ubc.ca.
Cheers.• Vancouver
Special
PH-PCl
BY JANIS MACKENZIE
POTATOBUG
PotatoBug
(Kansas Khan)
Surprise #1: this band isn't
from Vancouver, but has found
its way here all the way from
a place called Paradise, Newfoundland. (Well, that's the
true mission of Vancouver Special — to notice the unnoticed,
to mention the unmentionable,
to lift up the downtrodden,
right?)
Surprise #2: in spite of the
darling cover photo of the
small child on a trike, this is
nof a cute pop record. Nope,
these three guys are loud and,
judging by the picture of them,
not a day over 18.1 might be
exaggerating a tiny bit because they claim to have been
playing for three years (and
they do sound tight enough),
and judging by their acknowledgements, it sounds like
they've been all over Atlantic
Canada, rocking the live clubs
with that Seattle sound of a
few years ago, with occasional moments of Status
Quo   and   Black   Flag
thrown in.
The songs here are fun
enough so that you can almost
hear the band jumping up and
down, although they're not entirely noodly-guitar-solo free
(watch out for song #7, "Survive") . Perhaps by the time you
read this, PotatoBug will
have traded in their Pearl
Jam influences for something
else, but I'm sure whatever it
is will be just as good. This
CD may be hard to get in the
stores around here, but you
can write to the band at PO
Box 706, Paradise, Newfoundland, AIL 1E1. It'll be
worth the stamp if they'll just
send you the cute photo of
them with the lemonade stand!
THE BEANS
Portage
(Zulu)
This newest release from one
of my favourite local labels
is a bit of a surprise. After
all, Zulu put out CDs by
Daytona, Coal, knockdown-ginger, and reissues of the Pointed Sticks
and Modernettes, so a reviewer might easily be expecting pop, or at least
something melodic. But then
again, Zulu also gave us
Perfume  Tree,  which
leads slightly more in a
Beans-ish direction, although The Beans don't
play songs with verses and
choruses and their sound is
much more sparse than the
Perfume Tree's lush, multi-
layered effects.
So what are they like?
The Beans do indeed use
snippets of dialogue from
(American?) TV and French
films, '50s space movie
sound effects, rhythmic bits
that sound like crickets chirping, and other sounds that
might make you think that
someone's breaking into
your house if you listen to it
alone at night, as well as
rich-toned guitar which
makes effective and infre-
Beans
portage
quent appearances.
Somehow, though, the
CD does not end up sounding like the postmodern pastiche of movie soundtracks,
Godard outtakes, and
Martin Denny that you
might expect. Instead, this is
a dreamy, atmospheric,
thoughtful and very
listenable production that
doesn't let you drift off, but
keeps you wondering what's
next.
CATHODE RAY
Cathode Ray
(independent)
I may have my Canadian
citizenship revoked, or even
get beaten up in a bar for
saying this (and many people whose opinions I respect
have tried to talk me out of
feeling this way), but I really
can't bear to listen to Neil
Young's voice. His wobbly
falsetto — no matter how
brilliant or poignant his
songwriting — just drives me
around the bend and I have
resigned myself for years to
avoiding situations where I
might accidentally hear
him. Little did I know that
there was a band right here
in Vancouver (and not a
cover band, either) whose
singer sounds so much like
him it is uncanny! It's also
a little unsettling to hear this
band (whose lineup includes Luke Doucet, of Veal
fame) from our own home
town which sounds so much
like early '70s-era Neil
Young — from the pensive
and emotional songwriting
to the country-folk flavour to
that voice.
In fact, I quite enjoy
Cathode Ray when the
singer descends to a lower
register (as in "Memphis"),
where his quirky delivery
and political spin remind me
a bit of Doug Andrew of
Circus in Flames, but
many of the other songs
slide into a lazy, soothing,
(and yes, Neil Young-ish)
feel that just isn't interesting
to listen to. Naturally, the
beauty and the danger of a
band where one person
writes and sings all the
songs is that often these
songs end up having a very
similar sound, and Cathode
Ray does appear to be the
creation of the clearly talented singer/songwriter/
guitarist Richard Reagh.
And lots of other people
seem to like them, so is it
time for me to get over my
Young-phobia? Hmmm ...
maybe not just yet.»
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5 Hounds op Busherviue
Who    are   you    (names,    instruments
played)?
Peter Vogler: guitar, vox, sax; Stephen Vogler:
bass, vox, guitar; Graham Wilkins: drums; Chris
Johnson: tenor sax; Scott Morin: alto sax.
Pick a song that describes you best.
'Coffee Coffee Beer Beer' and 'No Job.'
Chronicle the history of your previous
bands, okay?
Studio   sessions   with   The   Nana   Mouskouri
Swingtime Greek Orthodox Big Band.
rock and a hard place except there's a couple of
soft female forms thrown into the equation. I'll let
you work out for yourself any sexual innuendo you
might find in the song.
Would you ever consider 'selling out' and
wearing Fred Perry and mohair suits?
Absolutely, but what is a Fred Perry? And what
does it have to do with selling out? Actually, we
probably wouldn't survive wearing mohair suits
because we skank so much onstage. It would be
like wearing a fur coat to run a marathon.
Are the Hounds happy with their Shindig!
placing [3rd]? Please reflect on this event.
After all, it did get you on VTV.
We placed third? We thought the stickers and the
Radio Thunderbird Hell appearance were for first
place. Anyway, we liked VTV being there at the
Railway Club because it's one of our favourite
places to play. And we were pleased that a local
TV station is taking an interest is showing what is
really happening in Vancouver instead of just what
Toronto wants to see of us.
What is the song 'Stuck Between Two
Women (in a rock hard place)' about?
Peter: First, I'd like to say that 'Stuck Between Two
Women' is a purely fictional song that has nothing
whatever to do with my personal life. Any resemblance to persons living or dead is entirely coincidental.
The song came about while I was contemplating the difficulties of trying to juggle several girlfriends at once — when they find out about each
other, there's not a whole lot you can do to salvage the situation. It's like being stuck between a
If you were invisible for a day, what
would you do?
Scolt would masturbate in public. At school. If you
want to know why, just ask him. He's quite forthcoming on the subject.
Anything else to add?
Shindig was fun. Everybody should do it.
Do you have any upcoming gigs?
We'll be back at the Brickyard and The Railway
Club this spring, but the dates haven't been nailed
down yet. Keep an eye out for the listings.
What position  did  the  Hounds'  song
'Blowin' Off Some Steam' occupy on the
CiTR  indie  chart  in  the first week  of
February? Or -was it the second week?
#1
Discography:
Live at Charlie's Garage cassette,  1995; The
Hounds of Buskerville #1 cassette,  1996; Tfie
Hounds of Buskerville #2 cassette, 1997
Contact:
Peter Vogler, 2163 Napier St., Vancouver, BC,
604.252.9590*
Who are you (names, ages, instruments
played)?
RC (Ralph) Johnston: By the time this interview
sees the light of day, I'll be 46 years old. I play a
three-string drone bass and an electrified and seriously re-tuned, beat up, old bouzouki (basically a
pregnant, Greek mandolin for the uninitiated).
Ed Frey: Twenty-seven years old. I play drums and
scrap metal percussion consisting of a 25 gallon
oil drum. Occasionally, Ralph brings the odd piece
of steel in to test. But sometimes they're too thick
and not very loud. I just end up bustin' up my sticks.
But the kit grows almost every month. We take
donations, so if anyone's got scrap that sounds
good, send it in, today!
Ralph, how does Quonset differ from other
wordless bands you have been in, like The
Fridge Magnets and the Surfdusters?
RC: Quonset is as stripped down as a band can
get without relying on a drum machine. I envision
Quonset as a band with as few instruments as possible, allowing feedback, drone and ambient room
noise to be the other 'members.' Also, my favourite
band in the whole world, Savage Republic, started
out this way.
Where does an instrumental band get the
title to its songs?
RC: I dream quite a few of Quonset's song titles. I'll
wake up at 3am in a sweaty panic, looking for pen
and paper to scribe my rambling thoughts.
Ed: Like Ralph, I also dream the song titles.
Unfortunately, most of my titles are stuff like:
'Fullonshakinboogiedanceparty,' and 'Twarting
Ninnies.' But occasionally I come up with a good
one, like 'Desert Blade.'
Can you read music?
RC: Just enough so that I can jot down melodic
ideas when a tape machine is unavailable. I took
the music program at Douglas College years ago. I
left frustrated: my ego couldn't take it when one
instructor told me that my compositions were just a
bunch of meaningless arpeggios strung together by
dubious musical talent and technique.
Ed: I can't read music. I always thought it would be
tough to read and play at the same time. I don't
know anyone who can. Are there people who do?
Sometimes somebody will ask me what my favourite
time signature is, or say, 'Just play 4/4.' And I'm
like, 'Yeah, alright, whatever!'Just play.
Last fall Quonset performed at the North
by Northwest festival in Portland. Describe
your experience there and at any other
gigs you may have played enroute.
A,
RC: NXNW was the only perfor
extremely short west coast tour. Highlights of that
trip for me included: the 24 hour Church of Elvis in
Portland, my speeding ticket in Tacoma, NOT seeing the Smugglers, meeting the Brainwashers and
the Surf Trio, NOT meeting the Smugglers, and
Portland's great bookstores!
Ed: Portland was very 'Portly' to me. I enjoyed
many cheap pizza and beer combos and sampled
authentic Mexi food, served to us by a real live
Danish woman. The conference was similar to
Music West/Waste, only we had farther to drive
to the gig. I found out surf bands down south don't
surf, either!
You thanked the Java Joint on your CD,
which we are assuming is the one in
Surrey. Did Quonset play there? If so, -what
was the crowd like, and were you well
received?
RC: The Java Joint in Surrey is a great place to
play. I approached them with a demo tape one day
and co-owner Brandon told me the stuff we were
doing was exactly what the Joint was looking to
have for their evening 'entertainment.' We've
played the Joint twice, once being our CD release
party back in November 1997. They let us start
when we want, play as long as we want, and
they're a non-smoking venue!
Ed, you once drummed for Mark Broadie
and the Beaver Patrol. Please elaborate.
Ed: I really enjoyed playing in the Beaver Patrol.
Oddly enough, that's where I met Ralph. Mark invited Ralph and myself to play on a CD he wanted to
do for Shredder Records, in the states. We did the
CD and a few gigs in '95-'96, then Mark moved
away to Japan to form a cool 'spy-theme' band
among other things. That basically left me open to
another project. That's when Ralph approached me
about a 'primitive, tribal sound' he wanted to get,
that he couldn't get through surf.
Ask yourself TWO questions and answer
them.
What's next for Quonset?
Another live CD this summer, the completion of a
studio album, we'd really love to get our stuff onto
some movie soundtracks, and I'd love to play live in
the Mojave Desert — at Burning Man, possibly.
Anything else turn your crank besides music?
RC: I've been painting for a while now ... weird
industrial collages. I'd love to put on an 'art' show
where my work would be displayed while Quonset
played live background music. Any offers?
Ed: I want to start an all-white Jamaican band next,
or maybe play bass in a speed/punk band.
Anything else to add?
Yes ... obfuscate the senses!
Discography:
a four-song demo tape recorded at Fiasco Bros.
Studios; one song, 'Bird Circles,' included on the
Have Reverb-Will Travel 7" vinyl on Fireball; eight-
song live CD, The Rubber Room Sessions.
Contact name and address:
Quonset c/o RC Johnston, 948 Keil St., White Rock,
BC, V4B 4V7, 604.538.7203/517.0379 (fx).*
6   april 1998 where is not
what you wear
eee
e e
BY KITTY POULIN
UN IVERSAL
CONeERTL-
11
I t is an amazing thing when the
details    in    one's
I life reveal themselves as the
basis for useful knowledge. It is
as though the world is leading and
compelling reason into clarity. Of
course, such objectivity is uncertain. We give reason to the world.
But the interaction of events and
personal, accumulated experience do manifest a solidity of their
own. It becomes something in the
world to be encountered. I
wouldn't assume that my experience necessarily and automatically has any resonance with anyone else. Yet with the very moment
of interaction, of joint participation, the world is encountered as
being something more than just
your or my private narrative and
as something less than absolute
relativity. This complex relationship
automatically implies participatory responsibility or morality as
an issue and social reality. This
occurrence is deeply misunderstood; appeals to morality, in the
sense of ethics, seem presently useless, or worse, as attempts at restricting freedom. It appears as
though morality has evaporated
into the spectacle. I mean morality here more in the colloquial
sense, referring to the common
everyday ground for human action more than any specific philosophical history of meaning. Although such "official" histories are
also implied — if not called by
their true name — I am more interested in the complexity of everyday discussions whereby morality arises and occurs, or is "absent." For us, morality significantly
includes a consideration of popular culture and commodification.
A crisis of moral certainty —
of dogma — is not also an absolute crisis of morality as an idea
and social structure in the world.
The former crisis is, to a large extent, commonly understood as
being a result of the failure of
older, traditional structures and
assumptions of truth having relevance and security (God, materialism, patriarchy, etc.). It is something different to argue that morality, from beginning to end, is
absolutely impossible. It is fairer
to suggest that morality may no
longer be an adequate conceptual tool, and that we need an
entirely new conceptual language. But this may be calling for
a superficial change, an alteration
of just words more than surrounding sense-making. I would argue
that the very difficulties posed by
continuing to use and consider morality may be advantageous, highlighting the essentially dialectical
nature of morality as both a conceptual tool and objective feature
of social life. Why give up on morality when its difficulties are also
its strengths?
I conceive of morality as dialectical because it always carries
its prior and present problems
through itself, redeeming and negating as it goes along. It is a human activity, completely related
to dialogue, even if, historically,
it sometimes takes the form of
strong-winded monologues. Of
course, even the most powerful
story doesn't guarantee untroubled and total compliance and
there are always creases, cracks
and seams where the story comes
up against difference — difference that the story may in fact
call into being. There are always
many stories, morality is always
multitudinous. Yet multiplicity is
not simply relativism, there is substance enough to mobilize questions of morality. This is why I often complain about postmodern-
lite (AKA present-day capitalism's
popular rhetoric): it is promoting
a moral position but hiding it behind a glossy, spectacular promise of abundance, uncertainty
and moral free-play pushed almost to insignificance. All this
appears obvious enough. It is
another fractured picture. This
proposed lack of morality gets re-
inscribed in structures that haven't
fundamentally changed much,
necessitating a critical rethinking
of everything involved, the structures and proposed noknoral position, as equally as any alternative moral positions. This is exactly
what I mean by dialectical. Out of
this mess and ambiguity come
multiple sets of alternatives and new
problematics. Although particular
moralities may be called into question — which I believe is a feature
of their very actuality, anyway —
morality as a broader conceptual
problem continues to shape to the
new conditions for existence.
Morality is not just a system
of rules and restrictions, of
"oughts and nots," it is also a
promotion of positive options and
openness. Morality is often confused with specific moralities' dictates. This is not surprising, but
morality is not just a specific rule
or interpretation, it is also the very
ground and process of interaction
and derivation. This ground becomes larger than individual moments of meeting, yet it completely
depends on shared interaction for
power and validity. This other-like
quality is how morality, congealed
into a specific formation, serves
to influence us back. This is also
how morality can become ossified
and exclusive, and therefore a
dangerous alibi for all kinds of
backward and heinous activity
(homophobia, anti-choice, Nazism, etc.). Violence and oppression are all part of human history,
to be sure, and specific moralities
have played a role, but morality
also informs contrary and progres
sive developments, enabling the
basis upon which we are able to
judge and correct our behaviour.
Through morality, we can
strengthen our critiques and demands for change. It can be affirming and negatively critical.
I admit that my championing
of morality puts me in with some
unsavoury company. Fine. Morality can only Degin with debate and
with debate it can get closer to its
truth and be useful. Morality is not
eternal or given, it is used and produced and it changes. It has a history and a future, and it is presently
trivialized, but it is not therefore useless. Our doubt is a measure of its
continued presence. Its awkwardness encourages critique and questioning. It should be necessarily
troubled and difficult. Debates over
morality are opportunities to hash
out the implications involved. Our
continued participation in such debates encourages their worth and
effectiveness and increases their
scope and depth. Moral contest is
also moral self-analysis. Closing
down such questions, either as a
result of absolutism or relativism, is
ridiculous, even futile.
