Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-10-01

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Hancunt wants to be PRINCESS SUPER5TRR
FOUR LETTER WORD are UJelsher Than You
C0N50LE relives '80s Bavaria     0KT0BERFE5T in September
Oh no, not another MURDER CITY DEVILS story
Keep the RLL-RGE5 scene alive    BYRON LEE and the Dragonaires  Features
Doing it for the Kids
Oktoberfest in September
Murder City Devils
Four Letter Word
Princess Superstar
Byron Lee and the Dragonaires
r Magazine From CiTR 101 .9fM
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
christa min
photo editor:
ann goncalves
layout: jenny, barbara,
christa, tess de hoog, jay
douillard, lori kiessling
photography and
illustrations: val cormier,
eric flexyourhead, Joshua
Jordan, scott malin, erin
Stanley, the boy
production: howie choy,
glyn, hancunt, alia hussey,
arthur kremins, sam macklin,
ie maclar
arsak, i
ecken, i
r, katie
linda scholten
Dear   Airhead
Culture Shock
Vancouver Special
Strut & Fret
Louder Than A Bomb
Radio Free Press
Under Review
Real Live Action
Kill Your Boyfriend
On The Dial
The Boy is a local enigma who works in Jiffy marker, sidewalk
chalk, and other media. He 'specially drew us this hot rod
cover, and it cheers us up every time we look at it. Check out
some of his other work at the 3 Bumps on a Log exhibit
running September 3-October 22 at the Tart Gallery (1869
4th Avenue, where Zulu Records used to be). Thanks also to
Jamie Maclaren.
last month's photo of ben nevile
was taken by tanya goering.
hwinder sangha,
ellinda siu, victor vodka
contributors: bleek, julie c,
paul c, val c, bryce d, eric f,
jamaal f, robin f, hancunt,
oksana k, sam k, jannine I,
christa m, janis mck, mike m,
penelope m, sam m, gabby r,
anthony s, erin s, nat x
on the dial:
julie colero
promotions coordinator:
alia hussey
matt steffich
us distro:
© "DiSCORDER" 2000 by the Student Radio Society
of the University of British Columbia. All rights reserved.
Circulation 17,500.
Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage, of
course). Please make cheques or money orders payable to
DiSCORDER Magazine.
DEADLINES: Copy deadline for the November issue is
October 1 8th. Ad space is available until October 25th and can
be booked by calling Maren at 604.822.3017 ext. 3. Our rates
are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited m
licited artwork (including but not limited to drawi
and transparencies), or any other unsolicited n
can be submitted on disc (Mac, preferably) o
English is preferred. Send e-mail t
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable systems
in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.3017 ext. 0, or our news
and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail
ings, photographs
I. Material
n type. As always,
http://www.ams.ubc.ca/media/citr or just pick up a goddar
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z
printed in Canada
Fri Oct 06 WmOIFOuTlUEAR-
Mon Oct 23
M EM BERS (Battle Axe, Van)
(formerly of the Pharsyde, LA)
Arguably Vancouver's best rhyming duo
Presented by Spectrum Ent.
9PM- Cover tba
take over the spot-
Be prepared for true hip-hop Vancity style!
Plus residents Czech & Vinyl Ritchie.
Doors 9pm Cover $10
http://www.hiphopca.com/   ch^&n
NINJA TUNE 10 year
Anniversary Tour
Sat Oct 07
Feat COLDCUT (live), DJ D.K. & special
FEVER   piMM-wide
$20 advance, $25 door
Thanksgiving special
w/ HADWEN (Eclipse) & JESSE (Bassix
Fri Nov 03
& Sonic) 10-12
& ERIC LEWIS (Dumptruck) and
MAURICE (Club, Dumptruck) 12-2
@ Ciub XFM/Cheny Bombs
plus DANA D (Nordic Trax) & MATTY
9pm-$10 door only
Fri Oct 13
w/ M.O.S. residents Danny Howells &
Sat Nov 04
EARLY SHOW - presented by House of
Blues, 7pm-10pm
AT NIGHT & FEVER present
followed by:
in the main room
Mon Oct 16
in room 2
w/ Shades of Culture
Doors 9pm
9pm -$15 door only
$18 Advance, $23 door
Sat Nov 18
Thu Oct 19
Solo show! • Early show 7-9pm presented
& Velvet live
Mon Nov 20
Sun Oct 22
TEE BEE (Certificate18/
Presented by Sonar.
Subtitles/Phunkateck Comm. UK)
& Conrad Black
(Delete/HQ Comm. Vancouver)
Presented by Boomtown Records &
Neurofunkcom 8pm -12am
Wednesdays               Fridays   <*$
m                 Saturdays
& GRANDE             V7chenv bombs           §_ FEVER
R&B, Reggae,Hip Hop                Downtempohiphopj.
izzbreaks             House w/ T.Bone & Luke.
presented by Gman&Rizk         on 4 dex w/Czech «
Vinyl Ritchie        Rm2:DanaD
Presented by pharMjde
WWW.                                  Open: 9pm-2am
SOnar.bC.Ca                  Club: [604] 683.66
Fax: [604] 688.595
Sound system by:
95 UTurbosound
3                       Visual styling by: URBAN
nordictrax MT* Dear
WOW,    A    READER!
I just spent an hour or so with the
September DiSCORDER, and I
am inspired to write! (God help
Enjoyed Nat X on racism
Canadian-style. I think maybe
Nat's getting a little paranoid—
"Where are you from?" is almost
a ritual in this cultural tapestry
and hopefully most of the time it
is in celebration and enchant-
hatred of them. White does not
exist unless by reference to
black. I do not exist without you,
Nat. (See Roland Barthes'
"Pleasure of the Text" etc.)
But, strangely enough, I too
have spent some time under the
bigot boot here and in the US,
and it does get old very, very
fast. Getting pulled over all the
time as the "visible whipping
blame u for being pissed.
The Spitfires piece by
Jamaal was a delight and,
although a little raw in spots, is
mainly inspired journalism as
good as any music coverage in
Vancouver—better than most. A
o outstanding is the inter-
vith Ernie and Bill of
al by Steve DiPasquale
and Chris Clifford. Excellent.
I gather the September issue
was especially expensive and
difficult to complete (from your
various references etc., within).
Worth every penny. I am still
enjoying it.
Now, can someone tell me
where CiTR 101.9 maps to if I
am receiving radio on Rogers
;ily and as a mark ol othering.
t suppose what bothers me more
than the automatic assumption of
Otherness or foreignness implicit in
a white person (in particular) asking
a Canadian of colour where they
are from, is the very common insistence on othering when an unexpected or unsatisfactory response
arises: "No, before that, where are
you really from?" The point is not
simple difference, the point is power
and enfranchisement. Being
assumed to be Other because of cer-
nptions about what it
means to be Canadian or what
Canadians look/sound like (for
example basing notions of
Canadianness on the idea of "two
solitudes") automatically excludes a
significant portion of the population
from emotional, spiritual, and cultural citizenship. What I hope is that
by questioning these assumptions
we may begin to reconsider our
ideas of citizenship and belonging
to begin to deconstruct the dor
discourses and representations that
secure white Anglo/Francophonie
as the universal Canadian norm.
Perhaps then we can begin to
include all those who form this "cultural tapestry" you mention. I don't
believe in homogeny, I relish difference; it con be incredibly empowering; however, there is a fine line
between difference as a pejorative
marker ofOthernness and difference
PS. Yeah, I've read Barthes.
CiTR is at 101.9fM cable i
places round these parts. We're also
now providing live Shoutcast MP3
streaming 24 hours a day. Click the
"Listen Live" link on our website
(www.ams.ubc.ca/citr) to hook up.
When you need a reliable,
Phone card that offers
Exceptional global rates &
NO Connection Fees
Catch the Wave"
Culture Shock
Anthony Monday is THE Kuwaiti Correspondent.
SEX! The formative years. Or, the only thing on my mind.
:k stretch c
(Note: the views expressed in this column are not necessarily those of
DiSCORDER Magazine. They are
entirety those of Anthony Monday, a
bitter, young, urban, white fag experiencing a whole schwak-load of culture shock in a country he knows
nothing about. This is a learning
clay-type houses, mosques, and
water towers. My nose has been
full of dust since I stepped off the
plane, and so far the only word
I have learned in Arabic is
"chicken"—if sounds like "dja-
judge." All is well.
I told my friends before I left
the relative calm of Vancouver
and the womb-like comfort of
CiTR that I still wanted to help
with  DiSCORDER; you  know,
al flair, speak of culture and
music in other parts of the
world—parts ignored by mainstream media. Kuwait isn't exact
ly in the Top 40 of world coverage. My decision to write about
this place wasn't entirely altruistic. "Think about it™," I told
myself, "an entire article dedicated to me. ME. No more of
those piddling reviews." Nope.
Not me, I've gone up in the
world, I've gone up-town, baby.
Meet me at the China Grill, I'm
gonna have myself a big ol'
duck salad, 'cause I got me a
columnist position.
Now the only problem  is
te about much. Hell, if
Bruce can get off writ-
witty repartee about his
ing S4
gay world he hates, I'm sure I
can whack a few lines off about
a white-eye living in a country
that is in the process of being
raped by the semen-stained fingers of the west. (Not that I have
anything against Bruce. No. I
think  he  and   I   share  similar
world  today.   However,   even
though I hate "gay culture" as
much as the next semi-intellectual, individualistic, artistic, postmodern, post-queer, post-anal
bleeding fag, I really think we
should all just get over it. If you
have a problem with it you can
start your own little group, founded on elitist principles of mockery, intellectual bullshit, and
sexually illicit photos that "push
the boundaries" of what sex and
sexual identity is. Yay you! Or
you could just move on.)
Kuwait seems to be a place
that has just started moving on.
Twenty years ago, there was
nothing here. Sand and dust and
the fish in the sea. Oil changed
that. So much so that yesterday I
sat in an Arabic Starbucks, in a
.all, while women cov-
Gap, Club Monaco, and Next
clothing bags under their arms.
Their shoes looked sleek and
expensive, thin heels and thin
straps. Each one chatted on cell
phones smaller than a midget's
dick. Some carried Prada purs
es. In private, once the black has
fallen from their bodies, they
must be the best-dressed housewives in the world. Men here are
affectionate, especially at an
age when most westerners pull
macho personas out of their pimply faces: young men—
teenagers—hold hands and kiss.
They wear their long white dish-
dash dresses, wear their headdresses with pride, and their
upper lips are covered with a
thickening black down. They link
Sex and sexuality in Kuwait
is another matter. The women
are covered in black to stop
other men from looking at their
bodies, and it works. The
women that are not covered
receive the frightening blows of
looks and ogles that smash them
down. They are an anomaly.
Advertising, films, even magazines have been censored for
(against?) sex. It's refreshing, in
my eyes.
e from a plai
jnd   talk  i
phones, sit at coffee shops with
their legs folded, revealing
expensive black shoes. These
are the rich ones. The poor are
outside in the 45-degree heat,
covered in dust. Working hard.
; every second word and
every second picture is about
sex. We talk it, we breathe it,
and we cannot speak to our
friends without mentioning it. It's
the first thing that hits me when I
get off the plane, after being
awake and flying for 45 hours,
natch—sex is private here.
Power is a different matter.
That's next month's topic. That
and the compulsive drinking of
Helicopter Fluid. But for now,
being in a place where, as far
as I can see, "gay" doesn't exist,
I think I am going to like it here.
It is possible that the great gay
gods in the sky are punishing me
with this exile, and by the time I
return, I'll be crawling half-naked
around Davie Street with my
tongue lolling out, begging to
take it up the ass in public,
repentant for all the times I suggested that the urban gay world
needs a good dose of social criticism. It is possible. But we're
going to have to wait and see. •
Ifootto $0_
JW 9hen)poo!    I
i ^ci.o>^ woo Vancouver
money-grubbing vend
ing glassy-eyed sheeple—a land
of dreams both actualized and
shattered. It was in this "blooming, buzzing confusion" that I
took it upon myself to learn and
then to teach. To seek the best,
or at least the most readily available, local independent music I
could find, then bring it to the
people. The people need me,
they love me, they scare me so
much I lost my notes for this column. Fuck. September also
marks the beginning of
SHiNDiG!, CiTR's annual battle
of the bands. I bet you I lost my
notes pulling one those fucking
flyers out of my bag. So anyway,
I'm postering like a good little
participant, when some guy
comes up to inform me that a)
he's in my philosophy class, and
b) I'm postering in support of his
band, VICTORY GIN. That's it,
Victory Gin! I got a demo from
them. They're this polished punk-
pop type deal. My girlfriend
said they reminded her of
Nada Surf; I concurred. I don't
recall them reinventing the
wheel, but I do remember liking
the disc.
Who else is playing this
damn SHiNDiG! thing?
right. They came on a tape from
Nanaimo with COUPON, contestant in last week's SHiNDiG!
Actually, this one's kind of funny:
In their press package came a
photocopy of our charts with
Coupon on top (forged?), and a
review of their last demo by my
predecessor. Unfortunately for
Coupon, I am not "a sucker for
crybabies." I think they're pan-
sies. Same goes for Amarillo
Stars, whose songs sound exactly like the ones on side A. If,
however, I may be so judicious,
Julie (Music Director) did say that
she quite enjoyed Coupon's performance at SHiNDiG!, even
though he lost out to Joel.
What else, what else? Saw
a poster up at the station for
UNEVEN STEPS (Evan's new
band), whoever that is. Seems to
me they sent in a demo. Don't
recall liking anything about it.
Oh, wait a minute: I thought the
music would have been adequately inoffensive, were the
vocals not so infuriating... and I
liked the cover. Sweet-ass (I
heard that expression's coming
Hey, look! I found my
remaining demo tapes. Sweet-
ass! THE FANFARE hail from
area code 604 and play what
Julie describes as "spazz-rock."
Apparently that's what the hard-
3 kids are doing these days.
I'll have to take her word for it.
This kind of music goes right
pretend to have an opinion on it.
Julie liked it, though, and you
that I know that she knows what
the fuck. I did think it was kind
of funny that I couldn't make out
anything the singer was saying,
even with the lyric sheet in hand.
us straight outta Victoria, with
their own "unique" style of
(yawn) surf music. I've had it up
the here with (yawn) surf music. I
guess the claim to "uniqueness"
comes from the one non-surf
attribute they bring to each song,
be it a sliding bass groove, a
guitar upstroke, or a complete
shutdown on the tempo. Yeah,
slow that surf down, this is great.
Enough already. (4335
Blenkinsop Rd., Victoria, BC V8X
You know what's nice?
Ending on a high note, saving
the best for last, finishing strong,
and all the rest of that positivity
crap. On that note, I present
you, the people, with the newest
from THE LOLLIES, that
troupe of ladies thgt have thus
far dominated the year 2000's
DiSCORDER indie charts with
their smash hit, "Green Card
Marriage." The ladies are back,
pushing a similar collection of
humour-laced pop ditties, even,
dare I say it, better than the last.
Production quality is up, instrumentation is coming along,
while lyrical wit remains steady.
The Lollies' future appears to be
in need of shades.
Did I mention that we've got
this thing called SHiNDiG! going
on? Every Tuesday night at the
Railway Club. Be there—I know I
will (in cognito, of course). •
Early this year I was lucky
enough to find myself spending
a few happy hours in CBC's
enormous record library. It's a
magical place for anyone who
loves music, thick with the heady
scent of mouldering LP covers,
almost eerily silent, and organized in a way that seems
designed to surprise you at
every turn. Perhaps most surprising was its basic breakdown of
music into categories; beyond
the expected Classical and Pop,
there was also Electronic. This
section was much smaller than
the others and did include the
Jean Michel Jarre and stereo-
testing-type things you might
expect, but, joy of joys, it also
had   some   remarkable   (and
kably old) ti
if synthesizer experit
tation. These albun
by musicians who were clearly
thrilled by the new technology,
and their obvious joy at making
cool, previously unheard sounds
makes for refreshing listening.
This, as you might guess, is
where i am spoonbender
comes in. They're not kids, and
they know a lot about music but
manage to convey the sense that
they are fun-loving children (yet
also, paradoxically, serious
music pioneers) having the time
of their lives with a room full of
vintage synths. And that's just
part of it. How 'bout those '80s
pop moments (especially on the
third track, "Where Do Words
Go?")? And then there are plenty of stylishly cool female vocals
too. Fresh.
Jan is McKenzie
So what makes a good compilation CD? Well, it should let you
sample some things you would
never otherwise hear, include at
least a few tracks that you really
like, and (this is the hardest part)
somehow have some kind of
cohesive identity as a whole.
Dominic Radio, last year's gi-nor-
mous double-CD from
Transsiberian, pulled this off by
making you feel as if you've
tuned into some cool radio station from another planet.
Vancouver Special, my favourite
from this year, succeeds in conveying the idea that all the
bands hang out together, which
makes you wish you were part
of the gang.
604, on the other hand,
sounds like it was created by a
committee of commercial rock
station music directors determined to cover as much ground
as they possibly could. This
means squeaky-high-voiced
early-'70s pensive girl folk-rock
(Jessie Farrell), Space Kid,
vintage garage-surf (The
Reverberators), an April
Wine cover (by Hummer), two
ska tracks (The Hounds of
Buskerville and Kiltlifters),
one energetic dance track
(Drop S-Quad with a song
about drinking), hints of the
Cardigans (The Dreaming),
glam meets early melodic punk
(Thrill Squad), cheeky retro-
disco (Clay Lacey), and some
ambient stuff (Eye of Newt
Collective), among other
things. And what, pray tell, is the
use of adding an uncredited
bonus track if the whole idea is
to introduce bands to a new
Jam's McKenzie
Artist and Venue
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Know your stuff? Like access to any show in
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S 5ltP^2£©3B GSt      —m 
COME        DOWN        TO
the Chameleon Lounge
Wednesday October 25th
to CiTR 101.9fm's the Funktion for
BE        T   H   E   R
for sweet vinyl, t-shirt and
cd giveaways all night long.
advectiswc that raises heh.!
Keeping the groove aLIVE with
The Burt Neilson Band
One of Canada's top improv/groove bands
Oct 4th The Starfish Room       $6
An explosive combination of some of todays most
talented and progresive jazz/bluegrass musicians from
The String Cheese Incident,
David Grisman Quintet, Leftover Salmon,
Oregon & the Anger/Marshall Band    <25
Oct 8th Richards on Richards
Come hear what everyone is RAVE-ing about!
sector I
Fri Nov 3rd The Starfish Room
Sat Nov 4th The Boot Pub Whistler515
Tix @ Zulu, Black Swan, Highlife, Puff or Ticketmaster outlets 280 4444
More into @ www.upstreamentertainment.com
For a good time call (604) 904 4207 7
Ladies and Gentlemen, please
pause a moment and shed a
tear for a good thing come
to an end—Slampt records is no
more. The source of much joy for
myself and at least one other
throughout the formative teenage
years, this fantastic wee British
label has gone and given up the
cause. Don't think it disappeared
without an explanation, though;
quite the detailed diatribe accompanies the label's final single, my
big find of the month. The label
that so dutifully catalogued all that
was good and afoot in
Newcastle-Upon-Tyne, giving us
the goodies like Missy X, Petty
Crime, Avocado Baby, and
Milky Wimpshake, has gone
and stepped out of the biz.
Rachel and Pete, both busy with
Red Monkey, have decided
that they've run out of bands and
steam. I consider this a major
downer, as I never did score a
copy of the Avocado Baby LP A
Million and Nine and Sex and
Gum and Stuff. Feel for me. But
that's not the worst thing that's
going down 'round these parts.
School's back in session, I can't
make    my    brain    understand
German, late-night bus rides to
the suburbs are beginning to take
their toll, and I recently learned
that I'm a jerk. At least I get to
play basketball with really big
and tough men... and sometimes
listen to good records. This
month's tuneage is so pathetic
that I had to break the sizing rule
and resort to reviewing a 1 2" as
well, if only to add a bit more
positive content to the column. I'm
going to keep at least 12 toes
crossed that I get some hot rock
for next month, otherwise I don't
know what I'll do with myself. I
need to be amused, and most of
my loot just ain't doing it. That
said, here's what I listened to in
the span of about 30 minutes
while my eyes unfocused and my
wits left me...
Okay, so I gave a bit more
time to the RED LIGHT
I 2". I couldn't help it—it's bigger
and has more songs! And, of
course, more importantly, it's actually quality. I'm glad that the
bands chose to release their material this way: getting two very
spazzy keyboard bands on one
record is awfully convenient. Hot
Hot Heat, hailing from overseas
Victoria, has been around slightly
longer than Red Light Sting and
black studded belt. No, do not be
confused, this is not rock music.
This is a fantastic punka rocka offshoot that makes man very confused but willing to dance. Both
bands are heavy-handed with the
old-school keyboards and bass
and come off with a bit of a
creepy edge at times. Someone
stole the beautiful liner notes from
my LP, and I'm left with no clue
what any of the songs are called.
I'll mention that track three on the
Red Light Sting side rules the
most, as it's catchy (slightly difficult   when   you're   disjointed,
3296 Main St. @17,h
LPs • 45s • CDs
New & Used
speedy, and very sharp). The
recording quality is much better
than I expected, with clear distinctions of all instruments and
voices. A nice treat, to be sure.
Hot Hot Heat's side is a bit less
clean on the ear but still tops.
Track five's keyboards made me
shake the most on this side. Yup.
