Discorder CITR-FM (Radio station : Vancouver, B.C.) 1994-11-01

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v -  1
fife* JB^IH
NKr%'   1
Almost as scary as a band
of hyenas, thts month's
coyer was des/gned by
goth/c art master, oay/d
La/ne, Are you ready for
the demons that call for
WMACiFACe   /3
M-BlA%ffir (6
'AM fS
AiRHiAD   e
WD£0 PHiLTiR   fO
?" 23
t/A/osR Remus 26
OA/meoiAc 3i
S(Af/%eem.feat/ Wm
Matt stcfhch, sian RAeem. i
Taco Beu tania k Dome Ma
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se). Please make cheques of
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<-%^wmc ~      Intoxicating
LUSCIOUS Jackson's sound flows effortlessly
over the wall that stand between hip-hop, rock, jazz, and funk.
The debut album from the band that was
the highlight of Lollapalooza's second stage.
■rcTtJPEElTCrrv Song", "Peep Shag", and "Energy Sucker"
Dancing Queen • S.O.S.
Fernando • Mama Mia
Take A Chance On Me
Chiquitita • Super Trouper
mm m
o oo
Richards On Richards
Doors 8:00 p.m.
Tickets available at all m^m*, Outlets
er cterge by phone 280-4444
ember 10
WGDL @eo>Ja
specially priced at
568 Seymour Street Editor,
To all Uk>sc mental liajht weights lik<
Les Vegas wins gripe and whim
aboul no (Mn. content at 9<
Lpalooza....HeUo!? Where «e yoi
hviii"? I'lvvr heard of Coca Cola ol
Chevrolet*.' Like music d'ya'
Hello'.' There's
I'm proof of the success of this fusion we need look no further than
your own letter, which accepts
whole-heartedly the notion that
what is most aggressively marketed
Wake up people.
A. Mac
defmilion. The simple fact is that
you've been sucking at the teat of
so long that you've lost the ability
to discriminate between what con
pablum sucking half-wit:   1) 1 live
in Canada; 2) Coca Cola and
Chevrolet are corporations which
produce commodities, not culture
(though it is often difficult to tell the
difference,  especially with such
.<) no slut 1 like music; 4) at the risk
stitutes latent and what does not. Do
you think the Stone Temple Pilots
are cool' Got the latest Bon Jovi
album' Just where do you get off
slagging Canadian music when
your knowledge of it is undoubtedly
limited to those few acts whose mu
of repealing myself, American   culture " has often been and often continues to bean oxymoron - no other
society in histoiy has so effectively
blurred the disliclion between citl-
sic is bland and generic enough to
appeal to American audiences?
Have you even heard of any Canadian acts other than the Crash Test
Dummies. Celine Dion, and/or
Bryan Adams?!?
Finally, if 'anything else is derivative ' then what the hell are you
doing reading DiSCORDER? By
your definition almost every band
we feature (ie. Canadian or
idependent) is derivative. So, in
closing, fuck off and go read Spin.
Dear Folks,
Thanks for the glowing review in the
Aug. ish of Discorder. My readership has increased by two so I've
increased my print run by 100. You
people make good things happen.
(Roaring Fork Digest)
Anything we can do to help...
Hello Airhead,
After a short prison stay, I, like
Svend, have emerged again; but
unlike a certain M.P. I got tattoes
with walkman motors n' guitar
strings of Molly Hatchet album covers. I'm fine but while in jail I listened to a lot of tlie Mamas n' Papas and later tried to kill myself by
swallowing large chunks of a
chicken salad sandwich. 1 think it
was the hidden messages in the
music. Well, gotta go, got some sausages to twist into cute animals for
the kids.
Big Kisses,
Excubus Manslaughter
Yep, that parole program sure does
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tough fibres grow
around intrusions
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on the surface reveals
where a nail rests
a hammer has been
"Catherine Kerr
Wer fucken monkey shitted on my head
it reeked all the way to the needle exchange
free bleach free bleach free bleach
Ecoli-breath kept breathing on me
and this idiot tried to Force me to
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nasty peristaltic gurgle of liquid monkey shit
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now all my knitting needles    smell like bleach
Wes Wartley
Hey Trtihj
m ***** hm'■ J.*p
''fa tm <WMM&vt
y, v x
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6     November 1994 Oh God,
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mou  saio;s   il13 UT  9iq^IT^AV
OquiTTT    ST     8jm     OS
• * *9UJXpB9p
R  N  A
ntemplation 8c Distraction
It came crashing
Suspended in disbelief
Mind the gap
Another brief manic phase
In a funk
Tinty Music
P.O. Box 85363
Seattle, WA  98145-1363
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72 minutes of
music occupying
the space
between art &
©1 994Tinty M usic Tins month's foray into the local
classical music world, to be totally
honest, isn't. Despite the number of
concerts presented over tlie course
of tlie last month or so, it was not
passible to attend any of the ones 1
would have usually chosen. With a
copy deadline looming on the calendar in front of me, I decided to
try expanding my musical horizons
a bit by attending something a little
out of Classical Beat's usual field.
Tlie Vancouver Symphony Orchestra has for many years maintained
an active schedule of 'Pops' performances, a sort of a catch-all for
modem musical works. They're usually short and written for performance by instrumental ensemble. This
theme songs, and the like; there's
nothing deep or heavy. Unfortunately, it has the general connotation of being upscale elevator music, something to be definitely
avoided. None tlie less. I put my
hypercritical opinions aside for the
evening and attended tlie opening
concert of this season's VSO Pops
series on October 14th.
Freeing myself from preconceptions about the performance was
relatively easy because the particular performance I attended was not
really in its usual genre. Going under the title of "Big Band Memories", tliis particular concert was
advertised as being a performance
of jazz favourites from the big-band
era. I can't claim to know very much
about tliis sort of music other than
the names of some of the bands and
band leaders, but I liave heard some
of tins music and generally liked it.
friend to accompany me to the performance by promising that there
would be a rendition of "Sing Sing
Sing" which would make the famous Carnegie Hall recording pale
by comparison. (I'm not really sure
if that is in fact the really well
known recording of "Sing Sing
Sing." but it seemed like a good
guess and convinced the friend who
didn't know any better.) Thus, it was
widi lugh expectations that I entered
tlie hall.
bands of Glenn Miller, Stan Kenton,
Duke Ellington, Count Basie,
Benny Goodman, Lionel Hampton,
Artie Shaw and more." On the upside, I at least recognized all of tlie
names, so 1 didn't feel that I was
entering totally foreign territory. As
the concert's start neared I was
somewhat surprised (and intrigued)
to see that almost no empty seats in
die hall; it would appear diat diere
may be an unfulfilled gap in local
music where some enterprising jazz
musicians could make a home.
While I was staring about, musing,
a flash of light caught my eye. Looking up, I discovered that the VSO
at above being corny in an ef
fort K
it the
ol the
was the lack of a real program for
die performance; it was billed radier
cryptically as "Music from the
ball was suspended from die central arch over die stage, complete
with motor to get the requisite spinning light pattern. (Before you start
laughing, remember diat they didn't
have nifty fog generators, lasers,
black-light strobes, colour organs,
and all the other necessities of today's dance clubs back in the old
days...and diey had to walk uphill
barefoot through snow both ways to
die dance.)
As a prelude to die concert a
member of the VSO administrative
staff came on stage to give a season
opening address. Unfortunately, this
was done on the same corny theme
as the mirror ball but lacking its inherent charm. The 1930's slang
sounded hopelessly forced (possibly because die person speaking was
too young to have actually heard any
of the expressions himself) and
would have been much better left
This bit of pandering was immediately forgotten a few moments
later as die house lights went down
and the disco ball began spinning
away. The VSO's principle Pops
conductor, Newton Wayland, strode
on stage and immediately struck die
band up, starting with a 'chart' diat
even I recogmzed: "Moonlight Serenade." A change in stage lighting
colour and a wave of applause
brought the piece to a finish, to be
followed immediately by another
work, this time unknown to me.
A second round of applause
brought this piece to its conclusion,
and Wayland turned around to address die audience. In a change from
the usual musical production (and
explaining the lack of program), he
asked the audience to name the
works and the band that first performed them. The audience was
quick to reply; "String of Pearls"
was the name of the second work
and Glen Miller's band was the first
to do both works. With a smile and
a warning that some of the following pieces would be more obscure,
Mr. Wayland turned back to the orchestra and launched into the next
So the concert went on, with a
pause after almost every work:
"Night Train", "Night in Tunisia,"
"Stella by Starlight," "Seventy-six
Trombones," and "Duke's Place"
were just a few. There was also an
interesting composite medley of a
number of nonsense songs, featuring the versatile Mr. Wayland singing and playing the piano. ( 1 don't
know the names of any of those particular works but I have heard a relative of mine, who shall remain
nameless, sing all of them.) A few
of the audience knew their stuff, and
were able to name not only pieces
and the bands that performed them,
but in many cases die songwriter as
well. In a engaging and entertaining manner conductor Wayland
filled in interesting bits of information about the works' background,
die bands, and the big-band scene
as a whole. Performing as the pianist for some of the numbers, he led
the orchestra through a flawless
string of pieces marked by some
spectacular solos. All of the musicians performed well, which is quite
a compliment to their performance
skills considering the extreme difference in playing styles between
jazz and classical music. Larry
Knop (on trumpet) was a stand-out
especially in the mute-trumpet bits;
Dizzy Gilespie's "Night in Tunisia"
was outstanding and gave the work
a complex, driving African texture.
Gordon Cherry was amazing, producing some of the raunchiest
sounds I have ever heard produced
on die trombone.
The concert traversed a wide
range of big-band styles; die selection included works from the very
beginnings of die jazz era right up
to the relatively modern (and over-
whelmingly schmaltzy) "Moon
River." One work, in particular, de-
approach to die evolution of jazz. A
version of the classic St. Louis
Blues was transcribed and orchestrated by a faculty member at U.C.
(Berkeley) to go through the entire
range of jazz styles. It was performed in a way that was bodi effective and pleasing to hear (which
is not always an easy combination
with ideas of this ilk). While this
concert was not the sort of thing die
snobbishly highbrow go to, it was
incredibly entertaining and I'm delighted to have heard it (even if diey
didn't do "Sing Sing Sing" and thus
unwittingly facilitated die need for
rather a lot of excuse inaki ng on my
part after die show). The only down
side was that these works felt kind
of out of place in a concert hall; die
performance might have lieen even
more effective in a real dance hall
with aficionados free to get up and
dance to their favourites. Merely sitting in a seat and clapping seemed
hardly fitting applause for works of
this sort.
Special acclaim should go to the
conductor, not only for his conducting but also for his rapport with the
audience. Making the audience
name the works was a particularly
good idea that encouraged audience
involvement and gave a relaxed,
enjoyable atmosphere to the
evening. If this concert was representative of a normal VSO Pops performance, then I would recommend
them wholeheartedly for a good
night of entertainment.
The up coming month's selection
of musical events is now upon us.
The Vancouver New Music Society
is presenting what sounds likely to
be an interesting mosaic of works
at the Canadian Music Center 35th
Anniversary Celebration, to be held
on November 27th, 8:00 PM at the
Vancouver Playhouse. Put on, as the
title suggests, to honour the continuing support of the Canadian Music
Center, the program boasts twenty
short works specially composed for
the event by Canadian composers.
If you're interested in new music but
not sure whether you like the style
or not, this might be a particularly
good concert to attend; there will be
a lot of variety, but none of the
pieces are too long (a definite bonus if you decide you don't appre-
!) Performers for the
event include the Elektra Women's
Choir and (of course) New Music
The VSO has a busy month,
starting with the second
of their Masterworks
the 5di and 7th of November
(at 8:00 PM) and on the 6th
(at 2:00 PM). Mario Bernardi
(better known as the conductor for the CBC Vancouver
()rchestra) leads the symphony dirough Alan Bell's
Concerto for Percussion
and Orchestra,
certo     No.3,     and
Schumann's   Symphony   No.2.   The
Great Composers
series features J. S.
Bach this month,
Massey Hall in New West, 8:00 PM)
and again on the 26th and 28th of
the famous Brandenburg Concerto
No. 1 (a lovely work, but I for one
would rather diey were doing No.4),
the Violin Concerto No.2, the
Tocatta and Fugue in D minor (as
arranged by Leopold Stokowski),
and (with Susan Patterson, soprano), the Cantata No.51
Mauchzett Gott in Allen Landen'.
The 'Pops' series continues with a
performance by the orchestra with
singer Rita Coolidge on the 1 ltli and
12th, under conductor Clyde
Mitchell. In the Tea and Trumpets
series (couldn't they have come up
with a less corny name?) CBC radio personality Otto Ix>wy hosts 'A
Highland Romance' on the 9th, featuring Highland dancing and a bagpiper. (Before you get the wrong
idea, it's a highland dancer on the
stage., the audience doesn't get to
take an active part in this!) With the
exception of the performance noted
above all performances are at the
Orpheum theatre.
Masterpiece Chamber Music,
continues its 20th season with a program entitled 'Dream With Us' on
the 13th. Wesley Foster (clarinet),
Andrew Pearce (cello), and artistic
director Terence
Dawson (piano) perform Debussy's
Sonata for Cello and Piano,
Schumann's Fantasiestucke,
Brahm's Trio, Op. 114, and
Rachmaninoff's Vocalise. Both afternoon (2:30 PM) and evening
(8:00 PM) performances will be
given at the Vancouver East Cultural
Early Music Vancouver's second
performance of the season will be
on the 12th with Music Iberica, a
collection of Spanish instrumental
music from the 17th century as performed by three Seattle musicians:
Ingrid Matthews (violin), Byron
Schenkman (harpsichord), and
Margriet Tindemans (viola da
gamba). The performance will be
held at 8:00 PM (with a pre-concert
introduction at 7:15) at the Knox
United Church, 41st and Balaclava.