The contemporary conditions
for the enactment and development of a progressive moral dialogue seem constrained and inhospitable. This is only a state of articulation. Certain political-economic structures have taken great
advantage of supposed moral laxity (expanding markets, fashion
change, transnational corporations' global influence). They have
become the basis of our present
moral climate, shielded by assumptions that appear common-
sense, and behind the guise of exemption. This transformation was
set in motion long ago, but the
fundamental issues are fairly consistent. I am thinking of the implications of commodification in particular. This notion has had a tremendous impact on the possibility of moral dialogue. Questions
concerning morality become increasingly burdened and misdirected when caught up in debates
concerning goods. Attempts at
questioning the supposed spontaneity of desire and fair representation of options in this scenario
are infrequent and dismissed as
antiquated or idealistic when encountered. But even taken at face
value, the morality of goods fails
to deliver on its liberal presuppositions. Recognizing this contradiction has long been an important
feature of negative critiques and
alternative moral schemes. The still
relative obscurity of such alternatives says something about the
contestable and biased nature of
present moral conditions and conditions for morality. Obviously,
more needs to be said and done.
More to come.*
MIABSTONIS
Friday April 17, Breakers, Point Roberts
rusty®
iMudgirl
FRIDAY
APRIL 17
THE PALLADIUM
mMMmm
Senusonir
machlns   , , _,,
tix also @ Thriller
friday, anni 17 starfish room    nn
H\   l | TIX AT THE BLO
l\ufus Wainwright
April 21/Railway Club
w with Tara MacLeaiT
April 22/Sonar
jatchboxPO
with special quest "^~   ^^
may 4th
The Plaza of Nations
ilillllUJ
S3__J_____ The Salte
by Andrea Gin
The Salteens haven't been the Salteens for much longer than they've been Shindig winners. It all started when they were in school at UBC and guitarist/vocalist Scott Walker, after much effort, convinced bassist Megan Bradfield that they should start a band. She then stumbled across Dion Willis
at her work, when he asked her out on a date. She said no, but asked him if he was interested in playing the drums. Eventually, they added Jen
Kerr, who splits guitar and keyboard duties. Thus began the Salteens. Soon after, they recorded themselves in their practice space, and committed
sir music to a demo to submit to CiTR's battle of the bands, Shindig. The rest, as they say, is history. It's not hard to see how they won. They play
, sod, clean, fun-time music with an emphasis on male-female vocal harmonies, and their stage demeanor is all smiles and happy energy. It's
hard to say no to happy people. Plus, Megan's fuzzy, red bass is pretty darn cool. To date, the only recording the Salteens have is a demo called
Mighty Mighty, but keep an eye out because they will be playing, as part of their Shindig prize, at Music West and they are playing more and
more around town.
What is a chick band?
Scott: We're not a chick band. Some people think
it's a big deal to have girls in a band, but it's not.
Dion: We can do a lot more with girls in the band.
If we were four guys in a band playing the songs that
we play, we'd look kind of goofy.
What kind of different things can you do?
Dion: We can do more 'doo doos' and 'ba baas.'
If you have girls in the band, you can do more stuff
like that.
Megan: You guys are just using us as an excuse!
Scott: We aren't a chick band.
Jen: We're equally balanced.
Scott: We're ABBA.
Do you think ABBA's a chick band?
Scott: No.
What do you plan to contribute to the
world of guitar pop music?
Jen: We plan on bringing happy music back.
Scott: We want to re-appropriate the term 'alternative' from the grunge bastards.
Re-appropriate it to what?
Scott: To the way it used to be. To good pop music.
Alternative used to mean good pop. And now it
means grunge.
You don't think grunge is already dead?
Megan: Not al all. Look at Bush. They're very popular.
Scott: People like that kind of music and they're
wrong.
What was your strategy to win Shindig?
Megan: Our sparkly beautiful set lists. We decorated it and it said 'Merry Christmas' on it.
Dion: It was our merchandising. We wanted to sell
sell sell.
Megan: I think it was also our Christmas T-shirts.
What are your plans for the loot?
Scott: We won some shows. We'll be playing at
Music West. We chose it over recording time,
because at the time we weren't ready to record and
I was kind of intimidated by the studio.
If you were going to do an 'I Hate Brenda'
type of zine, who or what would you do it
about?
Jen: We're happy. There isn't anything we hate. We
want to bring people together.
Scott: Hate's a strong word. I don't think we could
hate. That's horrible. That's sick.
How have your lives changed since you
won Shindig?
Scott: We think we're rock stars now.
Megan: You think you are! We got a couple new
fans. I got a new boyfriend.
Dion: We've met a ton of people. Different bands,
people we get to play with.
What has been the greatest compliment
you've ever gotten as a band?
Scott: We were one of someone's three favourite
shows. One of them was Cornershop/Helium, two
was Guided By Voices, and three was us. [the
Shindig Finals at the Starfish Room].
With the [decreasing] number of live music
venues around town, is it hard to find
somewhere to play?
Megan: No. You have to play at different places.
You can't just expect to play at the Brickyard or the
Gale or anywhere like that. We've played the Anza
Club twice now, we've played the Press Club. Littler
places, like here [an Arts beer garden]. You have to
treat these things with the same respect. We get lots
of little shows and they're more fun and there's more
people who are into us.
Scott: There is no shortage of venues in Vancouver
It's a myth."
8   april 1998 <D
id
<D
C
Photo by
Richard Folgai
It's Friday night in Vancouver, the night of the big
20th Anniversary D.O.A. show. Everything is
behind schedule at The Starfish Room where The
Weakerthans are one of the opening acts. Finding
them sitting at some tables, I present them some
home baked cookies (always a good ice breaker,
even though I have known these guys for many
years). We decide to vacate soundcheck hell, so
myself along with John K. Samson and John P.
Sutton of The Weakerthans venture out to Granville
St. to get some coffee and snacks.
These are The Weakerthans, born from the tall
prairie grasses and the meeting place of two rivers.
I'm talking about Winnipeg, Manitoba, a city better
known for it's extreme climates, but up until more
recently has been known for its burgeoning independent music/political scene. John P. plays bass
and has recorded almost all of the independent
Winnipeg bands at one time or another and Jason
Tait plays drums. Both were in Red Fisher, John P. was
in Elliott. Leading the songwriting/guitar and lyrical
duties in The Weakerthans would be ex-Propagandhi
bassist John K., a guy responsible for writing a few
of the songs which have appeared on Propagandhi's
two full-length albums. John K. also happens to
assist in the operation of Arbeiter Ring Publishing, a
Winnipeg collective he spearheaded to publish poetic/political writings and to get the word out.
Sound, music, poetry, and positivity all come
together to bring us The Weakerthans' debut
album, Fallow. Fallow takes you from acoustic,
plucked poetry to infectious, upbeat songs that
will stick in your head all day. Songs on a whole
which will take you from seedy alleyways in
Winnipeg to the majestic prairies of southern
Manitoba. The CD was released on G-7 Welcoming
Committee Records, a collective founded by John
K.'s old bandmates in Propagandhi, Chris and Jord,
who are maintaining their anti-fascist, gay-positive, pro-feminist and animal-friendly statements
in Propagandhi with the bands they are signing to
their label. Join us for some class-war, won't you?
Why The Weakerthans? How and when did you
start?
John P.: We did it because John wanted to have a
band and he asked me and Jason to play with him.
We were all in those positions of not being in bands,
so it all worked out.
John K.: We played our first show a year ago last
week, February the 22nd ...
John P.: The 28th?
John K.: The 23rd! Yeah, yeah ... So we had our
anniversary show in Banff, yeah.
Alt of you were in different bands two years ago.
While in those bands, did you sometimes get the
feeling that you were stuck somewhere that just
wasn't right for you?
John P.: Ha, that's a pretty touchy question.
John K.: I was in Propagandhi for five years and atthe
end I knew that there were other things that I wanted
to do that weren't specifically musical, other things
that I wanted to do with my life. I think five years is
long enough to do anything, like you name it. t don't
think any of us were unhappy with the projects that
we were working on, but I think this just worked really well and it felt really comfortable doing it.
John P.: Change is good. Sometimes change can be
hard, especially with music.
When you decided to record Fallow, was it an easy
decision to release it on G-7?
John K.: Yeah, it was pretty easy. It just seemed natural to do [it]. They offered, we said sure. We like
working with them for a number of reasons. One
being their politics, so ...
And how else does it work for you? I know there's
something like they try to give back to the bands
as the bands give to the label, sort of thing.
John K.: It's pretty much standard. The contracts
and the royalty rates and everything that bands get
screwed on by bigger labels doesn't happen to us.
We have a very good working relationship. Other
than that, it works just like a regular label, except
they're a collective.
So, what's it like to be on the same label as
Consolidated!
[laughter]
John K.: Never met them or anything.
John P.: He [to John K.] used to be on the same label
as Strung Out.
[more laughter]
John K.: That's true, I did.
How did the recording of Fallow go?
John K.: We recorded it all in one shot. We tracked it
all and then, last April, we mixed it in September in
Toronto, so it took us awhile.
John P.: We were trying to find some people to mix it
and I was looking at all my heroes in the recording
world, and finding out that it costs like 15 grand for
four days, [laughs] Oh, alright, oh.
So, how has the response been with it, the tour, etc.
John K.: It's been alright. Yeah, some people are disappointed, some people are surprised. Mostly things
have been going really well. We're feeding ourselves
and we're not losing a tonne of money, so yeah.
Now on to a few fun questions. Some ofthe ads for
The Weakerthans have mentioned you, Mr. John K.
as the writer of 'Ska Sucks' [Propagandhi song] Do
you get any feeling that Propagandhi may be trying
to pass the torch back to you, so to speak?
[laughter]
John K.: Well, maybe. It's utterly untrue ... It's more
them playing a joke on me. Because at your average
Propagandhi show, they are tortured by people
wanting to hear that song and [they] despise playing
it for obvious reasons.
John P.: You know how when magazines like Guitar
Player have those things that say, 'The 50 all-time
heaviest riffs?' That would be in the top 100 cool
bass riffs!
How about you, John P. Are you and Jason aware
that your old band Red Fisher is having its CD
Warwagon played in between bands at NOFX concerts? Are you ready to accept the consequences
of that?
John P.: Well, me and Jason were actually talking
about making a new cover for it and releasing it
again, but I doubt it will ever happen. But who cares.
So, John K, [tell us) about your Arbeiter Ring
Publishing Group.
John K.: It's a collective publishing house. We started about a year and a half, two years ago and we
publish accessible, leftist/activist-based material.
Books we think are useful to people. So our first
book was called Learning to Conceptualise
Economic Vision — Thinking Forward was the main
title of it —and it's by a guy named Michael Albert
who's the editor of Zine Magazine in the States. It's
about what people always say to leftists and progressive people in general: 'Well, if you don't tike
capitalism, what's better?* And there are a lot of
things that are better. It's a book about developing
your own understanding of that. And we're working
on some other projects, but that was our first book.
What other things are you guys involved with in the
community? Do you still work at the natural foods
store? Sunrise was it?
John P.: Sunflower? I guess ... it's kind of on its last
life right now. So other than that, Jason's on unemployment and I've been doing just the rock and roll
recording, and that's about it.
John K.: I work at a little book store and do the publishing ... and try to be happy.
Any survival tips for people who are looking for a
little more in their lives? Like anyone who wants to
start up something?
John P.: Yeah, don't start up a record label that sells
7"s. [laughter — John P. has a small label called
Fresh Bread Records.]
John K.: Starting a band's always a good idea.
John P.: I think doing anything is a good idea.
Watching TV is restricted for only when you're sick in
bed.
John K.: Yeah, getting out of bed is always a good
idea.
So, what's next for you guys?
Um, we're gonna go home and then probably tour
east. Tour the rest of the summer away and then
record another record as soon as we can.
Any last comments?
John K.: You make good cookies!
John P.: Yeah!
Thanks!
John P.: Cookies are fun.*
Interested in the power of art and language?
Arbeiter Ring Publishing, (www.tao.ca/~arbeiter)
Want to check out an independent record label
working for radical social change? G-7 Welcoming
Committee, (www.ta0.ca/~G-7/)
9    ®^§3l®?__ \ynn af jsxlOox by ^Jahhnn
Gina D'Orio is one half of the Berlin-based
band Ec8or. Along with Patric C, Gina
delivers some harsh Amiga Trash sounds
and her bratty, screaming vocals are both endearing and dangerous. At an age when most girls
are just getting off the playground, Gina was a
fixture in the Berlin underground. I thought the
spray-painted tights with the stenciled EcSor logo
she wore during the Digital Hardcore Recording
(DHR) tour were cool. The music is best heard
at a volume that makes the windows shake.
Could you tell me about your stint with
the Lemonbabies?
This is such a long time ago. I was 12 when I
started with them. It was like a '60s trash group
— just girls. But I quit playing with them when
as 15.
What did you play?
Everything. We were sharing the instruments
because we couldn't really play one — so
everybody played what she could do best.
Why did you leave the Lemonbabies?
Because they became so stupid and I couldn't identify myself with that anymore.
Did you do any other kind of music
stuff after that?
Yes. After I dropped out of school I joined a
band called Throw That Beat. I was a background singer — I did touring with them —
so I was just on tour with them, not in the
rehearsal room with them. I didn't write any
songs for them. It wasn't even a year, just
some months. And then I had a band
called the Sex-X-Groupies with my brother
and three other persons. That was really
trashy too, really chaotic.
Was it live instruments?
Yeah, we also had different stuff like tapes
— we were cutting tapes together — and
we also had guitar, and a keyboard and
a bass.
You sang in it?
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I was the singer, [for] like three months or something, not really long. We just had one show. And
then I met Patric and found he was the person who
really shared my opinion about music and what it
means to us. And that was in 1995 when we started Ec8or.
Do you write all the lyrics for Ec8or?
Most of the time I write them, or Patric, too.
Sometimes we write them together.
Do you do the programming, too?
Yeah. I mean, I am not as good, but I am also programming.
Patric has a lot of solo projects. Do you
have any side projects or do you plan on
doing any?
Yes, the singer of Shizuo/Give Up, Anika, and I
will form a band. We did a lot of songs together. I
don't know when it is going to be released, but
maybe in the next month.
On DHR?
Yeah.
What are you guys called?
We are not sure about a band name right now. But
it sounds much different from the other guys on
DHR. You are gonna be surprised.
How did your North American tour go?
Very good, I think.
How did people react? Do you think they
knew your stuff very well or were people
surprised?
It was very different. In some cities, people were
singing the lyrics, but in some cities they didn't
know Ec8or. With Ec8or, it is very rare that people
don't react. If they don't know it, they hate it or they
are really into it. It is never that someone says, I
don't care. I think that the reactions in North
America were very goad.
What was the best place that you played?
There was a lot of good pfaces L.A. was very cool,
Seattle, Boston and Detroit, also.
That was the first time you played or
toured in North America?
Yes, with Ec8or it was the first time.
Is it a very different type of audience versus your European audience or -when you
play in Germany?
I can't really say so because in Germany it is very
different. In America, people are reacting very
enthusiastic about it. tn Germony, sometimes they
care too much. But in America, some people seem
to be — they really don't care about anything and
freak out.
Are you very well known in Germany?
I wouldn't say very popular. I don't know if
Germany is ready for Ec8or. We also have very
good and very crowded shows, but it is not for sure
You were just playing in Japan?
That was so amazing. It was in front of 9500 people and they all freaked out. It was a very intense
! show, it was very cool.
Are you involved at all with running Spite,
Patric's label?
No, not really, it is his label. Maybe sometime I will
also do a release, but I don't know when or where.
I think he just did it because he wants to release
more. If you are a musician [and] you always do
music, it would be stupid to release, every week,
another LP or something on one label. This is why
he founded Spite to have the possibility to release
more and also different stuff — to do whatever he
wants to. On DHR we also can do what we want,
but this is for doing more.
How do you feel about women doing
electronic music? There doesn't seem to be
very many doing what you are doing.