Support local spazz rock. Not
only do they look and sound
good, but these kids have hearts
of gold, too. (Ache, POBox 138,
1001    W.
Vancouver BC V6H 4E4)
Wow. Look at all that
wordage. That means I can very
quickly breeze through the ick.
First on the hit list. TRISTEZA.
Man, what a no-good trick this
band pulled. I bought the first
album based on the beauty of the
cover art and was won over by
the beauty of the music. This band
had something going so right for
it! Now, however, it's gone all
wussy and repetitive. Not good
repetitive, droney repetitive, like
you'd be apt to encourage in a
band—dull repetitive. Apparently,
the a-side of this release is supposed to be the catchy one. Ha!
Nothing happens... nothing happens... oh, and then it ends. The
b-side is even worse. At least I
can give the band props for not
following the now very tired and
cliche quiet, quiet, quiet, LOUD!
routine. (Tiger Style, 149 Wooster
St. 4th Floor, New York, NY
Less controversially bad but
still not good is the CAVE-INS'
single. Yeah, the sticker says they
do "country flavoured slowcore."
Bedhead did that first and did
it much better. Why you messin'
with established goodness? Leave
it alone, brother, and go wash
some dishes. Singing and stuff is
not your bag, and happiness will
find you faster in the kitchen.
Maybe this might be pretty or
pleasant for those who've never
heard it done right. I suggest you
ing permission, and that is a welcome disturbance. "The Crystal
Lake" comes straight offa the latest full-length, but this is worth getting for the b-side alone.
Grandaddy do space-age sounds
with high male vocals, a little like
that last Flaming Lips album.
Eat this up. (V2, no address
given, but it's a major label, so
you'll find it no troubles.)
Rock, rot, and rule. MONKEY
POWER TRIO rot, and I can't
believe this band sent me two dif-
did not
r the firs
0 #2, let a
>ne. Thes
!  that  bad
bands are not just taking advantage of cheap CD-making costs to
ruin my life. Thank you, Monkey
Power Trio. Now break up
already. (Trust me, you don't need
do some research. (Or
Box 330513, San Fra
Look at me, Julie the Jerk. Thi
is fun! I just belittled my
mted to send sc
:ept if you'v
skipping right to the a
out reading anything I \
1 you
-vill be
:s with-
!.  HOW
to  the
Georgia Straight payroll without
my loyal fan base? I want to
please you, really! Oh, and skipping to the comics is good, don't
get me wrong about that. I'll try
to be nicer for the rest of this col-
and I write faster when I pretend
to be in good spirits. I like
GRANDADDY. This band gets
all epic on you without even ask-
to Ypsilanti, Ml...)
Okay, and the last mention
goes to the goodness that
wrapped ihe Slampt sadness, that
being the latest (and possibly last)
FORCE single. Not my favourite
band on the label, these girls do
a dirty guitar rockin' routine that
sometimes flies and often falls flat.
Luckily, three of the four songs on
this release are keepers. There's
lots of yelling and fuzzy guitar
licks, plenty of catchiness and
charisma. If this is at all still
procurable, do so for your own
great pleasure. (Oh, why bother... I got mine at Scratch.) We
outta here. • Strut & Fret
but ther
is a whol.
about this
chris Cunningham and am
y brennan
show that was really quite charming. Performers
Amy Brennan and Chris Cunningham played an
array of characters threaded together by a plot that
was part soap opera and part noirish intrigue.
Brennan was especially riveting as she ricocheted
from dominatrix Ring Mistress to New York Italian
stud via an eight year-old trapeze artist and a plummy Englishman. The writing (by Cunningham) was
wonderful, and I began to realize (silly me) that this
wasn't a circus, but a play about a circus. A story
narrated by the Ring Mistress while Aquasha the
barebones theatre equity co-op
The writing in this one-man show is so amazingly
good that the performance almost gets in its way.
Written and delivered by Steve Griffiths, it's really
an extended monologue by a junky, chronicling the
history of his addiction and his attempts to come
off the horse. It's also an ode to Chet Baker, with
whom the protagonist became obsessed as a
teenager—to the point of emulating the heavenly
horn player's drug habit. Griffiths has the kind of
descriptive powers that make your flesh zing.
When he talks of "shards of air slicing [his] eyes"
as he plunges downward in a freefall nightmare, or
his veins and sinews snapping and popping as he
rips through his body trying to cleanse the junk out
of his system, you're nailed to your seat, cringing.
I kept imagining this piece done like beat poetry,
with a barely visible monologist pounding it out
over Baker's music. Griffiths is a sincere and powerful actor, but you just don't need to hang a play
on material this strong.
The Deck Hands Equity Co-op
I suppose that staging playlets on the Aquabus
comes with the territory when you headquarter a
Fringe Festival on Granville Island. But god, were
they aiming low with this one. It was all I could do
to stay in my seat and refrain from inserting some
interactive theatre of my own into this pandering
dreck. I can only hope the other two pieces in the
series were better. As one of the media, I was plied
with morsels and libations before embarking, but
feel sorry for the punters who paid $8 to sit in a tub
for 15 minutes and be regaled with bad dinner theatre sans dinner. Repeat after me: Theatre for
Everyone, Theatre for Everyone...
poisoned pixie cup productions
Don't know why I was expecting something nice
and sleazy here—maybe it's that CIRCUS v—'
mermaid aerialist cavorted on the trapeze was
dark and moving, while a little parable involving a
balloon was so sweet that it should have evaporated—but it keeps coming back to visit me. There
was also some nicely twisted humour involving a
pair of Siamese twins. The show could benefit from
more of the circus acts actually being done rather
than merely indicated or referred to, but then
Brennan and Cunningham are actors, not circus
performers, and this is where their considerable
mime skills and sense of theatre served them well.
It felt good to be sitting in the dark with this one,
and before long, I wasn't even missing the sleaze.
Ryuzanji & Company
The members of this Tokyo troupe are brilliantly
demented and I want to run away with them. Even
if you've only read about their production, you'll
probably know the story by now: an omniscient
doctor informs a family that one of their number is
mad and during the course of the Operetta, everyone goes through their own mental contortions as
they try to sniff out which one. All six family members are played by female actors who are figuratively and often literally manipulated by
puppetmasters. As well as being an allegory for
predestinations, these puppeteers also serve as a
kind of Greek chorus, ninja-ing in and out to comment on the action. At least half the time, they were
speaking or singing in English, but it was a while
before I realized this, so thick were their accents.
Hilariously enough, they surtitled the lot. I hated to
take my eyes off the show, though, because it was
all so fascinating to watch. Their set was a minimalist circus, their jumble-sale wardrobe looked like
it had fallen into a child's paint box and although
highly disciplined performers, they always seemed
on the verge of going berserk. The initial clunky
earnestness was deceiving—once the various characters began to take shape, I was squealing or
sighing about every 10 seconds. And what characters. There was a feline-loving Grandma, played
by a baby-faced actress who screamed like
Diamanda Galas when she sang and spent the rest
of the time cooing "milk, milk" as she manically
scissored away making origami cats. A stuttering
Papa with a boring accounting job who spent his
free time listening to Shostakovich (I think) almost
had me in tears. The girl-child Ran, who had polio
and also the freest spirit of the bunch, sang like
Bjork. (In fact, the loaded simplicity of much of the
text and lyrics was rather Bjork-like.) The parody of
conformity and its attendant fear of being branded an outcast would have particular resonance in
Japanese society, where high school students top
themselves for as little as failing math—although it
doesn't take a great deal of imagination to apply
this to North Americans and their obsession with
getting every twitch right for whatever scene
they've decided to clone into. But social analysis
was only a small part of the show's treasure. The
best thing for me was just breathing in that special
kind of craziness that keeps side-stepping to reveal
the wisdom behind it.
English Suitcase Theatre Company
Krapp is an old geezer who over the years has dictated his life's exploits onto reel-to-reel tape. As the
play opens, he's preparing to record his last one,
but keeps getting sidetracked by Box 3, Spool 5,
which contains the account of bittersweet meetings
with a lover in a doomed, long-ago relationship. I
did care, but actor Kevin Williamson's labours
were so arrogantly stilted—so goddamned
actorly—that I couldn't get in. Yes, I know this is
Samuel Beckett, and we don't necessarily want
actors mumbling like Brando when they perform his
works, but of all the English playwright's absurdist
dramas, this one-hander probably has the most
realistic and recognizably human set-up. The play
would have lost none of Beckett's absurd pathos if
Williams had dropped his stylistic guard a bit. His
performance was a curious case of character
empathy which couldn't break through the wall of
representational acting. He's very skilled and obviously loves his craft, so I do admire him, but do
period pieces have to smell like they've spent the
last few decades stashed in an attic?
The best Shakespeare I've seen in recent years has
been at the cinema, yanked all over the map and
all over the 20th century—Richard III in the 1930s,
Romeo and Juliet in contemporary LA, or a New
York City cyber-Ham/ef. So it was good to find out
that I could go back to the theatre for the Bard
straight up and still feel a thrill. These nimble-jawed
actors delivered the text at such a cracking pace that
I marvelled at how every syllable remained intact.
Using little more for sets than a trunk and a table,
five performers played about twenty different char
acters, complete with substantial costume changes,
and they were on and off in their various guises at
a speed that made my head spin. It must have been
bedlam backstage. I barely had time to clock the
irony and humour in some of the cross-casting:
After courting Juliet, Paul Kamen as Romeo (who
had to wear glasses to see her on the balcony)
returned as Lord Capulet and started slapping her
around for declining to marry Paris. And Marcus
Fernando's performance as Mercutio reached such
a pitch of screaming camp that it seemed inevitable
he should glide back on as Lady Capulet after he
died. The fight scenes, whether with swords, sticks,
knives, fists, or boots to the kidneys were brutal and
would have had the snarliest 12 year-old mall rat in
raptures. Some of the comedy shtick got a bit
excessive, but it wasn't hard to forgive a little overdo with so much ingenuity and skill rolling off the
stage. The most charming thing, though, as that
without altering a word of the text, the actors
goosed the scenes of love and anger with a rhythm
that was completely contemporary and believable.
I was so glad not to be disappointed because R&J
is one of my two favourite love stories. The other
one is Wuthering Heights. It's all that madness and
death—I'm a sucker for high stakes. •
Louder Than
A Bomb
Why is it that contemporary Black poets
are consistently
labeled "rappers" or "rap
poets" by the mainstream
press? I mean really, even
when they recite their words to
music, white poets are still
referred to simply as "poets,"
while Black rhymers are naturally assumed to be a part of
hip hop culture. While this may
sometimes be the case, in gen-
himself consi:
this type of <
haps not qu
to Williams a
ently a victim of
rbitrary (or per-
e so arbitrary)
f the press refers
a "rap poet" he
srt the identity he
elf: "I'm a poet.
Something integrally relat-
might   ha\
ts for hir
an actor.  „c,OJ„
c." Yet the problem
,1 ther
thing else at work. Fir:
st distinc
tion between "hie
(popular) culture, wherein
"high" artists occupy a privileged position, both culturally
and intellectually, in relation to
the masses. Second, there is the
assumption that Black artists,
being necessarily immersed in
hip hop culture, are only capable of producing "low" art.
Therefore, when a Black poet
releases an album it ends up in
the rap section. Even at a "progressive" environment like CiTR
fM I find things like a Reg E.
Gaines album of poetry filed
under rap. Why is someone
like William S. Burroughs reading over phat hip hop beats
constructed specifically for the
vocals [Spare Ass Annie)
labeled spoken word, while
Gaines reciting with a background of jazz and incidental
sounds is considered rap?
What about Gil Scott-Heron?
Despite his continual disavowal of any conscious connection
between his work and rap he is
continually labeled a "rap
poet." Saul Williams too, finds
While I have serious problems with creating an arbitrary
value distinction between poetry as high art and rap as popular/low art, the fact remains
that there are certain concrete
distinctions: not all poets can
be or want to be good rappers.
On the other hand, not all rappers are capable of writing
effective poetry beyond the
banal nigga-bitch-ho shit that
we are force-fed by r
music. Granted, there are
poets or rappers that cai
do function comfortably '
either field (Michael Fi
Black Dot Collective, i
they are clearly the minority.
Rap can be poetry and poetry
can be rap, but it's not universal. Just try reciting a track by,
say, Jay-Z like poetry or turning
an ee cummings poem into a
rap song. It just doesn't work.
iti, the
! argument, is the implicit
gendering of both poetry and
rap. Funny how Black male
poets who incorporate music in
their performances tend to be
labeled "rap poets" or "rappers," while female Black
poets, like Sarah Jones or Traci
Morris, who collaborate with
musicians end up being
labeled as "singers" or "spoken
word" performers. It seems that
the gendering of hip hop is
even stronger in people's minds
that the racialization of poetry.
In fact, this also reflects the gendering of poetry as a feminine
(or at least not particularly masculine) activity, something at
odds with the hyper-masculine
imagery associated with hip
hop. Anyway, the resistance to
accepting young Black artists
as poets outside of the hip hop
genre speaks not only to white
society's intellectual ghettoiza-
tion of Black artists, but also to
the reflections of white main-
apparent in the
domination. •
happiness by miyu. You're not doing
well, but you're trying, really trying. You're
tired, too, because you're in it for the long
run. And it's long. You can't back out. You
won't cheat because you are good. You're
going to finish. You'll finish. You will feel
good when you finish last. • Radio Free Press
Having pretty much
ignored Vancouver-based
zines in last month's Local
Music Issue, it's about time we
focused on some fine BC printed
matter. Our motivations are
somewhat mercenary, admittedly, because the first two publications we want to tell you about
are ones that we just so happen
to work on. Bleek's Speck #7
($3 from around town or from
2573 Oxford Street, Vancouver,
BC V5K 1M9) is, as we write,
all printed-up and ready to go.
Meanwhile, Pop Boffin #3
($3, contact <popboffin@cana-
da.com>) should be on the
shelves of your local indie magazine emporia by the time you
read this. It's had a major overhaul since #2 and is shaping up
to be pretty spectacular. It will
feature interviews with Beans
and (if they ever get back to us)
the people behind Mr Lady
Having gotten that out of
the way, we'd like to tell you
about another local zine, which
neither of us writes for (honest).
Turf #2 came out, like, two
years ago, but we've only just
discovered if. It was worth the
wait. Turf is an ambitious and
unusually well-realized project.
Distinctly female, without being
generically "girly," it's highly
imaginative and eclectic in content. Apparently they're working
on a new issue, right now. Keep
an eye out for it. ($3 from 1125
Pacific Drive, Delta, BC V4M
Another publication with at
least one foot in Vancouver is
pan-Canadian zine Revolution
literature, and that's just the
beginning. The rest of the
zine/newsletter does not remain
as dry, as we read about Jello
Biafra's Green Party presidential
platform, which makes more
sense than anything we've
heard from the rest of the bastards so far. There is a long history of wrestler Owen Hart's life
21 #2. The main foci of this
particular tome are film and theatre—for instance it includes a
feature on Hong Kong action
films courtesy of Cinema Sewer
creator Robin Bougie. However,
its scope is not limited, and it
also features a pretty neat article on Canadian identity.
<revolution_21 _@hotmail.com>
For more Canadian content,
may we recommend Mote #3,
Edmonton's much-loved freebie.
We've mentioned this particular
music rag before, but there's a
new issue out, and we thought
it was good enough to warrant
a mention. Grab one while you
can for interviews with B'ehl,
Christine Fellows, and various
others. (Rm 2001, 10130-103
St., Edmonton, AB T5J 3N9)
Also from Alberta is
Psychlone (A Journal of
Thoughts, Ideas, Truths
and the Journey of Life), a
sometimes long-winded and sterile-looking newsletter, stapled at
the top left corner and all. Editor
Steve Marlow received his BA
last year and writes a somewhat
high-brow critique of the state of
and death, but try as we might,
we weren't any more sentimental about wrestlers than when
we began. The acts of Hamlet
are played-out as if announced
by TV announcers. Kinda funny
but with that damn wrestling
aspect again—big fuckin' deal.
We found the history of Devo to
be far more interesting. You'll
also find the usual zine, music,
and n
All il
bad  as we  made  it
sound. (97 Simon Fraser Blvd
W., Lethbridge, AB T1K 4R2)
If you're looking for more of
those usual music reviews, you
might want to take a look at
Hodgepodge #6. Escaped
from New York, this is an obvious Punk Planet influenced
aggressive rock zine. It includes
looks at The WTO "Battle in
Seattle," biotechnology, dioxin
and tampons, and cultural critique. Good to know that there
are punks out there proving that
you can think about pertinent
stuff and not just fall into the
rocker-tard arena like so many.
Also included are interviews
ith Rainer Maria, Cathai
ment     Plai
Daniel Quinn, and pier
gnarly rants. ($3.50 from
Occulture, PO Box 8830,
Victoria, BC V8W 3S3 or Mike
Schade, 983 Little Neck Ave.,
N. Bellmore, NY 11710)
There must be a zine for
every personality, ya think?
Consider Voice on the Wire
#3 (the operator/telephone culture digest). This one is based
on the workings of a telephone
operator and any peripheral
phone issues. The editor is
known to many of us as Judith
Beeman who brings us the
grand Big Star-obsessed Sack of
a Car music zine. This one is
smaller and simple, but the writing is great. There are plenty of
newspaper clippings concerning phone service and such.
Makes for a pretty odd read but
is truly what perzines do best,
allowing us into the author's
head for a glimpse of the workings that make people tick.
(Judith Beeman, #4636 MPO,
Vancouver, BC V6B4A1)
Pay attention, friends, this is
the part where the Blinding
Light!! Cinema starts it own
zine, 2501V. This is my favorite
part. Did you get the popcorn?
Okay, no talking during the
show. 250W is about a bunch
of characters that work at or are
loyal customers of the Blinding
Light. Our friend Jeanette
Ordas, who we call Nettie (of
Queen of the Universe) offers a
swell interview with filmaker
Chris Wilcha, and our other
zine buddy, Robin Bougie, contributed an interactive comic for
us. If you keep watching, you'll
learn about the history of the
regular-8mm film and personal
cinema. Alex Mackenzie interviews Lee Krist in this one and
fiction/non-fiction cameos are
made by Chris Tucker, Paul K.
Jaimeson, jane Lee, and Braden
Jones. There's more stuff that I
won't give away right now, and
I hope there's a sequel. ($3,
Blinding Light!! Cinema, 36
Powell St., Vancouver, BC V6A
1 E7) <panic@istar.ca>
Our own ranting is going to
have to end here, but we'd jurt
like to take one final opportunity
to tell you to buy our
zines in bulk and make us
rich/famous/happy. Thanks. •
*)&g&£g&m DOIN' IT FOR
photos: (right) burden being
pointed at by the kids, Java
(below) good clean fun being
pointed at by the kids, Java
fter last month's gritty expose on the supposed lack of venues to play here in Rain City (of
l which there are many), one glaring realization reared its ugly head—the ongoing strug-
\gle for those not of drinking age to see, play, or stage all-ages events. A battle over
ed venue space  (which  recently halted th.
Vancouver to s
For Java Jo
tired of the for
; what's happening
t promoter Dave C
ulaic, trendy
Segment Collective), our confusing liquor license laws, \
prevent existing bars from promoting all-ages shows, and
expensive overhead costs in renting halls like the Croatian
Cultural Centre, the Anza Club, and other community
spaces, are all contributing to a problem which puts a big
damper on the kids. The last place that comes to mind that
threw gigs for the younger set—with a seemingly successful
result—was Crosstown Traffic, but after the drug dealers
started outnumbering the kids at shows, it was forced to cl<
However, all is not lost. Turn that frown upside down. In r
been able to weather the storm and
Joint, a 150-seat restaurant/back-ro
by Bryce Dunn
photos by Eric Flexyourhead
aicious circumstances.
at least one place has
e kids a reason to freak out and kick-box again. The Java
club, has been entertaining the masses in Surrey and sur-
inding areas for a couple of years now, but recently their profile has gotten a facelift from a
emitted group of people who want to see other venues take notice and get people from
i the land of Trans Ams and strip malls,
ty, the 'burbs have always been a hotbed for angsty teens
for music currently being pimped. Thanks to consistency,
hard work, and a little bit of luck, Dave and the rest of
the gang have made it possible for these kids to tear it
up to the sounds of new local bands and national touring acts eager to please the musically starved. Bands
that have graced the stage in recent memory include
hardcore faves Good Clean Fun from DC, Winnipeg
emo wunderkinds The Weakerthans, rock V roll
stars The Murder City Devils, as well as local
draws from Burden, The Red Light Sting, The
Chick Magnets, and countless others.
Being out in Surrey, getting the word out to the public about shows like these, is harder than
it looks. Dave enlists the help of the punks who attend the shows to promote, poster, and block
traffic. For their continued efforts, many of those who help get in to shows free of charge. For the
rest of you, cover rarely exceeds six dollars, but exceptions are made for those bands who have
a considerably larger audience. (I have yet to see the cover go higher than eight bucks!)