In addition, a special event concert
is being presented on the 29th, 8:00
PM at the Orpheum with a presentation of the Tallis Scholars, a well-
known vocal ensemble from England. In this Christmas concert'
they will perform Tallis' Missa
Osculetur me as well as works by
Lassus, Palestrina, Fayrfax, Victoria, Marenzio, and Sweelinck.
That's it for this month, good listening until next time! Another year, anodier film fest, another two weeks of restless sleep
and cinematic nightmares, another
pop-corn addiction to overcome.
Actually, my digestive tract faced a
new enemy in the 1994festival season: the corn nut. Through a spe
cial German treatment whereby salt
is injected directly into my veins,
I'm down to just a few per day now
and since I accepted Harrison Ford
as my personal saviour, the twelve
step program is working like a
charm. Tlie Good Indiana willing,
I'm gonna beat dus dung.
My darkest hours were made
ever so much more fluorescent by
die excellent programming at diis
year's festival Like any event that
shows 250 films in 17 days, the Vancouver International Film Festival
is subject lo the personal selection
ol movies chosen to be viewed by
any one critic If I had inadvertently
gone to see twenty-nine ho-hum-
mers, films that may have gotten the
programmers excited but left me
yawning in the aisles, I would now
be grumpily ranting about those
taste-deficient cretinous highbrows
that couldn't tell a decent flick from
true This seemed to lx* a year of
trends, only one of which was entertaining filmmaking. By ".rends"
I don'l mean thai all the actors wore
legwarmers or that each plot involved the ceremonial attachment of
die "Baby on Board" sign. Ilaid-
lutting documentaries; great family
dramedies; silly, dialogue-driven,
caus.ic comedies; stylish urban stories; and bonngly pretentious
projects were in evidence throughout my two and a half weeks of festival participation.
To make a moving documentary
is no doubt the end goal of any non-
fiction filmmaker who tackles a serious subject. Few do it so well as
die makers at Moving the Mountain
and / Am a Promise: the Children
of Stanton Elementary. Tlie latter, a
project by Susan (director, producer) and Alan (Cinematographer,
editor, producer) Raymond that
looks at a year in die life of an inner
city (Philadelphia) school, flat out
made me 1) cry, 2) want to devote
my unskilled talents to helping underprivileged North American children and 3) want to move to Europe,
Asia, Africa, Soudi America, Australia or Antarctica. Tlie only beef
diat I had widi this tale of Tittle boyz
n die hood' was the lack of time
spent with the girls. The lives of five
brought sharply
into focus but only one girl, an honour student, was discussed in detail.
Tins, however, did not stop the film
from winning an Academy award or
my absolute recommendation.
Similarly, Michael Apted's film
about the Tiananmen Squ
Moving the Mountain, won
both a prize, the Vancouver Festival's Best Documentary trophy, and
my undiluted praise. Described in
5 of five of the student leaders who ultimately escaped China,
the 1989 event becomes all
vivid. Apted's deft hand \
enterprising American producer will
take a gander the British-made Family and The Buddha of Suburbia and
get some ideas. Both are the work
of acclaimed authors, the former is
by Booker Prize winner Roddy
Doyle and the latter by the scribe of
My Beautiful Launderette and
Sammy and Rosie Get Laid, Hanif
Kureislu; bodi are (not so) shockingly well-written and both were
made-for-television mini-series.
Family was alternately lauded and
reviled when it made its debut in
May, 1994. It certainly pulls no
punches in its unflinching look at
the Irish lower class Ibid in four
parts, each through the eyes of a different member of the Spencer clan,
alcoholism, juvenile delinquency,
:t, adultery, and poverty are all
touched on with disturbing realism.
Not as dark and gloomy when
viewed as when described on paper,
Family draws its strength from the
clear, yet complex, definition ol its
characters and die enormous talent
the lead actors bring to these char-
are a rare commodity on the market
these days. In terms of Hollywood,
only one 1994 film springs to mind:
Pulp Fiction. If the town of tinsel
could match the efforts of their
Hong Kong compatriots, perhaps
their product wouldn't always seem
so tired. The latest example of HK
action divinity is Drunken Master
II. Starring Jackie Chan and some
the best stunts I've EVER seen on
screen, DMII is not really a sequel
but a big-budget all-star showcase
for Chan's own personal martial arts
this horrifyingly admirable tale expertly edited footage of the preceding student demonstrations and the
massacre itself as well as dreamlike
shots of the Cliina diat these very
young and unwitting revolutionaries grew up in. Sure to be shown on
PBS. CBC, or in a theatrical release
the Mountain is one of the
bits of celluloid
I've seen in years. It shouldn't be
missed by anyone who cares about
modern China, who cares about die
experience of other peoples on this
planet, or who has the slightest in-
Getting through the si
to dive into the fun stuff, I'll turn
next to that genre that Americans
love but can't seem to do right: the
family dramedy. Parenthood, Sixteen Candles, The Cosby Show, and
The Wonder Years (after the third
season) are all reasons dial die US
licence to make funny, poignant,
and trutliful comedy-dramas should
be revoked. Maybe some bright and
Creamy's life as he struggles to get
laid, become an actor, and define
himself as an Indian, as an Englishman, and as a human being. A great
ensemble cast flesh out his family,
friends, and fellow
engage in sparkling dialogue, and
occasionally group sex, that breathe
life into the period setting. Naveen
Andrews meets and conquers the
challenge of the centre role widi a
matchless elan. Tlie proof of The
Buddha of Suburbia'? worth is in my
ass. If I can spend four hours at the
Ridge theatre and not notice my
numb bum, the picture must have
been ecstatically entertaining.
Ecstatically entertaining films
all of
whom did
their own stunts. Rumour has it that
Jackie Chan was going to do a film
with Steven Seagal until he found
out that Seagal didn't do his own
stunts - that uncharismatic, culture
thieving tub of lard should be grateful that he never had to endure the
agony of being shown up and beat
up on-screen by a true master, Jackie
Mastery was no where near the
set of Clerks but that didn't stop film
school drop-out Kevin Smith from
making his first movie a truly hilarious endeavour. Shooting in black
and white with a miniscule budget,
Smith had enough savvy to know
his limitations as a director and his
strengths as a writer. The result is
fast paced, honest sounding, and
god-damned funny. Anyone who
has ever worked in a service oriented, no-mind, minimum wageca
job will appreciate Clerks' dialogue
and it sentiment. The
film won the first-film
:' prize at
Cannes and as a result
has a nifty distribution
deal diat will bring it to
shortly. If you're reading
know you are, you have
a punk rock obligation to
go to this film.
Still in the wickedly
slightly more disturbing,
is Australia's Bad Boy
Bubby. Relying on the
of a
picaresque journey, most
of which result from the
fact that the thirty-five
year old mentally-challenged title character has
been kept in a room all
his life by an abusive
mother who used him to alleviate
il frustrations. Rolf de
Heer's writing a
what could be a horrifyingly exploitative voyage into a funny and
poignant odyssey. Bad Boy Bubby
laugh at a dead cat. Repeatedly.
There are no dead cats in the
odier Australian comedy I was lucky
enough to grab a seat for but there
plenty of laughs and an ABB A
soundtrack to make up for the omission. Muriel's Wedding played like
and therefore funnier, Strictly Ballivom. The story of
an ugly duckling who flunks diat a
dream wedding is the magic potion
that will turn her l
are no surprising or deep messages
hidden in the film, just a lot of good-
natured, and mean-spirited when die
fun. Muriel's Wedding is the type of film that generally gets a distribution deal and the
fact diat P.J. Hogan won the prize
for the Director's fortnight at Cannes
won't hurt its chances. It's a great
flick to bond with mom at, if she
n d
to Seattle's Varsity theatre, the most
likely place you'll be able to catch
one of the stylish urban noir films
showcased in die Dragons and Tigers series at the festival this year.
My favourite was Chungking Express, die slap dash, contractual obligation effort by Wong Kar-Wai.
Chronicling portions of the lives of
the completely unrelated officers
631 and 632, Chungking Express is
awash with hip dialogue, rainy urban landscapes, and quirky characters. The strangest thing about the
film is that Wong, it's writer and director, admittedly put no time into
the project and completed the picture in three months. His Magnum
Opus, Ashes of Time, also screened
at the festival, took two years, undoubtedly cost at least ten times the
budget, and sucked. A lesson to all
budding filmmakers, I think.
Some other movies that should
be included in any seminar on
"Avoiding Pretentions and Navel
Gazing" at film school are Second
Cousin, Once Removed, Dear Diary, and Super 81/2. By John
Shorney, Nanni Moretti, and Bruce
laBruce respectively, each film suffers from a writer/director who
diinks diat he is a lot more interesting than he actually is.
Second Cousin. Once Removed
is an attempt at a noirish thriller that
simply lacks talent. The dialogue
was flat and uninteresting, the
wacky characters were played by
over-die-top amateur actors, and the
central mystery was boring. The
film won the dubious honour of being the only film fest entry that I
walked out on but unless the last 2/
3 of Second Cousin, Once Removed
were astronomically better than the
first, I was justified.
The latter two films, Dear Diary
and Super 81/2 were admittedly not
as bad. They were, however, big
disappointments. Dear Diary was
split into three segments which were
1) quite funny, 2) okay, and 3) horribly boring. The first portion lured
me into a false sense of enjoyment
which was unfortunately dispelled
by the ones that followed. The final
segment, which detailed the filmmaker's battle with a strange itch,
the doctors he consulted in hope of
relief, and the medicines the MD's
prescribed for his cure, dragged so
painfully that a strange itch would
have been a welcome change.
The only Canadian film on my
agenda was die biggest let down of
all. Considering all the previous
hype Super 81/2 received and the
fact that a personal battle with censorship was being waged widiin die
film, I really wanted to like this
"mockumentary" about an avant-
guard filmmaker documenting the
fallen life of a former porn-star who
was himself a self-styled auteur,
Super 81/2 does indeed contain all
the explicit scenes of gay sex that
get Bruce laBruce's films burned at
die border by customs officials. It
doesn't, however, contain much interesting dialogue or a well-written
story. I guess when forced to make
a decision between quality
filmmaking and lots of head, he followed his heart.
It's impossible in one little
DiSCORDER column to detail everything I was able to take in. However, I must take some precious
space to thank the festival coordinators not only for the pass that allowed me to get all this information
out to our loyal readers (and those
who use the magazine for other
things) but for the unlimited access
we had to speak directly to the filmmakers about their work. Not everybody in this town treats
DiSCORDER like the high-profile
publication that it is, but when they
do, we sure appreciate it.
W   November 1994 Having survived the bus ride, the
border guards, and the streets of
Seattle, we found our way to the
Rkcndy and the sound of Wool finishing up their sound check. Pete
and Franz Stahl, Chris Bratton, and
Al Bloch were recently in Seattle
to play a couple of benefits to raise
money for public service announcements against hand gun violence, as well as to play any other
shows that they could scam. A five
kegger down in Auburn was possibly on the agenda, and, as Al puts
it. "It's hard to turn down a five-
kegger anytime!"
DiSCORDER: What have you
been doing since you completed
your new album, Boxset (on London records)?
Pete: Hanging out in Wool world.
A fuzzy land down in North Hollywood, just like in the L7 song.
Are you touring in support of the
new album? (At the time of this interview the Wool/L7/Melvins tour
was unannounced.)
Pete: Yeah, we're trying to get on a
tour with a big band. We'd like to
play in front of a lot of people.
Pete: No, Metallica would be a bit
too big. Something a little cozier.
Smaller stadiums, you know.
Franz: The Tom Jones tour. We
want    to   support Tom Jones!
to play with
Stompin' Tom.
So, tell us a bit about the new album, Boxset.
Al: It's good.
Pete: It sucks.
Al: Pete and I differ on it. He thinks
it sucks and I think it's pretty good.
Pete: It's too punk rock.
What kind of a direction has it
taken from Budspawnl
Al: More of a left turn.
Pete: Prog rock.
When and where did you record
Pete: We recorded over the winter
at Philos Ranch up in Mendocino,
Who did you work with?
Pete: Tom Rothrock and Rob
Schnapf. They're friends of
from   Bongload   Produi
Sergent Philo at Philos Ranch.
something that would be a sort of
retrospective and cover all the different directions our music took
over all the long years.
Franz: I mean, Wool as an entity
has only been around for a few
Pete: Chronicalling thirty-three
years of misspent youth.
Franz: Yeah, but musically we've
been around since the '30's.
How long did it take to record the
Pete: Well, we actually just went
through a lot of old tapes - that took
a long time. From that we just
pulled the good songs and put together our Boxsetl
Al: Some of our rare B-sides!!!
Pete: Yeah, our live performances
from the s
Did you perform at the original
Franz: No, we were recording during Woodstock. We'd flown to
upstate New York to these cold
storages where there v
our 'lost' tapes.
Pete: I thought the first Woodstock
was really exploiting our scene
anyway, so I didn't really want any
AI: Plus we were sort of in the middle of finding a new direction and
a new drummer.
Chris Bratton replaced Wool's
first drummer Peter Moffett (ex
of Government Issue) - what
bands was he playing with prior
to joining Wool? (Note: Due to not
having his ID card on him, Chris
was absent for the majority of this
Franz: Chris was in a bunch of
hardcore bands; Drive Like Jehu,
Justice League, Statue...
Are any of you involved in
projects other than Wool?