To me, it is not important if it is a boy or a girl
doing music. But I see that some people have problems with ft, having girls (play music}. It is always
the same, that everybody says everything is so
emancipated, but fo me i think it is not very emancipated. If you are like a man you are a good
woman, but if you act like a woman then it is not
that accepted in our world. But musically, ! think
women work a little bit differently than men, but I
couldn't tell you what the difference is, it's just a
feeling. On DHR we set a sign [2?] that in every
band there is a girt in front, so we don't give people the possibility to think that women or girls don't
have anything fo do with electronic musk. But I
think it doesn't matter, really.
Good music is good music.
Yes, it depends on what there is behind the music;
there are girls doing shit music and also boys doing
shit music. It doesn't matter, it is all about what you
feel about it and if you can say something with it,
and if it is important for today.
Is there some kind of message you are
trying to relate with your music?
There is no general message. We have a lot of different messages with Ec8or because the things we
are fighting against are so complex that you can't
just have one statement. We try to fit it in every
structure and fill it out.
But you consider your music very political.
Yes, I would say so. Maybe it is a lot different than
Atari [Teenage Riotj's way to do it. [With] Ec8or,
sometimes it is more hidden — you would feel it
more than you would hear it. Because you hear it,
the music is very obvious, but [in] our lyrics it is not
that clear sometimes. It is important that everybody
has another way to express something.*
io april 1998 n
m
n
Rob Wright from Nomeansno by
On Thursday, Feb. 12th, Rob Wright from Komeansno was nice
enough to sit down and pop my interview cherry. He's an
interesting guy and has lots to say. He ran the show himself
and made my first interview a pleasurable experience. Here's
what the grizzled veteran had to say to the naive college boy.
I imagine you get a lot of younger bands coming up to you saying, 'Wow, I listen to you all
the time. You were a total influence on me.'
What's that like?
[laughs] Well, I don't mind. I don't think it's been a
disadvantage. I think it's only worked to our advantage that we've stuck it out for so long. It's nice to
have a lot of musicians who are your fans — that
sorta says that you're doing something right. People
that you've inspired to play? That's even better. So
that's good. This is what we wanted to do when we
started. Our aspirations were to be able to make
music and be able to make a living doing it and to
be able to do just what we wanted to do. And it
pretty well turned out that way. So I guess I'm just
sitting here lapping in the waters of success.
Do you get out to very many shows?
Absolutely not. I never go to a club to see a show. I
rarely do that. I pretty much stick to my own music.
I don't even listen to very many CDs or anything.
Music is something I get involved in. At leisure I'm
usually watching a hockey game on TV. [laughs]
Sorry, where was I? People have this illusionary view
of people in bands and people that play music. I'm
the most ordinary person in the world. I'm about as
boring as your dad. Maybe even more so.
Well, actually, my Dad's a pretty unusual guy.
[laughs] Well, there you go.
[Here's] more of a scenario than a question.
You've heard of the band Bracket, right? I was
at their show about a month ago — it was
here, in fact — and they were just getting into
their set. About six songs in, some meathead
hurls a pint glass at the stage. It hits the light,
shatters and this big chunk of glass pegs the
singer in the head. What would you do if
something like this happened to you?
I had a beer thrown in my face about a week ago,
but ... well, people get this strange idea. It's like,
these aren't people, they're targets. This is fun. This
is part of rock'n'roll. I'm going to do something
really stupid like throw a beer in someone's face.
It's ridiculous, it's stupid. But you get that when
drinking is involved. Yahoos go to bars.and you
sorta get the environment for that kinda thing. But
we don't encourage it. In fact, I vigorously discourage it. Whenever it happens I get really mad and
scream at people and stuff. People get the idea that
that's not cool. Not for this band, anyways. I mean,
there are some bands that make their reputation
by having beer thrown at them. Somewhere in
Manitoba, what was that beer band? I forget their
name. But he got like three or four gallons of beer
poured on him every show. That was part of his
schtick. I prefer people to just listen and get into
the music rather than spending their time drinking
and picking up girls.
So it's pretty much entirely bar shows for you
guys, now? No more all-ages?
Well, no. Last time we went across Canada we did
almost exclusively all-ages shows and I'm hoping we
can do that again. We try to do all-ages shows, but
... in Vancouver, this is just a little show before the
record. We didn't go to all the effort to make one
big show so we're going to do a bunch of small
ones. And in the States it's hard to get an all-ages
show organized. But in Europe and Canada we try
to concentrate on all-ages events. I think the music
is basically young people's music. It's kind of ridiculous to play to a drinking crowd when there's 200
kids that want to get in and can't. In Ontario it's
good 'cause often they'll have the two things combined. Liquor laws there allow you to have a stamp
for the bar and that's really intelligent. Of course, in
Europe they don't have any stupid liquor laws.
Anybody who can reach over the bar can drink.
Curiously enough, there's probably less of a drinking
problem there than here.
core tunes — the other wants the more experimental, moody pieces.
Everybody seems to want to define you as a
either a punk rock band or a hardcore outfit. I
see you as neither. How would you define
yourself?
Well, I think we're punk rock in the sense that we
started out playing to a punk rock crowd with a punk
rock attitude. Which is, you should do whatever it is
that you want to, you should do it with a lot of passion and intensity and emotion. And you should do it
from a position of equality with your audience. All of
these punk rock ethos, before it became political. It
sort of left me behind when it became about the proletariat rising against the mass-consumerism of modern society. Well, fuck. What's that got to do with
drinking beer, getting pissed and having a good time?
It got a little too serious for me. But you look at the
original punk rock bands and they varied widely in
their music. From basic, primitive rock to straight-
ahead rock. I mean, the Sex Pistols are basically a
straight-ahead rock band without solos. And the
Stranglers, who were they? They sounded like the
Doors crossed with ... I dunno. It shouldn't be about
the musical style, it should be about the commitment
of the people doing it and the connection with their
audience. There's certain commonalities there and
those no longer exist. It's as passe as the hippies were.
It's a whole new world out there now. But in terms of
the ethos and the motivation, we're still a punk rock
band. But musically, we do anything we bloody-well
want. I thought that was the point of it, myself.
|"... people get this strange idea. It's like, these aren't!
I people, they're targets. This is fun. This is part of I
[ rock'n'roll. I'm going to do something really stupid like I
throw a beer in someone's face. It's ridiculous, it's stupid. |
' But you get that when drinking is involved."
Is the new album heading in any vastly different directions?
It sounds to me to be quite different, yeah. We sort
of swing like a pendulum. One album will be long,
sort of experimental, maybe emotional, epical tunes
— our epics, as we like to call them. And then our
next record will have lots of short, snappy guitar-
based tunes because we've gotten sick of those
long, boring songs and so has everyone else. And
then we'll think these short, snappy tunes are trite,
they're not serious enough. Be prepared, folks, for
another thinker [this time]. It'll be a thinker, not a
dancer. Well ... hopefully you can dance to it. Our
audience is really divided. A lot of people really like
one but not the next and another guy will say the
opposite. One wants the typical punk-rock, hard-
What do you think of the new-breed of so-
called 'punk rock' coming out nowadays?
I'm of two minds. 1 kind of like the idea that Green
Day was number one on the charts. I was kinda
always the guy that felt The Buzzcocks, The Jam and
The Ramones should've been number one on the
charts with that same kind of music. Because it was
just great pop music. Just totally good pop music.
Green Day was sort of the vindicator. Finally people,
fifteen years later, wake up to the fact that, 'Hey,
this is tuneful, great, energetic music. This is lovely.'
But on the other hand, it turns into a big marketing, commercial rock, show-biz thing and that
doesn't attract me at all. And it wasn't like some
sort of revelation to me. I've been listening to that
music for years and years so it wasn't like, 'Wow!
I haven't heard anything like this before.' I had.
But I like Green Day. I think they're a good band.
The danger of large commerciality is that once you
sell twelve million, if your next album sells two million you suddenly feel like a failure. Fuck, if I sell
two million I'll be dancing on the roof. It just turns
it into something disposable, something watered-
down. I mean, their last album had a ballad with
strings on it — come on guys, fuck off. Don't do
that. I don't want to hear that from you. But I like
a lot of their tunes and that was true of Nirvana as
well. But that's the kind of corporate world we
don't want to get involved with. Never have. If
you're going to make music that is confrontational, that challenges the listener, that is alternative
to pop music that just gives people what they
want to hear, it's not going to be commercially
viable in a large way. If you try and make it that
way, you're just going to spoil it. For us, we make
a living making music. It's a modest living because
we just stick to the people that want to here this
music. We don't water it down to get anther hundred thousand people. Because if you do, you're
not going to get another hundred thousand people, you're just going to piss off the people who
liked you in the first place because you'd be a sellout. By selling out, I don't mean by making money,
I mean by letting the market dictate to you rather
than making whatever you want and saying, 'Here
it is. If you like this, there it is.' I'm all for people
doing business with music. I have no objection to
people making a living off selling music as long as
the music is made for itself alone and then just
offered. If you start making music to sell, that's
where the difference comes in. That's where it
becomes crap. It's a fine line. The temptation is out
there for young bands. That's another bad influence that commercialization has had on Punk
Rock. Now rather than bands sitting down and
saying, 'Maybe we can go on a tour. Maybe we
can release a single. This is great music. I enjoy
this.' Now they're saying, 'Maybe I can be on
Warner Bros. I can make a million dollars, I can
make a video. How am I going to do this?' And
then you got all these guys up here with the
lawyer suits on telling them how to do it. That's
the road to nowheresville. Usually. That's the trouble. It doesn't even usually lead to commercial success. It just usually leads to sweet fuck-all.
Everyone's gotten their career flushed down the
toilet and they've lost their credibility. There you
go. We avoid the music business. We try to make
music our business. It's like a little mom and pop
store. It's not Zellers or Safeway.
Is that why you've stuck with Alternative
Tentacles for so long?
Absolutely. It's basically an artists' co-op and Jello
[Biafra] runs it that way. It's for the artists. We have
final say in everything that we do. They pay honestly. A dollar-eighty for every CD they sell they give to
us. It's the perfect label for us. It's done a really good
job for us.*
11 ■■■■^■■■^■H        j_-_-_H:
R O N O S
Lslassical vjounierboinis: an interview wim
1 #y Jucolm
JjPi
/raaa
"The past must be invented. The future must be revised. Doing both
makes what the present is. Discovery never stops." (John Cage)
7he idea of sound waves was first concretely
introduced by Isaac Newton in his late 17th
century writings, The Laws of Mechanics.
Granted, we've all sat in on our fair share of "ripples in the pond" demonstrations. There were
always those who argued for the possibilities of
infinite wave motion, extending far beyond the confines of our pond or, for that matter, our universe.
And, yes, I too dreamed of walking into past
"sound pockets," collages of noises, or the somewhat distorted swells of sonic history mixing with
our own present surroundings ... Well, perhaps science has proven such romantic thinking unfruitful
and, true, my skills or this forum doesn't really warrant much of a further discussion of the matter. But,
certainly, it is a nice idea — especially if you consider the career of San Francisco-based Kronos
Quartet, whose music is as much about listening as
it is about creating. Perhaps they too dream of
hearing the past with the present!
Named after a Greek mythological figure,
Kronos Quartet's members clearly are titans within
contemporary, avant-garde classical music. Each
year they perform some 100 international dates,
while constantly listening to new pieces from composers scattered across the globe and throughout
time! Over the course of their 25-year career,
commissions encompass a wide scope of ideas and
sounds, often arriving to their desk and ears unpredictably. For them, no sonic terrain or technology is
off limits, as the sound pockets they reveal often
juxtapose varied forms of music — pop culture and
beyond (Hendrix, Howling Wolf, Omette Coleman)
with those of the past (Wagner, Bartok, Webern).
Now throw in alliances with today's snappy composers — Philip Glass, John Zorn, Terry Riley —
and their eclectic vision is complete.
DiSCORDER: I understand that Kronos got
its start in 1973, but it wasn't until the
mid-'80s that you began recording. Can
you give me some background regarding
that time in 1973 and what got Kronos off
the ground?
David Harrington: Well, in August of 1973 [is]
when I got really inspired. What happened is that
late one night on the radio I heard this music that
was unlike any music that I'd ever heard and it was
terrifying. It was beautiful and wild and extreme
and old and new all at the same time — and it was
music by George Crumb. It was a piece called
Black Angels and I decided right that minute that I
simply had to play that music. You know, I'd grown
up playing quartets — since I was 1 2 years old I
had been playing quartet music — and it's something that I'd done as often as I could, but right at
that moment I decided this is what I'm going to do
for the rest of my life. So that was the catalyst for
me and then a month or so later there were three
others that joined me, and we started rehearsing
Webern and Bartok and all kinds of music. Later
that first season, we did play Black Angels, but it
took a while for us to learn how to do all the different things that you need to do to play that piece.
What exactly was it about Black Angels
that attracted you to it? Was it a new
piece at the time?
It would have been written in 1970.
Is it not a piece, sort of reactionary,
[about] the Vietnam War?
Well, it's interesting. That's how I interpreted it the
moment I heard it for the very first time. The
Vietnam War was certainly still in the air; in fact, I
don't think it was officially over even at that point.
And I think that many people my age, and of every
age, were very disturbed by that and a lot of us
were trying to find ways to express ourselves. And
all of a sudden there was this music that seemed to
perfectly express what I was feeling. Up until that
point, there just hadn't been anything else that I'd
heard that quite made as much sense to me at that
time as Black Angels. So I guess it was one of those
moments that was ... I mean it's very rare to find
something that seems to be exactly the way you
feel it and the way you hear it and, yet for me,
there it was.
And did you think right away that would
be the first recording for Kronos?
No. I wasn't even thinking about that, about
recordings at that point. I really wasn't. And we
didn't record Black Angels until 1989, so it was
1 6 years later.
So is that the piece you think is most recognized as the starting point for Kronos?
No, I think there's a lot of other pieces that people
know of ours. For me, it's like the centrepiece in a
way, and there's a lot of other things that have
developed from it and even independently of it. I
think of that as the initial experience that kind of
gave me the energy and the desire and the drive to
make the kind of commitment it takes to play the
kind of music we play.
Previous to hearing Black Angels, were
there any other musical options for you?
Until you heard the piece and knew you
wanted to make playing in a quartet
your life, where did music sit with you
before that?
Well, I'd first heard, for example, the quartets of
Bartok when I was 1 6 years old. And that was the
same general time when The Rite of Spring by
Stravinsky became part of my life, as well as the
music of Charles Ives and Thelonious Monk and
Mingus and Coltrane and Edgar Varese. There
were periods where I was really growing and my
listening was expanding. And, you know, I first
heard African music when I was about 17 — music
from Ghana — and all the while I was playing
quartets of Beethoven, Hayden, Schubert and
Mozart. So there were all these different kinds of
things going on. And also at age 16, I was working with several composers from the Seattle area,
most of whom are still writing. Actually it was Ken
Benshoof and he's still writing quartets. He wrote
the very first piece for Kronos, that was ever written
for us back in 1973. So he was a very important
person for me. I think that his quartet called
Traveling Music, which will sometime soon be coming out, is such a beautiful piece and I'm glad that
our international audience will get a chance to hear
his music. But it's taken all these years before we
finally feel that we've got it really good.
When you were getting into Mingus and
Monk and whatnot, were you at all interested in 'underground classical' music and
people like Tony Conrad? I guess people
coming out of the Fluxus Movement, people like John Cale who saw a more minimal approach to composition. Were you
listening to stuff like that?
I'd have to say I wasn't. I didn't really get to know
the music of Terry Riley, for example, until the
'70s. Later, he introduced us to La Monte Young
and La Monte mentioned Tony Conrad and so I
got some [of his] music. My education sort of centred around string quartets. If somebody had written a quartet piece then, I knew about him, or I
tried to, that is. And growing up, the first quartet
music I ever played was Beethoven. On our most
recent album, called Early Music, almost all of
those composers I didn't know about at all — they
hadn't written quartets. You know, Hildegaard,
Kassia, Perotin, Machaut and Harry Partch. Arvo
Part wasn't even someone I'd heard of. The world
of music is something that each one of us enters at
a particular and very individual place and we can
learn more about that world. As time goes on, you
begin to find out about how much you don't
know, how much larger the world really is; more
than you can imagine.
This makes me think about your quote
from John Cage accompanying Early
Music. Actually, there's a quote by Tony
Conrad in which he says, 'History is like
music ... completely in the present,' and
just both those quotes struck me. There's
all sorts of different music that exists and
you have to go in different directions to
find it. Is this what the spirit of Kronos is
all about?