Keeping costs down is something that Dave is fighting for because from a purely selfish standpoint he would like to see mo
people have the opportunity t<
witness the great bands that the i
Lower Mainland has to offer
However, this doesn't come
without its pitfalls. There are j
still rents to be paid, sound-
to be paid, bands
be   paid,   and,   when j
attendance is as lo
the door cover, naturally Dave and the i
Java Joint start to f
worry.    Not
long ago, a cc
pie  of  benefit  shows
were organized on the venue's
behalf to ensure that this promising
hangout wouldn't die a premature c'
And, lucky for us, it didn't. Kids can be just as
apathetic as we aging scenesters, and bands
tend to get overlooked and under-appreciated
because of fads and trends
and go faster than I can say "postpunkdark-
wavenoise." And then there's the location. Sure, travelling out to Mulletville on a Saturday night
may not be your cup o' tea, but you just never know who you're gonna miss if don't give it a
So how do you go about putting on shows in your own backyard (figuratively speaking of
course)? Network. Network. Network. Dave has done his homework, and not only does he
organize shows, he actually goes to shows and plays them himself. It pays to shop (yourself)
around. Can't find a place to throw your hootenanny? Besides calling the Java Joint (which, by the
by, has a very open-door policy regarding what genre of music your band can or can't play—from
hardcore to twee-pop), try some unconventional places like warehouses (where a group known as the
Direct Action Network stages some of their throw-downs), laundromats, house, church or office basements (a successful venture as long as you know who to rub the right shoulders with), but do as much
research as you can before spending money where it might not be needed. Until then, check out your
friends at the Java Joint. Support the scene. Blah blah blah—you get the point. For more info on
booking, upcoming events and scenester gossip, call 588-JAVA. •
»10 -o*4oAeA. WOO photosandarticlebyvalcormier
or why do i have to leave I
the city to party?
I'm sorry to have to break the news to y'all, but our city has become lame. Does anyone else miss the days
when Vancouver was host to fun, party-in-the-street events like Greek Day on West Broadway and the
sand castle competitions in White Rock? These days, squeezing several hundred thousand (dry) people
in and out of the West End for a half hour's worth of fireworks and drinking overpriced brews in a roped-
off area at Indy passes as entertainment. Bleah. Maybe it's a remnant of gravel pit party days in Castlegar,
but sometimes I just feel the need to get outta Dodge and cut loose. Though my travel companion had to
jam last minute, I set my sights and cruise control toward one of my fave West Coast cities, Portland.
Ah, the lure of the road: car stocked with road tapes... cool breeze blowing through an open window... 45 minute wait at the border... and being picked by a computer at Peace Arch for a car search.
Damn! Whatever happened to racial profiling? Many long minutes later I was free and flying down the I-
5, feeling 10 years older and thankful my suitcase hadn't been searched.
Over hill and dale, through farming country, stuck in the Seattle 1-5 parking lot, past the dreary Seatac-
Olympia strip, the scary nuclear plant near the Oregon border, and on to Portland. For those who have
never visited the Rose City, think what Vancouver would look like if they'd planned for transit and driving
needs 20 years ago. Imagine a city half the size of Seattle, more livable and easier to get around. Imagine
a thriving pub and bar scene. No sales tax, which takes some sting out of the exchange rate. Think micro-
brew capital of North America. (American hyperbole, no doubt, but I believe them.)
Uncle Otto's Oktoberfest was held September 15-17 on the site of a cottage brewery in an industrial
area of NW Portland. Easy to find, lots of parking, reasonably-priced (and tasty) beer, cheap admission,
families mingling with folks freely wandering and carrying alcoholic beverages. I can just see the BC
liquor control board guys clutching their chests in horror. They should really do a road trip there to see with
their own eyes that letting the beer garden ropes down does not lead to the revival of Sodom and
Gomorrah. And yes, there is an Uncle Otto, a nattily-dressed bonhomme of German extraction who's a
friend of the brewery owner.
After arriving on site I quickly surveyed the scene and found all as it was last year: Hot sunny weather—check. Oktoberfest mainstage—check. Club Rocktoberfest—check. Kids' area—check. Portapotties—
check. Air conditioned brewery restaurant and real potties—double check. I was just in time to catch the
last bit of Herb Mark's Edelweiss Band (this event's token nod to oompah) and a bit of Portland
band Big Time Rosie (nice jangly pop) before Those Darn Accordions hit the big tent. This group
started out 10 years ago in San Francisco as a 17-piece accordion band teetering on that performance
art edge. I saw them last year as on octet, thought they were fun, but they pushed my cheez tolerance
meter, which only goes as high as a box of KD. This year, however, they were leaner, (down to only three
accordions), meaner, more like a band than a performance troupe. But still not taking themselves too seriously. Thankfully they'd also brought along their ace in the hole, 85 year old Clyde Forsman.
I wandered over to see one of those bands that looks better on paper than up close, Roger Clyne
and the Peacemakers. Arizona boys, a lot of "ex" mentioned in the program notes—possibly not a
good sign—ex-Refreshments, ex-Gin Blossoms. Like I said, looked better on paper.
Back to mainstage for the headliner, The Texas Playboys. Yessiree, the original Texas Playboys who
played with the late Bob Wills, king of Texas swing. Much as I love Ray Condo and his efforts to keep
that sound alive, I really wish his band and his fans could've been there to see how it's supposed to be
done. Considering four of the Texas Playboys have had open-heart surgery in recent years, they swung pretty fuckin' hard. Drew an interesting crowd, too, including the ma-and-pas in starched white cowboy shirts
and ironed jeans, and the hip alt.country slackers. The lure of being fed and watered on someone else's
coin was too strong, however, so I missed seeing the McKinney sisters, who'd sung with Bob Wills back
in the '40s.
Saturday was another sunny day, and I was up early enough to take in my favourite Portland institutions, Powell Books and the Saturday Market, and a big lunch with nothing German in it (phew) before
heading back to see Polkacide's afternoon set.
Another whacked-out band from San Fran, but unlike Those Darn Accordions, who play more in other
US cities than in "The City" (SF), these guys rarely leave their hometown. I'd like to see those guys attempt
the border crossing: a crazed and shirtless lead singer in gold lame leiderhosen, large bald clarinet player with studs screwed in his scalp, an almost equally large shaggy bearded bass player. Their repertoire
is mostly polkas we all know and love from Polish weddings but with a punk sensibility. Loose, sloppy, fun,
and way too fast to dance to. Believe me, we tried!
Nothing makes one more thirsty than hardcore polka, so while we guzzled some more Hefeweizen
and Marzen we checked out Samsonite and Delight-Ya, a Portland accordion duo. Definitely exceeded my cheez quota, possibly due to the astounding number of hat changes during their set. Those Darn
Accordions' afternoon set was cool, but they were clearly saving themselves for their headlining set. The
crowd was large and digging it but standing well back from the stage—accordionphobia, perhaps? Once
Clyde slid into "Do Ya Think I'm Sexy?", however, the roof nearly blew off the tent.
The brewery grounds really filled up by late afternoon. The Derailers, an Austin roots band, were
to headline the Rocktoberfest stage, so a lot of slicked-back college types started wandering in, along with
those who'd heard the buzz about ole' Clyde. In that huge crowd I was amazed to run into some Portland
friends who weren't sure if they'd show, so it was nice to have some new drinking buddies. Caught the end
of Polkacide's second set, and I was pleased to hear their rude little ditty "Wiener Dog Polka," which had
been politely omitted from the afternoon "family" gig.
Turns out a couple of the Derailers are Oregon boys, so it was a homecoming of sorts for these guys.
I'd never seen them live and was expecting more alt than country, which seems to be an Austin thang, but
indeed they were a flat out honkytonk band. And they covered "Act Naturally" and "Folsom Prison Blues,"
which warmed the cockles of my small-town raised-on-'70s-AM-radio heart.
Those Darn Accordions were fabu. Less talk, more rock, a wild 'n' wooly set. The gals were gussied
up in their glitter and polka dots, and there was a whole lotta squeezin' goin' on! Mercy. "Mothra" was
a killer surf-rock number, and there were songs about Loch Ness, walls of gum, and hippies—fitting in
Portland, heart o' Deadhead country—and an occasional polka. Lots of piss-takes on classic rock like
"We're An American Band," "Baba O'Riley," "Low Rider," and a wicked Zep medley. Amazing what
sounds can come out of a squeezebox with the help of effects pedals. But nothing could top Clyde and his
bare-tattooed-chest rendition of Jimi Hendrix's "Fire." Man, he just owned that place and seemed overwhelmed by the ear-splitting crowd response.
Festivities continued into wee hours in the taproom of the brewery, where we also test-drove some single malt whiskey that's not yet on the market. Sweet! But an open bar with obnoxious beer reps away from
home turned out to be an evil combo. Thank gawd there were musicians to hang with to help counter that.
How's that for irony?
Sunday was a nice quiet hangin' with my friends day, lazy lunch and driving around (and around) Mt.
Washington in a really old Buick with a fully functioning 8-track player. On the drive north I couldn't help
thinking why the hell this province, with its awesome microbreweries and musicians, can't throw together
something like Uncle Otto's. Or at least an Oktoberfest with an inspired music lineup, instead of background oompah noise. Well, the short answer is that the braintrust running this province wouldn't know a
good time if it bit 'em in the butt. And we keep voting them back in. Until that changes, my pals and I will
keep leaving town in search of a good time. •
11 15_^§S_51Sa li _nrii\ic
idled in the idyllic, mountai
stting of beautiful Bavari
retschmann   of   Cons,
knobs, tweaks levels, and plunks keypads,
managing to create something familiarly
organic. Martin was in New York when I
spoke to him over the phone. He had just
won Best Radio Play from Radio Deutsche
Welle, and the prize is what brought him
to the "Big Apple." Martin has the kindest
voice. He comes across as a wide-eyed
innocent, sincere and refreshingly uncor-
rupted. Console is Martin's newest hobby
when he is not programming for the
Notwist. Rocket in the Pocket made its way
i  the
l  at
in be found
many college radio charts all over North
The album's standout single, " 14 Zero
Zero" ("A love song from a computer to its
programmer"), would have been a hands-
down dance floor hit in 1985. I should
know 'cause I was one of the DJs spinning
that sort of thing back in the day. The song
recalls the Trans-X underground dance single "Living on Video," but not in a copycat
kind of way. Before I can bring up this fact,
Martin refers to it as a possible influence.
ended up getting thrown out for being a
slouch. Eventually, he found himself in a
hardcore band named Toxic, releasing a
1 2" single in 1994 and a full-length in '97
on the Kollaps label. As with many of us,
life's annoying little responsibilities got in
the way here and there. Germany evidently has one of those goddamn compulsory
service-of-your-country thingies. He avoided military life to work with special-needs
children. What a guy! This work allowed
him to save some cash and buy electronic
equipment which started his venture into
his current field. He then tried some
University studies but bailed to continue to
play music. "How much time do you spend
on these songs?" I ask.
"A week, usually." He gets the idea,
then starts to collect samples, sometimes
using leftovers from certain sounds the
Notwist left out. Getting bands in studio to
play for original samples, similar to Solex,
whom he knows from touring with the
Notwist on their first German tour. "I'm
doing electronic music because I can't do
any other music by myself. I can play bass
because I played in a band. The only way
[to make my own music] was working with
M        6 nn
"That's funny. Some people say that [it
reminds them of Trans-X], I was so
amazed," he says, mentioning that he
recorded the song off the radio in the '80s
and rediscovered it only three years ago.
"Nobody would play that anymore today
because somehow it's a really freaky song.
It's got really really really freaky sounds,
and now they only play really shit things.
Maybe I got inspired from that song, I
don't know."
Martin grew up listening to the radio
in Bavaria and picked up a few influences
over the airwaves. Germany's primitive art-
wavers Trio were one of them. "They were
somehow. I don't know why, maybe
because it's so simple." To my question of
why he thinks Trio's "Da Da Da" was such
an international hit, he responds, "They just
didn't give a shit. The drummer [during one
performance] suddenly stopped to have a
drink in mid-song. They just had fun with
it." He remembers another song, something like "Radio Killed The Weedio Star"?
"Oh, 'Video Killed the Radio Star.'"
But Martin doesn't spend all his time delving into the past. I asked him about the
CDs he had his eye on as a next purchase,
and he said he was looking forward to
hearing the new Elliott Smith, Belle and
Sebastian, and Sonic Youth. He even
played one of his current favourites over
the phone to me. Someone named Stina
Nordenstam. "She's a singer, I think
Scandanavian; Sweden or Norway. She's
really fantastic!" I had to agree.
So Mr. Gretschmann is a fan of a wide
variety of swell music. As a 16 year old he
picked up a bass guitar to join a punk
band with some neighbour friends, but he
Can you describe your
music to the people who will
be reading this?"
"I usually say that it's just
electronic pop music, in a
way, but also post-pop, just
because I really hate the post-
rock word so much."
The majority of Rocket in
the Pocket sounds virtually
nothing similar to "14 Zero
Zero," but instead of the rest
of the album being used as a
pale backdrop for the stand-
all too used to), the other compositions are each creative
pieces of modern electronica.
Thankfully he avoids those
damn long digital loops
which litter up so much of the
rket these days. The bleed-
never end,   eh?
Actually I like a certain
amount of that sort of thing,
but you know. Martin never
slips into the vapid "dance"
genre either. Although there
are plenty of danceable ditties on Rocket, you just won't
see dumb-ass spring-breakers
gyrating to them on MTV. Sort
of a thinking person's electronica—to be put in your 5-
disc shuffle with The Wisdom
of Harry, Plone, Boards of
Canada, and 2 Lone
Swordsmen...    perhaps.    •
ll ^J-^za. WOO The   Murder
City   Devils
Interview by Mike Miner
Photo by E. Stanley
Somewhere, right now, the Murder
City Devils are on the move. For
these Seattle thugs, two nights in
Vancouver to play the friendly confines
of the Brickyard is practically a vaca-
Seattle-area bands, the group has
moved up from Sub Pop imprint Die
Young Stay Pretty to the greener pastures of the main label, but hasn't given
the grass a chance to grow beneath
their feet.
Nate Manny, the 27-year-old guitarist and former tattoo artist, says touring has taken over their lives. Back
stage in the green room, the band members sit around thumbing drinks, seeming dazed, almost completely unable to
talk about their band.
"We've been around for about four
years, and we've been pretty much touring the whole time," he says. "Every
time it seems like things are winding
down, we get another phone call with a
few more dates, and we're back on the
Maybe it's the strain of the road that
caused the band to decorate their latest
offering, In Name and Blood, with photos of slaughtered band members vivid
enough to make Jeffrey Dahmer puke.
But probably it's the same sense of
showmanship that has them pound an
audience into submission with their wall
of noise and wake them up by setting
instruments on fire.
Of course, there are quieter
moments. The afternoon before their second show was spent catching a matinee
of Bring it On, Kirsten Dunst's cheer-
leading opus. It was, according to lead-
singer Spencer Moody, whose speaking
voice is damn near velvet compared to
his stage shriek, "Perhaps the single
finest movie ever set to film." The day
before, the world's longest undefended
border had thrown a kink in the relaxation. The band had been delayed for
hours in a lineup, and one of the opening acts, the Briefs, was denied access
to the True North, Strong and Free
because of a felony charge against one
of the entertainers.
"That border is the biggest hassle,"
says Spencer, serenely enjoying one of
the evening's many beers. "We never
get that kind of trouble anywhere else.
In Italy, when they searched us with
dogs it wasn't as big a hassle. And they
found the drugs."
"Yeah, they just took a few of our T-
shirts and waved us through," adds
Nate. "It's gotten to the point where it's
just what we do. We're a band and we
'. We try not to think about it too
have improved the band's lot and seen
them rising out of their van and into
hotels. Gaining a reputation as a live
act with a loyal following, and earning
critical attention for their no-frills rock,
the band has achieved some real
growth. Also, the constant proximity and
their penchant for booze has led to a
and a bigger label
Derek: That's what I want to know.
How was his grammar? Was it like: I'm
not a freak, comma, I'll fuck your dog?
Or what?
Dann is even more impressed to
find out that Nate was invited to the
singer's funeral. The invitation, is now in
the possession of Gabe, the hulking
lot of the band-members' anecdotes
begin the same way.
"One time I was really really
drunk," Nate begins, "and we'd just
played in Boston. The club we played
was right across the street from Fenway
Park, and I decided that I was going to
climb into Fenway and slide into home
"That's what I want to know. How
was GG's grammar? Was it like:
nearly total intimacy. It has reached a
point where the band members are
stunned to learn anything new about
At one point, while the conversation
wanders aimlessly, Nate lets slip that he
corresponded with the late GG Allin
while the punk magnate was serving
time in prison. Dann Gallucci, the guitarist, is shocked.
Derek: I can't believe, after all that
time touring, that I never knew about
Nate: Yeah, me and my brother
sent him letters. He always responded.
Derek: What were the letters We?
What would GG Allin have to say?
Spencer: The classic was, in concert, out of nowhere, he yells at somebody in the audience, "I'm not a freak
roadie and dri\
to cart downed musicians off stage.
Gabe, says Nate, is a prolific collector of things.
"He never throws anything out," he
says. "He may not know where it is, but
. It's I
the things he has lying around. Honestly,
he ordered a set of 18 blades and
broadswords off the Home Shopping
Network the other day."
Another of Gabe's accomplishments
is having once drunk Dennis Rodman,
the Queen of professional basketball,
under the table. Drinking is one of the
things that the Murder City Devils do
best. "We often drink a lot more than
we should," Nate admits. "It's a reputa-
arned, unfortunately.
s !e-
mistakes. People getting hurt and feeling bad a lot of the time." A
plate. Well, Fenway is a baseball stadium that is pretty famous for its really tall
walls. I had Gabe give me a boost. This
is where the drinking ties in: we're able
to convince each other that things are
good ideas. So I had people helping me
do this. I climbed up on a wall, on top
of a garage door that was big enough
for semi-trucks standing on a brick ledge
about three-inches deep. And I just fell
backwards off of it, and on the way
down I kicked Gabe in the face and the
balls. I landed on the sidewalk and split
my elbow open. The gash was about
three or four inches. It was a really really bad idea.
"I fell asleep in the van and my arm
kind of welded itself to the vinyl seat But
I didn't need stitches or anything, so it
wasn't that bad."
Although the Fenway incident isn't
typical Murder City mayhem, it's not an
isolated incident. Drinking before the
show, Nate says, is the rule. "Before,
during, and after," he says. "We usually start drinking as soon as we show up
for the show. If we're running late, we'll
start in the van."
Nate says the oaky savour of Jack
Daniels often flavours the live show.
"Sometimes somebody will be too drunk
to play, and that will result in a lot of
fumbling around and sloppy playing,"
Nate says. "But sometimes it seems like
if Spencer throws up or passes out
before we play, it will be a better show
for him. With me or Derek or Coady, it
will be a sloppy thing where we can
barely do what we physically have to
just to get through a show, but it doesn't
happen that often."
Nate gets up to make himself another Wild Turkey and Coke and, upon
returning, elaborates. "I wouldn't be so
bold as to say we're responsible
drinkers, but we know how to drink in
the context of our band to be able to do
what we have to do," he says. "Except
occasionally when it gets out of hand."
Friends drift in and out from the bar
and the conversation meanders widely.
After a few abortive attempts to try and
define the band's style and sound, trying to say interview-type things and after
an astounding display of knowledge on
all things music, Nate's discourse drifts
from Wild Turkey to wild chickens. It's
easier than listing driving guitar riffs, a
pounding rhythm section, spooky organ,
and scream-and-howl vocals to make up
things about animals.
"I'm known as the Don King of the
Seattle cock fighting scene," Nate
admits. The rest of the band is quick to
join in. "Taught him all the tricks,"
Spencer says, proudly, "but it reaches
the point where the student surpasses
the master-
Leslie Hady, who plays Farfisa
organ, insists that her Conan will take
down anything Nate puts up, anytime.
"I feed 'em gun powder and keep 'em
crazy," Nate says. "They're hot cocks
ready to kill one another." "Is there anything more beautiful than making a buck
off mother nature?" asks the drummer,
Coady Willis.
This thought is left as the band stirs
and prepares to take the stage for their
second night in front of a packed house.
Nate makes one last attempt to articulate what it is to see the Murder City
Devils perform. "It's going to be loud,
and you might see somebody throw
up," he says. "We try to make it as fun
DiSCORDER: Four Letter Word. Who, what, why, when,
where, and how?
Welly: Four Letter Word is a kinda tuneful, but very political hardcore
punk band out of Wales, UK. We formed in the summer of 1991 and
have been going ever since, ploughing through as many members as a
suicide terrorist splinter faction. We put out our first 7" EP in 1995 and
signed to BYO Records in Los Angeles in 1997, with whom we put out
two albums: A Nasty Piece of Work and Zero Visibility, and a 7", Do
You Feel Lucky, Punk?
There aren't a lot of punk bands from Wales. How has this
impacted the life and growth of Four Letter Word?
Things were very quiet for a long time. Back in the old days we had
Icons of Filth, Oppressed, and Demented Are Go. Then in the late '80s
we had bands like the Cowboy Killers, Yr Anhrefn, and Rectify. But it
was all quiet until about '9b-'97 when all the pop-punk inspired people
started to form bands. Now we've got loads like Douglas (melodic),
Shootin' Goon (ska), Public Disturbance (tough guy hardcore), No
Comply (hard-edged melodic), and Fishtake (Helmet/alt), and that's just
in the Cardiff area alone.
I think there's always been bands in Wales, it just seems tougher for
us to get off the ground than the English bands, what with the geography and the prejudices that used to be there back then. If anything, the
fact that sometimes it seems hopeless sometimes spurs you on. On the
other hand, there were times in the past when we felt like giving up. Like
just before we got the chance to do a 7" in '95, we were thinking of
packing it in because we couldn't get any gigs, and we couldn't get a
record out, and you can't get one without the other. And if you're thinking I'm crybaby-ing, then just think—your average North American
band gets a record out within 1 8 months of forming.