Al: I put out a 7-inch single with
my brother and a drummer. The
band was called My Fav
Martian and it's on Bongload
Records. Three songs - three BIG
And on the topic of projects,
there's apparently some Vancouver circus blood in the
Stahl family that you're trying
to track down?
Pete: Yeah! We have to come up
there (to Vancouver) and do
some research. Apparently my
grandfather's brother moved to
Vancouver in the 1920's and
started a circus there. I don't
know the name or anything else
about it, but we're going to go
on a pilgrimage to find out! So
if there's any readers out there
that can help us out with diis.
a call!
On the Wool hotline number?
Pete: Yeah, 1-800-FLY-ME! No,
it's (818)-503-2300! Call us and
leave some prank phone calls!
(At this point Chris rejoins the
table, having somehow wrangled his ID-less self back into the
Chris, how do you feel
about the new album?
Chris:  It's lovely, it's
beautiful, it's a rock & roll
What else do you
f F ^
N«reL tern
" mms-m So get this: In late September I got
to go out to New York City for the
College Music Journal Music Marathon (herein referred to as CMJ)! A
whop-ding-hop-sing affair, CMJ
brings together bands from all over
die world for one weekend to showcase their talent for thousands of
radio, press, and record people who
have also made die trek to New York
City. Me, I was representing
DiSCORDER, amongst other
dungs, and here's my report:
Wednesday, September 21: After
flying into JFK airport I made the
long cab ride to my bed for the next
few nights at the bizarre and infamous Chelsea Hotel in midtown
Manhattan. The Chelsea is the very
notorious dump where Sid Vicious
O.D.'d, Andy Warhol painted the
soup can, Arthur Miller wrote Death
of a Salesman, and diat odier guy
wrote 2001: A Space Odyssey. I And
Jams .lop]in gave Canada's own
Leonard Cohen head on an unmade
bed! -ed.] It was a pretty incredible
place. So anyways, I basically took
il easy lhat first night to get over my
jet-lag/on-flight drunkenness.
Thursday, September 22: CMJ
registration wasn't till 5:00 pm, so
my travelling companions and I split
up lo explore the City widi die intention of meeting up again later.
But when I arrived for registration
a. the New York Hilton right on lime
at five my travelling companion Bill
was no where to be seen. When he
filially did arrive half an hour late
he immediately allayed my frustration by producing two tickets for
Uite Night with Conan 0'Brien\\\
Turns out some NBC page just
handed him die tix when he walked
past NBC! So off we went, arriving
just in time to slither into Conan's
studio for the beginning of his
rompous late night variety show.
And man, did we really luck out!
Mary Tyler Moore was on the show
talking about her exercise tapes!!!
So was Cliris Farley from Saturday
Night Live!!! So was die king of die
Surf Guitar Dick Dale!!! WHAT A
After several requested pinches
from Bill to make sure I wasn't
dreaming, we headed back to the
Chelsea to gel ready for our first
night of CMJ rock! First up on die
programme was the Cargo Records
Showcase at
Village. Opening the show was Indiana's The Smears, an all-female
band I had been longing to see; alas,
their offensive punk/metal did very
little for me. (Tlie free beer and
pizza courtesy of Cargo made things
a little more bearable, mind you.)
Next up was the rock-steady
Uncle Joe's Big Ole Driver, a good-
time raunch and roll band from San
Diego. They were pretty damn
rockin' when they played their
songs, but that was the problem: It
took them forever to actually play a
song! Between every tune it seemed
like we had to sit through eons of
guitar noodling and goofing off! Oh
well, that seemed to be their forte -
and there was still that pizza.
Upon Bill's requesl we left for
CBGB's to check out Veruca Salt,
who were apparently die grand poop
of the whole ding-splil-phooey.
There was already a line-up around
die block when we arrived at the
club and we had no chance of getting in, so, in a shake, we headed
up to St. Mark's Place to the Continental Divide to catch another all-
girl punk combo called Sex Pod.
Bill dug 'em, I didn't, so I hung
around outside where I met the star
of the hit cult film Dazed and Confused, a sir Wiley Wiggins! Turns
oul he's a fan of die same stuff as
moi, so we headed inside die Continental to catch die next band which
we lx)th wanted lo see. From Los
Angeles. Tlie Creamers bombarded
the stage with dieir no-rules punk
rock roar. They played an extremely
raucous set and sent me home to the
Chelsea widi many a tune slamming
around in my booze-soaked brain.
Friday, September 23: I got up
early and actually managed to attend
some seminars, including one on
touring (heard some great stories
from Pitchblende, Tsunanu and the
Butthole Surfers) and anodier on
major labels ("To Sign Or Not To
Sign." The end result? SIGN!).
Alter die seminars I wandered
over to Times Square to see the big
Sony Trinitron and Broadway and
all die theatres. It was just about
twilight so everydiing was all lit up
and looked really spectacular, just
hke on TV. I also had it in my head
to try and see die Letterman show
despite being told by everyone that
getting tickets to Letterman was
harder than getting a
handjob from the
Pope. Nonethe-
and Ada Chirr
Broadway to check out his place,
the Ed Sullivan Theatre. As I approached said entertainment temple, I veered down the side street
'cuz I recognized it as the place
where they do all the outside filming. As I approached the side of
die theatre, lo and behold, one of
the stage doors burst open and
who should pop
right in front of me but David
Letterman himself!!! No joke!!!
I froze as he came running along
the side of the building towards
me and then snapped out of it and
yelled a quick "Hi Dave." He responded with a "Hi, how are ya,
good to see ya" and disappeared
into another stage door to the.
roar of his disciples in the studio audience. In total shock, I
stood there quivering like a
stop sign in a high wind as i
massive crowd gathered
around me hoping to catch
another glance of good ol'
Dave. Widun
who should walk ou
the same door but Da'
Stallone!!! H
joke!!! After that Public Enemy
breezed into die dieatre lngh-fiving
everyone, but al that time I diought
I had seen enough and was feeling
a bit faint so I pushed past everyone
to die street I did make one
slop in at die "Rock America"
beside the theatre and met that
Moojibar guy!!! He was nice and
asked me where I was from.
I finally made it back to die
hotel and my companions and I
headed over across the Hudson
River to Maxwell's in Hoboken,
New Jersey to catch my most anticipated show of die conference:
The Woggles (Athens, GA), The
Cocktails (Cliicago), and Southern
Culture on the Skids (Raleigh,
North Carolina). This show was
amazing for a couple of reasons: 1)
all diree bands were really great; and
2) Maxwell's is die best club in the
world. Tlie Woggles played '60's
style garage rock n' roll with matching bowlers shirts; Tlie Cocktails
played an extreme versatility nux of
'60s pop and jazz on a vast variety
of instruments; and Southern Culture stole die show widi their greasy,
down-home, countrified boogie-
woogie rock n' roll. What an incredible band! See them if you can,
they're hilariously entertaining.
Saturday, September 24: Once
again I was up early and back at die
senunar to check out the "Women
in Rock" panel. In all honesty I figured this could be fertile ground to
maybe pick up a couple of chicks,
but in actuality, I ended up enjoying this panel more than any other
simply for the fact diat it featured
people - women - who totally had
their slut togedier. There were rep-
resenlatives from bands and managerial and agency positions, bodi independent and corporate, and it was
stunning how incredibly organized,
articulate and assertive diey were
compared to a lot of men I deal with
in tins biz.
After a couph
rock panels it was off to th
Wetlands to check out one hell of
matinee featuring Rancid, Av
The Queers! When I
finally found die place there
was already a line up of about
four-hundred kids around the
block, but since I was a 'delegate'
with a pass and everydiing I strode
by those NYC punks, nose highly
aloft, and waltzed right inside just
in time to catch one of my fave pop-
punk combos, Boston's Queers.
Now featuring a couple members of
the just-defunct Screeching Weasel,
Joe King and his Queers belted out
many a song of ex-teen-angst anthems. Since it was only about 2:00
pm, the band was admittedly a hi'
bit withdrawn but were easily forgiven by die rapidly swelling audi-
Up next was Richmond, Virginia's Avail, who were slightly anaemic on dus power pop bill; dieir
brand of stagger prog-punk did
nothing to arouse my interest. (As
a side-note, Avail thought CMJ
stood for Country Masic Jamboree
and couldn't understand why they
got invited!) I seemed to be in die
minority though, as die club was
absolutely packed and most seemed
to dig the band. The Wetlands is
about the size of die Starfish Room
which is sold out at 300, but it
seemed that there is no such thing
as a sellout in New York City: I have
never been in a room so jammed full
as that dank little club diat afternoon. There could have been easily
600 people in diere, wall to wall. If
it weren't for die extremely humid
temperature, and mass body sweat
providing slippery and disgusting
crowd lubrication, I doubt anyone
could have moved.
When Rancid finally bounded up
on stage and exploded into dieir hit
"Radio Radio Radio" die room went
bezerk like I have never seen in my
entire gig-going life! All at once
everyone seemed to just...take
flight! Bodies flew everywhere,
people stage-dived from any el-
1%     S^^M
evated space - including die t-shirt
table, the bar, and the coat check -
and at least five or six people were
constantly on stage singing and
pogoing with Rancid. It was an exciting, sweating mass of sheer
adrenaline. Rancid played all dieir
insanely catchy hits from both their
albums, and the sound was surprisingly superb: much, much better
than their show at the SUB Ballroom. After the punk rock V roll
mayhem was over, we all squeezed
out the front door, blinked surprisingly at the daylight, and I started
off to the Mercury Lounge to meet
hometown heroes cub.
After a happy reunion widi cub
during which I heard all about dieir
first couple weeks on tour, I settled
in to die cosy Mercury Lounge to
see the extreme opposite of what I
was just subjected to: Black Velvet
Flag, a tongue-in-cheek lounge act
who performed punk songs via Mel
Torme. Enjoyable. Up next was
indie darlin' Mary Lou Lord, most
famous for sacking it with Kurt
Cobain and getting socked for it by
Courtney Love. Turns out Mary
Lou's a Boston folk singer transplanted to die pop underground of
Olympia, WA. She's a real flavour
of die mondi right now - every major label rep and their grandma was
there to check her'out. If you can
get past all the hype, she's actually
a hell of a singer; she certainly had
me hypnotized for the duration of
her set!
Thankfully everyone hung
around for cub's big CMJ performance. They were great, they did us
proud. In fact, it was probably the
best gig I've ever seen 'em play, and
crowd loved them too; they played
lots of songs from dieir new album
and many a fan-boy hung close to
the stage to ogle dieir every note.
And hey, Terry David Mulligan even
showed up to see cub! He was in
town interviewing Stallone, so I, of
course, filled him in that I too had
an exclusive rendezvous with
After a couple drinks back at the
Chelsea Hotel with cub (they got the
Space Odyssey room), I took off for
my last show, back to die Continental to see anodier favourite of mine,
New York City's pride Tlie Devil
Dogs!!! It was about 1:00 am when
they started and I was back in a
packed, sweat-soaked bar, but I still
managed to have a 'Big Fuckin'
Party' with those rat-bastards the
Devil Dogs. They played 'till around
3:00 am (bars in New York close at
5:00 am - start packing) and were
100% phenomenal rock action.
After the encores were finished,
die beer ran out, and the dust had
settled, I staggered drunkenly back
towards the hotel with a big damn
gnn on my mug. Tlie CMJ Music
Marathon was over and I had a wild
time. Thank you, New York, you
treated me fine!
Sunday, September 25: A couple
of friends of ours from Hoboken
drove us back out to the airport. The
only thing of note was that they
smoked many marijuana cigarettes
and drove very fast. The plane ride
home was quick, drunk, and fun.
Until next year, Big Apple!!!
/2   November 1994 by   Vince   Y e h ^   -f^z*
DiSCORDER: How's the tour
coming along?
Tom: Very good. The first night of
our Western stuff was last night
here in Thunder Bay - we're playing again tonight and then tomorrow is Winnipeg, and then we keep
heading out towards the cherished
West coast.
The first time I saw you was at
MusicWest Festival.
Was that at the Town Pump?
No, you guys were playing at a
rundown apartment on West
Oh right, that was our big industry
Do you like playing those music
Well we never really have that
much...We played die MusicWest
one that you saw and we played
Coca, which is die university entertainment buyers conference in
Halifax. I don't know - they're OK,
they're not really our kind of thing
though. It's not the same as a good
bar show because you're playing to
people diat are looking at you more
as an act that diey can broker or sell
records of. It's not really entertainment - it's more showing what
you've got.
So did anything good come out
of playing MusicWest?
Oh yeah - at the time we played
Music West we were being courted
by most of the major labels in
Canada, which kind of freaked us
out. We didn't know how to react
to it. That was all part of the process that we had when we started.
Up until that point we'd managed
the band ourselves, done all the
booking ourselves and done every
aspect of the band business, all the
financial stuff. We screened our
own t-shirts, manufactured our own
records - we've done everything
100% ourselves. It was right at diat
point when we started getting a
HUGE amount of attention from
major labels and we started selling
lots and lots of records and stuff
and Uiat's when we had to start delegating things out. So playing the
MusicWest diing helped us a little
in diat that was when we decided
who we wanted to help us widi the
booking, who we wanted to help
us with the management of the
band and that kind of stuff. It was
one of those things that was just
part of the process of us trying to
organize the band.
Do you consider yourself as being sold out?
Sold out?! I don't really know what
that means because no matter what
you do, no matter how you want to
run your band, somebody is always
going to accuse you of not doing
the right thing. Like 'Oh, you guys
put out a record, oh you sold out...'