I think so, I do — the idea that music really does
always exist in the present. And one of the great
things about musical notation and then, very much
later, recordings, is that we're allowed to take part
in experiences either notated or recorded at much
earlier times than right now. And we get to share
experiences that other people want to communicate
with us. And so, with a certain amount of reconstruction, we are able to take part in the world of
Hildegaard von Bingen, for example, and in the
same concert we can play something that was written for us a week ago. To me, that's a fantastic
opportunity to take part in a vast array of experiences. That's one of the things that I value most
about music.
Early Music can be separated into three
parts, each introduced by a Kyrie. In your
head, is there a way of understanding
those three parts?
I think of it definitely as three segments. It's kind of
like a triptych, in a way. But there was never a complete storyline. It was more starting with sound that
you hear with the first Kyrie, with Kronos and the
Harmonium, and then there's constantly variations
on that. I thought of it more [in terms of] sound but
12   april 1998 Q U
dJavia Jla
A R
nqion or ihe J\r
ronos
right off there's music from a much earlier time than
now. I think you sense the theme very early in the
recording, the palate of musical colour, but as you
hear more of the album, I think that the colours are
more fully expressed and emotions are more
extremely expressed.
Another point that I was interested in is
that there're two female composers. And I
guess the interesting thing is that they're
some of the earliest composers on the
record. Can you give some background on
their pieces?
For me, those two pieces are some of the most
amazing pieces that I'd ever heard. After investigating and listening to all kinds of different music,
at one point finally hearing what sounded like
something that had to be part of this record ... I
think it's an added dimension, it's great that it so
happens that they're both women. Very powerful
musicians and powerful personalities. But at any
point, there are 30 or 40 men and women writing
pieces for Kronos all the time.
Can you explain something about the
commission process? Obviously, people
commission Kronos and Kronos commissions composers.
Yes. In the last 25 years, there have been over
400 pieces written for Kronos. Composers from
many different cultures, many different parts of
the world. And it feels to me like we're kind of
just getting started. Not that we've finished anything, but it feels like we're kind of in a full
swing right now. And I'm just amazed at some of
the music that exists in the world and what's
being written right now. What we want to do is
have the most incredibly wonderful music written for us by those people who somehow are
able to be in touch with their inner musical world
in the most direct and passionate way that is
possible. And I think that in every case, for a
young composer, there's a moment when he or
she creates a breakthrough piece. And I want
the most special people to write their breakthrough pieces for us. There's a certain amount
of trial and error in what we do and trying to
be there at the right time when a Terry Riley or a
Steve Reich, or whoever it is, might be writing
their most incredible music.
Have you ever had any Canadian composers write for you?
Oh, yes. John Oswald has written three pieces for
Kronos. Melissa Hui is writing for us right now. And
Linda Bouchard has written for Kronos. Let's see,
I'm sure there are other Canadian composers that
I'm just not thinking of right now.
What about Jim O'Rourke? I read somewhere that you were working with him.
Well, you know, he wrote a piece and we haven't
played it yet. But he's a musician that I'm very interested in.
For a lack of a better way to put it, his
stock is definitely on the rise. What is the
flavour of his composition?
Well, I think it's very spacious, very long-tones, very
lots of room.
How did the Moondog commission come
about?
We first met Moondog in about 1989. And somehow I lost track of him. I think that I was writing to
the wrong address or something. Finally, we made
contact again and he came to one of our concerts
in Germany. The piece that's on our Early Music
record is something that he handed to us after one
of our concerts.
And have you performed that one live?
Well, you can't play it live with all nine parts — it's
a nine part piece. So it's something that we recorded in the studio, but you can't just play four of the
parts at one time.
I guess that's the same as some of the
pieces that John Zorn has written for you.
You wouldn't be able to play them in a
string quartet.
Well, like the Forbidden Fruit, it's something that
cannot be done live. It's a recording piece.
Does Kronos ever consider soundtracks or
film music as part of their work?
Oh, yeah. We've been involved with several different films. We've been involved with David
Byrne's film, True Stories, and we were also
involved with Mishima, that Philip Glass did. You
know, a lot of the composers that write for us are
involved in film music in various ways.
You've been quoted as saying that you
like to bring different music into different settings, different spaces. Do you
think about a connection between music
and architecture in terms of the spaces
you perform? For example, I'm sure
you've performed in very regal settings,
and others more like rock concerts. Could
you elaborate more on how Kronos
brings music into different spaces and
allows it to exist?
I like to experiment and to discover, really, how
our music will feel, how our music will sound, in a
lot of different places. I think that the idea of architecture that relates to music is very interesting. [I
think about] the kind of location that people might
feel comfortable in. There might be an entirely different perspective on listening if you're in a certain kind of acoustical space as opposed to a
different kind. You know, for me, the opportunity to
bring our music to different kinds of places is really fun, and sometimes very challenging, but it's
also really interesting.
The venue here in Vancouver, the Chan
Centre, is a new venue.
That's what I've heard. It's supposed to be a very
nice place.
It's actually very beautiful. It's designed by
Bing Thorn. What he did was look at the
curved shape of a cello and designed the
concert hall after that.
Really? So we're playing inside of a huge cello?
Well, that's one way of looking at it.
Wow, that's cool. Well, I always think of the audience as creating this other instrument. This will be
fun. It will be like the audience with their instrument, being all of their ears, and then there's the
hall with its instrument and then there'll be us with
our instruments!
There you have it. The Kronos Quartet appear at
the Chan Centre Monday April 20th, 8pm. This is
one of only two Canadian dates scheduled for
the 1998 season. Their concert will feature two
parts. The first is comprised of three pieces written exclusively for the quartet: Terry Riley's G
Song, PQ Phan's Tragedy at the Opera, new
music by John Adams, as well as one ofthe quartet's first "standards" by Bartok. Part two is devoted entirely to pieces from their Early Music
recording. In David's words, the evening reflects
"some of the places where we've come from, as
well as exploring some of the things that we're
doing right now and some of the relationships
that we're continuing."*
A Rough Guide to
Kronos Recordings:
Kronos recordings are available exclusively through
Nonesuch records and with some 20-plus CDs in print,
diey should be quite readily available. While their output
is extremely diverse, each Kronos recording is united by
an adventurous spirit and unparalleled performances.
Here's a taste of their catalogue:
Block Angels (1990)
As David puts it, it's their "centrepiece" documenting
much of the early inspiration that gave Kronos its
nexus. Their recording of the George Crumb piece is
an intense and dark, harrowing experience, structured
around rich tones with chaotic flashes of noise in the
form of staccato strings, whistles, yells and crystals —
reprieve only comes in the third movement, "God
Music." The remainder of Black Angels is equally
stark, especially their treatment of Istvait Marta's
"Doom A Sigh" — which hi this </j\ gives me shivers,
as this jarring but beautiful piece features Kronos
act ompanying two songs of personal loss and pain from
war-torn Romania.
Short Stories (1993)
Containing works from Elliott Sharp, bluesman Willie
Dixon, John Zorn and Canadian Plunderphonk composer John Oswald, Kronos take us on a detailed
detour through 20th Century music. Zorn's piece "Cat
O'Nine Tails" is an animated listen full of "cartoony
spasms," while Oswald's "Spectre" features the digital
editing of simple samples of Kronos' strings. Beginning
with a single cello, Oswald introduces 4,000 string
lines, only to taper it down again to a single cello pluck
over the six minute duration of the piece. Just think, a
perfect bell curve of drone!
Howl, USA (1996)
Kronos again put a technological spin on composition,
accompanying both archival recordings and in-studio
spoken word performances. Thetnatically, the record's
four tracks delve into American culture circa 1950 and
images of "an era considered to be America's last innocent age." The centrepiece is a rare reading of Howl
by the late Allen Ginsberg.
Winter Was Hard (1988)
Early in the Kronos catalogue, a varied record, the
quartet outline their great, sonorous scope with selections by John Lurie (film music from Stranger than
Paradise). Arvo Part, and Webern among others. Also
included is Join. Zorn's Forbidden Fruit, which lea-
res Kroi
wil as pie.
a and
Different Trains (1989) Over the
course of a numbe
albums (the last three for Thrill
Jockey), Freakwater have been honing their
Appalachian/"old-time country"/bluegrass chops and
their latest, Springtime, may very well be their
strongest. DiSCORDER got the opportunity to talk to
Catherine Irwin at her home in Louisville, Kentucky
about "scenes," religion's darker side, bondage,
booze, movie stardom, Germany, and so on.
Freakwater pulls into town to play the Starfish
Room on April 14th.
DiSCORDER: Tell me about Louisville in the
late '80s, early '90s. There was quite an explosion of talent in Louisville at that time, to the
point that many people started to talk about
a 'Louisville scene' ...
Catherine: Yeah, I remember that [laughs]...
Yeah, I bet you do ... What was going on at
that time? Where did this 'scene' come from?
I'm not really sure, to be honest.
Had there been a lot of bands before that
that people just hadn't heard about? I mean,
the first couple of bands that I associated
with Louisville were Squirrel Bait and Bastro.
Were there a lot of other bands floating
around Louisville at that same time that we
just didn't hear about?
Not really. I mean, there have always been bands,
but it's never seemed like — well, the thing about
Louisville is that people have to make their own
music because there's nothing else to do here. I
think that's where a lot of the impetus for music-
making comes from.
So how do you see yourselves as having fit
into that 'Louisville scene,' with Slint, and
Crain, and the Palace Brothers, and Rodan, etc.
Well, I'm not sure because, for one thing, I'm a lot
older than all of those guys.
Why, how old are you?
Thirty-six. So I never really saw ourselves as being
part of the same scene.
Do you consider yourselves to be a part of
any particular scene, in Louisville or elsewhere [i.e. Edith Frost, Will Oldham, etc.]?
I don't really know what that scene would be —
we're just freaks — we don't really fit in.
Not even with, say, Palace/Will Oldham?
I love his music. I love the stuff that he does, but I
don't feel as though we're part of the same
'scene.'
I wanted to ask you about the religious
imagery in your music. Where does this
imagery come from? Would you say that it's
drawn from the old-time country/bluegrass
tradition that you guys work within? Or is it
drawn from the social setting that you come
from [i.e. Louisville]? Or does it come from
your own beliefs?
Definitely not from my own beliefs. I think that if
you look at that imagery you'll see that it's always
very dark — the imagery is very negative. I've
always thought that 1 couldn't really sing a song
— even a great one, like one of those Carter
Family songs, or something — that treated God or
religion in an overly positive way.
But there's definitely a tradition of old time
country that is fixated on the darker, more
brooding aspects of God and religion. For
instance, songs about the end of the world
and judgment day and whatnot. So you
guys aren't exactly non-traditional in that
regard. And religion must be a pretty strong
force in Louisville.
Yeah, but that's the case everywhere.
But there must be a whole lot more of a fun-
q/-
damentalist strain in Louisville than a lot of
other places.
Probably.
I have something that I wanted to ask you
about the new album. Freakwater songs
have often been filled with dark imagery —
songs about death and loss, etc. — but in listening to Springtime I noticed that there
seems to be a recurring image of binding
and being bound. So I wanted to know if
you considered this album to be your
'bondage album?'
[laughs] Yeah, well, there's 'Twisted Wire,' but that
wasn't written by us, it was written by my friend
Sean Garrison. And there's 'binding twine'...
Here, let me run down the list: there's 'hearts
are bound in crimson chains' from 'Flat Hand,'
there's 'bind my memories in twine,' there's
'lovely form was draped in silver wire' and
'hands were bound' from 'Twisted Wire,' and
then there's references to whips and lashes
on 'Louisville Lip' ...
[laughs] I never thought of that ... I never really
realized that all that was there. You've really listened to this album more than we have ... but
then, you haven't ever seen us live [laughs].
I guess you're right. What the hell do I know?
But even if it does go against your image, you
might want to think about making that
image-change. You could tap into some new
markets.
Just wait 'til you see our live show!
You can get a whole lot of pyrotechnics
going. You could do some kind of an Alice
Cooper-like thing. Another thing that I picked
up on in re-listening to your albums last week
was that you guys have made a point of kicking off each of your three Thrill Jockey albums
with booze tunes, heavy-duty alcohol songs:
'My Old Drunk Friend,' 'Gravity,' and 'Picture
in My Mind.' Is that intentional, or is that just
a coincidence?
[laughs] You really have been listening to our
albums. I've never really noticed that ... all I can
say is that pretty much every other one of our
songs is a drinking tune or has references to alcohol, so it's hardly surprising.
Which brings me to your name: where did the
name Freakwater come from? Is it just a
moonshine reference or is there something
else going on there?
Well, it came to the point that we needed a name
so Janet and I got together and we just made it
up. It wasn't an intentional moonshine reference,
we just liked the way it sounded. I guess we're
kinda stuck with it now, whatever it means. I've
never been really sure what it conjures or what it
brings to mind.
For me, on top of it seeming to be some kind
of moonshine reference, it's always kinda
brought to mind some kind of a Gram
Parsons/acid country thing.
I like that. If that's what it conjures, then that's OK.
Something that I find kind of striking about
Springtime is that Max's song 'Harlan' is
placed right next to 'One Big Union,' a placement that for me instantly brings to mind
Harlan County, USA [the documentary film on
West Virginia's coal country by Barbara
Kopple which showcased the old time country/Appalachian folk music of that region].
Was that intentional?
We had a really hard time sequencing this album.
It was more or less a coincidence that those two
songs ended up together even though it does
seem to make sense. Mostly we just liked the way
they sounded together.
Whereas Harlan County, USA is a very pro-
labour film, 'One Big Union' seems to express
the sentiment that there's no hope for the
'one big union' that the film is calling for.
I wouldn't say there's no hope. I certainly would
like to think there's hope. Little hope, maybe.
Tell me about your involvement with Half-
Cocked [a film by Michael Galinsky and Suki
Hawley that features many Louisville bands,
including Freakwater].
Michael Galinsky and Suki Hawley are both really
nice people. They contacted me about being in
the film [because] they needed someone to be
playing a guitar on a couch with some naked guy
in a towel in front of me. I was really nervous, but
it ended up being a lot of fun. I think they did a
really good job, too. They really captured
Louisville's run-down quality, its sense of decay.
For outsiders, they did a good job — I think it's a
really great film.
Did you get invited to the Cannes world premiere?
[laughs] No.
You guys aren't known for touring a lot. Is
this going to be your first trip out to the
West?
Janet and I played a few gigs in California about
10 years ago. We opened for Janet's other band
[Eleventh Dream Day]. But otherwise, we've never
played out west.
Where do you guys play dates?
We play a lot in Chicago and we play in New York
about once or twice a year, but we can't really tour
for more than three weeks because David's got
two kids and Janet's got a kid too. We've played in
Germany a bunch of times.
Germany? Why's that?
Because our European distributor, City Slang, is
based in Germany.
What's playing in Germany like? What kind of
gigs do you get?
We'll get gigs all over Germany, mostly in folk
clubs on folk bills. Over there, we're considered
some kind of exotic American music [laughs].*
14 april 1998 Printed
Matters[
WILL FERGUSON
Why I Hate Canadians
(Douglas & Mclntyre)
TESS FRAGOULIS
Stories to Hide from
Your Mother
(Arsenal Pulp Press)
STEPHEN FRY
Making History
(Arrow)
ROBIN KONSTABARIS
& PIERRE LEBLANC
Scrambled Brains: a
cooking guide for
the reality impaired
(Arsenal Pulp Press)
It's test time for us post-
secondary brats.
Tess Fragoulis's Stories to Hide from Your
Mother considers the
complications of sex and
relationships rather than
crime and terrorism — the
title of this collection of
short stories is apt. Similar to the desire to know
nothing of one's parents'
sexuality is the need to
the same from them. (In
the end, it's probably to
everybody's benefit.) The
stories are interesting and
the writing is mature and
confident. It is hoped her
later works will be equally
fascinating.
Robin Konstabaris
and Pierre Leblanc
have collaborated in the
aptly  named  cookbook
Scrambled Brains. The edibility of the recipes has
not been verified independently, but some appear tasty.