The UK scene in general seems to be on a bit of an
upswing, yet the well-known UK bands are really only the
ones that have been around the longest (Snuff,
Leatherface, Citizen Fish). Comments? Any UK up and comers we should be watching out for?
Yeah, things have been good for UK bands recently, although it's still just
as hard to get gigs and stuff. I think that there are and have been some
really talented bands in the UK scene, but British people are their own
worst enemy in that they only seriously buy and listen to US bands.
Therefore, economically UK bands don't do well, don't sell enough
records and don't get elevated to the stature enjoyed by the more veteran bands, who came from a time when things were the opposite and
British punks hated US music and only supported UK bands (until about
the late '80s). There are a huge amount of great bands. If you want an
insight into the UK scene then check out the Greetings From the Welfare
State sampler CD on BYO Records that I put together for them. It's a budget-price job with loads of info... I definitely recommend it! It's got
Goober Patrol, Consumed, Road Rage, Red Flag 77, Silencer 7, The
Stains, Newtown Grunts, Four Letter Word, Turtlehead, Erase Today,
Leatherface, Snuff, Imbalance, Citizen Fish, Panic, The 'Tone, Joe 90,
Airbomb, Southpaw, and Grover. Here are a few others you should be
hearing too: Capdown, Academy Morticians, Aspirin Kid, United States
of Mind, Wat Tyler, Annalise, and literally hundreds of others.
The band also seems to cover a fairly wide age gap: Welly
is the crusty old guy, the rest seem a bit younger. How does
the difference in age work for, or against, you?
Well that's where you'd be wrong! Thanks a lot! Jon was always the oldest guy. We did have a short period when we had some little kids in the
band, but we sorted that out 'cuz the commitment level just wasn't there.
I'm 31, drummer Wedge is 35, Tom the bassist is 28, and our new
secret guitarist is 27—so I wouldn't say that's really the case anymore.
I think the age thing is irrelevant. We've had 18 year olds who have
had about as much energy as stoned sloths, and 35 year olds with the
enthusiasm of teenagers. It all depends on the person and how much
they're into being in a punk rock band.
Welly, you've been in the scene for a pretty long time, and
you've probably witnessed a lot of change. Are there any
changes in the punk scene that you wish never happened?
If there was anything you could change, how would you
do it?
Well I got seriously into the hardcore punk scene in about '83-'84, so I
ft   **!«***. WOO
ain't like some '77 vet, but I've been around long enough to have
watched it mutate. The low points for me were when everything went
heavy metal in the late '80s—god that was awful. I mean, whoever
said that playing heavy metal was "progression"—fucking twisted logic
or what?! The worst for me is the acceptance of "religious" ideas into
hardcore, that was a dark day indeed. It shows how sad and desperate both Christianity and cults like Krishna are that they have to use
music as a tool in order to gain new recruits from people who are the
most vulnerable: young people with identity crises. Now, I've heard all
the arguments, and I'm sorry, but the whole essence of hardcore punk
for me were the ideas of self-determination and self-belief that, by virtue
of their existence, exclude religious ideas as the realm of the weak and
spineless seeking answers to unanswerable questions. Religion is the
earliest form of crowd control. Where faith begins, intelligence ends.
Some other things that bug me is the watering down of hardcore punk
with this new wave of indie music that calls itself "emo." Now, I've not
got a problem with people doing different things and experimenting,
whatever. But when people start "using" the underground scene and
paying lip service to "independence" in order to lunge for the big-time
as soon as they can, that bothers me. You can't change human nature,
I guess.
As for the big pop-punk bands getting famous: it's a necessary evil
I guess. Bands like Offspring and Blink 182 are sacrificial lambs that we
discard in order to get new, young people into hardcore punk. I think
that's fine. It's a shame that they have to be introduced to if by such shit,
but then again, I'd rather lose a shit band than a good one to the seven-
headed whore of mass-marketed-multinational-global entertainment.
As for changing any of this: I'm old enough to know that at best
you're only ever going to change someone's mind, so that's what I try
Can punk rock change anything, or are we just wasting
our time?
As a whole it can change things. Just look at the demonstrations in
Seattle, DC, London, and Switzerland over the last year. Punk rock can't
take all the credit, but a lot of this attitude coming through now is thanks
in part to the political ideas, activism, and propaganda of the international hardcore scene. I was also surprised recently, in regards to all our
legal problems, how many people have come out in support for us. We
did a small UK Tour to raise funds, and we had people giving us donations, we had other bands go without pay so we could have all the
money (in Southampton, they turned our gig into an all-dayer with about
a dozen bands, all of whom went without for us). A Southampton 'zine,
Suspect Device, put out a special benefit issue for us, and loads of people have bought our records sheerly for the fact of helping us out. This
whole thing has really made me realize that people out there do care
and are prepared to do something, in whatever way they can, to help
out. That shows to me that a lot of people in the punk scene still believe
in the capability for change, and therefore change is possible.
Welly, you're also not just involved with the scene through
Four Letter Word—you've also got your fanzine, Artcore.
I started Artcore when I was still in school back in January, 1986. It
started out as a total mess copied on the school copier. But it's progressed with me right through art college where I studied Graphics up
to the present day. Whenever I'm not working on other projects I totally immerse myself in making a new issue—it's great. The next issue will
be the 15th anniversary and should be out by the new year, but I've still
got the current issue available, issue #14, which has got The 'Tone,
Brezhnev, Grand Theft Audio, a photo/report on the anti-Capitalist
demonstrations, and the "Vaultage" section has Code of Honor, Flipper,
and a BYO Records discography. There's all the usual rantin', ravin',
and reviewin' too. All this is in a good-looking 40 printed pages for
$4.00 post paid worldwide—plug, plug, plug!
Four Letter Word are one of the few UK punk bands that
have made it to North America. It's been two years now
since that visit. Do you plan to make it back again? Any
comments or impressions on your North American tour?
We'd love to come and tour over there again! We've tried a few times
to set something up, but what with bad luck and flakes, things have
always fallen through. So if there's any people or bands out there who
would be so kind as to help out, we'd totally appreciate it. I will be
very disappointed if we never make it back to the US and Canada.
As for impressions—well, it's a big place, so you get a whole cross-
section of feelings, attitudes, and memories. There's a lot of US culture
that we, as Brits, just couldn't get used to, but then there's other things
that are great. Canada was such a great place with great people, but
it was impossible to find veggie food on the road, so we starved a lot
of the time when driving in Canada. On the whole, the big West Coast
cities aren't really interested in hearing bands like ours. They've heard
it all before. So playing cities like San Francisco was pretty pointless for
us. Whereas playing towns in the middle of nowhere was generally
great because people aren't spoiled and actually appreciate the fact
that you spent all your savings, took time out of your life, flew around the
world, and that day drove 10 hours to jump around and scream your
guts out for $50 (including petrol). That's one reason why I always clap
to bands, whoever they are. People forget that because they're too busy
trying to be cool and "make the scene."
Four Letter Word seem to be going through a period of
adversity right now. There's a lot up with the band right
now, a lot of changes. Fill us in!
It all started going wrong in the summer of '99, when our bassist and
drummer simultaneously quit over a pathetic argument. This left us reeling for six months because it's very difficult finding people in this part of
the world. We got some new people to be quickly met by the news that
a company out of Minnesota had trademarked our name for a boy
band they were putting together. They filed to sue BYO Records for
unlawful usage of the name. BYO backed down 'cuz of the immense
costs. We were dropped from the label and by doing so forfeited us the
right to sell anything ever again in the US. Then we discovered that
they had applied for a UK trademark. So we decided to fight it. We did
the tour I talked about and raised some cash. I've talked to lawyers
(£200 an hour—that's $400 in Canadian, $300 US), and we are in the
process of sorting this out. We may lose the name, who knows. I just
can't believe that after using a name for nearly a decade, someone
can buy the right to use it, and sheerly by the fact that they have more
money than you, they can stamp you out of existence for a corporate
project that will probably fail anyway. So we would have been
destroyed for nothing, that's a double waste!
Anyway, this aside... we were playing with the new line-up, things
were looking good. We were the best live we ever had been, and
everyone was getting along. Then Jon, our guitarist and only other original apart from me, decided to leave. He had a lot of MAJOR personal problems, so he decided he couldn't mess us around any longer after
lying to blow off gigs, which is NOT good. So now he's gone, and
we're about to start off with a new guy. Did I mention that we actually
What can we expect from Four Letter Word in the near, or
distant, future?
Well I've already talked to some good labels. We've got one of the
best UK underground Hardcore labels interested in doing something
with us after all this legal crap. And we're also talking to J.S.N.T.G.M.
Records about re-releasing our debut 7" EP from 1995 on CD with the
rest of the tracks from the session and some unreleased stuff too.
Obviously, everything hinges on what goes down with the boy band.
Only time will tell. Oh, and we HOPE to get back to North America in
the summer of 2001—any volunteers?
How is it juggling a band, a fanzine, and a family?
I'm lucky to have a girlfriend who puts up with my shit, doesn't mind me
disappearing on her, and understands all the various crap that comes
from doing punk shit when you should have really grown up by now—
ha ha!
The involvement of major labels in punk rock seems to be
pretty much over (until someone else comes along and
makes it big again). Pretty much every band signed in the
post-Green Day/Offspring feeding frenzy has been unceremoniously dumped by the majors. Comments?
I don't think that anyone can be seriously surprised by that outcome
can they!? If you put your head in the lion's mouth, then the chances are
it'll get bitten off. Like I said, sell-outs have their purpose; they get new
people interested. But after that, they're just another product of the
machine. They allow themselves to be manipulated and eventually turn
into caricatures of themselves because they have to utilize gimmicks to
shift units. I find it kind of sad that bands still haven't learnt and still
insist that THEY'LL be the first punk band to a) reach a wider audience,
b) achieve global fame WITHOUT selling out or c) actually succeed. To
me, it's like the first time someone tries heroin. They know the effect and
the probable long-term outcome, so why do they do it? The only conclusion I can come to is that they must be either stupid, greedy, or both.
Anything that you'd like to add?
Thanks a lot for the interview and the thought provoking questions (it
makes a change!). If anyone wants to help us out in our struggle against
"the man" then please get in touch about buying one of our CDs or
something. You have to buy 'em from us though, cuz it's the only way
we'll see the money, and they're ridiculously cheap! You can get in
touch at any of the following addresses. Thanks for your time and interest. Punk Rock!
Cheers, WELLY! •
Contact Four Letter Word: c/o I Aberdulais Road, Gabalfa, Cardiff
CFI4 2PH Wales, UK
<four_letter_word@hotmail.com> I assume I'm speaking to Princess Superstar's
cell, as her voice keeps cutting in and out. "I'll
call you back..." she drawls in her Valley Girl-
meets-indie-rock-pothead voice. And she does,
right away. I suspect that her employer, the New
York Women's Financial Association or something,
whose website she maintains, is paying for this
call. Nicel I am an unabashed fan of Princess
Superstar, the creation of Concetta Kirschner, who
writes, produces, performs much of the instrumentation, sings, and rhymes on her recent
release Last of the Great 20>n Century
Composers, a kick-ass electro hip hop
album which is more fun than the
shower nozzle, let me tell you. While
this latest release (the second on her
own label The Corrupt Conglomerate)
is way more slick and danceable than
her first two releases, Concetta still has
a severe indie ethic built into each of
her albums which provides for some of
the most brilliant and hilarious commentary on the exsanguinatory tactics
of the mainstream entertainment industry. For example, "Stuck in a 401 K
Hole" from her second album C.E.O. is
a brilliant pastiche of answering
machine messages left by record executives—including a sucky A&R person
with a New York accent who is thrilled
to propose that Princess do a duet with
Banal Adams. The whole collage of
real and staged messages is set to old-
"Stuck in a 401 K Hole" has its
sequel in the track "I Hope I Sell A Lot
of Records at Christmastime" from Last
of the Great 20™ Century Composers.
The lyrics are simultaneously scathing
and self-effacing: "I'm too poor to
afford life-size cut out cardboard of me
poured into a size 4/with a floppy Santa hat/On
the record store floor/Need ace product placement/Listening Station so while on I'm vacation I
got/my face/On Raisin Brans round the nation...
Call me flash in the pan, the blonde chick who
thought she could rhyme/Please, just let me sell a
lot of records at Christmastime."
Ms. Superstar has generated a few comparisons with the Beasties, not so much for her flow or
Anglo-Jewish genes, but for her nifty lyrical pop
culture references and NYC punk/indie scene influences and aesthetics. The 28 year-old's first recording was a home-job titled Mitch Better Have My
Bunny. She sold the cassette to friends and sent if
off to some music journals, resulting in a glowing
review in CMJ and a bit of label interest. She
picked the short-lived Canadian (yeah!) imprint 5"1
Beetle Records and released her first full-length
Strictly Platinum—a super-fun collage of samples,
live instruments, humour and sexy fun—in 1995.
Princess is so righteous that she's the founder
of her own musical genre: Flip-Flop! "It was a
friend of mine, who was like 'you don't actually fit
into a genre, you need something else to call your
music' So we brainstormed, and he came up with
Flip-Flop, and I really loved that because it embodied hip hop but also described swimming around
and jumping around in different genres, which is
really what I do. For me it's all music. People feel
the need to categorize you, put you in a box and
say 'You're this way.' But I just love to do music;
I'm a huge fan of so many kinds of music, so I had
to create a new genre for myself as I didn't fit into
any existing genres. Right now I'm writing a song
called 'Bad Baby-sitter,' and it's all about how, like,
when you used to baby-sit, all the bad shit you
used to do. Like invite your boyfriend over, and
eat all of their food, and put the kid to bed at, like,
seven, so you could hang out."
I asked her what the impetus was for releasing
her second album, 1997's CEO, on her own:
"Fifth Beetle was great, and the guy who ran it
was really supportive, and he put a lot of time and
money into me. But then he didn't want to do a
label anymore. And I was like, 'You know what? I
can totally do this myself.' I wanted to be totally in
control and have the power to release a record
when I wanted to release it and promote it the way
I want to promote it." She runs The Corrupt
Conglomerate out of her home and on the sly during her day job, but it's not all perfect. I get the
impression that the Princess wouldn't mind achieving mass international stardom and wealth as I
hear her being interrupted during our conversation
by someone in her vicinity, then dropping her
voice and whispering "My god, I want to fucking
kill my boss" under her breath.
Princess Superstar didn't consciously set out to
make her third release a more hip hop flavoured
album, that's just the way things progressed:
"There are definite hip hop elements in all my
records, but I've just gotten better at it. People that
I really respect are feeling my album, like the X-
ecutioners, Amon Tobin, and Bahamadia. With the
first two albums I used more of a live band and
DJ, but on this album it's mostly me and this guy
Curtis Curtis in the studio. I'd have a bass player
come in sometimes and different studio musicians,
but it wasn't a live band kind of feel. It was more
like we were working with Pro-Tools, computers; it
was just more orchestrated and computerized as
opposed to live."
The first single, "Come into My Room," is
raunchy and fun, but first thing out of Baron Ricks'
mouth is "Too many bitches and not enough time."
The use of the word "bitches" pushes my buttons,
so I wanted to bring this up with Superstar. I went
about it by saying: "That's really pushing it, especially because you do have, whether you define it
this way or not, a 'feminist' attitude or ethic. Were
you conscious of taking the risk with this song and
having that perceived element of misogyny?" She
replied: "I realize that that is totally pushing the
envelope, at the same time, I don't really find it
offensive, the word bitch now anyway has been
totally reclaimed, so that it now represents a strong
woman, in the way that Missy [Elliot] says that
she's a bitch." The song ends up being ultimately
sexy and not misogynist, but I was really taken
aback by that "bitch" shit. Which is good—I want
to be authentically challenged. I agree that words
can be "reclaimed," or used in different contexts
(as in Hancunt, duh); however, I'm pretty sure that
Baron Ricks wasn't trying to uplift the female race
with that line. "Also, I'm totally matching wits with
him [in that song]," Princess reminds me.
I assumed that Princess had decided to make
"Come Up to My Room" the first single off the
album because it's the most commercial sounding.
Ricks' guest appearance and its sexual sub
ject n
it the
tionally appealing track. I was wrong: "It was the
first [track] done, and I wanted to release something fast." The fact that she followed "Come up to
My Room" with "Kool Keith's Ass" on the LP indicates to me that she was also conscious of the fact
that some people may have mistook her for someone who is not simply sexy but sexist (thank you
Spinal Tap). Princess remarked: "I think that the
whole vibe of my record is a feminist one. I did all
the writing, all the production. I play a lot of the
instruments—guitar, drums, keyboard, everything."
And what is up with "Kool Keith's Ass?"
(referred to on the album cover as an "epic"). You
see, originally, Kool Keith asked Princess if he
could put her ass on his album cover. But not real
ly, as Princess explained: "That's pretty much a
scam that he tells all the ladies, 'Hey do you want
to pose for my album cover in a thong,' you
know." How does he do that with a straight face,
I wondered. "He's Kool Keith, he doesn't even
have a straight face." The intro to "Kool Keith's
Ass" is a recorded conversation wherein Princess
is explaining to Kool Keith why she wants his ass
on her cover: "I think we need to break through
the ass boundary. I'm celebrating the ass." Lines
like those are pure Princess. Humour is
the most defining aspect of her work:
"In general I like to live my life with a
lot of humour, and that comes through
with my humour, and I feel that you can
reach more people through humour
than by being preachy or sappy. The
fact of the matter is that I am a white
girl doing hip hop, and that in itself is
inherently cheesy. I have to fight it
somehow." She does admit to occasionally making music that is sappy
and cheesy. "I do, I mean not necessarily, but if you listen to 'My Life,' that's
more vulnerable and not necessarily so
funny, you know?"
I had read some statements from
the Princess, saying that she didn't think
women needed to produce and participate in women-focused or women-only
shows, and I asked her if she thought
that men were ready to embrace and
work with women, or whether or not
shit like Lilith Fair (puke) is still necessary in order to ensure that women
musicians have viable ways to perform
live. Princess said, "Well, you know, it
always gets better, but there is still a
long way to go, not just in music but
on Wall Street," adding that "Women
are still secondary, still make less
money, all that stuff. I think that women have to
grab power, create power, more women should
start their own record label and do whatever." I
pointed out that there aren't any women on her
recent album, and asked her if it was hard to find
women to work with. She replied with dry regret:
"There's a shortage, especially in hip hop." With
regards to who she would like to tour with or share
a stage with, she replied: "I like to keep it in the
family. Some of the people I've been playing with
are really cool, like Sinista and Anti-Pop
Consortium. I'd like to stay with people like that,
I'd love to go on tour with Kool Keith or
Bahamadia, anybody that is also pushing the
envelope musically. To me, being on stage makes
me the happiest. And it's so funny and sweet when
people ask me for my autograph, it feels so funny
to me. I mean, here I am getting interviewed, but
I'm sitting at the desk of my day job. I love touring.
I like to have fun on stage, and I sort of come from
more of the punk rock ethic, well not really, but I'm
into showmanship. What really bores me about
live hip hop shows is when people come out like
'Yo, put your hands up, put your hands up, where
are my ladies at. Give me love.' And it's like, shut
up, don't make the audience 'give you love,' give
them something good or funny." •
IS 2^c®_5It§JB With a career in Jamaican music spanning
r forty-four years,   Byron  Lee  and the
Dragonaires have been around since the
inception of ska and are still going strong on
an  international level,  playing  their own
flavour of Caribbean sounds. The root of reggae music, stemming from mento (Caribbean
folk music), ska was an art form which was
building up right around the time leading up to
Jamaica's independence from Britain's cob-      |
nial stronghold. When the country finally broke
free in  1962, Jamaica's Minister of Culture,
Edward Seaga, had suggested to Byron Lee
that some action needed to be taken to nurture and guide the
musicians of West Kingston, who were producing their own special blend of Jamaican music. Unfortunately, people who could
afford to buy music were spending their money on American
imports, paying no attention to virtually unknown local talent.
Hope and sustenance were seen in the music, as a means to
uplift the people. Today, Jamaica's greatest export and contribution to the world is reggae music. Reggae speaks to all people,
from all walks of lifeand all backgrounds. Byron Lee has put a
significant amount of effort into nurturing the sound of Jamaican
music, helping to maintain a sense of quality and professionalism
in the industry. I had the opportunity to have an in-depth discussion with the man himself while he was in town this past August.
DiSCORDER   What was it that motivated you to
become involved in music?
I was speaking with someone yesterday who said dat Trinidad
played well against Canada and beat them, and I said to him,
"Did you know dat I played football [soccer], when I was in school
in Jamaica for the school team?" I actually played on one of da
Jamaican teams, and he couldn't believe it. In fact that's how we
started. I started music when I was going to a «>ed school... a
Roman Catholic School. Then I went to college and play football for
St. George's College. Very popular sport in Jamaica. The most popular is football. I was the leading goal scorer for that year... scored
about 12 goals. We used to celebrate our victories in the dressing
room and play little guitars and all that. That's how this music started. The name Byron Lee & The Dragonaires came about because
our mascot, our emblem was St. George slaying the dragon. So it
has stuck with us for 44 years. However, it was the music that really gave me that dedicated feeling to get involved forever, because
we saw in it something dat was new at that time in Jamaica. We
had a Jamaican band playing Jamaican music because all the other
bands used to play different music... American music. We were
the first band to really go up there and play Jamaican music dat
made it happen. That's how we started: just the love for it and the
fact that it was something NEW. It grew on me.
You've worked with just about everybody that's
been involved in Reggae music and Caribbean
music. Who stands out in your mind?