Tnere's always people that are going to be disappointed no matter
what you do. We'-
for so long - this is
enth tour across
right from the first r<
Tell me about Furnacefc-st.
Furnace Fest is a music festival that
we put on every year in Ottawa
[with] 13 bands from across the
country. It's a whole day festival.
It goes: out-of-town band, local
band, out-of-town band, local band
- the whole day long and it's really
fun. This year we had bands from
Victoria all the way to St. John's.
Newfoundland. It was great! The
year before we had the same sort
of thing. It's just a day that we have
in Ottawa that's just a gigautic festival.
What bands were featured this       has.
This year we had Eric's Trip,
Dayglo Abortions, Trigger
Happy -
We've never had a release there, so
die only places diat we do very well
JO are the places very close to die
border that get Nightlines or get
Canadian radio. Buffalo, for example, is excellent because it has a
huge overriding presence of Canadian radio from Toronto. College
towns are great - one way or the
other, they know about us. But bigger cities like Chicago are virtually
impossible - they don't have a built-
up club scene. It doesn't seem to
be as organized as it is in Canada.
There doesn 'I lend to be as sophi
ticated an am
don't have tl,
varsity radio i
because they
e that Canada
Right. We're fortunate here.
We are. we are. Ottawa, for
time about a year ago. It was a
pretty big all ages show [and] there
were SEVERE punk rockers diere,
like the whole 1979 British punk
rock stuff: girls with ripped fish net
stockings and mini-skirts, guys
with mohawks a foot and a half
high. Punk rockers like you see in
postcards of London. On die back
of the jacket, it would say "Tlie
Cure." You just don't see things
like that in Canada. There's nodi-
ing wrong with that, it's just all you
can think is that these people have
seen pictures of what they think
punk rock is and diey know that
Tlie Cure is diis kind of alternative
band, but there's not a level of sophist
So it's just very superficial then...
Well, it's not so much superficial,
they just don't understand the
same. There doesn't seem to be the
same level of knowledge about
the whole thing that people have in Canada. I
don't know what the
long,    so    we
don't listen. The
thing that really
bothers me about people that accuse us of selling out is that we've done
ourselves for so long, we know
every aspect of the music industry
from management. Why would we
make stupid choices? Why would
we do dumb things? Give us the
credit for being intelligent enough
to make the right decision! Why
does some 16 year old diat lives
with his parents and accuses us of
not making the right choice for the
band when we've done it for 10
years! Get real.
It seems like you make fun of it
quite a bit.
Yeah we do - we make fun of everything. Sarcasm and humour has
always been a part of the band,
'Yeah we do - we make fun of everything. Sarcasm and humour has always
been a part of the band, right from the^
first record."
cause       the
MTV, which is
die only dung. If
people complain
ibout MuchMusic,
diey should see MTV in
's just terrible.
sic scene in Canada is just night and
day - more interesting and healthier
than in the States.
Where do you get your samples
Oh, all over the place! When we go
on tour, we go through old used record
stores and we're always looking for
stuff, always keeping our eyes open.
We have so many friends where we
live that are always fi nding stuff for
us to check out, so we constantly have
stuff that we're listening to. There's
never any shortage of samples - you
can turn on your TV and tape advertisements on TV for one hour and if
you sit down and watch you won't
believe the stuff you've got. There's
NO shortage of good samples.
You listen to funk hip hop a lot?
No, not me so much - the only funk I
listen to is older, 70s stuff, like BT
Express, a ton of old stuff like Sly. Our
guitarist Pat is a DJ in Ottawa so he
listens to a lot of hip hop. I'm not really into that too much. All of us have
a wide interests - we all listen to different stuff.
What else do you do besides playing music? Do you snowboard?
No, Pat snowboards. I used to do a lot
of skateboarding but I don't do that
as much anymore, I don't have much
time. We practice a lot and we also
work full time and that takes up a fair
>l  ad
il all.
right now, opening up for US ott the
Western shows. We had Hardship
Post from Newfoundland, we had
a bunch of local ha,iris - the
Unbeatables, a Beat 1'oe.ry kind of
band. We had the Mr Keselix - excellent local band, one of my favourites. One called Fishtails another one from Ottawa I can't remember all of them right now but
there was 13 that lasted the whole
third, so it's hard to complain.
This question goes back to the
audience thing. Do you notice
any difference between the
American and the Canadian au-
i shows that we
,e that the Ameri-
At the Amer
play it seems i
can audience
caled as the Canadian audiences.
It's just a very different thing. We
played an all ages show just outside of Madison, Wisconsin one
they only play the Phil Collins, the
Michael Bolton, the Janet
Jackson... you don't get anything
else except that kind of tiling.
It's hard to describe [but] the
clubs are not nearly as well organized and usually die bands that we
play with in the States are terrible.
We probably shouldn't say that but
oh man... The bands we play with
in Canada are for the most part very
good, but the bands in the States
are just atrocious. I don't know
why diese things are like diat, but
that's die impression diat I've got
from die playing we've had in the
States. I diink the alternative mu-
11 ol ,11
•. 1 collect r<
and I spend most of my time writing
songs - that's where my major interest is. I also try to go out a fair amount
to check exit local bands and stuff like
Last question, what's your impression of Nardwuar?
Nard waur is probably one of the greatest human beings ever to have lived.
My VHS copy of Welcome to my Castle has been played HUNDREDS of
times and my proudest moment was
somewhere between watching
Nardwuar on Ralph Benmergm's and
having Nardwuar sleep on my living
room floor when the Evaporators
fS   U%gg?mgz CiTR
101.9 fM
101.9 fM
Friday November It & Saturday November 12
ALL AGES, Poors 5:30pm
SUB Ballroom, UBC Campus
Vancouver, BC
Vancouver's 4th Annual MC, H Pance and Croup Competition
With hosts The Incredible Ease £- W Kilo-Cee
Friday Saturday
DJ, MC and Dancer Competitions
Street Art Showcase
6pm-12am SUB Ballroom
Grouo Competition
Stree: Art Showcase
6pm-12am SUB Ballroom
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What is Hip Hop? A simple
enough question: Hip Hop is all
around us in the form of music,
language, graffiti art, and even
clothing - right down to the hip-
hugging baggy jeans! Record and
clothing stores are cramming then-
racks with Hip Hop merchandise.
People want to feel, breathe, and
live Hip Hop.
Something seems to be missing, however, perhaps even lost.
Hip Hop is a culture, a culture
born out of the Black struggle. In
its original form, Hip Hop was a
means by which people could express themselves in direct defiance
of the racist institutions that surrounded them, a means by which
they could mobilize and subsequently revolt against the oppression they faced and continue to
face everyday: police brutality,
educational degradation, cultural
suppression, discrimination, and
the list goes on for these are just a
few of the problems. The music of
Hip Hop in the form of rap and
rhythmic beats is, then, a response
to this oppression. It is a challenge
to the status quo, a challenge to
white domination. The raps carry
strong, powerful, and direct messages calling for a revolution by
the Black
' because Hip Hop has attracted and brought together people of colour who identify with the
movement; they too are coming
from a history of oppression and
colonization and also face the
same violence in everyday life.
Hence, groups like Fun-da-mental and Hustlers who are of South
Asian descent rap about the
"wrath of the Black man" and
"vigilante." There is a common
basis of struggle between black
people and other races of colour.
Rap provides all these groups a
direct and powerful way of saying,
"Fuck you, I won't do what you
tell me!"
Hip Hop is also an issue of
class. The culture has its roots in
the ghettos of New York city
where a marginalized people
searches for an outlet through
which to express their anger. The
poverty, drugs, alcoholism, and
general crime are a testimony to
their oppression. They are fighting a system which has never and
will never accept them, which continues to perpetuate the legacy of
slavery and which refuses to recognize their rights as fellow hu-
i beings. People like Public
Enemy, Arrested Develop!
Rage Against the Machine. Sistah
Souljah, Me' shell NDege Ocello,
Gangstarr, Paris and others like
them rap about inner city life,
unity, and revolution. They are not
simply choosing an issue to write
about off the top of their heads:
They rap from experience. They
talk about issues that are effecting them and their people with
clear understanding. They are a
voice for a repeatedly silenced
Given this history, I am led to
question the legitimacy of white
artists who rap. Sure, rap is a
dominant form of music today and
everybody is doing it, including
Deee-lite, the Beastie Boys, House
of Pain, Snow and scores of other
white artists. Every artist looks for
a new sound that reflects the times
and gives them a more unique way
of expressing their art - there is
nothing wrong with that. However,
white musicians who rap are doing a disfavour to the scene, adding insult to injury. They are
essentially appropriating,
glamourizing, and reducing Hip
Hop, a cultural entity, to nothing
more than a wayward form of
: accessible to all. As Hip
Hop becomes just another trend,
its power diminishes; it is desensitized until its real meaning, its
confrontational and revolutionary
message, is lost - which is exactly
what the "system" hopes to accomplish. Of course, there are
Black artists who also contribute
to the 'corporatization' of rap by
selling out to the big time labels.
They put on the dark shades, the
black clothes, and Nike runners
and take on the attitude of a true
gangster from the 'hood,' complete with half-naked women. But
is that an example of appropriation or is it a twisted attempt by
these people to touch base with the
community from which they have
become so far removed? A culture
can not steal from itself, but people from a culture can become displaced to the extent that they no
longer share or are even aware of
its values and customs. Their music and their videos project images
of 'boyz in tha hood' and bikini-
clad women that corporate
America, exploiting the ignorance
of these artists, feeds on and then
presents as Hip Hop culture.
The major record labels have
also aided in the suffocation of
genuine Hip Hop by promoting so-
called 'safe' artists and arranging
of agreement in such a
pie, Time Warner went back on its
support of free speech when the
Ice-T/Body Count song "Cop
Killer" came out and they dropped
the band like a ton of ignited dynamite. In the aftermath, the media twisted the meaning of the
song and stated that Ice-T was
encouraging the arbitrary killing
of police officers when in fact he
was making a strong statement
against the senseless killing of
Black people by those who are
supposed to "serve and protect."
Anyone who has any shred of
knowledge concerning the oppression of people of colour at the
hands of the authorities, especially
Black people in America, would
acknowledge the truth in this
statement and realize that the media's response to it was a reactionary misinterpretation born of ignorance and the desire of the authorities to perpetuate fear and
hatred of Blacks in the mind of
white America and to prevent the
recognition and discussion of issues concerning racism and prejudice.
One positive consequence of
the mistreatment and misrepresen-
n of Black artists by the major labels and the media has been
uch independent
labels as Deathrow, Scarface
Records, Priority, and others as an
alternative for established and rising Black artists. Some of the independents include Jeru the
Damaja, Ice Cube. Conscious
Daughters, and The Coup. The
fact is that Hip Hop is a culture,
and as such it must be protected
and preserved.
I might add that there is an entire history explaining the birth of
Hip Hop which was not addressed
in this article but hopefully in future ones. Hip Hop is not something to take lightly. It is not the
'look of the month' but an entity
living and breathing inside the
souls of many 'Black' people
across the world. It is a flame with
sparks of black fists shooting out
in revolt. Hence, there is a tremendous need for us to protect it from
the dominant authorities who seek
to extinguish that flame and dismember those sparks. With that in
mind, the fourth annual CiTR
presentation of the DJ Soundwar
breaks its way up to the stage of
the SUB ballroom on the 11th and
12th of this month. For all you up
and coming Black a province's capital city, Victoria. The band consists of tliree
of tlie best looking guys tliis
side of tlie Pacific: Chad (bass
& vocals), Dave (guitar* vocals) and Charles (drums).
DiSCORDER caught up with
these three sassy minstrels at
a bustling coffee shop in
Nortl 1 Vancouver before dieir
amazing blowout
Southwall. With (
t the
Slow to Burn n
.rds (Sec
It Conn
North American tour under
dieir belts, tlie boys have just
begun to reach for the stars.
Between moutlifulls of
golden-brown flapjacks and
distinctively vibrant, full-
bodied coffee. DiSCORDER
chatted with M-Blanket (and
special guests Coral from
t6   November  ,994
Lashback and Julie, our affable '
ress for die eveiung) about Mori
life on the road, riot girls, haunt*
DiSCORDER: Who are you?
Chad: If I could answer (hat, 1 would
lx* able to solve a lot of my personal
diaries: Nothing to Lose. I'm Tony
Palooza, 1 play in Nothing to Lose
Chad: We're a rock band from Victoria called M-Blanket. A rock 'n roll
band. A real rock 'n roll outfit
Dave: My name's Rick, I'm atrucker,
and can I get die milk?
What do you do in the band M-
Charles: He's Chad, he plays bass and
croons, he's Robby Cancar, he plays-
guitar and croons, and I'm Charles,
and I play drums and wear a hat.
Charles: Yeah, we can't tell you - it
would jeopardize our mission.
Chad: Let's just put it this way: If
you're in trouble, and no one else can
help, dien you'll find out what tlie M
means. But it's a secret otherwise.
How do people find M-Blanket if
they need your help?
Chad: If you're really really in trouble, we'll find you, don't worry.
Is M-Blanket old-school or new
Charles: We're die school of hard
knocks, that's what we are.
Chad: We're private school.
Dave: We don't go to school.
Coral: You guys are small girls'
school. Are you guys hard?
Charles: Are we hard? Oh, you know
Chad: Charles is always hard. I've had
Who are you playing with tonight
at the North Van Rec Centre, some
other suburban punk rockers?
Chad: Some band from Kamloops
called Waterboy or something -
Charles: The truth is, we don't really
care who we play with because we
have such huge egos that it only matters that we're there. We're the only
band Uiat people come to see anyway;
everyone's gonna leave after we're
Would you consider yourselves a
suburban punk rock band?