Aren't there things
you regret or histories
that were merely
imaginings? Well,
Stephen Fry's latest fictional work considers
what would happe
Adolf Hitler had never
been born. In the best
traditions of science
fiction — _.„.,_.
this being
Fry's first attempt in the
genre — he
relies primarily on discussions of society and the al-
t e r a t i o n s
caused by
technology.
Understanding that condi-
[-S^SCL^Li© NEEDS YOU! ]
^ —                             We need help distributing Discorder to
▲% ■                               the suburban communities of Vancouver.
_-_-___M ■      __*£^_V
Your reward?
HOW ABOUT FREE
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Ask for Linda                  f\
tions
would   i
degene
talitaria
Ferguson is a Canadian
who cannot understand
why we have proven incapable of making Canada
work. He sarcastically
examines the elements
of Canada that have
been successful as well
as those things which
would be best forgotten were they not so
disastrous to our society. This is for
those of us who still
believe something
can be made of
this nation for all .
of us  (and  not just
the dimwits in Ottawa,
Quebec City, etc., and the
boardrooms). •
Basslines
o
BY Dl NOAH • dinoah@direct.ca
This month I'd like to
bring your attention to
another side of music,
the used record store.
Used record stores can
be gold mines for those who
are either looking for something that they missed out on
when it was first released, or
for people who are simply
looking to find that rare album to complete their collection. In either case, Vancouver does have its share of
used record stores and flea
markets where you can find
just about anything you are
looking for.
If you go to almost any
used record store in Vancouver, you'll be able to catch a
glimpse of this city's musical
history: top 40, rock 'n' roll
and heavy metal, along with
smatterings of disco, jazz
and R&B. One of the best examples of the variety available in used records can be
found at the Vancouver Flea
Market on Terminal Ave near
Main Street. You'll be able to
find a lot of collectable items
here like rare hip-hop singles,
hard to find early moog and
ambient pieces.
If more modern stuff is
what you're looking for, then
check out some of the newer
used record shops. VINYL at
the corner of Abbot and
Cordova has a relatively
small collection, but it is a mix
of progressive, house and
some other hard to find
pieces of underground
sounds. There's also the
mostly house and hip-hop
supply of used wax that
BASSIX (Hastings and
Cambie) carries along with
their large selection of new
records.
Probably the best location, however, for finding recently released underground
dance trax that are slightly
used is OTIS records, which
has an interesting history. In
1 986, at 1 176 Davie Street,
a used record store first
opened its doors, dealing
mostly in cassettes until they
recognized the market for
used CDs. Around 1990,
Todd Fuller was hired at the
store, which at this time was
suffering from all of its competition in the used CD business. In 1993, the owner
sold the business to Todd.
At this time, Todd made
a lot of changes, including
getting into the vinyl market
which now makes up about
70% of the store's business.
It all started with a small
Prince vinyl collection that he
had for sale and after that, it
just grew and grew. Today
OTIS records carries, at any
given time, 5-6000 12" singles, 2-3000 LPs, and a few
thousand CDs. On top of the
stock in the store, Todd also
has two storage sites loaded
with music. This means that
if you want it, chances are
Todd can get it for you. You
don't even have to know
what you are looking for. It
is a popular shop for people
just getting turned on to different types of electronic
music. The staff is very helpful and knowledgeable and
will even pick out several
pieces to play for the customer, a luxury that few
record and CD stores provide
to the general public.
The best thing about
Todd's store is his open-
minded approach to music.
As a store owner, he wants
to sell as much of his merchandise as possible and he
does this by listening to all
types of music roughly 12
hours every day. Roughly
100-200 new pieces of used
wax are put onto the shelves
every day and if you go
down there on a Monday,
you'll be able to exploit the
expertise of Stefane Novak
(PILGRIMS OF THE MIND)
to help you with your purchases.
OTIS records is a definite
asset to our local underground music scene. Todd
doesn't DJ or make music, but
he does provide those that do
with access to records that
they might not otherwise be
able to find.*
juuSHtr, _____®!_! gSflM^x?
presents
_3lfl3sLiui_I3 V-=) -i/J-Ei JJJ-^-^LrJ
On April 3rd at 7pm, Mark
"Atomos" Pilon blasts things off
at Vancouver's newest Art
Gallery with his latest works.
A colourful mix of past and
present computer sketched
paintings (acrylic on slat-wood)
in his patent anti-gravity style.
Music will be provided by the
surf sounds of the Mach Ill's and
plenty of space oddities will be
on the turnable. Bring your
moon boots and receive an
official Moonbase Iron on!
Reception Friday April 3rd at 7pm.
Display April 3rd - 26th.
231 Carrall St.
Contact 604.608.0913
15   EJ^SESffi The process of annihila
tion is complete. Former
names and bodies have
been absorbed by the New
Being. Forget your old lives -
join us.
If required to praise one
aspect of THE METHADONE ACTORS' musical
vision, nine ouf of ten
Bodhisaltvas would choose
the guitar effects. Drifty,
sleepy, trippy, mopey, eerie,
^=£^|^
freaky, reverby, psychedelic
and fuzzy are nine adjectives
written here on the Transcendental Notepad. Nothingness is so seldom achieved
in under four minutes. Om.
(Meddle, PO Box 60051,
Potomac, MD, 20859)
Madigan Shive is utterly
gorgeous and wonderful.
Two-year old memories (and
photographs) of a basement
solo performance haunt a
nearby heart. BONFIRE
MADIGAN latest 7" release, on K Records, will fan
the flames of due admiration
for anyone who understands
guts and girl love. Madigan's
instrument of choice is the
cello, which she plays unconventionally and wilh great
passion. "Backseat Buoy"
features guest musicians on
slide guitar, contrabass, and
drums which, added to
Madigan's cello and harrowing voice, create a strikingly
original sound.  "Batty's
Wish" and "Begin @ the Beginning" are just beautiful.
Villa ViHakula will be releasing a Bonfire Madigan CD
shortly. (K, POBox7154Olympic, WA, 98507)
It was destined to happen
eventually. THE GET-GO
sounds like a watered-down
Sleater-Kinney: the spastic energy, the tightly-wound-
about-to-explode sensation,
the trading off of quick, staccato guitar lines and vocal
outbursts with none of the indignation or politics. "Jittery"
and "Transistor Kisses" are
good, clean, middle-class
family fun. (Crunchy, 908
Spring Garden St.,
Greensboro, NC, 27403)
The ferociously percussive BLAKE have the potential to please fans of the progressive and of the stripped-
down. This is hardcore with
a mathematically precise
edge — as keen and calculated as it is chaotic. This To-
advertising thafs
boBttolast
ronto band is pretty open
about its influences (as is the
record label, which, if
memory serves correctly,
takes its name from a Nation of Ulysses song) but,
hell, a little DC hardcore
never hurt anyone. My only
criticism would be that the
vocals are occasionally loo
shrill. (Spectra Sonic Sound,
Box 80067, Ottawa, ON,
K1S5N6)
WILT is Will Kidman, a
man who records demented,
acoustic ballads while sitting
in a laundry hamper. His
voice veers into scat and fal
setto, his production values
are 100% homemade, and
The Bus Driver's Right Arm is
a 7" which I will not throw
away. I may even listen to it
more than once. (Ramona, PO
Box 170, #12-194 University
Avenue W, Waterloo, Ontario,
N2L3E9)
The men in BABY RAY are
either complete geniuses or
complete rip-offs. Suspicion is
naturally aroused when a 7"
this good appears. This columnist is holding her tongue
until the polygraph results
come in. (Baby Ray, 1541
Cambridge Street, Cam
bridge, MA, 02139)
STATUESQUE is cursed
with a horrible recording engineer. Voices and instruments, despite their generally
gentle and low-key nature, are
in the red from the first note to
the last. "Shire Refusenik," an
annoyingly cute, little pop
song, echoes in my head
weeks after hearing it; it makes
me think of elves. On "Low
Wilch Road,"Statuesque, vocalist adopts Gavin Friday's
mannerisms over a slowly
winding song. (Meddle, PO
Box 60051, Potomac, MD,
20859)*
New stuff'Jftem,
Hopeless Records
Against AH Authority
"All Fall Down"
Political "punk as fuck" ska
from Florida.
Out Now!
Falling Sickness
Riverside, CA. Second full length.
Out Now!
Nobodys
"Greatasstits"
52 Tracks, 74 minutes.
Out 3/24/98
Mustard Plug
"Evildoers Beware^
Sophomore release from
Michigan's ska-punk kings
Out Now!
Also New
Mustard PlUg-Skapocalypse Now
Re-release of their first studio recordings from
1992 as well as some live tracks.  12 songs.
HR629 cd-ep only
COME SEE MUSTARD PLUG ON THE SNO JAM IN
London ONT   Toronto, ONT   Ottawa. ONT   Montreal QUE   Mont Ste Anne, QUE
RECORDS
PO Box
Prices
>x 7495 Van Nuys, CA 91409
stage p3id in the V
ctdd25% fot foreign older**
16 april 1998 Real Live
Action
LIVE MUSIC REVIEWS
NOFX
TEEN IDOLS
NO USE FOR A NAME
Tuesday, February 17
Croatian Cultural Center
Teen Idols were late so No Use
For a Name played first. The
sound was shitty, but everybody
seemed pretty impressed. Just one
more band playing music that just
doesn't matter. I'll admit they have
a couple of good songs, but
there's not one ounce of creativity behind it and they don't play
well enough to make up for their
lack of originality. I know, I like
many unoriginal, poorly-skilled
bands, but that's not the point.
There is no way a ballroom full
of kids should be going nuts over
this. I'll be nice and blame it on
the poor sound.
The Teen Idols weren't sup
posed to play; however, they did.
I'll put this nicely: they didn't fit
in well with the ideologies of the
crowd. People were yelling and
milling about. Frat boys were
screaming at them to get off the
stage. It was ugly. I dunno, anything loved so much by Mr. Weasel and Mr. Queer is alright in
my books.
That led to NOFX. What can
you say? Honestly, the new
NOFX album has surprisingly
been one of my favourites of the
year. I loved them. They played
well. I saw them a couple of years
ago and liked them better, but I
was younger, stupider and I hate
everything now. Fat Mike is a
funny-ass mother-fucker. That's all
I have to say.
Dave Tolnai
BOSSANOVA
READYMADE
I KILLED MY CAT
Saturday, February 28
Vancouver Press Club
I Killed My Cat (who, a short
time ago called themselves Bless
The Pod) is a dark, edgy quartet that has taken a shine to using warbly spoken-word samples
that pertain to drug consumption.
Their material is now more toned
down than on the previous occasion I've seen them, with cleaner
guitars and softer vocals. But this
group still dug up some shades
of Deep Purple, man. Whoever
said that '70s metal couldn't be
mined further? And this is not to
say I Killed My Cat are derivative; they're not. The beauty of
this group is in their feel, in their
often jarring, rhythmic sputtering.
But this band needs to rock, and
rock loudly, something which
the small PA ofthe Press Club
doesn't allow.
True to form, former Shindig!
winners Readymade played a
lot of jangly, ambient pieces, but
their music is somewhat peppier
now than before. And this minus
a human drummer! A tasty drum
sample in their opening song was
a real treat. Too bad they have
to do that "hunched over" posturing thing that is so old and tired
now. Don't get me wrong, this
music was interesting. But the
vocalist hunched over so much
during an instrumental that he
disappeared. Might as well
just ask if you can come over
to their house and watch them
rehearse ...
Now the big Cuban cigar of
the evening was Bossanova
and it smoked we audience good with
dual screaming or-        the
gans, meticulous and
band-on tight drumming, Smiths-like
bass-playing   wizardry gone to hell
and back and looking supremely better
for it (major seventh
chords-a-plenty), and
the   brillia
songs     of     Chris
Storrow. I have never
been disappointed at
a Bossanova show
and,   despite   this
(their tape loop was
turned into wreckage
by "some bozo"), this
band's infectious mu-
I scoffed as many
of their promotional
matchbooks as I
could before I left,
knowing full well that
they're gonna be
worth something one
day, 'cos Bossanova n   |-|
are going places with
their big and bouncy
boop-boop thing.
EASY BIG FELLA
Sunday, March 1
The Columbia
Easy Big Fella drew a surprisingly small crowd and despite
giving it their best, you could tell
they were a bit disappointed,
given their full draw at the now
sorrily missed Niagara the last
time they were in town. Maybe it
was the fact that it was Sunday
night, or maybe it was the fact
that the Columbia is located in
the warzone which is East Hastings, or the fact that EBF had
played an all-ages show a couple nights before, but the numbers
weren't there. As one of my favourite live bands, with a good
album [Eat at Joey's) which has
apparently sold out, I too was
disappointed. However, they put
on a good show, and the crowd
was enthusiastic. In a perfect
world, Easy Big Fella would be
cruising around in yachts sipping
pousse cafes, but alas, it is not
so, and in any event, I would not
have anything to gripe about and
what fun is that?
James "Brown"
JULY FOURTH TOILET
Wednesday, March 4
Vancouver Press Club
July Fourth Toilet played a six
hour marathon performance, beginning after dinner and ending
close to 1:00am. This screaming
freak show of knit vests, nipples
and zubetubes was possibly the
dity isn't enough, Dayton
jumped up and down frenetically, drank audience members'
beers and threw talcum power
over the nearest members of the
crowd. He howled, sang in falsetto, and changed his outfit
every two hours.
The song poems were followed by a set of 30-second
songs. These sound bites were
entertaining, but had to be abandoned as 720 of them would be
necessary to fill the entire six
hours of music. As the night continued, the band grew increasingly frantic.
July Fourth Toilet are the
most outlandish, insane, provocative band around. For
those who have seen one too
many boy-guitar-bass-drum
combos, July Fourth Toilet may
inspire you to re-enter the
smoke-filled halls of bar rock.
Sarah Efron
oto     by     angus     fergus
weirdest thing I've ever seen in
I must admit I didn't witness
the full six hour extravaganza. I
arrived around 8:00pm and
watched the crowd, and the
band's energy, build. Early in the
evening the audience members
were invited to write poems down
which the band would set to music. The audience was eager to
supply lyrical material for the
band — improvised jams included "I love you blue hair,"
"colours make me happy in the
sky," and "my my my whiskey
and rye." July Fourth Toilet use a
vast array of instruments and toys:
horns, kazoos, maracas, ukulele,
bass, guitars, flute, keyboards
and even a child's toy which
makes farm animal noises.
July Fourth Toilet is fronted by
Terminal City columnist Robert
Dayton, a flamboyant, narcissistic entertainer who's none too shy
to reveal his private parts to an
audience. And if full-frontal nu-
THE CRYSTAL METHOD
BT
DJ CZECH
Friday, March 6
The Palladium
Vancouver is n
of innovation in electronic music,
so it was no surprise that when
The Crystal Method played
the Palladium, local electronica
fans would be out in full force.
When the doors opened shortly
after nine, DJ Czech was spinning his brew of pulsing beats,
whistles and spaceship
sounds, including excerpts
from well-known tracks like
"The Funk Phenomenon."
BT's entrance was heralded by cheers, followed by
a 40-minute set of over-the-top
beats and samples backed by
a live percussionist. The crowd
was stirred into a dancing
mass as the set progressed.
After a short break to remove BT's gear, during which
DJ Czech continued his spinning, The Crystal Method hit
the stage. The Crystal Method
are at least as solid live as they
are on record. The packed
house wanted an
. encore,  but the
dium band came out
only to thank
Vancouver for
supporting them
since their formation and to say
that they don't
play encores.
Pafnck Gross
THE MEASURE
DRAGUS
Saturday,
March 7
Crosstown
Traffic
Last Saturday,
baby went in
search of the
punk rock. The
first two bands
lacked the big-
up-all to make me
mosey my sweet
ass inside. Worried that I was
about to be
sucked for shell-
a n     bucks* i went in
Dragus. Damn,
y'all, I thought
this atonal, bombard-them-
with-notes-and-hope-they-can-
put-together-something-that-
sounds-okay thing was already
over. The boys can play their
lents just fine, but there
was no charisma, no direction,
The Measure came on
last. They got the rock 'n' roll.
The singer's Denis Leary
swagger fit the Ace-Frehley-
joins-Motorhead backup, but
I would have loved to see the
rock get bigger. The inevitable
mid-set drag had me worried
that these five bad-asses were
going to mellow out, but they
held their mock-Misfits-core
poses through the end. They
got the rock 'n' roll, but it could
be so much better if it were just
a little bigger. They so close,
baby, they so close.