Well, let's go to back to the time before Jamaica had a national
sound, and dis is again NEW. Jamaica did not have Reggae
when I started our music. We use to play other people's music.
We used to play a "mento," which is a folk music. Harry Belafonte
took that and brought out "Island in the Sun" and "The Banana
Boat Song." We used to play calypso from Trinidad, as it was
called then. In the '50s, the minister of Culture, Mr. Edward
Seaga, who became Prime Minister, said that we need to have
our own music to match with our own sovereignty, as Jamaica
was now [gaining] its independence from Britain. It's the first
English Caribbean country to have gotten independence as a former colony. It was Jamaica, then Trinidad the week after, and
Barbados, et cetera. He said, "Go out there Byron Lee, and
there's a music down in the poor section of Jamaica, West
Kingston, called ska. I'd like you to go there and help them bring
da music up-town because people who have da money to spend
are spending it on foreign music and not on local productions."
We went down there for six months and brought out ska. Out of
dat group came Jimmy Cliff, Prince Buster, Desmond Dekker, all
those artists that were so popular in the beginning. We brought
them out into the forefront. They were there already, we did not
originate dat music, but we were able to help dem promote dat
music and make it palatable to bring out to people up-town, mid-
town, who could afford to support the shows and buy the records.
Is that when you guys were playing as the Ska
Yes, yes, yes. When ska started. During dat era there was
Jimmy Cliff... Bob Marley wasn't around then. Not even then.
Byron Lee:
So den after dat became rocksteady, and a lot of the American
artists came down to record. One was Johnny Nash who did so
much for rocksteady with "Hold Me Tight." Then [there was]
our studio, which was one of the best studios in the Caribbean,
Dynamic Sound Studios. We had Paul Simon who came in and
did "Mother and Child Reunion" sounding like Jimmy Cliff. Den
they filmed The Harder They Come with Jimmy Cliff. That went
on. And den after that now we have reggae, where the great
Bob Marley left us dat legacy. So basically, our numbers may be
in excess of 50 to 60 acts that have gone through us or we
have gone with them. It's too numerous to mention. The head-
liners are Jimmy Cliff, Desmond Dekker, Toots and the Maytals...
Patsy too?
Patsy, Stranger Cole, Patsy, Barry Biggs, Hopeton Lewis, Eric
Donaldson, Tinga Stewart, Ken Lazarus, Keith Lynn, Vic Taylor,
you could go on and on and on and on. In terms of da band,
a hundred and twenty people have passed through the organization, through Byron Lee and The Dragonaires. One hundred
■s and a
What motivated you to buy West Indies Records
Limited in 1968 from Edward Seaga?
Music, I decided when I started, should be our profession.
Not a moonlight job or a hobby. We felt dat da entertain-
industry in Jamaica lacked a professional attitude.
like, "Let i
n, like a little side,
md go back tc
ark." Wher
an come out and play a song c
vvent into it, I gave up my job, and ask all ot my musicians
- give up their jobs and promised dem dat it would be bet-
r for dem. Many of them said I was crazy. One or two did-
t come either. They sat on the sideline, and eventually we
ropped them out. What happen was when we started, I
gured that in music we have to do the whole ting in its
xtensions, which meant recordings, pressing, controlling
your records. We just felt dat we had to control
out own destiny, 'cause nobody in Jamaica w
doing it with dat in mind. So we started, v
bought the  studio.   From  den  we  went
Dynamic Sounds, den our publishing, and den
the band was always running beside it. Dat's
how it really work together. We invested everything we earned back into music.
That's very empowering for the people
of Jamaica. Now, let's consider the issue
of bringing Jamaican music to North
America and the International market.
Do you feel that it's being exoticized by
people, perpetuating stereotypes of tropical sunshine and large breasted women, while ignoring the
social and political realities of the Caribbean?
In the beginning, what you are saying is true. It used to be
thought of as the Caribbean with the moonlight island,
sand, sex. Dat was what was thought of in Jamaica. The tourists
were beaming to that area because back den our local people
were not really gravitating towards this complete entertainment
turnaround. It was looked at and people would say, "Well
looks good but we still want to buy from foreign or import." Dc
was da name of da game in anything. Clothes, shoes, music,
local [products] were looked down upon.
It's still like that today?
Yes. So we've took that part out and we decided to say that
local is better than foreign in Jamaica. In the early days I wc
say that it was looked upon as an exotic and luxury positi
Now it has changed to be the exact opposite. Our music is part
of our culture. We are now taking the music and I would say
that we have gone one step further, and not only from Jamaica,
from the Caribbean. This is another very important part that I
am trying to get across to all of our interviewers now, dat da
reason why we have been able to stay so long is not so much
of the fact that our dedication, and the attitude of our work is
professional. It is just that we are now representing da entire
Caribbean. So when we travel like an ambassador for the
Caribbean. We have 26 islands in the Caribbean. Not all
English speaking, but 26. French, Dutch, et cetera. When we
play, we recognize dat as part of our audience and we pay
tribute to them. Like we did last night, we say, "Trinidad raise
yuh hand, Guiana, St. Vincent." Or whatever it is.
So what it has made us be is that when they come to our
party, and especially when living abroad, out of their
Caribbean, they are still considered to be second class citizens.
Because they were not born in North America. So they say that
they are second class citizens by birth. When we come to town,
and say you have a Jamaican or Trinidadian boyfriend or a
husband. When you come to hear us, he is going to feel so
proud that he's going to say to you, "This is my band coming
from the Caribbean." Last night at the Commodore we would
speak that language and send that message very strong to
everyone that we are from the Caribbean. The guy from St Kitts
will say "Dat's my band," he won't say, "Oh well dat's a
Jamaican band." We represent all the Caribbean Islands with
our culture music, and dat is what has really made us what we
How does the international media and market
respond to the rawness and sexuality involved in
the way that you market your material? Have you
ever been criticized for it?
Yes, we have been criticized. I think dat every kind of music
dat has brought popular support or started any new trend
has been criticized. Elvis Presley was about rock 'n' roll. I
remember they used to look down on rock 'n' roll and say,
"It's a devil music." We have seen it all the way through.
Once the music starts to cross over to anything or anyone or
generation, there's always the critics. Those critics feel, some
of them rightly so, that being purists, they should not take the
music and move it too far away from what it was meant to
do. But den dat is the wrong thing because the music today
is an international language of everyone, especially the
younger generation. They use music and what it stands for in
a way dat's expressing their own feelings or frustration or of
satisfaction or of joy or anger. Soca music is sensuality. It's
a woman's music. Soca is more or less an explosion of your
emotions. Reggae is an implosion. Reggae is more deeply
contributing to deep thought. I have no excuse to make for
how we have marketed Soca music. The girls on the jackets
are beautiful because a lot of people say to us, "We love the
Inberview and photographs bu Oksana Kolibaba
)6 -o^o^ WOO I girls on the jackets." They are all Jamaican models who the
I Jamaica Tourist Board uses to market Jamaica.
| Are they the women that are used in the J. Wray &
I Nephew calendars?
| Yes, on the J. Wray & Nephew posters. They use dem all over
| too. Brian Rosen is a fellow who has a contract. It's Brian who
I supplies the tourist board and from J. Wray & Nephew, who I
I get them from too. Our movements on stage are sensuous and
| they are suggestive. But as long as it no get to the part were
| they are lewd or immoral, den I'm, alright because let us face
| facts. People want to go somewhere where they can let their
| hair down and relax. Social pressures today... social econom-
| ics makes it difficult for people who've got to work and work
I and work. They want to be able to go somewhere like the
| Commodore last night and say "I had a great time! If I had to
I pay my car bill, or I had a fight with my husband, last night
| just blew it out." For that six or seven hours we are able to trans-
| form someone from whatever they are into a crazy.
| Are you interested in supporting female musicians,
I DJs, and selectors or do you consider women to be
I more of an audience?
| I love them as DJs, selectors, and everything. I'd like to say dat
| when I was in England the other day watching cricket, West
were the people who brought her. Judy Mowatt, Cynthia Lewis...
they can all tell you that when we started, dat we gave dem their
start, their kickstart in the beginning.
What role does Dynamic Sounds play now, in terms
of music?
My sons run Dynamic Sounds. Both of them. What they have
done is carry on the legacy of keeping what I have worked so
hard for, keeping the music in the forefront with the quality of
what we do. They are not musicians, and they are not players like
myself, which is good in a way because they're able to look at the
business end of it and make sure it stay. When you are too much
of an artist, and you are too caught up in the flairvoyance of the
music, you tend to forget the economic parts sometimes. Dynamic
Sounds is still the biggest record company in the Caribbean. We
are established because of our quality really. Everything dat we
have tried to do is true quality. I've tried to make sure, if you
noticed last night, dat when I came in from Calgary, I didn't get
any sleep. We went straight to the venue to make sure dat the
sound was right, dat the stage look good, dat when people came
in through the door, they wouldn't be hearing sound check going
on. We did a sound check and was out of there before five
o'clock. People respect that about us: that when they come into a
function, we are there to start early, we're not starting at mid-
| Indies and England, one of the high points was a lady from
| Barbados who was a commentator, the only one in the world.
| Donna Simon or something like dat. I love dat. Women who
| play guitar and bass, I love that too because it shows that
| music is international. I'm not macho in any way. My greatest
| happiness last night was to see Audra perform. She's new.
s young. She had never been to Canada in her life. She
| had never been on an international tour. For her to go up there
night before a sold-out audience, with Byron Lee and the
| Dragonaires behind her, and lift the crowd. I'm proud of her.
: you must have seen the reaction she got.
| Oh yeah, she was wonderful. Tell me about some
e women in Jamaica doing music.
| Women play as important a part in entertainment as men. In fact,
| if you look at the Caribbean 10 years ago, there used to be one
nan singing. It used to be Calypso Rose and Singing Sandra.
v look at so many women. Now every band today has a
| woman because Allison Hinds from Square One has broken it
| open. She's fantastic. She brought out the fact dat a woman could
H stand out in front of a band and be the lead vocalist. Now, we
don't have dat yet because we have our lead vocalists as Oscar
and Leon. We have Audra sitting back, but she proved that you
||didn't have to be a male vocalist to be a top band. All of the hit
§ songs and records, some of them are by women. You have peo-
| pie like Lady Patra, who is up there singing. Marcia Griffiths work
we brought her. When Marcia Griffiths was a little girl,
nobody knew of her. We Byron Lee and the Dragonaires, in fact
| if you interview her, she'll tell you everywhere she works that we
night. We don't go on and play one set from 12 to one, even
though we are the headline act. We go on early, and we go on
middle, and we go on late. That again is a major part of our success. People who come early, Canadians come out early, they'll
sit there from seven o'clock, and if we don't go on until one
o'clock the next morning, they are dead man, they are frustrated,
they are drinking too much liquor, they are unhappy. So we go on
early to satisfy the early birds. We go on in the middle, so that the
people who are coming later will hear us later too, so that everybody will at least hear two sets. That is why we are successful.
What advice do you have for younger people
becoming involved in music?
Everything I have said here to you is what they should remember.
It's not easy for them, a young person getting started. But I think the
first thing today that has kept us alive so long in the music, and
span so many generations, and still be at the top is the following:
your approach to the profession must be thought of like a profession. It is hard to tell someone that music, which is such a great billion dollar industry, needs not have any kind of education at all to
earn that kind of money. When you say to someone you can
become a multi-millionaire with one hit record, it's hard to believe
because the person may not even be able to write his own name.
A lot of reggae artists can't even write their own name. They have
to put "X" beside it, and they are driving Mercedes Benz.
Life experience can be far more valuable than any
knowledge that a text book can teach you. As an
example, after I have finished transcribing an
interview and the expressions of a Jamaican
artist, the editors and readers might notice that
the dialect and grammar is different from that of
Canadian language. It isn't necessarily aligned
with what a university education would bring out.
Don't you think that the standard view of what a
"proper" education is skewed?
What you are saying is absolutely right, dat the expressions
of the artists today, because of the lack of education or the
chance not to have gotten, it speaks differently to you. They
in their way understand what they are talking about. There's
no doubt in their mind dat they in their way as an act know
what deh are writing, what they are saying.
In fact, the reggae music dat you hear today, people would say,
"How these guys write these lyrics?" It's not hard to write. They
are only singing what their life tells them.
How do you intend on keeping the legacy going?
What plans do you have for the future?
I think dat I have come to many crossroads in my life, many of dem.
Many valleys, many mountains. One or two bad times, but most of
the time, I've been able to surmount dem, because I believe very
strongly in myself. I believe dat if you believe in yourself and what
you are doing, and you think dat you are doing something dat is
bring joy to other people, in everything you do, it must have a
response from someone you are doing it for. Even at work When
people say "I'm not happy at work." They'll never work well there.
Well, I love my music, and I know what it's doing. I think dat the
crossroads will be when I have to say goodbye. And goodbye will
really mean goodbye. Not Byron Lee going out of the band work.
It must be a cut-off because the name is like a brand that I have
developed. I'd hate to know dat if we go off, maybe it would go differently. I feel dat what is getting me into a deep, deep turmoil in my
heart is dat I must know when the time is right to go. But when will
dat time come? I said to myself that the signals to me would be
easy because if we started to slip... I never make it reach dat stage.
So here's the catch-22. If I am not prepared to run second or third
or be history or a has-been, or people speak of me in the past
tense, then where am I? So it's a very strange paradox position
that I am in. It's hard! A guy last night said to me, he come from
Seattle, he said, "When you live to be even a hundred, please play
for me. I come every year to hear you." People echo that all over the
world. Everywhere. People from New York, New Jersey. Jamaican
women who are working as nurses and lawyers, who never go
anywhere, they say, "When you come to town, that's my time!" •
of this   interview,   check  c
n M^gismm^ Skye %(oo*$,
Fr*ocd\s> H^u\€
Western Front
Art Gallery  Rfl
303 I. 801 Ave     **"
Doors 8:00pm Show 8:30pm
Starfish Room rr-!
1055 Homer Street EXiM
Doors 8:00pm Show 9:30pm
H   fRfDftr NOV. IQTH   |—
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1055 Homer Street EiiQ
Poors 9:00pm Show 10:15pm
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Doors 3:00pm Show 5:0Upm
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1036 Richards Street
Doors 8:00pm Show 9:00pm
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Doors 7:00pm Show 8:00pm
Hill.12 GAZA STRIPPERS illilif IBH
ill tin Mailable®
Scratch. Zili, Uiaze, Hiifelife
& SiBfles Geiei Steady
Cell Phones„,dofcom,„desktop? laptop, palmtop.,.reaIity TV.-final answer...e-Riail
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Real Music. Forever.
leonaid cohen
nick cave & the bad seeds
elvis costello
torn vsaits
bob dylan
jeff buckley
robbie roth
daniel lanois
victoria vvilliams
johnny cash
the jayhawks
the velvet underground
e stooges
mike vaatt
Leonard Cohen ■ The Future       Nick Cave & The Bad Seeds • Red Right Hand
Elvis Cosfelio ■ The Bridge I Burned Tom Waits • Jockey Full of Bourbon
Portishead • Sour Times
Jeff Buckley Once
Daniel Lanois
Johnny Cash -Rusty Cage
The Velvet Underground
Bob Dylan ^Series of Dreams
Robbie Roth - Wall to Wall
Victoria Williams-Crazy Mary
The Jayhawks - Waiting For The Sun
Sloan ■ The Lines You Amend
Iggy Pop & The Stooges s   Power
Mike Wat
Sony Music Canada
I ^cU*&^ WOO Under
Songs From The Tim
Although the summer has ended,
the spirit of the season lives on
in this release by Da Lata. My
first e
vith this
a crowded club in Kyoto
It was an acid jazz night, but
there was a lot of Brazilian stuff
being played as well. When
"Pra Manha" came on, everyone made a mad rush to the
dance floor, lifting their hands in
mad joy. Go figure. Interestingly,
the DJ of the night was Patrick
Forge, who is also the producer
of this fine collection of songs.
Unlike other projects, the album
avoids trying to force the
Brazilian beats over worn-out
house loops, and comes out with
an exciting mixture of rhythms
and grooves. Nina Miranda's
vocals are beautiful, and when
you hear "Pra Manha" kick in,
I'm sure that you'll be tempted to
join with the others raising their
hands. For hardcore fans of Latin
American music, you may find
this to be a little watered down,
but for those who are looking for
music that bridges Brazil to the
clubs, this is it.
Samuel Kim
Japan's Ghost (Masaki Batoh,
Michio Kurihara, Kazuo Ogin)
join Damon & Naomi on this
through sonic Utopia,
using that "Lucy in the Field with
Strawberries" production and
Ghost's influence of truly spacey
realms. This also shows again
how much D&N must have contributed to Galaxy 500. They
show no signs of wearing-out,
just slowing down a bit.
Somehow the three keep this
release from sliding into the purgatory of the "sickly sweet" and
inducing alpha waves between
the ears.
Bleek Erstreet
Veni Vedi Vicious
(Burning    Heart/Epitaph)
We're sorry. The review you are
about to read is currently
unavailable at this time. The
reviewer is busy recovering from
the state of shock this album has
put him in. If you need assistance, please stay with this
review and we will satisfy your
curiosity. For more options,
please select from the following:
1. To formulate your own
review from our extensive back
catalog   of tired  cliches   and
2. To enter a grievance or
complaint on the current state of
band sounds like the same old
thing, please select "two" now.
3. To put down this paper
immediately, buy this genius of a
record, then shed tears of joy as
five men from Sweden assault
you with tunes brimming with
devil-may-care attitude, over the
top vocal shredding, and sensational musical craftsmanship,
with casual references to sixties
garage punk with a nineties twist
a la Rocket From the Crypt
or the New  Bomb  Turks,
please select "three" now.
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#3. Please continue your reading experience. Thank you and
have a nice day.
Bryce Dunn
Elevator could be the smoothest
jazz-oriented disc this year and
one of the most uneventful.
Maybe it's for you, though: the
sound is a lazy, late-night DJ
playing some cinematic sex-jazz,
soft and funky. The title track is
remixed by Fila Brazillia and
Herbaliser, yeah, I've heard of
Herbaliser, man. This just bores
me no matter how talented I
think the artist is. Perhaps that's
the point of titling this disc
Elevator—as a musical description, if you get my drift.
Bleek M. Nixon
(Secretly Canadian)
This album is wonderful! A perfect accompaniment to a cold
rainy day. This is a compilation
of the work released on  the
duo's   Bluesmaster   I   and    //
albums     (which     were    only
released in a limited run of 200).
Traditional   blues  and  gospel
songs are "slowed to a crawl" in
Suzanne Langille's arrange
ments. Suzanne and Loren are a
perfect match (they have been
married since these songs were
recorded). Both musicians show
a haunting and tragic honesty—
it oozes through Loren's slide
guitar and Suzanne's voice.
Rarely have I heard artists that
can capture the feeling that
made early American folk music
so sad and powerful. This album
is so simple yet amazing.
jay douillard
Elephish Jellyphant
As it Goes
Both of these are indicative of an
hip hop culture. Both are
admirable for how little they
dilute the blood they draw from
rap music's veins. And yet both
rather leave one itching for the
Real thing.
Livehuman are an improvising drums/bass/turntables
trio. They have a similar methodology to The Dylan Group
(simulating programmed breakbeat music with "live" instruments). Although they arrive at
rather more predictable conclusions, there's plenty to savour on
Elephish Jellyphant. The grooves
are sinuous and hypnotic, the
scratching    imaginative    and
There are even some
pretty impressive trips into
abstraction, as on the possible
Miles Davis tribute "Lost
World." At times, the sound is
not unlike Soul Coughing
minus  the   annoying   vocalist.
Which is also true of As it
Goes, a short missive from San
Francisco—boho hip hop central. Of the two discs, this is the
closest to a straight forward rap
release. Having said that, Paul
Crumar's highly personal, laid-
back raps and lush production
aren't exactly hardcore.
In spite of an appearance
from cutting-edge turntablist Rob
Swift, it's hard not to feel selfconsciously arty artists like
Crumar are being outdone by
avant hard b-boys like The
Infesticons and Deep
Puddle Dynamics. A classy
diversion, nevertheless.
Sam Macklin
Attractive Nuisance
Scott Miller keeps his creative
juices flowing over all the years.
Remember   Game   Theory?
Miller knew how to write pithy
and humorous prose back when
more under review
on page 20!
19 ii^gumm ng   c
>. He c
wimpy r
with  The   Loud   Family   to
express joy and silliness in a
pop-rock world, and to make
great pop-rock music as he goes
his merry way, writing funny and
self-depreciating lyrics and using
the talents of a group of cool
musicians for his fantastic backdrop. The man is ageless.
Bleek Warhol
Marshmallow Coasting
How Andy Gonzales'
Marshmallow Coast hasn't
become a cultural phenomenon
is beyond me. He takes the ultra-
poppy, almost twee melodies of
Of Montreal, a band of which
he is a member, fuses it with the
difficult, and often chaotic instrumentation of Music Tapes, of
which he is an occasional member, and builds a sonic amalgam
that is wholly indescribable.
Marshmallow Coasting moves
a hailstorm of instruments (found,
toy, or otherwise) and samples,
then retreats before you ever get
but a spectre of what's going on.
What's more is that despite its
musical   audacity   the   album
heartfelt honesty echoed by the
lyrics. What more could you
godfrey j. Leung, esq.