Dave: No, because we don't live in
the suburbs
Charles: We live in the heart of the
city because we enjoy the crime and
the pornography and the drugs: the
real feel we get off of those types of
What would you wai
know before they came to your
show; what would you tell them to
expect at an M-Blanket show?
Chad: Expect to be very lonely
Charles: Hmm, what to expect at an
M-Blanket show? Fiery riffs from
Robby Hancar...
Dave: Stop calling me that (laughs).
Charles: Shredding vocals, bass mon-
strosity thundering upon you, like
nodung you've ever heard, crooning
from Chad diat'll bring a tear to your
eye every time, and a lot of 4/4 drum-
Let's say we were to go to an M-
Blanket show in Victoria, are we going to see a lot of coifed hair in the
Chad: Is that like Elvis? Oh,
moliawks? No, probably not, I don't
How about kids with baggy clothes
and backwards baseball caps?
Chad: I've seen some of those.
Dave: There's some kids widi coifed
Chad: Not like in the good ol' days
Charles: We've been doing this since
Bryan Adams has a song called
"Summer of '69." Where was M-
Blanket in 1969?
Dave: I was in die womb.
Chad: I was not yet in the womb
Charles: In 1969 I was doing brown
acid at Woodstock.
How about 1993, the year punk
broke. What was M-Blanket doing?
Chad: I was buying my first Sonic
Youdi record. It was after that that I
knew diat tliis's what I wanted to do
because I related to Thurston so well.
Charles: I dunk in 1993 that was die
first time I heard of a band called
Crimpslune from Berkeley California,
and it changed my fife. That's when I
hung up my Benneton shirts and
Roots clodiing and decided...
You just arrived in your van - where
were you?
Chad: We were driving in North Van
because we were at die end of our tour
across Canada and into die midwest-
ern United States and dien back to
North Vancouver, and then we're going home.
Dave: And dien back in black. That's
die last stop.
What did you find out about
Canada when you were travelling -
you went cross Canada and you
went down to America - what did
you find out about Canada that you
did not know before you left?
Chad: That everybody in Red Fisher
is the best. Red Fisher, go buy everything diey own, they're the best people on earth.
Dave: Winnipeg was a nice place.
Red Fisher, Winnipeg punk rock
Chad: Oh yeah, speaking of a Winnipeg we played with a band called
Elliot from Winnipeg, and we also
stayed at their house and they're very,
very good. Par excellence.
Charles: I also found out I fell in love
with a Polish man named Tolm. In
Chad: Who's in Elliot.
Charles: Yes.
Coral: Hey, tell us about the forest,
the forest story
Chad: That's die only dung wordi
talking about. I'm not gonna tell it,
because I can't make out a coherent
sentence right now.
Dave: He's busy playing wadi the
cream I stuck up Ids nose before.
Chad: We drove through Hiawatha
National Forest in Michigan - the
northern part of Michigan - when we
were bee-lining it to Mi not. North Dakota. We were driving dirough diere
really late at night and we took dus
turn at diis crossroads where diere was
a weird ghostly electrical plant sticking up out of the middle of nowhere
in die ground. It came at this fork in
die road and we turned right, and diat
turned out to be the evil padi. As soon
as we took die right hand turn every-
dung went just drastically amiss, and
it was the creepiest night I've ever had
Starting with Charles, what happened first?
Charles: First we started running out
of gas, and we diought we were gonna
be stuck in the middle of dus forest in
die middle of nowhere. We saw dus
androgynous lutcliliiker who was just
staring straight ahead, like hundreds
of miles away from anywhere else
where there would be anything that
you could have walked from, and we
drove past. Chad was very scared, because he thought he was the only one
who saw it, and dien he asked me, and
I said yes, and when we looked around
in die rear view mirror, she was gone.
And dien we saw a guy sitting in a
truck in die middle of this forest,
hunched over his wheel widi all his
lights turned off, hundreds of miles
away from anyone, just staring out.
When we got out of die van to relieve
ourselves we saw die Aurora BorealLs
for die first time, so the sky was on
fire and it frightened us. It was horrible, and I woke up to dus blood curdling scream that I heard in my subconscious, and Dave thought he hit
dus doe, this big elk-like diing. It
jumped right in front of die van, and
he swore to god he heard the whack,
and then we turned off, and we were
all, y'know, frightened because we
were hke, 'Oh, y'know we liit a deer,
this is horrible,' so we turned around,
and when we went back, there was
nothing there. There was no blood,
diere was no deer, there was no
ls horrible.
It vanished?
Chad: Yes. Or maybe it was never
Charles: Just like the androgynous,
ghostly palefaced hitchhiker.
Chad: So then we drove down this big
rocky road, which was horrible and
then we came out on this beautiful,
tranquil lake, and that's when we
knew diat everything was gonna be
Charles: That's our big story.
And that was it, that was the only
highlight of your tour?
Charles: Oh no, that was just the supernatural part.
Chad: The rest we just drove around.
What about America, what did you
think of America? What's the difference between an American and
a Canadian?
Chad: I'd say American truckers have
worse handwriting, judging from the
handwriting in die bathrooms, but
diey have berter jokes, and they have
Charles: Yeah, true.
Do you have a name for your punk
Charles: Yes, "More Pork Please."
That was the name of the tour.
Did you sell any shows out?
Chad: Oh, all of them. We can't walk
down die stteet without getting iden-
tified and hugged.
Where's the most exciting place M-
Blanket played on the More Pork
You played a mall?!
Chad: Yeah, our show for Regina fell
through, so we ended up playing in
dus outdoor mall called Scarth Street.
We played for two hours and made
five dollars.
Charles: And during the dme we were
there we got on die local news. A guy
came by widi a camera and filmed as,
and also a woman came by and gave
me her card and said she'd be delighted to have us perform at her art
gallery opening
At a mall?
Charles: At a mall.
Chad: Then in Chicago, someone got
shot in front of a show...
In front of an M-Blanket show?
Charles: It was actually in front of die
Insult to Injury show. I to I played the
same night we played in Chicago, so
we played our show, and then went
over to where diey had been playing,
and someone had just been shot dead
outside. And we had played at that
place die night before.
So you were touring with Insult to
Chad: Nope, we just met them in Chicago, and then we parted company
Charles: Actually, diat's not die most
memorable show, for me. It was in
Milwaukee, where we played in an
anarchist basement show with Dirt
and Final Warning and everybody
diere was in anarchist crusty punk and when we showed up and played our
punk pop crap, it was greeted with less
than enthusiasm.
Dave: There were a few people there,
Chad: And right before that Dirt show,
I hit a car outside; I fucked up the rear
end of some car, but we were too intimidated to actually stop and report
it 'cause we were playing at an anarchist show.
Did you meet any rock stars on your
Charles: As a matter .of fact we did.
When we were in Madison we
hooked up with Loverboy and we
played a benefit show for Loverboy
'cause they're not doing so well so if
anybody can, go out and buy the new
Loverboy album because they kinda
need the money.
Chad: I ran into rock stars! When we
were playing in Minot, North Dakota
I got up early in the morning and went
to the coffee shop and Team Dresch
was just coming in for coffee...
Team Dresch! Wow, all the way
from Olympia!
Chad: Yes, now from Portland I found
out. They've relocated. They were
very friendly and really nice, so that
Charles: And Mitsou came to our
show in Quebec City.
At this point, the food arrives.
Ohhh, food.
Waitress: Fries?
Chad: Aw, wonderful.
Dave: You got everything but the fries!
Charles, who is your Canadian
Charles: My Canadian hero? I would
have to say, Anne Murray. Can that
count? I'm the guy that's been sending her letters, stalking her for five
years, that's me.
Chad: I'm the guy who's been stalking Alan Thicke.
Is that your C
Chad: Is he Canadian?
Dave: Yup. I like his hair.
Chad: If he's Canadian, then he's
Canadian hero.
Dave, who's your Canadian
Dave: I don't have one. I don't
have any idols.
Charles: I'll go on record saying
it's a damn shame this isn't a television interview because Dave
would break your hearts with his
stunning good looks.
Charles: Everyone down there
thinks I look hke the lead singer
from Green Day, and I don't like
it. I'm goin' on record right now:
Bdly Joe, there can only be one
of us. I wdl meet you in Berkeley
Square anytime you say. You pick
the weapon; I don't care if it's pistols, fisticuffs, rapiers, slingshots,
doesn't matter. You and me: one
of us has got to go. I'm sick of
looking like you, and I'm sick of
you looking hke me.
Chad: One girl had to run out to
her car and get her tape case and
bring it back i n and get her friends
to look to make sure it wasn't.
Who is hot on the Canadian
Chad: Well, my favourite band
right now is a band called More.
They kinda sound like Pearl Jam
and the Red Hot Chili Peppers
sorta thing, they're really hot. I
don't know if they're still together,
but they're hot, they're wicked.
Charles: Elliot, that's who's hot on the
Canadian scene, from Winnipeg.
Charles: More won't have anything
to do with me, because they don't
think r m punk rock enough.
Chad: On the Vancouver scene?
Dave: The Nation.
Chad: The Nation of Fuckers is definitely hot.
How about Victoria - who's hot?
Black Kronstat?
Charles: I'd say they're fairly hot.
Chad: I'd say they're hot.
How about the Hanson Brothers,
are they doing anything these days?
Charles: The Hanson Brothers are not
hot anymore. I'd say they're warm.
Too old school?
Chad: No, they haven't done anything for awhile...
Charles: You can only run with a
parody joke so far, and I think they
pretty much...
Chad: Jumbo Prawn, that's who's
hot in Victoria.
Dave: (with mouth full) Mmm
Chad: Floragore, if they count as
Where are they from?
Chad: Duncan.
Charles: M-Blanket's hot. As soon
as we get out of the studio recording our new album on Warner
Is there a space for males in the riot
grrl scene?
Chad: I don't know, you'd have to ask
a riot grrl.
Charles : That is a question I won' t ap-
Do you ever think of forming a riot
boy scene?
Chad: Riot guys.
Dave: Riot nerds.
Charles: What would that mean?
Dave: Just rioting (laughs)?
Charles: Just having a boys group that
was called riot boy?
;       ■ : .    ...-■■
I keep smiling at people, and no one
will smite back at me. 1 feel very
hurt. It makes me want to retreat into
myself-curl up into a little ball and
die. No one loves me.
Brothers, we're gonna do another big
tour; we're really big in Japan. We're
gonna  be   opening   for   David
Chad: How's your omelette?
Chad: It looks offensive. This whole
wheat pancake isn't filling me up as
much as they promised on the menu.
Are there any riot grrls in Victoria?
Chad: Yes, there are. But they're very
Charles: Yeah, they're all under four
feet (laughs).
Where does M-Blanket fit in the
Chad: We're a not grrl friendly band.
Chad: What did you have in mind for
the riot boy scene? I don't know what
you mean. I don't really see what oppression boys are going through right
now, so I think basically if we fonn a
riot boy group, it would be like sitting around drinking beer. But we already have that unsaid group already,
so we don't really need it
Charles: Who wants salsa? Who
wants some salsa and butter? Would
you like some butter with your salsa?
What about 'zines? How's the 'zine
scene in Victoria these days?
Charles: There's a couple of good
ones, I'd say. Everybody writes fanzines in Victoria, I think everyone has
one, everybody who lives there, die
whole populous, 300,000 people...
Chad: Even Bob Cross has his own
'zine now, it's called Meat...
Charles: It's called Meat is Fun; it's
got a big picture of Morrissey frown-
Coral: You guys want to comment
on Morrissey?
Dave: Better not say anything mean
Chad: He's a god.
Charles (with mouth full) He's a gen-
Chad: He's the only man in the world
who understands me better than I understand myself.
What would you call a zinc if you
had a fanzine for M-Blanket? Have
you ever thought about starting
a fanzine?
Charles: I did have a fanzine at
one point, called Who Cares.
(laughter) I swear to god.
Chad: I'm writing one when I get
home. I started it, and I'm gonna
print it out when I get home.
Dave: I was gonna start one, I had
an idea for one called One Big
Fabulous Balloon and it was just
gonna be a magazine full of lies
and absolute shit and it was gonna
be the worst magazine ever and [I
would] still see if people bought
Chad: Sounds like my zine.
Charles: I'd make an effort to have
the worst magazine ever, lying
about people and stuff. Gossip,
and that sort of thing.
Where were you when Kurt Cobain
CHAD:We were in San Francisco. I
walked into a record store and the girl
behind the counter said that she had
At this point, our wonderful waitres
reappears to clear the table and re
join the fun...
Where were you, Julie, when Kurt
Cobain died?
Julie die Waitress: I heard of him, but
L.J think I was here, (laughter) I re
member hearing the name, that's all.
Are you going to the M-Blanket
show tonight, across the street at the
Lonsdale Rec Centre?
Julie the Waitress: (incredulously) No,
I'm working. I've got to stay here and
work, otherwise I would.
Charles: What if we got you the night
off? (laughs) Because it's a well
known fact that I am the son and heir
of the owner himself.
Julie the Waitress: (disbelieving) Oh,
Charles: I could throw my weight
Julie the Waitress: Do you know how
long I've been working here, and how
hard I've been workin'?
Charles: Hey, I like the way you're
doing things here, and as far as I can
see, you're working harder than everybody else, so shape things up in
here, (laughter).
Do you know where Bryan Adams
Julie the Waitress: He used to live here
on the North Shore.
Have you ever seen Bryan Adams?