Sista Killa K.
HEPCAT
THE SLACKERS
THE GADGITS
Tuesday, March 10
The Starfish Room
If you are a ska fan and you
missed the show ... you must
go kick yourself, now. Hard.
Repeatedly. And if you cannot
manage  this,  then  find  a
trusted associate who will kick
you   instead,   because you
missed one of Vancouver's fin-
■ska-v*
:, thai
missed The Gadgits but both
New York's The Slackers
and L.A.'s Hepcat put on hot,
skankin' and hugely entertaining sets; both these bands
have been around for awhile
and it showed in their polish,
musicianship, and relaxed interaction with the packed
house. Solidly old school in
their sound, both bands feature charismatic frontmen and
tighter-than-tight horn sections
who more than once stole the
limelight from centre stage
(The Slackers' horns ended
playing in the crowd at the end
of their set).
The enthusiastic audience
— full of rudies, skins, mods,
hippies and average Joes who
just wanted to hear some good
music — gave the sharply
dressed Hepcat no rest either,
calling them back for a number
of encores. Not a night to soon
forget for those lucky enough
to catch this rare and enjoyable billing. My only complaint: when the ska is good, I
drink too much beer. Too much
beer kills brain ... Under
Review
ALBUMS • ZINES
CIRCLESQUARE
Standing on Marbles EP
(thelNFRASTRUCTURE)
Ahh! This one I love! This
circlesquare release is an interesting mix of both real-live and
electronic instruments to create a
spacey and pleasant ambience.
My favourite track on this album
has got to be "I roll by," with its
mysterious vocals (barely audible) and scratching. That
scratchy-scratchy noise is enough
to send me over the edge when
it's combined with the distant
drum machine. Listening to this
album puts me in a good space
and it's gotten me through several
late night essay sessions. This is
one CD I would never be without.
Shane Vander Meer
THE DONNAS
American Teenage Rock'N'
Roll Machine
(Lookoutl)
This new platter from fhe pride of
Palo Alto, California is living
proof that some bands have definitely got what it takes to get people's motors runnin'. Visually stunning in tight T-shirts and leather
pants on the cover of their LP, it's
enough to make a lot of grown
men cry, but equally stunning is
the musicianship within. Ten hits
of fist-pumpin', head-shakin', rock
V roll mania from start to finish.
Just listen to cuts like "Rock'N'Roll
Machine," "Outta My Mind,"
"Leather on Leather" and
"Wanna Get Some Stuff" to hear
why this is one of the best rock
records to date. Oh, did I mention that all four Donnas aren't
even drinking age yet?
Bryce Dunn
LULLABY FOR THE WORKING CLASS
I Never Even Asked For light
(Bar/None)
In 1996, Nebraska's Lullaby
For The Working Class released their Blanket Warm album, an excellent collection of
dark, mood songs. Their latest, /
Never Even Asked For light,
verses and choruses and towards a series of engaging,
hypnotic "movements."
Their songs revolve around an
acoustic guitar and a sombre
voice. But it's the beautiful arrangements and the swirling
wash of horns/woodwinds,
strings, chimes, percussion and
other acoustic instruments that
make this band truly unique.
Thankfully, the focus on the voice
and acoustic guitar is never lost.
They create a calming atmosphere which lulls the listener into
a 45 minute long trance.
Clearly, Lullaby For The Working Class aspire to a grander vision than your average four-piece
rock band. / Never Even Asked
18 april 1998
For Light is completely capturing
and inspiring. Albums this special
don't come along very often so
be sure to hunt it down.
Fred derF
GOLDIE
Saturnzreturn
(FFRR)
Since the release of Timeless,
Goldie s debut album, and the
inception of the Metalheadz
project, innovation in drum 'n'
bass has revolved at least partially around this eccentric character. On Timeless, Goldie
pushed toward the ambient side
of electronic sounds. Now, on
Saturnzreturn, Goldie has
changed direction again. This
time, however, the change in direction is more of a dichotomy;
the new album consists of two
CDs, the first of which begins with
a 60-minute epic string and vocal arrangement that doesn't include any beats until the 21st
minute. Entitled "Mother," this
track seems a logical extension
of Timeless, while the second and
last tracks on the disc follows suit.
The second CD features ten tracks
of slightly harsher, minimalist
drum V bass, seemingly influenced by Torque, Photek, and
Squarepusher, although not as
speed-oriented as the latter.
While the second CD moves
away from Goldie's more ambient roots towards a more mechanical sound, it does not make
for exceptional listening. On the
other hand, the first CD is a perfect blend between background
music, ambient drum 'n' bass,
and experiments with delay. With
an almost classical-pop feeling
in parts, the first CD makes this
album a worthwhile project as a
whole.
Patrick Gross
KRISTIN HERSH
Strange Angels
(Rykodisc)
I'm a sucker for acoustic songs
so I figured an album featuring
Kristin Hersh in her latest, and
perhaps most obvious incarnation
(just her and an acoustic guitar),
would be my kind of thing. And
for two or three out of 15 of songs
it is, but after that it sounds too
much the same.
Strange Angels was produced by Hersh and co-recorded
by Joe Henry and it sounds ...
well ... how many ways are there
to record a guitar and a voice?
The guitar, sometimes strummed,
sometimes picked, sounds clean
and bright, though maybe too
bright. Her voice is mostly soft
and airy and she sings a few
good lines ("and when he drools,
it's like he's spitting jewels,"
"shoot me a roll of your best para-
dise," and "I feel my toes curl
half-way around the world").
In short, the album simply
sounds too pristine and perfect,
and it seems to go on forever.
Fred derF
MILLENCOLIN
For Monkeys
(Epitaph)
Whoa! This is pretty cool stuff
here. Fast and melodic and no
waste of time. Millencolin hail
from the Swedish skateboard
scene, which is obviously one of
their biggest influences. The lyrics on For Monkeys are, for the
most part, intelligent and they hit
the point. This surprised me. I was
expecting songs about teenage
lust, seeing as how young these
lads are. They do have a lot of
fun during songs like "Monkey
Boogie" and in "Puzzle," where
they take a few jabs at some of
their critics who have called
Millencolin poppy-pushy pop.
The mature lyrics fit some of
the songs so well, especially on
"Twenty Two," which hits you with
one great sounding drum intro
and sings about searching for the
meaning of life in your early 20s.
I have to really enjoy a band who
would rather have their music
played in skateboard and
snowboard videos, rather than
have their own video aired on
television.
Ken Paul
MODEST MOUSE
Trie Lonesome Crowded West
(Up)
This trio likes to associate itself
with the wide open road. Lonesome Crowded West is a batch
of songs with names like "Out of
Gas," "Trucker's Atlas" and
"Convenient Parking." But just
when I think I have them all figured out, their songs reverse direction and change chords to
make me wonder if I'm still listening to the same song.
A few songs on Lonesome
Crowded West, such as "Teeth
Like God's Shoeshine" and
"Doin' the Cockroach," conjure
up images of suburban white
trash in an old Airstream camper
trailer. Just as I like to make up
my own stories when listening to
these songs, so does singer/guitarist Isaac Brock when he plays
them. This album will take you
across America, stopping at all
the trailer parks, truck stops and
rest areas and will even offer to
re-fill your commuter mug with
eight-hour old coffee. Black.
*   Ken Paul
MYSTERY MACHINE
Headfirst Into Everything
(Nettwerk)
While the face of Mystery
Machine's third album shows a
picture of the original four members, fhe band has recently
added a third guitarist, bringing
another dimension to their already thickly layered sound.
Headfirst Into Everything is typical Mystery Machine, containing
tunes which are neither riff nor
chord-oriented but somewhere in
between. And, like the previous
two albums, no single track
stands out above the rest. The
album is a consistent mix of solid
guitar-driven songs, modified in
subtle ways by tremolo, flange,
chorus, and wah-effects, as well
as incorporating acoustic tracks.
The addition of a trumpet on
"Fool" gives added depth to the
composition, while distorted bass
and piano ornamentation in sections of "Mad" give it a leel not unlike Nine Inch Nails "Hurt."
While many of the tunes are
drenched in distortion, the sound
is anything but heavy — more like
power-pop than anything else.
This collection of songs is consistent, cohesive and well-produced. It is a solid album worth
its weight in aluminum and plastic.
Patrick Gross
PILGRIMS OF THE MIND
What's Your Shrine
(Map)
This is an organic album.
Stephane Novak has created
nearly perfect, minimal electronic
funk. The sound is molded into
whiplike flagella to tickle your
inner ear. You can groove to this
album if you want, but it's neat
to read to; the sound zooms in
and out of your conscious mind
like an impatient firefly. Do I like?
More than words can express.
Shane Vander Meer
RICHMOND FONTAINE
Miles From
(Cavity Search)
This release from Portland, Oregon's Richmond Fontaine
betrays their Pacific Northwest
roots, as the album has a definite mid-western and southern,
urban-country feel. This long
player has solid musicianship
and songwriting from start to finish, and features an impressive
mix of traditional pedal steel guitar, piano and fiddle, alongside
straight-ahead rockers.
With its poignant tales of despair, graft, and vices, Richmond
Fontaine are not breaking
any new ground, but then
again, they are not trying to.
A very good record.
Steve G.
KATE ST. JOHN
Second Sight
(Thirsty Ear)
This is an album for those who
want to languish with grace in the
darkness of a doomed love. The
music floats upon the exquisite arrangements of such diverse instruments as the oboe, piano, lap
steel guitar, accordion, saxophone, and vibraphone. With
these instruments she wanders,
borrowing from genres ranging
from classical, country, folk, to
modern pop. It is due to the arrangements and St. John's ethereal singing that her heavy, sad
lyrics are lifted to lightness and
elegance.
Paul Kundarewich
SCREECHING WEASEL
Major Label Debut
(Panic Button /Lookout!)
No sooner had I reviewed the
Teen Idols disc last month and
observed a connection between
Ben Weasel and fellow pop-
punkers Squirtgun (bassist
Mass Giorgini lent his production
talents to the Teen Idols), than I
stumbled upon this six-song rant-
fest. Backing Ben and guitarist
Jughead are Squirtgun's core of
Mass, guitarist Zac Damon and
drummer Dan Lumley, barrelling
through each tune of Chugga-
chugga punk rock stop-on-a-dime
precision. Ben's gotten more bitter this time around, attacking
everything from people who
defamate his character on the
internet (on "The Last Janelle") to
the building blocks of punk
("D.I.Y") to the album's title, a
tongue-in-cheek delusion of grandeur, considering Panic Button is
Ben's own label. All this from the
band you love to hate, or hate to
love, Screeching Weasel.
Bryce Dunn
SUBLIME
2nd Hand Smoke
(Gasoline Alley)
Welcome to the world of Sublime, a delightful blend of ska
and reggae. Released after the
death of Bradley Nowell, this
compilation of rarities and
outtakes opens with a super ska
version of "Doin' Time," originally
off their popular self-titled album,
released in '96. Other songs
were lucky to be saved, such as
"Romeo" and "New Realization," which were discovered on
a lost eight-track demo. Another
noteworthy song is the acoustic
"Trenchtown Rock," originally
written by legend Bob Marley
Near the end, listeners will
find the eerie splendor remix of
"Doin' Time," this version could
certainly score big on a radio station like Z95. The catchy instrumental "Thanx Dub" ends off 2nd
Hand Smoke, leaving us with a
sense of time well spent.
Jerome Yang
VICTORIA WILLIAMS
Musings of a Creek Dipper
(Atlantic)
She ain't no Nashville rose, she's
the dandelion of country. The essence of Victoria Williams
shines through on this new album
more than any other release to
date. Truth is, Victoria's a country gal, living the quiet life in
Joshua Tree, California. And like
the rambling roads of that high,
dry place, Musings of a Creek
Dipper meanders through her personal, lyrical landscape with ease.
Part bluegrass, part country,
part spiritual; the songs reflect
Williams' attention to the tiny dramas of the natural world around
her. Everything feels weathered,
hardy, yet fragile: from the eucalyptus trees to the boy allergic to
everything, to the fast-disappearing caboose. The spare sound of
the banjo starting off "Kashmir's
Corn" (a tale of a stallion holding court with the local rabbits
one moonlit night) contrasts nicely
with the funky groove of "Train
Song" (a plea for the return of
the caboose on a solar-powered
train). "Grandpa in the
Cornpatch" is by far my favourite ("No one ever got bored with
a pocket full of chores"), with the
accompanying photo in the liner
notes of ole granddad surrounded
by gargantuan corn stalks.
Williams' signature little girl/
old woman voice ties all the various styles together to create a
well-blended album all round.
Good music for toe-dipping and
porch-swinging, this is a little bit of
bottled summer dust and sun.
Anna Friz
VARIOUS ARTISTS
Hardcorps: The Ultimate in
Gabber   and   Hardcore
Techno
(Moonshine)
Penguin dancers, take note: this
is the one for you. Over an hour
of the loudest, fastest techno you
will be likely to hear. This is the
album to drive really fast to on a
really narrow road; this is the one
to dance to 'round your room, like
a maniac. This is, my friends, an
album of pure meth-induced
havoc. I've pulled several muscles
since this gem has made it on to
my record shelf and I aim to pull a
few more before it has bst its luster.
If you dig a little boom, boom,
boom, find this album and buy
it! My favourite tracks are
"Strength of Unity" by Archatos
and "Power Pill" by Prophet &
Omar Santana.
Shane Vander Meer
VARIOUS ARTISTS
Zhark CD 0001
(Zhark)
Zhark Recordings reminds us that
listening shouldn't always be
easy. While the market is saturated with many CD compilations
— most of which suck — Zhark
stands out as a must have for any
purveyor of fine musical taste (by
that, I mean those who love nasty
and menacing sounds). Comprised of 14 tracks and nine artists, the CD is packed with unnerving "hits" and cool loops —
courtesy of Hamilton, Ontario's
own Huren (taken live from an
infamous, Detroit party thrown by
Zhark head honcho Rachael
Kozak) — which break up the
spaces between songs.
The CD is a dark ride. It's
heavy without having to hit you
on the head over and over again.
Hecate's "Victims of the Digits"
makes me feel as if I'm wandering in a sci-fi horror movie on
slow speed; something is lurking
in the musical landscape that you
don't want to confront. Eradicate rs "Grenade Gadget" hits you
right in the gut — hard — and
Detroit Dirty Dick kicks out a
humourous and dirty jam. Bomb
20 takes it slow and subtle while
everyone's favourite hardcore
boy, Alec Empire, works his
usual magic. "The Whip" starts
out in usual Empire style, but I love
the way the song winds down —
Powderhorn drops some funky
beats and delivers a haunted journey into female psychosis. She
closes the CD with a mixture of evil
and sex — a deadly combination.