Stars and Sons
(Teenage USA)
The guitars go "jingle-jingle-jingle," the drums "thumpa-thumpa-
thump." And the vocals? They
go "la la lalala." So the whole
thing about the Mean Red
Spiders is that their album is
pretty boring, seeing as nothing
ever changes. The wispy vocals
and waves of fuzzy guitar that
wash over everything bring to
mind the Jesus and Mary
Chain with a female singer. A
bit more psychedelic, maybe.
Either way, that was so 10 years
Like lots of mediocre albums,
Stars and Sons isn't painful on
the ears, it just kind of flies under
your radar and never registers.
If you took some codeine and hit
yourself over the head with your
shoe, it would probably start to
sound brilliant around track four.
You'd fall asleep by the eighth
song or so and wake up the next
morning chipper and well-rested,
with no memory of the previous
night and a tinny ringing sound
Paul Crowley
You Think It's Like This But
Really It's Like This
Remember the cute girl's voice
on all of the Microphones'
records? Mirah, nee Mirah Yom
Tov Zeitlyn,  has another solo
. Keeping with the
js nature of the Olympia
scene, Phil Evrum from the
Microphones appears throughout the album, as do many other
regulars who I won't bother to
adding lo-fi experimental-
othe rr
st delio
mate songs imaginable. Despite
her long list of collaborators, this
is Mirah's solo album and it's
clearly her show—her frail, hesi-
guitar parts take you back to the
self-doubts you suppressed years
ago. Imagine Lisa Loeb meets
a girl's diary from junior high
meets Skeeter Davis' "The
End of the World" meets K
Records. Remember Maureen
Tucker singing "After Hours" on
the self-titled Velvet
Underground album? That's
what this is like, only it's so much
more powerful because you can
tell Mirah is playing her own
godfrey j. Leung, esq.
People Get Ready
Yes indeed, 'cuz this gang of
soul-stompers from the Big Apple
are taking a big bite with their
full length debut of hip-shakin',
body-quakin', Night-Train takin'
ravers that range from the Motor
City beatitude of "Make My
Way" and "Do It," to the folk-
punk swagger of "My Dear
Persephone" and the straight up
garage strut of "Oh No" and
"Everything's Gone Wrong."
Twelve reasons to hit it or quit
it—or may the Lord strike you
down. Amen, brother, amen.
Bryce Dunn
The Death of Quickspace
Comin' atcha like some frazzled
English Yo La Tengo,
Quickspace's Matador debut,
The Death of Quickspace,
though flawed, is original and
varied ear candy. The album
begins with the fade in fade out
fade in again tinkle of the
"Lobbalong Song." The song
features the desperate, indiscernible wailing of Nina
Pascale, vocals that set the slightly melancholy tone of the rest of
the album. This pale sadness is
strongest on "They Shoot Horse
Don't They" and "Gloriana," the
gorgeous and ghostly midpoint
of the album.
But the album is by no
means gloomy. There's an exuberance to Quickspace.
"Munchers No Munchers"
delights in blips and bleeps,
and, though slightly jarring, the
album closes with a 30 second
punk frenzy.
My one complaint comes
with songs like "Climbing A
Hill." At 1 1 minutes, the song
meanders way too much, something that Quickspace is close to
doing a few times on this album.
Nonetheless,    The   Death   of
Quickspace  is  a   strong   and
accessible album.
Duncan McHugh
(East Side Digital)
Blue Pine
(Global Symphonic)
Two things to make you furrow
your brow nervously and grunt a
baffled "fucking hell!" Two LPs
that are as fascinatingly enigmatic as they are nerve-wrack-
ingly scary. Two fine examples
of gallows wackiness.
The Residents are a
known underground entity.
They've been producing conceptual art rock from behind a surreal cloak of anonymity (giant
eyeballs for heads!) since the
'70s. If nothing else, it's impressive that they've managed to
maintain their artfully contrived
facade for so long.
Not that this collection of
songs based on biblical stories
isn't impressive in itself. A skeletal mix of angular guitar figures,
portentous synths, and
downright psychotic vocals,
Roadworms is a work of truly
alien intelligence. Clearly The
Residents' high-impact image
isn't the only reason for their legendary status.
Less well-known, and admittedly not quite so striking, are
BC's own Blue Pine. Still, they
do have a similar aura of impenetrable Otherness. Whereas The
Residents take rock's architecture
and morph it into a vertiginous
MC Escher sketch, Blue Pine
rough-up rootsy sounds until
they're red-raw and bloody.
This approach is similar to
that taken by The Pogues, The
Bad Seeds, and Vancouver's
own Jerk with a Bomb But
these comparisons don't come
close to suggesting the strangeness of this album (which isn't
even lessened by the appearance of.Carolyn Mark's familiar voice on two tracks). Perhaps
a better parallel to draw would
be with The Fall—insofar as
this record's otherworldliness is
a function of its abrasive vocals
and jarring guitar Strang.
Or maybe I should just mention that they have a song called
"Fur Harness or Let No Beast be
Shackled Lest Doom Fall on All
of Us" and leave it at that.
Sam Macklin
(Blue Note)
I was a straight-up sucker for this
album as soon as I heard the
Marlena Shaw sample which
adorns the first track "Rose
Rouge." Samples are few on
this, the second full-length from
Frances Ludovic Navarre (aka
St. Germain), and they are
used to their full, lush potential.
Most of the music on this CD
HopetWtj Devoted      selby tigers
To You Vof. 3
New cheap priced Kopeks/Sub City
jampfe*. OUT OCT 3*d
unreleased tracks: Samiam, Mustard Plug, The Queers, Against
All Authority, Dillinger Four, Digger, Fifteen, The Weakerthans,
Nobodys, Selby Tigers and Scared Of Chaka also featuring: 88
Fingers Louie, Falling Sickness, Heckle and Funeral Oration
CkaArvt UJty
new cd and Ip out Oct. 17th
1   BfflP
P.O. Box 7495 Van Nuys, CA 91409 www.hopelessrecords.com
W w^m woo s from a live jazz band,
which producer/composer/
arranger Navarre conducts. This
s fully realized
acid jazz/house/hip hop offering than Miles Davis' BeBop,
for example—I can't actually
think of a hybrid album other
than the latter
approaches the l<
' maintains.
Soulful, exquisite jazz. The samples from Shaw (from her landmark live at Montreux recording
of Woman of the Ghetto) and
John Lee Hooker bee
'quotes' in this framework,
informed by the live musicians,
all notable European jt
ers. St. Germain'
informed house-head, I
)uld love it and so gave
;. I do love it, and in seeking
t the relevant info for this
erstand that St.
Germaine released a—dare I
say it?—ser
called Boulevard in 1995 which
paved the way for lots of good,
sexy French electronic stuff from
Daft Punk to Air to gain international glory. I also understand,
from being a good little girl and
reading up on things, that St.
Slue Note
s executed so that the artist
would be free to go boldly jazz-
ward. Ludovic is the best kind of
.t, exploring the authenticity
of each genre and melding them
with ingenuity and understanding. Blues, jazz, house, trip-hop
and hip hop comprise a divi
orgy, ultimately reminding us that
each borrows from the other,
begets the other, becc
other. Could I be any
ten? Oh yeah baby, it
vinyl too.
Left and Leaving
(G-7 Welcoming
You can tell a lot about a band
by the number of fat broads who
listen t-
ently v
greatest city on earth, Winnipeg,
arriving in time to
Weakerthans CD n
ties and, let me tell you, the bulk
e (pun intended)
at both shows was made up of
big girls. And I'm not talking
about the idiots who wrap
jnd the
nipeg's fabulously flabby
' kind who
parade around in tank tops and
skirts, barging their way past all
the skinny little Hemos to the
front of the crowd as if to proclaim a collective "Kiss our fat
asses" to all the fancy motherfuckers
wouldn't give the time of day
because of their monumental
girth. The skinny boys at the
show, there to catch a glimpse of
their poet-hero John Sampson,
had no time for these plump
Ported each
other with talk of the recent
of them got to touch lead
r Kylt
aftig femmes didn't give a
oalls about the skinny boys
- rest of the crowd. There
no embarrassed parents
zines, no diet industry. Nothing
hampered their ability to have a
good time bouncing their hefty
-id the West End
Cultural Center, despite the fact
that the punk rock
to do everything it can to prevent
this kind of thing from occurring
by encouraging the formation of
all-male bands and such decidedly he
pits and dog-piles. Th
Weakerthans, though, someho\
sive atmosphere at their shows
ir bands in the
so even though they've
gone a bit soft for my taste, they
will   always   get   my   nod   of
misleading, as I do actually li
ten to Left and Leaving quite
lot). If a band
kind of space where fat girls
don't need to worry about others
laughing at them while they
dance, then I don't need to think
of bad things to write in my
kick around
■ET    II
# ^mmmm CiTR
101.9 fM
Record played most often on your show:
Reveen's Persuasion and Subliminal Messages Thr
playing it.
Last record all three of you bought:
Britney Spears, Oops! I Did it Again (DJ Premier re
First record spun on your show:
"(These are) The Breaks" by Kurtis Blow.
Dream Guest DJ:
Chris Sheppard.
Greatest record hunt experience:
Digging in a warehouse full of a million records untouched since 1988.
Worst records proudly played on your show:
Anne Murray, Kenny Rogers, Hall and Oates, and various Christian rock
Records These Are the Breaks could not do without:
Anne Murray, Kenny Rogers, and Hall and Oates.
Record you'd never play on your show:
Dan Bacon's Out of the Frying Pan into the Fire Pt. 2 (Scoobie Records).
Favourite show on CiTR:
Is it rude to say your own show? Probably.
Strangest phone call while on air:
The weekly call from the "Fast Talker." •
)ugh Radio. We don't know why
x featuring Mos Def).
mo "iam
mmm am mt mm At ik umm of mom rock a,
wow ii T0D4K m smi sounds as imm vim as his early musihqs
■ BiummMAQfum
v v-Co-o
- "
East Vancouver
Downtown Vancou
3433 E. Hastings St. 298-0464 / Bu
O&O sou no
t. 687-5837 / South Vance
wav439-0223 /Surrey: 1(
732 SW Marine Drive 321-5112
5th. St. 589-7500 /Abbotsford:
22. ^cJ-^£A.  WOO Real Live
Saturday, August 25
The Brickyard
No denying it: the Brickyard was
indeed the place to be on this
particular Saturday night. Didn't
you  read  the write-up in the
I have it on good authority
that part two of the two-pa
Murder City Devil:
release extravaganza
media night, featuring hi
file representatives from the
aforementioned Straight, the
Sun, the Province, and of course,
DiSCORDER\ It took some mad
juggling, but I managed to free
up a slot in the old dayplanner
so I could be there for you, the
people. I won't let you down.
I'm pulling this review
together well after the fact from
none-too-photographic memories, so forgive my potential inaccuracies when I proclaim the
opening band to have been
Red Light Sting   Anybody?
What I do recall and feel c
dent asserting is that, whik
band was unfamiliar, the i
posite faces were not; definiti
local scenesters. Anyway, thei
punk/prog thing lost nr
the third    song, but I will b
keeping my ears open for thei
in the future.
Up   next
Town Animals, featuring (foi
me at least) Chucky c
(formerly of JetSet) and Jeffrey
on    guitar    (formerly   of   the
Disgusteens, occasionally of
the Smugglers). Three letters
will suffice by way of description
for these guys: F-U-N. They v
having it
were all having i
highlight   for   m<
Jeffrey ripped his patch cord in
half and substituted goofy faces
for six-string wizardry. It c
no   surprise  when   I   heard  a
rumour that Mint Records had
just snatched  these guys  up.
Now,   for  one   reason   or
another, or for a combination of
show put on this night by the
Murder City Devils. I remember
having a great time, but that v.
probably more a result of the
combination of all the possible
reasons than of any particular
display put on by any particular
band. Thankfully, I was not the
only DiSCORDER reporter at this
show, so it is at this point that I
hand things over to Julie, our
esteemed Music Director:
The Devils rocked. I saw
them both nights, and unfortunately have to say that they were
better on the Friday. Maybe they
just better because I was
drunker and enjoying a high
point in my friend's stagette
party—she got to d
he kind of just stood
there and looked cor
the Devils!   Spencer and Co.
looking mighty fine and
cibroen kick ib ab bhe brickyard, phobo by chrisba min
were rocking out with tune
and old. Friday's set wa:
of a mix from all three a
while Saturday's served tc
newest album, In Name c
Blood. So it goes. Crowd pai
ipation on both nights was !
lar, with lots of bashing c
smashing and being boy-
and some well-behav
rockas dancing and having the
good times. Both nights were
choice, but Saturday was just
more full of mishaps (anyone see
that stabbing at the Hastings bus-
stop? That put a downer on my
evening). The boys will be back,
they tour like mad, they still light
stuff on fire, and everybody
ought   to   see   them   at   least
,  like
Jamaal & Julie
Wednesday, August 30
Commodore Ballroom
Perhaps one of the most inten
performances l'\
piqued, i
is I've seen in a long
3 with my curiosity
sure what to expect
from the notorious Mark Myrie
(aka Buju Banton). The opening act was local DJ (singer) Jah
Fas, supported by Red-1 and
Kemo of The Rascalz, who
cd  V
"Sounds   Wrong*   £ £ £ ?
a> o cd
_3 E^gSSHS® put on a very energetic and
promising show, weaving in an
out of the dancehall and hip hop
styles. Watch out for him.
Wayne Wonder graced
us with his spectacular voice,
mezmerizing even the ruffest
and tuffest bad bwaai in da
place. In his youth, it was the
thoughtfulness and philisophical
nature of Vonwayne Charles
and his lyrics, which led him to
acquire the name "Wonder."
Performing some of his greatest
hits like "Good Enough," "Movie
Star," "Saddest Day," and
"Bonafide Love," he proved that
his talent extends far beyond the
When Buju hit the stage
backed by the spiritually
charged intro to his new album
"Unchained Spirit," the vibe
hightened. Performing songs like
"Voice of Jah" and "Negust
Negus," which is only available
on 7" single, he captured the
attention of the crowd, especially those who have the impression
that he is a strictly dancehall
artist. The sweet vocals of
Dorrette Wisdom and Juliet
Nelson provided a wonderful
dynamic to the performance.
Supported by the Shiloh Band,
consisting of Basil Gabbidon of
the original Steele Pulse on guitar, highly energetic Prince (Basil
Shirley) on drums, talented Frank
Burt   on    bass,    and    Steven
Marsden on keyboards, they
provided a solid musical foun-
. With his gruff vocals,
ment each other. Don't rr
next time they ro
Oksana Kolibaba
buju banbon ab bhe commdore.
phobo by adam sloan
Better Must Come." Later on in
e ventured into some of
is more popular dancehall cuts
ke "Women Dem Phat" and
Love Sponge." The show ended
nth both Buju and Wayne
inging Reunion, showing just
ow well their voices comple-
Croatian Cultural Centre
A cynic might say I was the
wrong person to review this
show. I don't like Less Than
Jake. I'm not sure why. Their
music is alright, I have a couple
of their CDs,   but  something
Boomtown VAN
102-1252 Burrard St
(davte & burrard}
(604) 893 8696
Zf ^oho*^ -000
^ Boomtown VIC
105-561 Johnson St.
(p«portiox arcade)
(250)380 5090
Kill Your
(Cartoon Books)
I sat down to write my monthly
column, topic already in hand,
and I just couldn't do it. I couldn't get into it. So I got to thinking, what's the greatest thing
about comics? Yeah, writing
md art c
vital, but
importantly?    Hum
large majority of cc
3rld n
jnd laugh-
i: What was
ter. Next questii
the last thing I read that made
me laugh out loud, dying to
share it with someone? Bone.
Written and drawn by Jeff
Smith, it's a story in three parts
with two prequels. Two parts
are done and the third has just
been started. As well, there's
a cartoon movie on the way.
Everyone needs to read this
comic, if only for a wonderfully crafted story that hearkens
to the rollicking adventures
you used to read, play, see,
write, and pretend as a kid.
It's all about the imagination.
Originally I wouldn't read
Bone because it seemed like a
total kid's comic. Then I did a
show about kids' comics, so I felt
it was time to see what the big
deal was. I loved it! Yeah, it's
great for kids, but adults can dig
It's got everything: adventure, mystery, romance, intrigue,
secret identities, and no super-
heroes; just regular people and
The Bones. Oh yeah, and some
Dragons. And lots of bad guys.
I've never laughed so much
while reading a comic. It's a fantasy epic about three cousins
and a princess. Now the cousins
are these things called Bones.
They look like the Pillsbury
Dough Boy without the hat and
with a huge nose. There's Smiley
Bone, the goofy stupid one,
Phoney Bone (the greedy one
who gets all three run out of
Boneville), and Fone Bone. But I
just call him Bone 'cause he's the
best Bone of all.
So they get run out of
Boneville, separated and lost in
this valley. Along the way, Bone
gets rescued by a dragon and
meets a girl named Thorn.
Phoney really irritates the dragon and gets beaten by an old
woman (Granma Ben), and
Smiley ends up working in a tavern. Eventually they all hook up
again, but it's an adventure and
that's only the beginning of the
story. Bone falls in love, Phoney
starts a gambling racket, Smiley
makes a new friend, Thorn finds
out a big secret about her past,
and Granma Ben runs in The
Great Cow Race—with disastrous results. The crazy part? I'm
not even scratching the surface: I
don't want to ruin it for you. It's
Bone, though, are some of the
bad guys. Namely, the rat creatures, a race of really hairy men.
There are two that are usually
shown (they don't have names,
and they all call each other
"comrade," but they are very
easy to recognize), and they
always make me giggle. They're
like the Laurel and Hardy of the
rat creatures, but they can be so
scary. Kingdok, the head rat
creature, creeps me right out. It's
great to be reading a comic and
end up getting so involved. The
only remotely negative thing I
can say about it is it can be a little derivative, and it really is in
fact the perfect mix of the comic
timing of Pogo and the imagination and scope of Tolkien. But it's
a new fairy tale, it's intelligent,
The art is quite cartoony
nd simple, with just the right
mount of detail. I'm surprised
's taken so long to do a cartoon
lovie. (Smith just finished work-
ig on it, so it should be out in
summer 2001.(Smith's style is
very clean and stylish. Fluid
and well-paced, like the story.
The expressions on the faces
are all natural and believable.
Remember the rat creatures—
cuddly and silly one moment,
scary and creepy the next. The
panel layout also has excellent
comic pacing and is very
panoramic and beautiful. One
warning for parents: it's one of
those black and white comics.
Kids usually like colour, so let
them colour it. (Tee hee, you
are all appalled.) It's such a
great story that you shouldn't
let lack of colour hinder you
from reading it.
Anyway, there are six
books so far and one mini-
series [Stupid, Stupid Rat
Creatures). As well, Charles
Vess is currently doing the art
in a story written by Smith.
Called Rose, it's about Granma
Ben when she was younger. The
first issue should be coming out
in the next couple of weeks. It's
a good place to start if you find
six books a little daunting. It's in
full colour, and Vess is the quintessential fantasy artist. I've seen
some of the pages, and they are
glorious. There are tons of toys,
big inflatable dragons and gorgeous statues out there for the
serious collector. Get your kids
hooked on a trend that quotes
Moby Dick and won't leave you
poor with a basement full of
long forgotten toys. They'll take
them when they move out, that's
how cool Bone is. Give it a try.
You will love it, your kids will
love it, anyone you give it to will about them just pisses me off.
Couldn't tell you what. Maybe
the legions of screaming pre-teen
fans? Possibly. Anyways, I don't
like Less Than Jake.
Zebrahead was a logical
choice as openers. They play the
sort of wussy pop punk that is
usually combined with ska,
except this band combines it
with rapping. The band went
over well, but I don't think I need
to tell you I didn't like it.
The Ataris were the real
reason I went. I like this band.
They play relatively wussy pop-
punk about girls, but well. They
went over very well. The singer
has honed his crowd-workin'
skills. He strove for KJ Jansen
comparisons. While they did
play well and featured ex-Good
Riddance drummer, the braided Sean Sellers, the Ataris lost a
lot of footing in my esteem. Jym
bet me a dollar their next album
would be on a major label. I
wouldn't take the bet.
Less Than Jake, now. This
band has zero element of metal
in its ska-punk sound, but has
embraced the metal image with
passion. The intro to their show's
from Ozzy Osbourne's 1981
live show. Iron Maiden-ironed
t-shirts. Horrible '80s metal hair
wigs. Multitudes of kids giving
the "metal sign."
I'll tell you what: I love
metal. Sincerely so. I can't fucking stand seeing all these kids
giving the "metal sign" anymore.
It ain't cute. It ain't funny. Less
Than Jake is not a metal band.
Music wise, Less Than Jake
Same set, same exuberance.
They're still making guys dance
and shoot confetti, giant flame-
licked banner in the background. Their music's alright. I
couldn't wait to leave. If I hadn't
been on DiSCORDER's nickel, I
might have left the minute they
turned on the giant banks of
blinding lights flanking the stage.
I might as well have.
At $17.50 a pop, the knowledge that I got $140 worth of
people in free eased some tension. As did fantasizing about
lining up all the kids on the way
out to chop off their index and
pinkie fingers.
Trevor Fielding
Saturday, September 2
The Commodore
Editrix is my new roommate and
I've committed a faux pas: last-
minute handing-in of reviews. It
is my hope that we'll be able to
keep the office politics in the
office. She'll forgive me, though,
'cuz I bleached the whole moth-
afucken   bathroom   last  night
while she slept.