Julie the Waitress: When he was
working. Didn't he work at die Tomahawk'' (laughter, applause) See, I'm
not dial old, am I? My daughter used
to talk about him a lot and she said he
worked diere. Are you finished with
Dave: Was Bryan a slacker at work?
Julie the Waitress: No, she never said
Charles: He's a slacker in bed, I can
tell you that from personal expen-
Julie the Waitress: (aghast) How
would you know?! (laughter) I gotta
See M-Blanket live Tuesday, November IS with Naked Aggression & the
Insipids at Crosstown Traffic (all
Contact M-Blanket:
P.O. Box 5504, Unit B
Victoria, BC
^Gr  tm
The Debut second album from
Seattle's first NON-Band!
It's UN-Believable!
(206) 525-0628
Write us for a full catalog!
t? L^gz$»m In a homogeneous world, Gregg
Araki is an individual. In a society
of heterosexuals, he's a homosexual.
In an economic climate where pursuing your dream career is hardly a
viable option, he's a no-budget
movie makers with a filmography
as long as his right arm behind him
and a million dollar movie ahead of
him. As an experienced film auteur,
he'd rather be listening to alternative music than catching the latest
flick. And he loves Los Angeles.
Who the hell does this guy think he
As labeled above, and in numerous other publications that have covered his work since he crashed the
scene widi his "irresponsible" AIDS
love story, 77ie Living End, Gregg
Araki is an opinionated, active,
music-loving, film-making, queer
Los Angelmo. His film Totally
F***ed Up, about teens immersed
in doubly alternative lifestyles (gay
and punk) is making the festival
rounds, gathering acclaim like a still
stone accumulates mass. He's just
shot Doom Generation, his first
movie with a substantial budget and,
though not even finished editing that
project yet, he's got a new script,
Nowhere, all ready to be realized.
Are these the actions of a tycoon-
in-thc-making or just a guy with a
lot of time on his hands? Araki insists that his greatest ambition is to
forget Hollywood even exists.
"I don't approach film in a career-oriented way. I always approach all my films, no matter how
big or small, as important films to
me. They are films that I want to
make and they say things that I want
In his latest two films, 77ie Living End and Totally F***ed Up both
of which gained wider release than
anything he'd done before, what
Araki has to say has a lot to do with
being gay in the nineties. A subject
that has recently become dear to the
hearts and wallets of mainstream
Hollywood, the plight of the modern homo is hot hot hot. Araki
doesn't mind being caught up in the
hype, but he u quick to distance
himself from the queer blockbuster
"Films like And the Band Played
On and Philiadelphia are very
white-washed, very diluted. I only
saw Philadelphia. It didn't interest
me that much as a film. That film,
at the end of the day, is not for me.
That film is for heterosexual people in Iowa who don't know what a
gay person is hke, who don't know
anything about gay people. I don't
look towards these Hollywood movies for any sort of enlightenment. I
don't look towards them for artistic
fulfillment. You look at Hollywood
and expect it to be Hollywood. I
don't delude myself into thinking
that Hollywood cares about an accurate representation of poor people. I think that Philadelphia was
extremely successful and extremely
important for what it was: a movie
about gay people for straight peo-
ful at the box office - if had been
more of a radically queer film it
would not have been - it opened a
lot of doors in terms of allowing
other gay films to be made. Hollywood doesn't care about gay people. They don't care about black
people, they don't care about anything except movies that make
money. If Hollywood movies come
out, even if they're bad movies
about gay people, if they are unsuccessful, they will immediately
blame the lack of success on the fact
that they feature gay characters. All
these bad gay movies, like Philadelphia, like The Wedding Banquet,
hke Pricilla [Queen of the Desert 1,
have come out and I personally
don't like any of them but the fact
that they have been very commercially successful is really important
as far as the representation of gay
and lesbian people on-screen. If
Philadelphia had bombed, I can
guarantee you would never have
seen a gay movie again for the next
ten years; but now there are all of a
sudden all these projects in development."
Araki writes, directs, produces,
and even shoots all of his pictures
and has, wielding his poverty like a
mighty sword of Truth, been able at
least to be true to his own vision.
Though his films aren't always the
finest examples of scriptwriting or
character development or multilevel narrative or cinematography,
they are honest, heartfelt and reeking of Araki's own acerbic sensibility.
Totally F***ed Up is just such
a film. Incubated from a newspaper
piece stating that an alarming percentage of teen suicides were com-
nutted by gay teens caught between
external heterosexual expectations
and their internal homosexual orientation, Araki's script is about four
gay boys and two lesbian girls, all
nineteen, who have litde in common
with their cruising and/or activist
queer brothers and sisters and nothing at all in common with straight
Living on the fringe of the
fringe, these kids are into alternative music, recreational drugs, hanging out together, and not much else.
The bleak Los Angeles landscape
they occupy has nothing of value to
offer them. Casual sexual encounters do litde to boost their self-esteem and they spend most of their
time goofing around as subjects for
one member of the group's on-going video diary. These diary segments are a large part of the film as
the characters reveal themselves and
their world to the camera more easily than they would to another per-
"[Mixing video and film] is
something that really interests me.
I think that the video and film are
really different media. The relationship between video and film is hke
Swingin' at tlie Hotel Vancouver
during the thirteendi annual Vancouver International Film Festival tins
October was Atom Egoyan, Canadian film guy. Here to promote lus
latest in a senes of somewhat bizarre
yet emotionally titillating films, Mr.
Egoyan gave DiSCORDERs Kevin
OToole die time of day, and a lot
DiSCORDER: Although your
work has always been received
well locally, within Canada, Exotica has gained a lot of critical
acclaim, including the International Critic's Prize at Cannes
[Film Festival]. Do you think your
i' making ability has in-
asrd o
■t the
filially opening its eyes to your
Atom Egoyan: It's a question I'm
in the process of trying to answer. I
can't really provide a quick response because I tlunk diat if you
keep doing somediing long enough
people will come to terms widi it I
led that dus film is very much in
the tradition of the odier movies I've
made but diere is something about
[Exotica] in particular that seems to
be more accessible and people are
responding to that. Its a combination of things. It's a good time in
my career to have a film like tins
where people are able to feel rewarded by their emotional investment in what the movie's about.
I don't know if it was the theatre's ventilation but throughout
the film their seemed to be a humid feeling. I don't think it was
necessarily from watching the
club scenes, I think it was the interaction of the characters and
the overall tenseness.
You can't underestimate the effect
of the sound. I don't know if you
saw it in a Dolby theatre widi proper
sound, but the sound in die film has
a really strong subliminal effect on
[die audience's] appreciation of it.
It's a very careful sound design.
When you're talking about a humid
feel, a lot of the sounds woven into
the film are quite aquatic. There's a
sense of being in a swamplike environment There are birds calling and
I believe a film should operate
at two levels. It has to have a literal
level of narrative and character but
it has to also appeal to your subconscious. In order to do that, as a filmmaker, you have to construct it in
such a way that there's enough
space for the viewer to kind of slip
into a reverie, to drift along widi die
movie. That's a very difficult balance to achieve. I think this film has
done diat because you have a situation where the characters are all lost
in a dream state and you, as a
viewer, are also induced into that
yourself. I think that is [included]
in the other movies as well but diere
is something more garish about the
other films and [the audience is]
aware of the artifice and are a bit
more removed. This one you are a
lot more emotionally invested.
When Mia Kirshner gets to dance
for the first time you have
Leonard Cohen playing. Leonard
Cohen seems, I hate to say, the
darling of moviemakers. He's in
Oliver Stone's latest, he's in yours,
and he's in various others. I was
talking to other critics and they
felt this was almost the Leonard
Cohen Festival.
It's very bizarre. In Cannes there
were all these movies that had
Leonard Cohen [soundjtracks, Dear
Diary, the Nanni Moretti film, Natural Bom Killers, like you said. It's
really quite strange and there's no
way to account for it. I love that
song [that I used], "Everybody
Knows," it's one of my favourite
songs. It seems so appropriate to the
subject of the film which is that notion of communal knowledge. What
is it that people know or don't
I'm not a great purveyor of strip
clubs and I don't claim to have a
great knowledge of them but I
have seen a few and I've never
seen one quite in the same vein as
the club Exotica. Is that part of
the mystique of the film?
When I was scouting for locations
and trying to actually realize the
film, I had a choice to represent a
strip club as they normally are, really depressing and dank places to
be, or to create something very
heightened and almost more like a
cabaret. I decided to go with the latter just because so much of the film
was going to take place in the club
and I wanted it to be somewhere the
viewer could imagine themselves
being in for a long time. [Involved
in my decision was] the whole notion of exoticism, the idea of trying
play with ideas of nature, and [the
idea of] nature as something consciously created. What is the natural state of a things? Those were
very important to the theme of. the
film. I wanted to create a jungle-like
environment but [one] that you
knew was very man-made. We really went to town with the club.
Some people actually visited [the
set] and decided they wanted to
make it into a real club. One of die
saddest days of my life was when
we had to tear the place down because it was so inviting.
In your past films, and coming up
to this one, you have surrounded
yourself with actors you know you
can work with. Your wife, Mia
Kirshner, for instance, and vari
ous others, like Don McKellar
who was in Tlie Adjuster as well
as Exotica. Do you find it easier
this way? Do you feel that they
can understand your work?
These are people that you develop
a shorthand with and when you're
making a film in five weeks, you're
faced with pressures and it's really
good to feel that the actors understand your work and your methods.
You don't have to introduce them
to something while you are so manic
with trying to get the film made. It's
very comforting for me to be able
to work with these people. They're
people whom I trust implicitly to
give me their best work. It's been
very gratifying. It is a big family of
people but I hope that I'm able to
allow them to stretch and to explore
their full capabilities.
Your wife was pregnant while
filming this movie and she wasn't
when you wrote the script so I assume that made for some interesting rewrites.
I think the most shocking thing is
that some people think that I got her
pregnant for the movie, which I did
of le
ally the relationship between photography and Polaroid's, There's that instantaneous intimacy that video has.
I wanted to set up the dialectic between the two. It's part of the sensibility of Totally F***ed Up . I was
trying to become very intimate with
these characters. I really wanted the
film to be told from the inside as
opposed to this outsider coming in
and chronicling it. The set up of the
movie, which is of course fictional,
is that the video is being shot by one
of the characters. It's not this authorial, omniscient view but you are
likewise privy to an interior, insid-
Another off-centre addition to
the film are the messages that occasionally segue the video and film
pieces. The most controversial of
these 'axioms' is "Tom Cruise:
Rock Hudson for the nineties."
Araki insists diat the phrase itself
carries no greater truth but works in
a different way.
"There have always been rumours flying about Tom Cruise. The
film is full of an inside sense of humour. To me it was just a throw-
away joke. Everyone always singles
these things out and makes a big
deal out of them and that's not what
it's intended to do. For people who
live in Los Angeles the Tom Cruise
thing is common mythology. Personally I can't say one way or the
other what Tom Cruise's sexual orientation a but I can say that it is
impossible for someone like Tom
Cruise, who from all accounts is a
very unhappy and miserable person,
to be 'out' if, in fact, he was gay."
Like the kids in his film, Araki
exists on the fringe of the fringe. He
hves and works in Los Angeles but,
apart from getting the gossip, he has
nothing to do with the image that
most people have of the City of
Angels. Drawing from his experience of the Los Angeles he knows
and loves, Totally F***ed Up portrays an empty urban desert unrecognizable as the sprawling burg the
rest of us think of as die gilt throne
of a North American show-biz empire or die frenetically violent hotbed of racial tension.
"I was bom in Los Angeles and
I've lived most of my life there. I
personally am one of the few people in the world who loves it there.
In its own ugly and tacky and surreal way, I think it's a beautiful
place. I see a part of Los Angeles
that a lot of people don't see. It's
the side that comes through very
much in my movies. I see it as the
capital of alienation. It's very vast.
It's a nocturnal wasteland, particularly because I'm not part of the
nine-to-five, hustle and bustle, doing lunch, driving around with a car
phone life which is how people normally see Los Angeles. There's a
whole other part of Los Angeles that
is very desolate, very dark and
lonely. The city is very deserted at
3 am. It's like this ghost town. It's
this big concrete place that you just
drive around in. That is a side of the
city diat I really like. That's why I
have a hard time being someplace
like New York which never has that
feeling. It's always go go go go go.
I feel very claustrophobic and boxed
in there. Los Angeles is very much
about space and openness. The idea
of the void is always there."
Alienation seems to be a concept
that Gregg Araki is comfortable
with. Most people who feel
disattatched from society as a whole
usually lament their removed state.
Araki embraces it. Not only does he
thrive in an apparently empty
megalopolis, he gains his most significant inspiration from doom and
gloom hits by the likes of The
Smiths, Jesus and Mary Chain, Nine
Inch Nails, Ministry, and Ride.
"I'm not a real movie person. I
went to film school for seven years
and I love film but I don't rush out
and see every film that's ever made.
Much more of my inspiration comes
from music. I collect records and
I'm really into music. I wake up in
the morning and turn the stereo on
and it's on until I go to bed at 3am.
When someone wants to do their
dissertation on my films, I think that
their going to have to study the
c that I
.-. The
and themes of ostracization in them
is all related to music. The title of
The Living End is from a Jesus and
Mary Chain song."
"The Smiths are angsty and miserable but their songs work in a lot
of the same ways I think my movies work. There's a level of irony
and self-consciousness about them.
For people who are on their wavelength, they get it and the band is
funny and depressing at the same
time whereas people who aren't hate
The Smiths and Morissey and hate
everything they
don't get it. People come up to me
and tell me my movies are so whiny
and miserable and blah, Wall, blah.
I don't mean to be elitist but you're
on a wave length or you are not.