Siobhan Twin Stars CiTR
charts
WHAT'S BEING PLAYED ON 101.9 FM
April 98 Long Vinyl
April 98 Short Vinyl
1       the donnas
american teenage rock'n'roll    lookout
1
the dinks                   teen-age powder keg
meathead
2      gaze
mitsumeru                                               k
2
countdowns              love her so
scooch pooch
3      unwound
challenge for a civilised society kill roc
3
the insect                  hard to cry
360 twist
4       beans
portage                                           zulu
4
the quadrajets          the real fucked up bl
es        360 twist
5      oval
dok                                        thrill jockey
5
madigan                   bonfire madigan
k
6      malchiks
skavant-garde                         spawner
6
electric frankenstein pure and simple
get hip
7      bedhead
transaction de novo   trance syndicate
7
various artists           free to fight
candy ass
8      gastr del sol
camoufleur                              drag city
8
the vendettas            can't stop
360 twist
9       neutral milk hotel
in the aeroplane over the sea    merge
9
mant from u.n.c.l.e. friends to none
lance rock
10    murder city devils
murder city devilsdie young stay pretty
10
ladies who lunch      everybody's happy .
grand royal
11     duster
stratosphere                                      up
11
the cannanes            it's a fine line
harriet
12    nomeansno
would we be alive?alternative tentacles
12
bunnygrunt/tullycraft   split
kittyboo
13    mouse on mars
autoditacker                              too pure
13
vinnie & stardusters bake my pie
gourmandizer
14    hepcat
right on time                                 hellcat
14
dina martina              christmas with ...
up
15    dj spooky
synthetic fury ep                     asphodel
15
the grifters                 wicked thing
sub pop
16    the falcons
queen of diamonds           independent
16
lucky me                   unlimited tokens
collective fruit
17    june of 44
four great points                       1 /4stick
17
kitty craft                    kitty craft
rover
18    the residents
our tired, our poor...                    ryko
18
five style                    she's a humanoid
sub pop
19    seagull screaming
.. sweet home                              polystar
19
the seculars               social skills
360 twist
20    techno animal
demonoid                           grand royal
20
various                      melodiya
melodiya
21     polaris
polaris!                                            iglu
22 good riddance
23 the high llamas
24 dj vadim
ballads from the revolution    fat wreck
cold and bouncy                              v2
ussr reconstruction                ninja tune
Mary Tyler Moore's
Top 10
25    the halo benders
rebels not in                                      k
w e
dnesdays     9:00am     -
0:00am
26    freakwater
springtime                           thrill jockey
1
little red car wreck    motor like a mother
yoyo
27    doa
festival of atheists            sudden death
2
cherry ice cream smile   self-titled
independent
28    inbreds
winning hearts                murderecords
3
free kitten                  sentimental educatio
kill rock stars
29    pellucid
tape yr tv                       bug girl sound
4
gaze                         mitsumeru
k
30    u-ziq
lunatic harness                             virgin
5
the make-up              in mass mind
dischord
31    the titans
instant disasters                    lance rock
6
various                      overboard
yoyo
32    nashville pussy
let them eat pussy                    am.rep.
7
33    sicko
you are not the boss of me         empty
8
k
34    free kitten
sentimental education      kill rock stars
9
bunnygrunt                jen-fi
no life
35    quasi
featuring "birds"                                 up
10
mars accelerator      frankfurt: telephonies
rxremedy
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, "April" charts
reflect airply in March). Weekly charts can be received via email. Send mail
to "majordomo@unixg.ubc.ca" with the command: subscribe citr-charts.*
April 98 Indie Home Jobs
1       full sketch
sketchersize
2      the go devils
trigger me
3       snrg
she says
4       captain cook and the nootka sc
und            i'm glad for you
5       jp5
fuzzyhead pills
6      the hounds of buskerville
blowin' off some steam
7       kstars
drugs and gurus
8       pipebomb
ivanhoe
9       london paris
unmatched sock
10    dbs
break it
11     emulsifier
up the down side
12    mizmo
sprite
13    the spitfires
so lonely
14    run chico run
pusha girl
15    the solution to the problem
serious about lunch hour
16    daddy's hands
statistic wigs
17    i killed my cat
cut the shit
18    semen
evil steven
19    the inklings
Slurpee
20    icarus
x
what we listened to ...
the weakerthans • mary lou lord • perfume
tree • kronos quartet • the vees • treble
charger • the inbreds • nomeansno • painted
thin • art bell • stan rogers • johnny cash •
neko case • cat power • the pastels •
buffalo daughter • elvis presley • the beans
• soundtrack: austin powers • sloan •
tullycraft • the donnas • the sockwarmers •
CiTR 101.9fM • the sad puppies • the
quantum mechanics • grease baby
i.flttiira.u.y tionnu
Uason da StLva
19 ^mgsmm On The Dia
SUNDAYS
ARE YOU SERIOUS? MUSK 8:30-
12:00PM Alldtimeismeasuredbyitsart.
Thisshciw presents tie most recent new music
from around tie wodd. Ears open.
THE ROCKERS SHOW 12.*OO-3*0OPM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE alt. 3:00-
5:00PM Real cowshit caught in yer
boots country.
WIRELESS alt. 3sOO-5*OOPM
QUEER FM 6*00-8:00PM Dedicated lo
tie gay, lesbian, bisexual, and transsexud
communities olVaneouver and listened lo by
everyone, lots of human interest features,
background on current issues and great
music from rnusiciansdal sexual preferences
and gender identities.
HELLO INDIA 8*00-9rf)0PM
GEETANJAU      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'stolhe 1990's, Semklassical
music such as Ghazals and Bhajans,
and also Quawwalis, Fdk Songs, ete.
THESHOW l<fcOOPM-l 2:00AM Slridy
Hip Hop - Stidy Undergound - Slridfy
Vinyl Wir. your hosts Mr. Checka, Hip Out
&JSwingontiel&2's
IN THE GRIP OF INCOHERENCY
12KX)-4:00AM Drop yer gear and
stay up late. Naked radio for naked
people. Get bent. Love Dave. Eclectic
MONDAYS
BREAKFAST WITH THE BROWNS
8:15-1l:00AMYour favourite brown-
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a blend
of aural delights! Tune in and enjoy each
weekly brown plate special. Instrumental,
trance, lounge and ambience.
THESTUPID RADIO SHOW 11:00 AM-
1*00 PM Playing a spectrum of music
from Garage Band to Big Band acoustic
to electric.
NEEDLEPOINT 1:00-3:00PM
Mismatched flop rock, a quick ride
downlown. Don't miss the Snow White
Float. I love the Snow White Float.
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 twentietfvcentury
composer — can you say minimalist? —
and whatever else appeals to me. Fag and
dyke positive. Mail in your requests,
because I am not a humananswering
EVIL VS. GOOD 4*00-5:00PM Who
will triumph? Hardcore/punk from
beyond the grave.
BBC WORLD NEWS SERVICE 5:00-
5:30PM
BIRDWATCHERS 5:30-6*OOPM Jan the
Sports departmentlortieir eye on tieT-biids.
HANS KLAUS' MISERY HOUR alt.
6*00-7*00PM Mixofmost depressing,
unheardand unlistenable melodies, tunes
and voices.
RADIO BLUE WARSAW alt. 6:00-
7:00PM Join Library queens Helen G.
and Kim on their info quests set to only
the best music.
HIP HOP HAVOC 7:OO-9K>0PM
THE JAZZ SHOW 940PM-124QAM
Vancouver's longest running prime time jazz
program. Hosted by tie ever-suave Gavin
Walker. Features** 11.
Apr. 6: Birthday celebration for Gerry
Mulligan, "In Paris"
Apr. 13: Introspection rules tonight: alto
saxist Lee Konitz with Strings: "An
Image."
Apr. 20: In honour of his 89th Borthday,
Vibes pioneer Lionel Hampton.
Apr. 27: Underrated Trombone Master
Eddie Bert plays tonight.
DRUM 'N' SPACE   12.*00-4KK)AM
Vancouver's only drum Y bass show.
Futuristic urban breakbeat at 160bpm.
TUESDAYS
J-POP WONDERLAND 6:30-8:30
AM Japanese earfy morning imports!
AROUND THE MIDDLE EAST IN AN
HOUR8:30-9:30AMMiddleeasstern
musk lor your morning drive.
THIRD TIME'S THE CHARM 9:30-
11:30AM Torrid traskock, sleazy
surf and pulsatin' punk provide the perfect
scissor kick to your head every Tuesday
mom. There's no second chance when
KungTu is used for evil with drunken fist
Bryce. Kilfyaa!!!!
FIVE HOUR LUNCH 11:30AM-
1:00PM "Have a rock W roll
McDonald's for lunch today!"
POLYFILLER 2*00-3:30PM
TWO WORDS: AVANT GARDE FOLK.
LADY DEATHSTRIKE-S BENTO 3:30-
5:00PM Power to the people! Feminist
news, hiphop (racks, lesbionic rock and
sushi galore!
NOOZE 5.-00-5:30PM Our dedicated
newsteam brings you the best news
about   student   life,   community
organizations, festivals, artsevents, youth
culture, and social/political issues.Real
voices bringing you news you won't
hear anywhere else.
RADIO ACTIVE 5:3fr6*00PM Social
justice issues, Amnesty International
updates, activism and fucking up the evil
corporate powers that be!!!
DIGESTIVE TRACKS 6:00-7:00PM
Underground hip hop music. Live orvair
mixing by DJ Flipout. Old schod to next
school tracks. Chew on that shit.
THE UNHEARD MUSIC 7:00-
9:00PM Meat the unherd where
the unheard and the hordes of hardly
herd are heard, courtesy of host and
demo director Dale Sawyer. Herd
up! New music, independent bands.
RITMO LATINO 9:0O-10:O0PM Get
on board Vancouver's only tropical
fiesta express with your loco hosts
Rolando, Romy, and Paulo as they
shake it and wiggle it to the latest in
Salsa, Merengue, Cumbia and other
fiery fiesta favourites. Latin music so
hot it'll give you a tan! jjRADIO
SABROSA!!
THE CANUCK STOPS HERE alt.
l<h00PM-12.*00AM Listen for all
Canadian, mostly independent tunes.
12
12
I	
20 april 1998 WITCHDOCTOR HIGHBALL alt.
10:00PM-12:00AM Noise,
ambient, electronic, hip hop, free jazz,
christian belter living Ip's, the occasional
amateur radio pby, whatever.
AURAL TENTACLES 12HJ0AM-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 6:30-9*00AM
Some cheese for your morning bagel
MARY TYLER MOORE SHOW 9:00-
10:00AM Girl music of all shapes and
DIGITAL ALARM CHRONOMETER
10:00AM-12:00PM efedronic.
LOVE SUCKS 12:00-2:OOPM Music at
work. [Cut up mixed genres — eclectic,
electric included but not mandatory).
MOTORDADDY 3*00-5:OOPM No
indie rock here — just some good of
Southern fried biker boogie!
NOOZE 5:00PM-5:30PM
Community/campus news and views.
RACHEL'S SONG 5:30-6:00PM Info
on health and the environment, with a
focus on Vancouver. Topics ranging
from recycling and conservation projects
to diet, health, and consuption and
sustainability in the urban context.
Comments and ideas are welcome.
ESOTERIK art. 6:00-7:30PM Ambient/
electronic/industrial/ethnic/
experimental music for those of us who
know about the illithids.
SOLID STATE alt. 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 7:30-
9:00PM buffalo daughter, tullycraft,
the pastels... these are a few of
our fave-oh-writ things, la la la!
FOLK OASIS 9-00-10-OOPM The
show that's notafraid to call itself folk.
Featuring the best in local and
international acoustic-roots music:
Singer-songwwriters, cajun, celtic and
beyond!
STRAIGHT OUTTA JALLUNDHAR
10:00PM- 12:00AM Let DJs Jindwa
and Bindwa immerse you in radioactive
Bhungra! "Chakkh de phutay." Listen to
all our favourite Punjabi tunes—remixes
and originals. Brraaaah!
OPEN SEASON 12:00- 4:00AM
Mixed bag of suprises coming your
way.
THURSDAYS
THE ARMO CONNECTION   6:30-
8:30AM Bringing you the best in west
coast rap.
THELAST DESK 8:30-10KX)AM Listen
carefully as Johnny B brings you
CiTR's classical  music  show.
Featuring Canadian composers,
amateur hour & more. Radio con
fuoco, for the masses.
FILIBUSTER alt. 10*00-11:30AMFrom
accordion to the backwoodsvia swingin'
lounge sounds... this show is a genre
free zone.
MUSIC FOR ROBOTS alt. 10:00-
11:30AM Viva La Robotica Revolution.
Electronica... noiz... new wave, no wave.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander, Baffin
Island to Portage La Prairie. The dICanodian
soundtrack for your midday snack!
STEVE & MIKE IKXWjOOPM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
JUSTIN'S TIME 2.O0-3.-00PM Serving
up your weekly dose of Shirley Hom and
other jazz-filled confections.
FLEX YOUR HEAD 3:00-5:OOPM
Hardcore and Punk rock since 1989.
http://mypage.direct.ca/f/flxyrhed/
BBC WORLD NEWS SERVICE 5:00-
ENTERTAINMENT DESK alt. 5:30-
6:00PM Movie reviews and criticism.
OUT FOR KICKS 6*00-7:30PM No
Birkensfocks, nothing politically correct.
We don't get paid so you're damn right
we have fun with it. Hosted by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HELL 9:00-11:00PM Local muzak
from9. Livebandzfrom 1 ail.
SUPPERY SLOT 11:00PM-1:00AM
Farm animals, plush toys and Napalm
Death. These are a few of my favourite
things. It's all about shootin' the shit and
rock n' roll, baby.
FRIDAYS
CAUGHT IN THE RED 6:30-8:30AM
garage rock and other things.
VENUS FLYTRAP'S LOVE DEN 8:30-
10:00AM Join Greg in the love den
for a cocktail. We'll hear retro stuff,
groovy jazz, and thicker stuff too.
See you here ... and bring some ice.
SKA-TS SCENE-IK DRIVE! 10:00AM-
12:00PM Join Scotty adn Julie in their
third yearof enlightening the ska world
with their insightadn their dare devilish
on-air antics.... p.s-wrestle....
UTILE TWIN STARS 2:OO-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
NOIZ 4KX)-5:00PM self-titled.
NOOZE 5:00-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
9:00PM Sounds of the transpacific
underground, from west Java to east Detroit.
Sound system operator, Don Chew.
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old Jazz, soul,
latin, samba, bossa & African Music
around the world.
HOMEBASS 9:00PM- 12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc. Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour o( homebass.
UMP SINK 12:00-6:30AM The show
that does notate you. Lullabies (or the
christ-child with Mister G42 and the
late Postman Pat. (Industrial-
experimental-psychadelic-noise-
gothic- complete with a germna-
english dictionary and a shiny space
suit). Alternate weeks with Tobias'
Paradigm Shift (Rant, phone-in and
kiss yor mother with the guests).
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, ticket
giveaways, plus World Cup
Report at 11:30 AM. 8-9 AM:
African/World roots. 9-12 noon:
Celtic music and performances.
LICORICE ALLSORTS 12:00-
1:00PM All kinds of music spoken
word, interviews. Phone in for comments
or requests.Tune in and expose yourself
to new music and ideas.
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
LUCKY SCRATCH 3:00-5:00PM
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, Cq!.).
LIVE! ATTHE HI-HATH 10:00PM-
1:00AM "Live! —shows and bands -
- admission $6.00 — Performers are
subject to change." Maximum Soul.
REBEL JAZZ 10:00PM-1:00AM
Join Girish for some —rebel jazz..
EARWAXalt. 1:00AM- DAWN "Little
bit of drum, bit ol bass and a whole
lot of noize." Late-night radio
soundclash destined to fist you hard.