Anyway, on with the matter
at hand. Think back... way back
to September 2nd. That
September anticipation thing
was in the air as the line at the
Roxy grew huge, and frat boys
prowled up and down Granville.
Who'd have thunk that they'd be
heading to the Commodore to
see the Northwest's finest
export? Well, I guess that the
fanciest venue in town would
attract the fancy boys. Sadly,
though, their finishing school
and elocution lessons didn't stop
them from pushing their way to
the front and trying to mosh like
to match. It was only when Kia
did some freestyling that the
crowd mustered any response.
Sleater-Kinney didn't
seem to be at their peak. Songs
from their brand-spanker All
Hands On the Bad One weren't
as well-received as their older
,. The s
s bad a
the crowd riotous at times, but
you gotta give respect 'nuf to
Carrie and her guitar. Her
moves are just so... sex. The fact
that the sound sucked ass barely
mattered  when  you   watched
hair hits the floor. Hit the kick
drum like a pussy, like your leg
just came out of a cast and has
no muscle anymore. Point your
finger all of the time. Get a bad
haircut. Go on a Mick Jagger
diet to get his figure and copy
his dance moves. Don't forget to
have crappy songs, too.
How to Rock (like The
Come Ons do): Sing like you
mean it. Hit the kit so hard that
you might crack cymbals, snap
sticks, and rip skin. Stand up
and sing when drumming, while
circa now: bhe mooney suzuki ab the brickyard,
phobo by casey b.
we were at a Temple of the
Dog reunion tour.
Pepper Sands were boring. If you like the music, respect
'nuf and  all,  but really,  they
To my absolute joy, MC Kia
Kadiri followed the Matthew
Good Sands. Indie rock kids can
be so annoying though; just
standing stoically with arms
crossed and head not moving. I
just know beneath those tight
s lie
s that v
shake and be let loose. It wants
big pair of pants and an attitude
moves and you've got a scene
from American Beauty.
Aryan Shaw
Wednesday, September 14
How to Suck (Mooney Suzuki
Style): Talk with a fake rock
accent (like a Gospel preacher
from Britain with a speech
impediment). Be flexible—sit on
your heels, guitar between your
legs and lean back until your
you're at it. Grow calluses like
thimbles and do push-ups with
your finger tips. Then you can
dig into your strings like your fingers are shovels so your bass
gets tired before you do.
Synchronize heart beats with
your band mates so your timing
is impeccable. Play songs that
are good 'n' catchy. Go to the
next Come Ons show and try to
copy what they do. Or just go to
see a kicking mother of a local
Christa Min
Saturday, September 16
Ridge Theatre
Five bands in the auditorium
backed  by film clips,  an art
exhibit in the lobby, and a liquor
license made the Ridge feel like
someone you know at a masquerade ball—familiar but different. We were here for "an
Dada tradition" presented by
David Yonge, the artist also
known as Yellowboy. History has
it that such evenings were anarchic cabarets whose acts would
proceed in solemn order but
whose outcomes were anybody's guess. There was some
unexpectedness at the end of this
one too, but more on that later.
Between sets, I enjoyed
Yellowboy's art immensely. The
names of the paintings and
installations rattled my imagination as much as the works themselves. I was very sorry to have
missed Yonge's own band, the
Mexicancarpet salesmen
shows start on time?) and will try
to atone by catching their next
Of all the bands I saw that
night, the Merkins integrated
with the stuff on screen most
effectively. Performing against
vintage test patterns and spinning film leader countdowns,
they were loud, fuzzy, and
melodic, and the whole picture
was a pleasing piece of art-
looking down onto a Metropolis
Next came the ever-demure
Satina Saturnina. The boys in
provocative in their chorus girl
clobber, and when Satina herself
arrived and stripped off her
fluffery to reveal a black crotch
harness, the band got down to
business. As the guitars stretched
out into reverbland, I closed my
eyes and imagined that Patti
Smith was fronting Dick Dale
,   but
rather  pretentic
because she seems to know it
and doesn't give a fuck.
And then, oh joy, Unclean
Wiener. The duo wreaked petulant, po-faced havoc, and the
percussion never stopped. It
went on and then sprayed. Fizz,
fizz, chug in perfect rhythm until
the stage was obliterated in a
cloud of whatever those things
chuff out. The guitarist joined her
at the end of the number and
turned it all Gregorian. Madly
perfect. A fan is born.
Jack Tripper was to go on
after the break, but alas, the
evening turned into a pumpkin.
According to zoning by-laws the
plug had to be pulled at one
o'clock, and it was already a
quarter to. What a gaping letdown. We hung around for a
bit, kvetching about the screening bureaucrats at City Hall and
how this would never happen in
Europe, yada, yada, dada.
Which reminds me—god knows
how the Zurich scenesters in
1911 would have handled
being shut down  before they
Penelope Mulligan
Saturday, September 16
Commodore Ballroom
Forgive me Jah, for I have
sinned. After only a few songs, I
ducked out of a performance by
your chosen son—Winston
Rodney, aka the Burning
Spear. But it wasn't for the lack
of good music. No, as you'd
expect from a reggae legend of
thirty-plus years, the music was
great. Mr. Spear truly is a music
man of no contemporary equal.
At sixty-odd years of age, he still
attacks the bongos with youthful
vigour. He still sings in a silky yet
commanding baritone. And he
still prances mightily above his
audience like Cassius Clay
above Sonny Liston. So it wasn't
the performance that set me
walking. I suppose it could have
been the unsettling mixture of
Carib beer and Jamaican patties
in my belly. Or it could have
been the nauseating introductions by the dorky white MC
dressed in full red-gold-and-
green "Out of Africa" regalia ("I
told my friend that I was going
to see the Spear tonight, and he
asked "Britney Spears is in
town?"). Or maybe it was the
fact that whenever Winston
Rodney threw out a spontaneous
cry of "Rastafari!", all the white
Roxy-types cheered like they
actually gave a shit. Still, it could
have been the supporting vocalists from the opening band; I
mean, they looked like some of
the WASP-y women from my
Mom's sewing circle, and they
were singing "We've got to get
back to Babylon!" Most likely,
however, I've just got a bad attitude. So I apologize to all you
reggae fans out there. I came up
short. I will stick to punk reviews
from now on. That is, unless
Bad Brains does a reunion
tour, in which case I'll get the
best of both worlds.
Jamie Maclaren
Saturday, September 16
It's never good when there are
more people outside a venue
than inside, and many a diehard fan gave up on this show
before making it in. Too bad for them, though, as this show was
one of this year's highlights.
New   Hedron   sounded
good from the wrong side of the
door. Citroen sounded even
better on the inside. This band is
so fantastic, I wish they played
more often. The catchiness of the
songs got the small crowd pretty
hyped, and the guitar rock
anthems played remain in my
memory still.
Destroyer    rocked    the
favourites. Dan Bejar proves that
good songwriting shines brightly   above   all   else,   and   new
albums will rule. Love local!
Julie C.
Monday, September 18
It's the third week of school, and
I've already been bombarded
with tons of work. The big game
plan was to go straight to the
library after school and finish all
poet/actor/emcee Saul
Williams. I got sick. I needed
to take some drugs and rest. This
was not in the plan. I was tired,
cranky, indecisive, and a bit disoriented. Should I do homework,
get some rest, or see Saul? Last
minute I decided to go. Please
be a good show.
Sonar was packed. If you
didn't have a ticket and didn't
get there early enough, you'd be
sent away. The crowd was
diverse, man, from the hip hop
and spoken word scenes in
Vancouver. By midnight the show
began with the opening artist, a
woman named Peace from
Seattle, who performed a political piece dealing with her interracial background. It was then,
as her first lines were performed,
that I knew I had made the right
choice in coming down. This is
what we were all here to see:
spoken word that entertains, provokes thought, and inspires.
this man, hanging on to his
every word as they stood there,
silent, allowed the full intensity of
his piece to penetrate our minds.
He then did a full 360 and performed spoken word and rock
with his impressive six-piece
band. The band, impressive on
its own, consisted of a kick-ass
guitarist, a cellist, a violinist, key- .
boardist,   drummer,   and   DJ.
words impacted our minds the
bass filled our bodies with the
same kind of intensity. During the
breaks between numbers Saul
would address mainstream vs.
underground hip hop and how
resisting to bring music to the
mainstream is not necessarily a
good thing. There were covers of
songs, including "She's Out of
My    Life,"    an    homage
bhe come ons school us ab bhe brickyard, phobo by chrisba min
with the words embedded in my
mind and   music  still  flowing
though my veins.
Saturday,  September  23
Gibson's (Seattle)
First off, this venue is a lot like
the Pic—cozy to the point of sar-
de but
dine can intimacy,
effective sound, and ripe
cigarette smoke and beer.
Definitely the right atmosphere
for this show. That said, an all-
female four-piece called The
Bad Apples took the stage first
and made good use of their
opening slot status by shooting
off salvos of catchy, Elastica-
meets-Dishrags punk pop. A
couple of select covers by
Cheap Trick and the
Buzzcocks   and   they   were
I'm sure most people in
Seattle know this already, but the
Briefs are poised like matches
just waiting to be lit. Judging
from the crowd reaction, the fuel
City (who now actually reside in
Portland). Three years of waiting
to see Scared of Chaka again
paid off, and from the opening
chords of "Rose Rose" it was all
smiles, pumping fists, and sing-
a-longs. Guitarist Cisco was
fending off a microphone that
just didn't want to stay put, but
he still managed to bash out
chords with finesse (okay,
maybe it was just blind fury
since he was celebrating his
birthday and was bombed from
the word go). Drummer Ron was
barely able to play—due to the
fact that either his kit kept getting
knocked  over or run  into by
bers—but he took a turn on the
mic for a Drags number which
was very cool, and new bassist
the los
stage and performed a piece
which was familiar to some from
his film Slam. Watching the sea
of hundreds of people focus on
"Turn down the bass and tur
the mic!" shouted the audi
in response to the surg
sound. "Sometimes you ha-
be loud," refuted Saul. Just c
jp Michael Jackson, whom we
:e learnt paid Saul's way through
of Harvard University. I was glad I
to went to this show, as was every
lis other person there. I left Sonar
was in overabundance. These
guys consistently put on amazing
shows; they have all the right
ingredients, from their impeccable taste in clothing to their unbridled energy to their knack for
writing songs that stick in your
head for days after. One of my
favourite bands right now for
But the whole reason for the
trip down south laid in the hands
of three gentlemen from Duke
rumble. They covered a lot of
ground song wise, with stuff from
the past like "Submarines," "I
Must," and "Automatic," current
material from their album on Sub
City like "Tired Of You, Sick Of
Me," "Monsters," and "Time's
Up," and even a new song
which will be out on a 7" in
October on Empty Records. It
was a beautiful mess of punk
rock, dog piles, and sweat. The
drive home proved effortless and
adrenaline-fuelled. The end.
Bryce Dunn
Tuesday, September 13
Railway Club
The first night of Shindig really seemed to me to be a giant question
mark. Coupon was one guy (joined, on the first song, by a clapping
friend) playing sweetly warped, countrified acoustic songs on guitar
and harmonica. His voice broke now and again—cute. My sole complaint: harmonica sounds pointless when played by amateurs.
The Dollarstore Jesus rocked a little harder. All the band
members seemed to have a relatively high level of expertise. Though
I remember what the band looked like, I am seriously struggling at
this moment in time to recall anything about their sound. I know it was
kind of unexpectedly good.
Joel is the angry young man who wound up winning. Ripping
the strings out of your acoustic guitar seems to be a crowd-pleaser.
Personally, I didn't find his set that intriguing, but whatever. A par-
:ularly bad and si
Dr. Stupid
jnd of Jokes for Beer sent my apathy o
Victory Gin get the starring role in my forthcoming made-for-TV
movie, When Snowboarders Start Bands. High-pitched vocals contrasted oddly with their muscular radio-friendly pop rock. Although
Victory Gin played their instruments rather better than either of the
other bands, their whole vibe was a little too Whistler.
Dr. Stupid
Tuesday, September 26
Railway Club
Les Paul vs. Fury: Canada wi
Fender Precision vs. Trc
Bean. Hanc
,. Fury. "No cor
s Bean: Alum
Tuesday, September 20
Railway Club
Amarillo Stars played a completely unobtrusive set of acoustic
songs. This year's Shindig seems to be following a pattern. I drank a
beer and carried on a loud conversation instead of listening.
The Cinch had the victory in the bag from the word go. Lady
instrumentalists, Velvet Underground influence, natty '60s-ish
clothes. And some good songwriting and enthusiastic (if simple) play-
day. It's the
ands down. Transvestimentals vs. Engine of the
Future: Cross-dressers or white guys in patterned shirts? Trash rock
or cheese funk? Gibson against Gibson. It's a tie.
Trail Vs. Russia: Imagine there was a time. Calculated chaos.
Rock. Hard. Shellac with 33% less testosterone. Fury and T-Bean.
Trail Vs. Russia is the clear winner.
Christa Min
Joel, The Cinch, and Trail Vs. Russia
go on bo bhe semi-finals!
Join us Tueday nighbs ab bhe Railway
Club bhis Ocbober for Round 2!
26 W-o*^ 2000 CiTR
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, "October" charts reflect air-
play over September). Weekly charts can be received via e-mail. Send mail to
j "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*
October long vinyl
October short vinyl
October indie home jobs
1 beans
2 st. germain
3 twilight circus dub...
4 ekova
5 lily frost
6 nomeansno
7 kingpins
8 kinnie starr
9 murder city devils
10 mooney suzuki
11 up, bustle and out
12 pram
13 weakerthans
14 ursula 1000
15 pole
16 isotope 217
17 kid606
18 huevos rancheros
19 senor coconut
20 les sexareenos
21 oval
22 de la soul
23 Jurassic 5
24 tahiti 80
25 olivia tremor control
26 sunshine fix
27 transom
28 herbaliser
29 super furry animals
30 chixdiggit
31 v/a
32 Vancouver nights
33 mice parade
34 black heart procession
35 underworld
tired snow
dub voyage
soft breeze...
plan of action
tune up
in name and blood
people get ready!
six degrees
alt.  tentacles
violet inch
sub pop
rebel radio sessions ninja tune
museum of imaginary... merge
left and leaving g-7
all systems are... 18th st lounge
3 matador
who stole the... thrill jockey
down with the scene ipecac
el muerte del toro mint
el baile alaman emperor norton
live! in the bed sftri
ovalprocess thrill jockey
art official intelligence tommy boy
quality control interscope
puzzle minty fresh
singles... emperor norton
future history of... kindercore
red line thrill jockey
session one dept. h
mwng flydaddy
from scene... honest don's
powerpuff girls comp. rhino
s/t endearing
collaborations bubblecore
three touch  and  go
everything, everything        v2
1 frumpies
2 gene defcon
3 riff randells
4 vice principals
5 radio berlin
6 unwound/versus
frumpies forever     kill rock stars 1
liz                                     lookout 2
s/t                                          mint 3
wolfman amadeus jackboot    junk 4
heart of industry   reassemblage 5
split                           troubleman 6
7 bis/apples in stereo powerpuff girl
rhino   7
8 shut ups
9 tristeza
10 various artists
11 big john bates
12 mooney suzuki
13 int'l strike force
14 brassy
haul off and smack your ass junk 8
are we people tiger style   9
patty duke covers top quality r'n' r 10
vibro psychotic nearly nude 1 1
s/t telstarl2
treat yourself slampt 13
work it out
15 a. sparrawk/charlesallas split
16 maulies
17 valentine killers
18 grandaddy
19 electro group
20 bartlebees
on holiday with.,
let it burn
crystal lake
line of sight
flight fright
star star stereo 15
hub city 16
omnibus 19
magic marker 20
nasty on
panty boy
victory gin
amarillo stars
new hedron
squares elite
bad apple
jay a. beck
bel riose
river rats
les saints
dragon   style
hit summer (summer hit)
sea hag
train robbery
heart X 50' woman
the cave (epic length)
■nyself at the supermarket
el paso
the heathens are happier
heap wonder
run santa run
around the capital
green card marriage
life    is    rough
the notion
baby, yer a troll
ta mere
put  a  shirt  on
*&* f|
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DEAD        ART: OCt. 31
LINES        STREETS: nov. 3
dial ms. hancock for the hookup:
604.822.3017 ex.3 On The Dial
9:00AM-12:00PM    All of
time is measured by its art. This
show presents the most recent
new  music  from  around  the
world. Ears open.
3:00PM  Reggae inna all styles
and fashion.
3:00-5:00PM    Real-cowshit-
caught-in-yer-boots country.
alt. 5:00-6:00PM British pop
music from all decades.
SAINT   TROPEZ    alt.    5:00-
6:00PM     International     pop
(Japanese,    French,    Swedish,
tish,  US,
3nd lounge. Book y<
set holiday now!
QUEER   FM       6:00-8:00PM
Dedicated to the gay, lesbian,
HELLO INDIA    8:00-9:00PM
GEETANJALI   9:00-10:00PM
Geetanjali features a wide range
classical music, both Hindustani
and Carnatic, popular music
from Indian movies, Ghazals,
Bhajans and also Quawwalis,
THE     SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl. With your hosts Mr.
Rumble, Seanski & J Swing on
the 1 & 2's.
2:00AM   Time to wind down?
Lay back in the chill-out room.
Trance, house, and special guest
DJs with hosts Decter and Nasty.
VIBE 2:00-6:00AM The Sunday
Night Vibe bringing you the very
best in funky and vocal house
spun live by your host Delacey.
For the true house lovers out there
this is the place to be.
8:00AM  Spanish   rock,   ska,
BROWNS    8:00-1 1:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights! Tune in
and enjoy each weekly brown
plate special. Instrumental,
trance, lounge, and ambience.
alt. 11:00- 1:00PM
GIRLFOODalt. 11:00-1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt fullfills all your
sfeminist needs.
EVIL VS. GOOD 4:00-5:00PM
Who will triumph?
Hardcore/punk from beyond the
6:00PM Join the sports department to hang out with Wener, the
Freight Train and the 24 Karat
SOUPE DU JOUR alt. 6:00-
7:30PM Feeling a little French-
impaired? Francophone music
from around the globe, sans
Celine Dion.
9:00PM Formerly "Love Sucks,"
BY THE WAY alt. 7:30-9:00PM
I don't know what I'm up to any
more. I play lots of odd German
demo here and there. Go figure.
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 1 1.
Oct.2: Drummer/leader Chico
Hamilton and his quintet with the
great Eric Dolphy..."The Original
Ellington Suite".
Oct.9: Canadian-born trumpeter/composer Kenny Wheeler
and "Music For Brass Ensemble
And Soloists".
Oct. 16: Guitar master Kenny
Burrell and his All-Stars with
pianist Horace Silver and tenor
great Hank Mobley.
Oct.23: Overlooked and underappreciated alto saxophonist Sonny
Criss won't be after tonight's feature as we celebrate his music
and birthday.
Oct.30: Trumpet giant Clifford
Brown would have been 70
today-we acknowledge his greatness   with   "Max   Roach   and
Clifford Brown at Basin Street".
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
Bluegrass,old-time music and its
derivatives with Arthur and "the
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Put your
hands together for the rock V
roll riot! Put your hands together
for the rock V roll riot! Let's go!
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only
industriaklectronic-retro-goth program. Music to schtomp to, hosted by Coreen.
alt. 11:30 AM-1:00PM
2:00PM Music and poetry for
te££ae Vnfcup
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pacific pichin"
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Leo Ramirez
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The BkowMS
end of the world news
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are you
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f mm meat
T*e Northern Wish
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trSe cote 'n
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soulsistah radio
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Black Noise
stand and be cunted
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electric avenues
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Queer FM
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Hello India
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The Show
Aural Tentacles
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10 I
10 I
ZS W^-e/c WOO 4:30PM Featuring That Feminist
Collective from CiTR.
(last Tuesday of each  month)
10,000 VOICES 5:00-6:00PM
Poetry,   spoken  word,   prefor-
FLEX    YOUR    HEAD    6:00-
8:00PM Hardcore and punk
rock since 1989.
9:00PM Greek radio.
alt.      10:00PM-12:00AM
alt. 10:00PM-12:00AM Phat
platter, slim chatter.
3:00AM Ambient, ethnic, funk,
pop, dance, punk, electronic,
and unusual rock.
FILL-IN 3:00-6:00AM
EEP OPP ORK 6:00-7:00AM
7:00-9:00AM A perfect blend
of the sublime and absurd, with
your refined and exotic hosts
Jack Velvet and Carmen Ghia.
FOOL'S     PARADISE     9:00-
10:00AM Japanese music and
10:00AM-12:00PM   Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM
THE SHAKE 1:00-2:00PM
RADIO FREE    PRESS     2:00-
3:00PM Zines are dead! Long
live the zine showl   Bleek presents the underground press with
articles from zines from around
the world.
Motordaddy, repeat."
6:30PM Info on health and the
environment, consumption and
sustainability in the urban context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
FILL-IN 6:30-7:30PM
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things.
9:00PM Independent and inno-
ex-host of Little Twin Stars.
FOLK OASIS   9:00-10:30PM
The rootsy-worldbeat-bluegrass-
polka-alt.country-cajun-con junto
show that dares call itself folk.
And singer-songwriters too.
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
12:00-3:00AM Mix of most
depressing, unheard and unlis-
tenable melodies, tunes and voic-
6:30-8:00 AM
11:30AM Phone-in marriage
proposals encouraged.