There's nodung I can do about that."
Despite his move to the land of
million-dollar budgets, Araki seems
dedicated to remaining true to his
individualist roots. Doom Generation, to be released in 1995, tells the
tale of a road crime spree. Despite
the plethora of white trash adolescent killers on die lam flicks that
have been released recently, the
world can rest assured that Gregg
Araki will have a completely unique
take on die subject. First of all, die
young protagonist, fashioned after
a Beetlejuice-em Winona Ryder, has
TWO boyfriends who join her on
die lamb. Second, even Araki thinks
"The Living Eiul is subtitled
"An Irresponsible Movie by Gregg
Araki" and Totally F***ed Up is
subtitled "Another Homo Movie by
Gregg Araki" Doom Generation is
called "A Heterosexual Movie by
Gregg Araki." There's a self-conscious irony about it. It's hetero-
very subversive. It's my most extreme, out-diere movie. It's an interesting step for me."
Always the eager beaver when it
comes to his own projects, there's
already another Gregg Araki project
in the works.
"My next film, which is called
Nowhere, is my version of Beverly
Hills 90210. It's not Beverly Hills
90210, it's the other side. It's like
the dark twin of that show. It's also
about beautiful teenagers in Los
Angeles but anytiiing I do will always be filtered tlirough my sensibility. It's obviously not going to
turn out like an Aaron Spelling production. You start from the same
place but the paths diverge. They're
really like night and day. There is
sort of a meeting ground but it's
more a point of divergence."
Gregg Araki has made a career out
of divergence and for that alone he
should be considered a genius; in
terms of his filmmaking skills, lie
has a long way to go to prove his
status as a maestro. As an individual,
however, he's got it in the bag.
io. It did make for interesting
ites. It worked really well,
iphorically, to have her preg-
, to be carrying another human
g within her, in terms of what
ilm was about. There are a lot
rtility images woven through-
he film. Eggs make an appearand the idea of hatching, of
bating things is a recurring
f, so it was irresistible to infuse
nur films I find that you re-
can't understand or get to
w the characters until the fi-
noments of the film. It's al-
t like a puzzle except that you
> something instead of putting
gether. Do you think that
es for a more interesting sub-
type of structure that I really
I because I think it's very re-
ing for the viewer to go through
cess whereby they have to be
g to unveil motivations. I like
eries. It makes the film struc-
ike a mystery. The question is,
lo you keep people'
you're not using the n
ditional techniques of character
identification. You're not quite sure
when you're watching the film that
you want to be with these people but
obviously in this film there's something very seductive outside the
characters which is the whole envi-
i. It's
ance. I'm really proud of creating
this new form. Most films are about
cause and effect but these films are
about effect and then cause.
You've described it almost as a
strip tease, appropriate enough
for this film.
That's it. Like in any strip tease die
charged as the process of getting
diere. That's my approach to narrative structure generally. The process of getting to a revelation is more
interesting than the revelation itself.
A friend of mine called it an attraction for the eyes. Something to hold
on to, to frame. We all need to have
things framed because that
contextualizes what you're viewing,
so it's interesting to use that as part
of the s
Parts , "There is nothing sp«
about words." Do you find th
true in your movies? There se
to be a lot of spaces between
logue where there's just atn
phere filling it up.
I think we use words to fill U|
lences that we'd rather not deal \
Sometimes it becomes very a
ward to leave silence in our cor
sation or our lives because it m*
that we have to confront things
we may not want to address. You
always cover diose silences up
words but often those words n
absolutely nothing. I'm interest*
using that as a dramatic techni
When people meet, they're n
quite sure what to say to each o
so they end up saying these ah
little things. They perform t!
verbal dances which don't re
want to address the complexit
the unusual fact that diey re a
ally in a state of loss. They wai
meet somebody, they desire to 1
access to someone else's life. T)
are huge issues but they're very
ficult to just come out and
They don't necessarily mean what
you think they do.
I find that a lot of the conservative majority tend to automatically label a film as pornographic
without actually viewing it.
That's what's happened in our case.
We've received some very concerned letters. They are people who
have not seen Exotica, diey've just
read about it and formed an opinion about it, and that's laughable,
but people actually take this sort of
thing seriously. It escapes me how
people can form an opinion without seeing something but diat seems
to be the social grease of our community a lot of the trine. People
don't have time to go and watch
dungs so they form opinions widi-
out having really decided for themselves.
I personally found the film deeply
emotional. In the final confrontation, when you find out the character's purpose for going to the
club, it's so emotionally charged.
This is the point that I don't think
people are seeing when they au-
c all it pornographic.
I'mreally glad you brought that up.
Tlie intentions of diese characters
are so human and so delicate and so
vulnerable. One of die main themes
of the film is that people are not
what they seem and that you have
to not trust first impressions sometimes; you have to go deeper, you
have to really let yourself be curious and not just judgmental. In order to explore that tiieme you have
to have die highest expectations of
your viewer. You have to assume
your viewer is infinitely intelligent
and curious and tiiat's how I make
my films. I hope diey are rewarding
l diat basis. That they
>nally n
they really are gratifying. I'm not
making theses and I'm not making
diese films for academic reasons. I
have to tell these narratives. I want
to share them. I want people to partake and to be riveted and to feel
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-I l-l'l-l.l-l.l H 1SZIS Welcome to the premiere of I Can
Read, so named because names are
hard to find, even harder to remember, and I wanted to make it simple.
Hie series of learning-to-read books
I had in grade one were named "I
Can Read" and diat seems like a
pretty good name lo me.
As you will so cunningly observe, Mr. Kinakin is not doing Vancouver Special anymore. But have
no fear, DiSCORDER will
not be abandoning the local scene: Sean Raggett
will take over 1
and 1 will handle zines. I
hope to give you a good
account of what is going on
in Vancouver's zine
as well as including, basically, any zine I can get my
grubby hands on.
There is a reason for
everything 1 do in this
world and my motivation
for  doing  tins   column
l-iicl- widi - you gue*-
zines. I have been an en-
thusiastic reader of zines
for a while now, as well as
being die writer ol one for
a year. In that role, I have
learned Hie joy of receiving
mail orders from near or far
e people 1
■ere the -*
Please include size, cost, interest in
trading, and all the important stuff
that I am forgetting. And please remember when sending stamps or
money to consider country of origin and where you are asking them
send it
And n<
', on to the zines...(Yes
e even in alphabetical
anal yet public way of
■orking with other pec
we don't hke to hear about the bad
things that happen to people. In our
own little worlds, it is easier to forget that sexual abuse can happen to
anyone. The author of this zine
bravely exposes her feelings for
you. It is so important to tell. It is
so important that you listen. (4157
Verona Rd., S. Euclid, OH, USA
44121-3109- $1 or send stamps)
Forever and a Day if 12
Forever and a Day is one of my
favorite zines. In this issue, the creator, Kelly, takes off down south with
Seattle's Christopher Robin and
Bellingham's Jayhawker to play
shows and see the sights. Kelly is
er, and his type
makes him even more interesting to read. Good ideas and perspectives make this zine vital. ( PO
Box 95383, Seattle, WA, USA
98145-2383 - send stamps or the
cash equivalent)
Heart Attack #2
Now that Maximum Rock N Roll, the
monthly punk rock bible from California, won't review 'non-punk'
records, Heart Attack is offering itself as the zine MRR should be. It
does a good job of covering Hardcore. (PO Box 848, Goleta, CA,
USA 93116 -$1)
Handbook For Boys #4
Funny as hell, this zine made my
day and the cool little
made me pee my pants.
These boys write seriously, too, about their
friendships, growing up,
and families. Well-balanced and well laid-out.
(1717 Miller Ave,
Westlake, La.. USA
70669 - send .stamps)
How To Use Tact and
Skill in Handling People
Great advice like "Take
what you want. If anyone
gets in your way, kill
them." Lots of info about
die town of Eugene, how
the author lives with sex-
pie Choice Quiz and read an inter-       TX 78765 USA - 75 cents)
view with July Fourth Toilet. Well
laid out and definitely happy. (PO       Rampage Ml
Box 78550, University Postal Out-       Rampage author Audrey is new to
let, Vancouver, BC, V6T2E7 - $1)       the zine writing thing, but she is not
new to the idea of it. Already she
i and a gym
'ell   i
aine every week. (At least that is
, guess at this Canadian zine hav-
: an American address.) Tlie fo-
s of the zine is on indie rock and
s issue features interviews widi
iston's Cul De Sac. New Zea-
cool bands. (PO Box 785. Blaine.
Peaches and Herbicide #S (The
Pines of Carolina)
This zine is a must for anyone who
has ever had to go away to college
in a yucky town where no one you
meet is into the same things you are.
(See, that is why zines are so important: you are not alone, really.)
Amazingly, the author communicates Ulis without being depressing.
It is nice to see someone's struggle,
especially when it ends on a positive note. (PO Box 49514, Austin,
has a network of pen pals who send
her zines to review and has established connections with such
scenester's as Vancouver's own
Meegan Maultsaid, creator of the
Rock For Choice compilation and
one of the organizers of
Grrrlapalooza. An interview with
Meegan is included in this issue
along with a bunch of other stuff,
including book and record reviews.
(6266 Starfield Cres., Mississauga,
ON, L5N 1X4 - send a stamp)
Residential Garbage #1
Residential Garbage is sloppy and
sarcastic. It is funny and smart. I hke
it. I'm very impressed and I hope
these girls keep up the good work.
(624 E.15th St., North Vancouver,
Lara is the author of this very important indie rock/personal zine.
She is down with all the coolest cats
- par example, Heavenly and Small
Factory. Each issue includes a form
letter for you to fill out and send in.
(PO Box 261, Merion, PA, USA
19066 - send stamps)
Sandbox #6
This minizine is very neat and very
distinct. I'd hardly know that it was
even from Vancouver if it wasn't for
the address - most Vancouver zines
have a Vancouver look. (Don't ask
me what I meant by that 'cause I
don't know.) Good use of a cut-and-
paste style layout. (#3-26666 Cambridge St., Vancouver, BC, V5K 1L5
Um, I don't know if I've said this
before, but I am an elementary
school drop out. Actually, I got
kicked out half way through Grade
Two after the principal caught me
smoking in the girl's bathroom.
Consequendy, I never learned the
whole alphabet -1 only got as far as
"S". But Dylan, our kind editor, has
promised to teach me the rest by
next issue so I promise I will do
zines for the whole alphabet next
time. Until then, send me stuff, send
for stuff, and read - it's good for
plenty of zine reviews.
(1449 Ranch wood Dr.,
Eugene, OR, USA 97401
This is actually more like a magazine than a zine. It is slick and the
layout is just too damn pro' (free in
Invasion of the Slut Monkey from
Hell #.?
and a Fabio spread - who could ask
for more'.' You could even ask for
reviews of the author's favourite lin-
Popgazer #4
A light-hearted zine wluch includes
l/anc°uV<?f* 0C
Quality Constonments at a X-MartPticeff
22 Novteniber 1994 jL^£>
/ 1            /              /
Crisp, loud, fun. Those are the three
words that best describe Calgary's
The Parkades debut 7" "Attack
Me" b/w "The Man Insane." Somewhere in between Billy Childish's
Mighty Caesars raunch and the
Swinging Medallions' frat-rock, the
Parkades have pounded out the
good-time beat in very fine form.
What is it with Calgary and its link
to great rock'n'roll music? First
came the Stampeders and the 49th
Parallel, then Colour Me Psycho,
dien the Vindicators and, of course,
Huevos Rancheros. Please folks,
add the Parkades name to that astute, if dusty, list. They rock it up!
(Roto-flex,   P.O.   Box   64252,
Calgary, ABT2K6J1)
From Toronto, there's a new split
single from Armed and Hammered and Suckerpunch, two
fairly high-profile acts outta hog-
town these days. As creatively
amusing as Armed and Hammered's
monicker is, their sound is as I expected: generic hard-core/drunk-
punk. I don't mean that in an altogether bad way. Their four-songs are
delivered with much energy and a
spirited gusto which is always ap-
i   this
.   The
shrieked, indecipherable vocals are
not. There's a Rancid/NOFX feel
going on here that's lacking the
melody and talent of those bands.
Suckerpunch, on the other band,
play simple, stripped down 'n'
straight-out psycho-billy. There's a
whole lotta reverb, a whole lotta
twangin' and a whole lotta attitude.
They rock hard but we'll all have to
face the fact that Suckerpunch
would be in nowheresville fast if it
weren't for a super little band called
the Cramps. Lux Interior, Poison
Ivy and company have been playing essentially the same garage
rock'n'roll since their inception in
the '70's; it's the only thing they
know how to do. Luckily, they do it
well and are responsible for the pop-
culture tag "psycho-billy" that players like the Reverened Horton Heat
have embraced so warmly. The
Cramps are IT, the King Shits of
Turd Island. This new Suckerpunch
single is a continuation of the
CrAmps music-noire style of voodoo, sex, bullwhips, and drugs. Both
"Let's Get Fucked Up" and "How
Come You Do Me" rock way, way
out. (The Medicine Label, 75
Rockefeller Plaza, New York, NY,
20019-6908, USA)
All the way from Spain, our next
band actually went and named
themselves after our own little town.
That's right, they're the
Vancouvers! "Say You Will Wait"
and "My Friends and I" are two
clean power-poppers with gritty female lead vocals. It's pretty good
stuff but what the hell are these
Spaniards singing about, anyway?