Zine features, phat experimental
chunes, and the occasional turntable
symphony. "Money, we'll rock you
on 'til the break of dawn."—G Smiley
CiTR
101.9 fM
Nardwuar The Human
Serviette Radio Show
11 Year (1987-1998)
Anniversary Marathon
Thursday April 23?6pm
to- Friday April 24* 4pm
on CiTR 101.9 fM
Ernest Angley Babes in Toyland
Barenaked Ladies Drew Barrymore
The Beaver Beck Pierre
Berton Jello Biafra Blur
Jan Brady Cynthia
Plaster Caster Cats
Game Cheap Trick
Tommy Chong Jean
Chretien Cinderella
Kurt Cobain Alice Cooper,
William Cooper Dick Dale |
Dead Noon Death
Sentence Degrassi Kids
Dickless D.O.A- Nickey Dolenz
Doughboys Dwarves Harlan
Ellison Harvey Sid Fisher Fleac
Gerald Ford Paul Gallagher Gay Phone Sex Mitzi Gaynor Gilligan
Crispin Glover Mikhail Gorbachev Hole iron Maiden Ron Jeremy Bill
Kaysing Timothy Leary Legendary Pink Dots DJ Liebowitz Lik The
Pole Larry Livermore Courtney Love Lydia Lunch Nelvins Moist Michael
Moore Negativland Nirvana NoMeansNo Oversoul 7 Pandoras Pointed
Sticks iggy Pop Dan Quayle Rancid Ratt Rheostatics Anthony Robbins
Jim Rose Sarcastic Mannequins Sex Pistols Slik Toxic Sloan Sonic
Youth Sparkmarker Oliver Stone Lisa Suckdog Pierre Elliott Trudeau
Tom Vu Warrant Robert Anton Wilson & more... for extra info go to:
http://griffin.multimedia.edu/-cleo
21 im&G&%z Datebook
WHAT'S HAPPENING IN APRI1
FRI 27 Mary Lou Lord@Starfish Room; Veda Hille@Railway
Club; Propellerheads@Sonar; Roger Whittaker@Orpheum
SAT 28 CiTR PRESENTS: HIGH LLAMAS, APPLES IN
STEREO@Starfish Room; The Mach Ills, The Hounds of
Buskerville@Cafe Deux Soleil; Roger Whittaker@Orpheum;
Signs ofthe 7iimes@Christ Church Cathedral; Facepuller, Sex
in Sweden@Columbia
SUN 29 1998 Vancouver Record Collectors Association
Swap@Kitsilano Community Centre
MON  30 Ninjatune tour:   DJ  Vadim,   Herbaliser,
Neotropic, Animals on Wheels, T-Power,  Chocolate
Weasels@Sonar; Vancouver New Music's Constellation:
The Harp of Rita Costanzi and the Vancouver New Music
Ensemble@Vancouver      East      Cultural      Centre;
Swervedriver@Starfish Room; Grrrls with Guitars@Railway
Club
TUE  31   CiTR  PRESENTS:  THE  DELTA  72,  THE
PASTELS@Starfish Room; Highway 2, Pickle@Railway Club;
Meat Hook Ensemble@Vancouver Press Club
WED 1 Peter Van Bergen@Western Front; David Rovics@South
Hill Candy Shop
THU   2  Closed  Caption   Radio,   Princess  Superstar,
Dirtmitts@Starfish Room; Dragonfly@Chameleon; Jonathan
lnc@South Hill Candy Shop; Philosopher Kings, Wild
Strawberries@Richard's on Richards
FRI 3 Millenium Project@Chameleon;  Revulva, Hissy Fit, Sex
in Sweden
SAT 4 CiTR PRESENTS: BUFFALO DAUGHTER, THE
BEANS@Starfish Room; Tullycraft, Bossanova, Bartlebees,
Gaze@Vancouver Press Club; Millenium Project@Chameleon;
The Saddlesores@WISE Hall
SUN 5 CiTR PRESENTS: JONATHAN RICHMAN@Starfish
Room; Roger Hodgson@Richard's on Richards
MON 6 Radiohead, Spiritualized@PNE Forum; Yanni@GM
Place; Tumbleweed@Anza Club
TUE 7 Tara McLean, Chris Rawluk@Railway Club; Donald
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
The Blinding Light 256 E. Georgia (between Main & Gore)
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
Chameleon Urban Lounge 801 W. 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
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Death by Chocolate   1001 Denman St. (at Nelson)
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
Good Jacket 42 Kingsway (at Main) 872 5665
22 april 1998
SUBMISSIONS TO DATEBOOK ARE FREE!
rO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO
322 9364, ATTENTION "DATEBOOK." DEAD-
Glaude@Sonar; Miriam Davidson@Sou»h Hill Candy Shop
WED 8 Kids, Apocalypse Now@UBC Norm
THU 9 7th Annual Arts County Fair: Huevos Rancheros, Holly
McNarland, Great Big Sea, Mathew Good Band, the
Rascalz@UBC Thunderbird Stadium; Velvet, Ottobon@Starfish
Room;      Kids,      Apocalypse      Now@UBC      Norm;
Babayago@L'£space Dubreuil; Shannon tyort@South Hill
Candy Shop
FRI lOMephiskapheles, Skaville@Starfish Room
SAT   11   Hounds of Buskerville@Ratlway Club; Tom
Jones@Orpheum; Linda McRae, Rob Wilson@Starfish Room;
Peter Alan@South Hill Candy Shop
TUE  14 CiTR PRESENTS: FREAKWATER, RICHARD
BUCKNER@Starfish Room; June of 44, The Boom,
Dianogah, Forecasts Farewell@Crosstown Traffic; Tara McLean,
Carmaig DeForest@Railway Club
WED 15 Carmaig DeForest, Georgina Taylor@Railway Club;
Wag the Dog, Dr. Strangefove@R\dge
THU 16 Damn the Diva@Railway Club; Wag the Dog, Dr.
Srrange/ove@Ridge;   Face To  Face,   Reverend  Horton
Heat@Rage;        Hildegard        Westerkamp,        Susan
Frykberg@Vancouver East Cultural Centre; Enforcers, 4-Hero,
DJ Stretch,  Rebel, MC M.A.D.@Sonar; Morcheeba, Jim
White@R'tchard's on Richards
FRI 17 Mystery Machine, Semisonic@Starfish Room; Rusty,
Mudgirl@Palladium; Spike and Mike's   1998 Festival of
Animation@Ridge; Ronnie Hayward Trio@South Hill Candy
Shop
SAT 18 Coal, Cathode Ray@Railway Club, Spike and Mike's
1998 Festival of Animation@Ridge
SUN 19 Uzume Taiko CD launch@Western Front; Spike and
Mike's 1998 Festival of Animation@Ridge
MON  20 Kronos Quartet@UBC Chan Centre;  Blue,
White@R\dge
TUE 21 Tara MacLean, Lindsay, Rufus Wainwright@Railway
Club; Blue, White@R\dge;
WED 22 Molestics@Railway Club; Rufus Wainwright@Sonar
THU 23 Molestics@Railway Club; DJ Smash@Chameleon
FRI 24 Spike and Mike's 1998 Festival of Animation@Ridge;
Ben Sures@South Hill Candy Shop
SAT 25 Poison ldea@Starfish Room; Chris Speed
Quartet@Western Front; Spike and Mike's 1998 Festival of
Animation@Ridge
SUN 26 Evaporators, Murder City Devils, Thee
Pirates@Cambrian Hall; Spike and Mike's 1998 Festival of
Animation@Ridge; Andre Rieu@GM Place
MON 27 Grrrls with Guitars@Railway Club; Red, The Double Life of Veroni'que@Ridge; Zero Kelvin, Drowning in
Dreams@Pacifc Cinematheque
TUE 28 Tara McLean, Auburn@Railway Club; Red, The Double Life of Veron/que@Ridge
WED 29 The Best of Northwest Film and Video Festival@Pacifc
Cinematheque
THU 30 Scott Wilson@Western Front; The Best of Northwest
Film and Video Festival@Pacifc Cinematheque
SPECIAL EVENTS
ONE   THOUSAND   CURVES
TEN   THOUSAND   COLOURS
On Monday, April 27, join Vancouver
New Music and the Pacific Space Centre
Ml00 Chestnut St.) for this evening of
fantasy/ reality, ana art — new music and
fantasy,
technolo
technology. Enjoy music written by Hope
Lee and David Eagle and performed by
Calgary's Ensemble Resonance, and animated graphics by Brad Cariou, based
on paintings by Paresh Athparia. For
more info, 606.6440.
April 14, 15, 17, 18 at 8:00pm at the
western Front. See what Vancouver Pro
Musica has to offer in this year's 10th
Annual Festival of Composers.
VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORES
Greg's Place 45844 Yale Rd. (Chilliwack) 795 3334
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
Hemp B.C. 324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pt, Grey) 224 8007
La Quena   1111 Commercial  (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Medialuna   1926 W. Broadway
Mora 6 Powell (Gastown) 689 0649
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque   1131 Howe (downtown) 688 3456
Palladium (formerly Graceland) 1250 Richards (downtown) 688 2648
Paradise 27 Church  (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building  (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 6816740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Queen Elizabeth Theatre Hamilton & Georgia 665 3050
Raffels Lounge   1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South  (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour) 681 1625
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W. Cordova  (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room   1055 Homer (downtown)
Starlight Cinema 935 Denman  (West End)
Station Street Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
The Tower 339 W Hastings (downtown)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout  1020 Granville  (dowtown)
Video In Studios  1965 Main  (Mt. Pleasant)
Virgin Mega Store 788 Burrard (at Robson)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre  1405 Anderson  (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall  1882Adanac (the Drive)
Women In Print 3566 W 4th  (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
681 8915
988 2473
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
669 2289
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232 WESTWARD
Darkest Days
Always a complete sensory
experience and the new release
Darkest Days is no exception.
Sabbing Westward continue to be
a category unto themselves.
STORES ON APRIL 7-
www.ierrycantrell.com
www.slabbingwestward.com SPRINGTIME SOLAR SOUNDS
WAY OUT MBBEWBN REUSES THIS MONTH AT ZULU!
SWERVEDRIVER
99THDREAMCD
4:35 AM. Observations - Mustang
Ford collision - metal machine
music - time travel - sound of
speed - hiss - static future shock -
sleepy - lights stale - hiss - space
echo - 99th Dream- white noise -
fuzz - satellites of love - sleeping -
radio signals - crash air - clock
turns air - pre-mtllenium - 4:36 AM.
End of Observations
CD $16.98
DUB SYNDICATE
FEAR OF A
GREEN PLANET
CD
Although we here on the lush
West Coast have little fear of
a green planet - vegetation is reportedly abundant in
some circles - we can always use another spirited dub-
platter DUB SYNDICATE'S new one is appropriately intoxicating: their rich, hi-fidelity, 21 st century dub orbits
around traditional foundations yet trips out into all new
directions. Lots of great players keep this record solid
and moving. Please inhale.
CD 16.98
RICHARD DAVIES
TELEGRAPHcu
RICHARD DAVIES is back with
another CD of left handed pop
music. As lyrically unconventional as i
ues the feel of the b
pop with vocal hooks that sink in after the first listen and
musical phrase turns that bury themselves deep into the
repeat mechanisms in your head. The word
on the Telegraph is just that - The Word!
CD $16.98
H
MATERIAL/
W.S. BURROUGHS
WESTERN
LANDSZu
literary appeal is a subject of some personal preference, his influence as a modern, popular icon is
undeniable. This new tributary collection of
remixes - with spoken-word by the voice of the
author - testifies to this continued level of cultural status. And why not: he was a fascinating
writer and person. Bill Laswell, Material, Spring
Heel Jack, DJ Soul Slinger, DJ Olive and Talvin
Singh all offer their own readings of Old Bull
Lee's work. Get hooked.
PAN AMERICAN
PAN AMERICAN m
Old fans of Labradford are already
familiar with the moody atmospheric soundscapes typical to
Mark Nelson (he's the guitar player and vocalist for Labradford).
While new listeners are encouraged to look back into his past
recordings, everyone should have
an interest in PAN AMERICAN.
Under this new guise, Nelson has
begun thinking "dub-like" in
approach, conceiving of his music
as organisable layers of sound.
However he chooses to work, we
are grateful for his efforts. More
beau16ful sounds.
CD $16.98
CORNELIUS
FANTASMA cd/lp
Ultra cool Japanese pop star makes his
North American debut courtesy of our
good friends at Matador Records. As
with Pizzicato 5, CORNELIUS offers a
bold new sound and wack studio wizardry - just think '60s TV themes. 70s
fuzz rock, '80s new wave and '90s
dream pop. Very sensible, very now,
very CORNELIUS - ask for it by name
at Zulu!
CD $16.98 LP $12.98
MORCHEEBA
BIG CALM CO
MORCHEEBA have spent the last
year gathering a faithful following
and much critical acclaim with
their first album, 1997's Who Can |
You Trust, and have now cleared
the decks for everyone else to hop on board with their follow up. Mixing bluesy guitar riffs, trip hop beats, DJ wizardry and the beautiful vocals of Stye Edwards, Big Calm
surpasses all expectations and lays down one of the most
laid back grooves you're sure to find all year.
CD $16.98
THE EVAPORATORS
I GOTTA RASH!
CDw/freeLP
F__t,
WT-S*t
Human Serviette, two Smugglers and
one graphic artist - are back with
their second LP, the follow-up to the
overblown monstrosity, United Empire Loyalists This time half
the LP is THE EVAPORATORS and the other half is THEE GOBLINS
and THEE SKABLINS THE EVAPS instro alter-egos. Plus there
are two of Nardwuar's notorious interview schnippets: Jean
"pepper spray" Chretien and Iggy Pop. Spread the rash!
CD $10.98 W/free LP    Available April 7th
YET MORE NEW RELEASES!
CHOCOLATE WEASEL - Sapgettification CD
Various - REBIRTH OF COOL 2CD/LP
CHAMPS-III CD/LP
ZEKE - Kicked In The Teeth CD/LP
PUSSY GALORE - Right Now/Dial M.../Sugar Shit
Sharp CDs/LPs
SOLEX - Solex Vs. Hitmeister CD/LP
BEN HARPER - Faded CD-EP
MR. SCRUFF - Chipmunk CD-EP/12-inch
D.O.A. - The Lost Tapes/Festival Of Atheists CDs
IAN BROWN - Corpses CD-EP
JOHN ZORN-Filmworks VIII
STARFUCKERS - Infrantumi
Various Artists - WATER +
ARCHITECTURE
GASTR DEL SOL - Camoufleur
NOTO - Spin
Christine
LIQUOR GIANTS - Every Other Day
At A Time
OXBOW - Serenade In Red
ELECTROSONICS - Rampion EP
THE HANGOVERS - Slow Dirty Tears
NEUTRAL MILK HOTEL-In The
Airplane Over The Sea
FLAT DUO JETS - Wild Blue Yonder -
'  Live, Live, Live
THE DONNAS - American Teenage
Rock 'n' Roll Machine
QUARDRAJETS - Pay The Deuce
LOVE AS LAUGHTER - #1 USA
JOHAN - Johan
ST. ETIENNE - Sylvie Eps
AIR - Moon Safari
TERRY HALL - Laugh
PULP - This Is Hardcore
RIALTO - Dream Another Dream EPs
Grant H
MARK HALLIS - Mark Hallis
COME - Gently Down The Stream
GASTR DEL SOL - Camofleur
BEDHEAD - Transaction De Novo
TORTOISE - TNT
Ken
Miko
LOFTUS - Loftus
BEDHEAD - Transaction De Novo
KRISTEN HERSH - Strange Angel
OUTRAGEOUS CHERRY STEREO
ACTION RENT PARTY
VICTORIA WILLIAMS-Musings
Of A Creek Dipper
BEANS - Portage
DUMP-A Plea For
Tenderness
BEANS - Portage
HALO BENDERS - Rebels Not In
DUMP - A Plea For Tenderness
VEDA HILLE-Here Is A Picture
SUE GARNER - To Run
More Smoothly
PROPELLER - Oro
SCHLAMMPEITZIGER - Spacerock
VOTE ROBOT - Vote Robot
MASAKI BATOH - Complete
Recordings
BEDHEAD - Transaction De Novo
Paul
ART BLAKEY - The Freedom Rider reissue
C4AM95 [CHAMPS] - III - Home
Taping Is Recording Music
ORNETTE COLEMAN - Free Jazz reissue
FLAT DUO JETS - Wild Blue Yonder -
Live, Live, Live
Various Artists - WHAT'S MINE IS
YOURS-THE EMO DIARIES
CHAPTER ONE
THE DIRTY
THREE
OCEAN
SONGSCWP
You wake up under
water to the sound of "
a mournful violin floating over subtle guitar
cacophony and the salty beat of a funeral
march. You hold your breath for as long as the
sustained note enveloping your watery grave
and just when you can hold it no longer the note
changes pitch and your urge to breathe has
gone. The Ocean Songs lull you back into your
slumber and THE DIRTY THREE pull a seaweed
blanket across your cheset. Good night.
CD $16.98 LP $16.98
BUFFALO
DAUGHTER
NEW ROCK CD
Cool, irreverent, tasteful  |
and supposedly awesome live, BUFFALO
DAUGHTER personify
modern pop culture's fascination with style synthesis: they mix hip hop, electronica, new wave,
and Kraut-rock into an appealing, new signifier - a
rocking pop hybrid. In other words, if Beck, Sonic
Youth and Can all grew up in Japan, and were all
in the same band... well, you get the idea.
Ingenious and fun.
CD 16.98
CD $16.98
STAFF TOP LISTS - OUR FAVOURITE STARS mention this ad and receive 10% off any of these!
Brady Grant M Kevin Nic Thea
DJ SPOOKY - Synthetic Fury EP
BEANS - Portage
BEDHEAD - Transaction De Novo
TREN BROS - Tren Bros EP
40% OFF
CD SALE
select import and
domestic CD titles are   I
n°w Priced out of ml   '
^/GetinyomOFo
fd get a great deal
now, with over 1000
1869 W 4th Ave.
Vancouver BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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