11:30AM- 1:00PM From
Tofino to Gander, Baffin Island to
Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE & MIKE 1:00-2:00PM
Crashing the boys' club in the
pit. Hard and fast, heavy and
slow. Listen to it, baby (hard-
2:00-3:00PM Comix comix
comix. Oh yeah, and some
music with Robin.
REELS TO REEL alt. 5:30-
6:00PM   Movie reviews and
7:30PM No Birkenstocks, nothing politically correct. We don't
get paid so you're damn right
we have fun with it. Hosted by
Chris B.
7:30-9:00PM The best in
roots rock'n' roll and rhythm and
blues from 1942-1962with your
snappily-attired host Gary
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11.
1:00 AM
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
8:00AM   With   DJ  Goulash.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
10:00AM-12:00PM Email
requests to djska_t@hotmail.com.
12:00-2:00PM DJ Splice,
A.V. Shack and Promo bring you
a flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
Essays, poetr
SHITMIX alt 12:00-2:00AM
The Shitmix council convenes
weekly. Chairman: Jamaal.
Correspondents: DJ Marr, the
delicious yet nutritious Erin, DC.
Cohen, the Rev. Dr. K Edward
Johnson and Wine-Jug Hutton.
brings you the best
12:00AM Hosted by DJ Noah:
techno, but also some trance,
acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more.
h  o r
3 a d  .
3:00-6:00 AM
8:00AM-12:00PM Studio
guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
Vancouver's only true metal
show; local demo tapes, imports
and other rarities. Gerald
Rattlehead and Metal Ron do the
5:00PM From backwoods delta
low-down slide to urban harp
honks, blues and blues roots with
your hosts Jim and Paul.
8:00PM Extraordinary political
research guaranteed to make
you think. Originally broadcast
on KFJC (Los Angeles, CA).
SOUL TREE alt. 10:00-1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul
music to the nth degree.
PIPEDREAMS alt. 10:00-
1:00 AM
TABLETURNZ alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I free
da jazz..." Out.—Guy Smiley
8:30AM Hardcore dancehall
reggae that will make your mitochondria   quake.   Hosted   by
Black radical perspectiv
can't take the heat listen to Z95.
3:30-5:00PM Please keep on
rawkin in the free world and
have a good breakfast. Roc on,
Nardwuar and Cleopatra Von
NOOZE & ARTS 5:00-6:00PM
9:00PM   David "Lov<
v and old
"nba, bossa
around the
mm mm®
Wake Forest
Matthew Presidente
Nicely Nicely
'II   1
f kV?
\^#>M    Spin-Offs
Flophouse, Jr.
Witness Protection
Babblefish X
Brother Twelve
shite     l^^^^J Jp|^
SS AVOllE .Ist
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the hive
£9 ELggSaSiMB Datebook
FRI SEPT 29 Critical Mass Bicycle Ride@Van. Art Gallery, 5pm;
Huskavarna, Dismissal, Vitamin Voodoo@Colbalt; Clumsy Lovers,
Trip@Starfish; Veal@Cap College; Stir, Tonic@Commodore; Shannon
Moore@Marine Club; DJ Competition@Sonar
SAT SEPT 30 Building Press, Betty Ford, the Chafed@Colbalt;
Buddy, Julie Miller, Emmylou Harris@Commodore; Necessary Pieces
2 release party@Sonar
SUN   OCT    1    Minimal   Effort,   Yesterday's   Clash,    Healthy
Scratch@Java Joint (all-ages); Neil Young,Beck@GM Place; The The,
PJ   Olsson@Commodore;   Billy  Bragg   and   the   Blokes,   Sarah
MON 2 Hard Rock Miner's Singlalong @ Railway; Bad Religion,
Religion@Croatian Cultural Centre (All-Ages);   Misfits, Speedealer,
Guy   Smiley@Richards   on   Richards;   WED   4   Burt   Neilson
Band@Starfish;    CiTR    PRESENTS    THE    FUNKTION:    DJ
ARIEL@CHAMELEON; Matriarch QB, Sassafras@Purple Onion
THUR 5 Punk Rock Bingo@Colbalt; Arthur Funkerelli@Purple Onion
FRI 6 Slush@Colbalt; Roscoe P. Coltrane, Splitting Adam, Fan Tan
Alley@Starfish;    Jack    Tripper,    Mia    Sheard@Railway;    Dar
Williams@Richard's; Toshi Reagon@Rogue Folk Club; Swollen
SAT 7 Victorian Pork, The Hextalls, Wretch@Colbalt; Push Button
Automatic, Heriophant, Hifi, Brian Nerry, Mary@Railway; The
ltals@Commodore; Face to Face,   Saves the Day, Sum@Graceland
SUN 8 Commotion, Shannon Moore@Richards; Fear@Brickyard;
Patty Larkin@W.I.S.E. Hall
MON 9 Bolts of Fiction feat. Clint Burnham, Jamie Reed, Open
Mic@El Cocal Restuarant, 7:30pm; David Wilcox@Commodore;
Danielle French, Leslie Alexander, Linda McRae, Nadine Davenport,
Shelly Lennox@Railway Club
TUES      10     CiTR PRESENTS      SHiNDiG!:      MATTHEW
PRESIDENTE, NICELY NICELY, TBA; Moe@Richard's on Richards
CHAMELEON; Steve Dawson,Doug Cox@Silvertone Tavern
attention    datebook.    ueadlih
November issue is October 25th!
Amsterdam Cafe  302 W. Cordova St. (Gastown)
Anza Club  3 W. 8th Ave.   (Mount Pleasant)
Arts Hotline
Bassix  217 W. Hastings St. (at Cambie)
Backstage Lounge   1585 Johnston   (Granville Island)
Beatstreet Records 4323 Main or 712 Robson (Upstai
Black Dog Video 3451 Cambie St.
Black Sheep Books 2742 W. 4th Ave.   (at MacDonald)
Blinding Light 36 Powell St. (gastown)
Boomtown  #102-1252 Burrard (at Davie)
The Brickyard  315 Carroll St. (gastown)
Cafe Deux Soleils  2096 Commercial  (the Drive)
Cafe Montmartre        45 Main St. (Mt. Pleasant)
Cambie  515 Seymour
Caprice Theatre 965 Granville  (Granville Mall)
Cellar Jazz Cafe  3611 W. Broadway (downstairs)
Chameleon Urban Lounge 801 W. Georgia (Downtown)
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC)
CN Imax Theatre 999 Canada Place
Cobalt Hotel 917 Main St.
Columbia Hotel  303 Columbia   (at Cordova)
Commodore Lanes  838 Granville St.   (Granville Mall)
Concrete Jungle 1217 Pacific Boulvevard
CNB Skate and Snow  371 2 Robson St.
Cordova Cafe  307 Cordova St. (Gastown)
Croatian Cultural Centre 3250 Commercial Dr. (at 17th)
Crosstown Music 51 8 W. Pender St.
DANSpace 1622 Franklin (East Hastings)
Denman Place Cinema   1030 Denman St.   (West End)
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St.
DV8  515 Davie St.   (downtown)
Fifth Avenue Cinemas  2110 Burrard   (at 5th)
Firehall Arts Centre  80 E. Cordova   (at Main)
Futuristic Flavours 1020 Granville   (downtown)
683 7200
876 7128
684 2787
689 7734
687 1354
i) 708-9804
873 6958
732 5087
878 3366
893 8696
685 3978
254 1195
666 6666
684 7757
683 6099
738 1959
669 0806
682 4629
685 2825
683 3757
681 1531
669 0866
682 5345
683 5637
879 0154
683 8774
683 2201
662 3207
682 4388
734 7469
689 0926
872 2999
I Tumbao@Commodore
SAT 28 Creepy Crowlies, The Rocketfins, Ani Kyd@Raifway; Animal
lnstincts@Beatty St. Armouries
SUN 29 Wide Mouth Mason@Commodore
MON 30 Powerclown, Dog Eat Dogma & Nunstalker@Colbalt
WED NOV 1 All Saints' Day
1 THUR NOV 2 Headstones w/ the Unband@Commodore
THURS 12 DJ Anit, Christopher Schmidt, Angel@the Drink; Rymes
with Orange@Richard's
FRI 13 She Stole My Beer@Starfish; Making Video 'In': Book
Launch@Video In, 8pm; Eugene Ripper, Jonathan Inc., Radiogram,
The Hard Rock Miners@Railway; 54-40@Commodore; Stephen
Fearing® Cap College; Los Mocasos@Sonar
SAT 14 Eugene Ripper, Peppersands, Waltz Darling, The Royal
Grand Prix@Railway; Earth Dance@Beatty St. Armouries; Deftones,
Incubus, Taproot@PNE Forum; Michael Kaeshammer@Centennial
Theatre; M. Doughty@Brickyard;The Evaporators, The Riff Randells,
Kong Kordene@Pic Pub
SUN 15 Fear@Brickyard
MON 16 The Herbaliser, Shades of Culture@Sonar; Treble Charger
WED 18 Richard Buckner, Eric Hayward@Starfish;
THUR 19 Jack Assassin, Ani Kyd Band, Sarah Cheevers@Starfish;
Good Riddance@Grandview Legion; Lily Frost@Performance Works
FRI 20 Paperboys & Flannel Jimmy@Starfish; Zubot & Dawson@Cap
College Perfoming Arts Theatre; Ray Condo & the
Ricochets@Railway; Danko Jones, Tricky Woo@Brickyard; Unified
Theory, V.A.S.T.@Richard's; Speedball Baby, The Horrors @Pic
SAT 21 Fred PennerOCentennial Theatre
SUN 22 Fred Penner@Centennial Theatre
MON 23 Kathryn Wahamaa, Belinda Bruce, Lori Cullen@Railway;
Fat Lip@Sonar
WED 25 Lori Cullen, The Bell Jar, Coal@Railway
THUR 26 Godspeed You Black Emperor, Mecca Normal, The
Beans@Vogue; Gob@Virgin Megastore; Andy Stochansky, Danny
Michel@Railway; Capilano Review Fall 200 Launch: Clint Burnham,
Tea Bowering, John Newlove, Anne Stone, bill bisset@Anza
FRI 27 Real Kidx, The Pinkz, The New Town Animals @Pic Pub;
Eliades     Ochoa     Y     el     Cuarteto     Patria,     Grupo     Jazz
F.W.U.H.  Beatty 552 Beatty St. (downtown)
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings St.  (downtown)
The Grind Gallery 4124 Main St.  (Mt. Pleasant)
Helen Pitt Gallery 882 Homer (downtown)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main St.  (Mt. Pleasant)
Java Joint 10729 King George Highway (Surrey)
Jericho Arts Centre   1600 Discovery  (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
Lava Lounge 1 176 Granville St. (downtown)
Lotus Sound Lounge 455 Abbott St.   (Gastown)
Lugz Coffee Lounge 2525 Main St. (Mt. Pleasant)
Luv-A-Fair   1 275 Seymour St.   (downtown)
Mesaluna   1926 W. Broadway
Minoru Pavillion  7191 Granville St. (Richmond)
Motherland Clothing 2539 Main St. (Mt. Pleasant)
Moon Base Gallery  231 Carrall St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records  5750 Fraser St.
Orpheum Theatre  Smithe & Seymour  (downtown)
Otis Records 1 176 & 1 340 Davie St. ( west end)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards  (downtown)
Paradise Cinema  919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville  (Granville Mall)
Public Lounge Eatery 3289 Main St. (Mt. Pleasant)
Puff Pipes 4326 Main or #14-712 Robson
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
687 7464
822 2678
822 9364
322 6057
681 6740
738 3211
873 4131
588 5282
224 8007
606 6665
251 6626
688 8701
685 7777
873 6766
685 3288
876 3426
608 0913
738 7151
324 1229
665 3050
669 5414
688 3456
688 2648
681 1732
876 2747
682 3221
681 6740
685 7050
873 1944
684 PUFF
602 9442
665 3050
685 5585
Railway Club 579 Dunsmuir St.   (at Seymour)
Richard's on Richards   1036 Richards St.   (downtown)
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs)
Ridge Cinema  3131 Arbutus St.  (at 16th)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards St. (downtown)
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Silvertone Tavern 2733 Commercial Drive
Singles Going Steady 3296 Main St.  (at 17th)
Sonar 66 Water St.   (Gastown)
Starfish Room   1055 Homer St.   (downtown)
Starlight Cinema 935 Denman St.   (West End)
Station Street Arts Centre 930 Station   (off Main)
Sugar Refinery   1115 Granville St.   (downtown)
Tart Gallery      1 869 W. 4th Ave.
Theatre E   254 E. Hastings  (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Tru Valu Vintage Robson (downstairs)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre  3102 Main   (Mt. Pleasant)
Varsity Theatre  4375 W. 10th  (Point Grey)
Video In Studios   1965 Main jMt. Pleasant)
Vinyl Rekkids 76 W. Cordova (Gastown)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre   1405 Anderson   (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Wett Bar 1320 Richards  (downtown)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall   1882Adanac  (the Drive)
Women In Print 3566 W. 4th   (Kitsilano)
Yale Blues Pub   1300 Granville  (downtown)
Zulu Records 1 869 W. 4th   (Kitsilano)
681 1625
687 6794
738 6311
877 1676
687 0499
291 6864
876 9233
683 6695
682 4171
689 0096
688 3312
683 2004
738 0856
681 8915
988 2473
685 5403
254 9578
876 4165
222 2235
872 8337
689 3326
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
732 4128
681 9253
738 3232
30 ^Oo^eA. WOO  zulu'ssoundcollage
12 new pastiches from:
Sea & Cake, Molasses, Xen Cuts, Nigo, C. Marclay and O. Yoshihide, Go Betweens,
At The Drive In, Joan Of Arc, Damon and Naomi, Pele, Ashley Park, Th'steza
XEN CUTS 3CD/41P   yOS9i Ape Sounds CD/2LP Town and Country |
No, Ninja Tune didn
tronic/collage music; it has sin
ply been putting out consistently c
ative and delicious records for the
past ten years. The first disc of this
three CD collection is Ninja's contribution to hip hop. They've put
out some damn fine stuff, like the Herbaliser and DJ Vadim s last
albums. They ve got the Quannum crew on board now, too —
nuff said. The second disc is more typical Ninja fare: jazz, funk,
and enough tricknology to keep it fresh. The third disc is for the
die hard folks who have everything except the missed, flipped.
and skipped" material; it features remixes by John McEntire of
Tortoise, Four Tet, and Squarepusher. to name but a few of the
high flyers!
3CD 26.98   4LP 42.98
Yes? Yes indeed. Another inward
refinement for Chicago s new cafi
modernists, and we couldn't possibly I'
be more satisfied. Everything that is
common and likeable about the SEA
& CAKE is polished and placed in its nicest arrangement yet.
Also, the accomplishments of Prekop, Prewitt. and
McEntire s solo work are well employed, adding subtle depth
and complexity. All in all. it's beautiful. Imagine reorganising
all of your favourite possessions so that they seem somehow
new and still your same old favourite possessions at once. A
shell game, perhaps. Mere aesthetics, maybe. But the overall
effect is positive and redeeming. Charmingly subdued and
suitable for framing, SEA & CAKE are a true Zulu favourite.
CD 16.98   LP 14.98
fan of UNKLE Beastie Boys Cornelius. Money
I Marie or Takako Minekawa. then chances are you already
have a Nigo related collaboration in your record collection.
Or better yet, if your T-shirt collection includes a rare
Bathing Ape print, then graphic designer-turned-musician
Nigo should be your cultural architect of choice1 Once available only in Japan, Ape Sounds can now be heard in our
neck of the woods, thanks to Mo' Wax. Thoroughly modern
music — recommended at thoroughly modern Zulu'
CD 16.98   2LP 18.98
Moving Parts CD
True, typologies seem kind of stiff, especially in reference
to cultural production, and particularly in relation to
today's common anti-methodological sensibility
Nevertheless, when it comes to Christian Marclay and
Otomo Yoshihide. something needs to be said, some clarification given. While turntables often play a part in both ol
these artists' work, strictly speaking, they are not DJs in any
conventional sense. For one, they favour sound clashes,
cut-ups, experimentation, and eclecticism, instead of beats,
tricks, and phat-ness. However, proper DJs or not the
superabundance of ideas on this record confirms their collective reputation. Not only tor the adventurous, turntablists
of all strips wi find something valuable here.
The Nudes CD/LP
Trilogie: Toll And
Peacefull Life CD
Now at Zulu; another desolate
postcard from our friends with
addresses in Montreal's Mile End c
tnct. More in line with A Silver
Mount Zion than Godspeed.... Molasses second release finds
songwriter Scott Chernov experimenting with the neo-classical
ambience of his post-country vision. Designed as a journey
through the streets of the city, this dense listen begins with the
daybreak sounds of rats scuttling along the cobblestones and
church bells ringing, lulling us guietly into a chamber of haunted
railyards and warehouses. There, a wobbly gramophone sits on a
table, holding the following items: 36 strike-anywhere matches; a
spool of navy blue thread, and an ink-tipped feather Molasses
charms crackle out.
With Ghost CD
t for their
^ethereal space-jams as
the rhythm section tor
Galaxy 500, OAMON AND
NAOMI have steadily championed the newfoft-psyche
revival, which includes compatriots such as Flying Saucer
Attack. Bardo Pond, and Windy & Carl. Elsewhere,
Japanese acid-folk rockers Ghost gathered their pastoral
billows to blow new life into the oost-Can/Faust prog
scene, thus making this meeting of mutual admirers
inevitable! Its time to leave the planet at Zulu!
CD 16.98
other new releases
My first introduction to
ASHLEY PARK ended up in
a 10 pound dry cleaning bill.
There I was in a dim theatre near
the Camden tube station, sister in tow. waiting for the brilliance to ensue, and undoubtedly with it Peggy s steady
stream o< happy/sad tears. I was wearing a nice olive 3-but-
ton suit, tailored by some Carnaby St. cats, my creepers
and trusty wraparound shades. Well, it wasn't Peggy's tears
that stained the jacket...it was mine! The tunes were dizzy.
Augmented chords, I wept with every minor-fifth. This is
what sunglasses are for — to look good while you cry. Out
now on Kindercore Records, pure '60s pop from local
singer/songwriter Terry Miles!
CD 16.98   LP 14.98
The Friends of Rachel Worth CD
Solo artists Grant McLennan and Robert Forster reunite
after a 12-year absence! Joined by backing band
Sleater Kinney, as well as guests Stephen Malkmus,
Elliott Smith and Sam Coomes (Quasi), the duo relives its
past song-writing grace by creating a fresh record with an
acoustic warmth and charm. Smack-dab between rootsy
Americana and current alt-country, these old school players
are like a trusty pair of boots — why polish their character!
CD 18.98
Dream Signals In
Full Circles CD
Temporarily leaving behind
everything aggressive and
bombastic, this group of hardcore punk noisemakers has even
become substantially more smoothed-out and laid-back sii
their remarkable and already quite tranquil debut, Spine and
Sensory. Still, like last time, dreamy guitars and keyboard
drones float above a steady rhythm section, except now with
greater confidence, cohesion, and restraint. This culminates in
some downright pretty instrumental music, and we mean
pretty Shades of melancholic '80s pop and softer Kraut-rock
add tastefully to the mix, sure to please contemporary tastes
and fancies. Does punk need not be rock? You decide.
aterials required: Drawing board, paper, conte crayons,
and charcoal.Outline: Casual sketches of guitar, bass
and drums, with an emphasis on form and textural variance
from these second-year Polyvinyl Records pupils. Having
dazzled much of the Zulu staff with their standout entry in
last year's experimental post-rock group show, PELE
strengthen their allegiance with the 'inner circle' of out-rock
neophytes Promise Ring, etc. Prerequisites for this course
include: Pell Mell, Trans Am, and Slint.
CD/IP 16.98
Relationship of Command CD
The following transcription is entirely true, and, although
used here as a blatant advertising strategy, should not
be deemed cheapened by being thus reprinted: Phone
rings. "Hello Zulu." "Oh hello, urn...do you have...is the new
At the Drive in out?" "No, it's delayed until the end of the
month. We should be getting it by then."" Oh, OK, thanks.
Bye." "Bye." Both parties hang up the phone. Clearly, the
demand is strong. So, if you are familiar with the band, is
calling them post-Fugazi OK? Get back to us.
CD 16.98
The Gap CD/IP
The escalator moves up into
the clouds. In the clouds, the I
air gets thin and dry, not unlike
seaweed. Seaweed is occasionally used as wrapping paper for '
found objects, such as glass or stones. We have been repet
itively told not to throw stones at glass houses, but we do
so anyway. By chance, come in and listen to "Your impersonation this Morning ot Me Last Night by Joan of Arc
CD 16.98   LP 14.98
CD 16.98
OCTANT- Car Alarms and Crickets CD/LP
AMON TOBIN- 4 Ton Mantis COEP/12"
DJ VADIM- Your Revolution CDEP/12"
DAN THE AUTOMATOR- A Much Better MORPHINE- Bootleg Detroit CD
ELEVATOR- A Taste Ot Complete Perspective CD BLONDE REDHEAD- Melodie Citronique
FENNESZ- Live Al The Revolver Club CD DON CABALLERO- American Don CD/2LP
nc9 yj^as^-MUti
—_. _
opening Saturday September 30th 7-1 Opm
Works by The Boy. Matt Hare & Jonah Cunningham
opening Saturday October 28th 7-1 Opm
Halloween Group Show... come out in costume!
-• •
at t%69 7V. 4tH rfwMue
Satundtufb at 3juk!
1972 W 4th Ave.
Vancouver. BC
tel 738.3232


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