It's a little overproduced for my
tastes, but I guess we should all be
flattered. (Mojave Records, PO Box
50308, 28080, Madrid, Spain)
From Seattle's Rat City Records,
C0ME« Don't h\ Don't Tell $9.87 LP/cass $13.81 CD
NOMEANSNO - Mr. Right and Mr, Wrong. $9.87 cass $12.93 CD
SHELLAC • At Action Pork $9,87 cass $14.92 CD
VARIOUS' Hey Drag Gty $9,87 cass $14.92 double LP/ CD
SILVER ]EWS« Storkt Walker $9,87 LP/cass $14.92 CD
BLAISE PASCAL «foreword $7,90 CD (vinyl due mid month)
LOU BARLOW ■• Another Cofedon of Home Recofdngs $5.97 doiiie 7" $10.96 CD
PIZZICATO   FIVE   ■  Mode in tic U.SJ 59.87 LP/cass $14.92 CD
VARIOUS PERISCOPE »(Cii, Bed* etc)— Jfitl LP $14.9!
NEW PHONE NUMBER! 687-6355   1
please welcome the latest gimmick-
seizers of rock'n'roll - The Primitive Five, complete with ape masks
and all. The sound on this pooch is
predictable as the ol' banana peel
gag: primitive, three-chord '60's garage rock right oft those old Pebbles albums Tlie stand-out B-side,
"P-5 Theme,'' is an above average,
ripping instrumental. (Rat City
Records, 221 SW 153rd St. #230,
Seattle, WA, 98166, USA)
The 3DS follow along in the
same '60s suit with "Mr. Suess" b/
w "River Burial" on Merge Records.
"Mr. Suess" is a great tune that
sounds like the soundtrack to a Peter Sellars movie if die Standells had
performed the music. "River
Burial," a little more psychedelic,
reminds me of something off of an
oldies station, but hey, doesn't everydiing? Bodi of diese songs rock.
(Merge Records. PO Box 1235,
Chapel Hill, NC, 275:     USA)
Boston's Some Bubblegum label
has put out afew lately. Fi;:.t, there's
The Tulips widi "Wet," a noisy de-
melodic bore. It's backed with
"King of Sex," a Killdozer cover/
tribute that does nodung but shame
the original. This stuff just isn't
played well
On the odier hand. Tugboat
Annie's "Jackknife" b/w "Mock"
have the handle on some great inelo-
<. Tiles
e pari
■ed n
e-pop that would get
diem die
and/or a twenty album contract with
Sup Pop. Indie Rock's next superstars? They could be! Watch for
diem in future Zulu Records ads for
complete confirmation. (Sonic
Bubblegum, PO Box 35504,
Brighton, MA, 02135, USA)
Okay kids, thanks forhangin' in
there. Now we're for the home
stretch - nothing but good stuff from
here on in! We'll start the hit parade
on a sad note - one of my all-time
favourite bands has (gulp) broken
up. After several .illxnus and eouni
less singles, Screeching Weasel has
krieg, catchy-as-crabs punk rock. I
love it; it doesn't get any better than
this. We all just lost a great band.
There's the Beatles. There's the
Beach Boys. There's the Ramones.
There's Screeching Weasel. The
same antheiiiit' calibre...get it?
(Lookout! (who else?) PO Box
11374, Berkley, CA, 94712, USA)
Screeching Weasel's mentors are
The Queers, who have, luckily for
us, managed to stick around for over
ten years. This four song EP entitled Too Dumb To Quit is a conglom-
eration of early Queer member
Wimpy and die current Queers lineup doing way-old Queers tunes,
some of which date back the full
decade. There's five songs here,
most in the same hard-core punk
vein as all of their early material.
Personally, I prefer their current,
poppier catalogue, but "Didn't
Puke," "Fuck You" and "Bonehead"
are still pretty classic stuff. (Selfless,
2157 Pueblo, Garland, TX. 75040.
My Pick Of die Month for November goes wholeheartedly to Tokyo's mighty Teengenerate, who
have forever reserved hallowed
space in this column. Tlieir new EP
And Then Friends contains four
ama/jng songs 1'caluring legendary
northwest producer Conrad I'no
singing the classic "Dirty Robber"
(the closest to Gerry Rosalie I've
heard yet), Scott McCaughey of the
Young Eresh Fellows and REM
singing the Lyres chestnut "What a
Girl Can Do" and Seattle rock guru
Joey Kline singing the Young Fresh
Fellows' "Big House." Confusing
it's not; phenomenal it is. Lastly, the
Teens bring the record home widi
ing "Don't Come
to be followed shortly by world
If anyone ever wondered what
happened to Mudhoney, they're
alive and well in Los Angeles, playing under the name The Bottom
Feeders! Just joshing, of course, but
The Bottom Feeders' new ten inch
EP Spit Battle proves that they are
sweet'n'solid ones. (Lead sc
Dave McConnell is a spot-on Mark
Arm.) We here have four beer-
sopped, shit-stained rock songs that
all pound home that "don't fuck with
us or well turn up the amps and kick
your ass" feeling. Great highway
driving music, though definitely not
recommended for grid-lock traffic.
(Hell Yeah!, PO Box 1975,
Burbank.CA, 91507, USA)
) Me." It's
•ic. (Lucky, PO Box
4636, Seattle, WA, 98104, USA)
t  this
,1 .|iin
- but ii
>ng album and a
suburb single "Suzanne Is Getting
Married" b/w "Waiting for Suzie"
are excellent slices of purified bhtz-
Teengenerate is the very hot
age!.'.', an eight-song EP dial
cally confirms their spot al Ih
of the independent-rockin' ti
It's pure, thrashing punk from
2$ E^a»an *+-*+•*+-*
All, Shindig. I love dus time of year,
for even widiout hockey or any odier
significant adiletic event to warp our
minds away from anything relevant,
dus institution goes on, and once a
week, adequately makes up for
sports' sorry loss. Who cares about
ugly, over-paid, primadonnas when
you can rock your heart out to Vancouver's best up-and-coming bands?
I'm glad to get a glimpse at groups
that I've neither heard nor seen, and
diat's what it's all about. That, anil
die healdiy spinl of competition that
pits one band against another in a
light Iodic dea...okay, lo the prizes.
Sadly, history dictates dial some of
Ihe best bands lo make their mark
al Shindig are done in by diat leg-
endary curse, bin slay tuned on that
one 'til we gel lo the finals...
September 20, 1994: Tlie competition gol off to anodier late start
with Beat Up Trudy hitting the
stage 45 minutes later than scheduled (well, it was still aboul 15 minutes earlier than last year's start
time). Before I goon. I should preface what I'm about to say by confessing that I like Pearl Jam and
lane's Addiction. However, I'm not
generally a tan of bands that are obviously influenced by these bands,
and sadly. Beat Up Trudy was just
such a band. These guys tried and
did indeed put in a solid performance, but I'm afraid tlieir songs were
too often loo repetitive and dragged
on for to-- long, proving ultmiatey
to be uie band's weakest point The
vocals were also notably weak and
generally sounded quite hoarse. All
1 can say is, keep al ,1 - practice
makes Eddie Vedder [no, super-m-
Nexl up was die evening's the
24 November 1994
r, Underwater
die vocals and die harmonies were well done here.
Taking die poppier aspects
of the Grapes- of Wrath or
Matthew Sweet, they were the best
band on tins night. Tlieir songs were
strong and engaging with a few real
standouts and, as if this wasn't
enough, they were concise! Short
songs and a short set work perfectly
in an environment like Shindig, and
Uderwater Sunshine made good use
of diis fact. The only negative thing
I have to say about diem is diat perhaps originality wasn't their forte,
as one could easily rattle off a dozen
bands diat they sounded like (see
above for example), but still, they
were very good al what Ihey were
Hie final hand ol the night was
Silverdrive. Silverdnve had songs
diat were probably die most original sounding, albeit with a brooding 'British' sound (much hke their
namchmnim), but that combined
with the performance of the band,
wluch paid attention to subtitles like
dynamics, made for a fine combination. Unfortunately, equipment
problems got the best of diem - only
ten or fifteen minutes into dieir set,
one of me guitar players' amplifiers bioke down and the band soon
followed. This can be understandable, as a band like tlus seems to
need its full sound lo drive its songs,
but compounding the problem for
Silverdrive was their apparent surrender following the incident. They
just gave up, and diat's too bad, because even widi vocals that were
average at best on this night, diey
could have been surprise winners.
Instead they wound up with a strong
All mall,;
lule evening.
for I hardly
onung NHL
September 27,1994:
Week Two of Shindig
continued the trend established Week One of
starting LATE. Still,
tired and undaunted, diis
faithless, uh, faithful reviewer marched on to face
the barrage of bands that
make Shindig the event it
Trauf were first on tonight, and I anticipated their
performance eagerly, if for
nothing other than their name.
My exaltation was soon
brought to a halt however, after actually hearing them. They played
very well but were lacking what I
see as being most important - good
songs. Most of them were unbearably dull, CFOX kinds of tunes, but
most weren't even that good. On a
more positive note, I thought they
utilized humour quite well - better
than any other band at Shindig this
year - with some tasteful lounge
music tossed into the mix and also
with one song called "Deliverance"
wluch had a chorus that went something hke, 'Squeeeeeeel like a pig.'
They were very good at what they
were doing though, and I shouldn't
get too far away from that point, but
what they were doing with their
songs did not appeal to my tastes.
Soon after Trauf finished, one
could feel a strong stench of attitude
waft from the stage of the Railway
Club. Cowardz were on, and diey
wreaked of it. For sure diey were
the best band on the night, but
maybe just a wee bit too cocky for
my liking. They were deserving of
their first place finish though, with
songs that were aggressive, always
melodic and just loose enough to
give diem a great sounding edge
Tliis three piece could be potential
Slundig finalist material, but I just
hope diey don't come off so much
like, well, rock stars, at die Shindig
semi-finals. Perhaps the one good
thing to come from this is their stage
presence, but it was too much and
for too long (45 minutes!).
Next came Cosmonaut. They
played an odd brand of noise that
started off slowly but soon developed into somediing quite appealing. At first I didn't like them, but
die more diey played, the more I
liked them, even at die relatively late
hour that diey played. Though diey
were somewhat reminiscent of King
Missle for their use of talking over
loud V heavy music. I was impressed by their generally original
behind Cowardz, but this was not a
negative comment on the band at all.
Tired and otherwise satisfied
with my Shindig experience for this
evening, I went home to wait for
next weeks' festivities...
Brian Weiser
October 4, 1994: As a fresh import
from Winnipeg, I decided that the
best way to see Vancouver's up-and-
coming rock icons was to check out
CiTR's Shindig '94. Boy did I hit
the nail on the head - with the exception of the lamest 'Jokes for
Beers' contest I've ever seen (maybe
'Jokes for Being Skittish and Easily Frightened of Small Crowds'
would've been more hke it). The
evening was a slumber party and
sock hop all rolled into one.
Garliconspiracy was the first
band to hit the stage and proved to
be a fine opener. Besides having a
puzzling name, Garliconspiracy had
a radio friendly, vanilla-flavoured
sound: Very tight and clean, sort of
like a happy REM (circa '85) but
without the catchy lyrics. A
danceable and undeniably peppy
crowd favourite.
The next band, Free Radicals,
was quite the conundrum, playing
a Rawhide-ish country tune done in
the white trash spirit of New Duncan
Imperials, followed by a 'learn how
to change/let's make a difference'
type of reggae song and then some
sort of sea shanty featuring a bit of
well-placed accordian accompaniment. What are we trying to say here
boys? Don't get me wrong - I love
variety just as much as the next
patchquilt Canadian. However, my
Folkarama passport is full and besides, bands should never be afraid
to just play what they know. I think
Free Radicals might have a future
playing weddings and hockey
Marmelade was the last and by
far the moodiest band of the
evening. Their stage was devoid of
all light save for the glow of two
potlights, one a smokey green and
the other blood red. The band came
on dressed to the nines in dark colours and proceeded to pout and wail
through their plodding, wall-of-
noise, naval gazing, my boy/girl-
fnend just dumped me songs. The
crowd loved it, though...dead roses
Stayed tuned for further updates
on Shindig '94 in next month's
DiSCORDER, or better yet, peel
yer butt off of that vinyl couch and
come down to the Railway Club on
any Tuesday night. C'mon, try it.
Everyone's doing it. You'll be cool.
You'll be one of us...Mooha ha ha
ha ha ha ha ha!!!
Jacqui Touchette
.1. Cos
ishe.l -..
Nov 15-16 NIGEL MAC
' ' iJ^
jB^ jllnjl
lfllh        ^
"V, V
..... \^}v
r±l H
Something's brewing, something's
in the air. Popular all-ages local
indie faves are playing with a refurbished intensity around town, attendance is increasing, and die Vancouver scene could finally get some
of die international recognition it
deserves in coming months. This
kitty cat is hyped...
Before I go on, I'd like to thank
Kim Kinakin for his work in developing Vancouver Special into a information source for local music
and fanzines over die past year and
a half. Starting in diis issue, the effervescent Trish Kelly will take full
control of the zine helm with a new
Discorder column, I Can Read, and
Vancouver Special will focus entirely on the music scene.
Last mondi began on a sombre
note widi die passing of D.O.A.'s
Ken Montgomery (a.k.a. Dimwit)
in late September to an overdose of
China White heroin. Dimwit
drummed widi Vancouver bands
D.O.A., die Pointed Sticks, and the
Modernettes during the '70s and
' 80s and was about to begin rehearsals with the Modernettes in preparation for a band retrospective on
Zulu Records. Rest in peace.
Local heavy core rock'n'rollers
Strain, Brand New Unit, and
Sparkmarker are all in some way
or another involved with die local
straight-edge punk scene and have
been fully supportive of the all-ages
scene (and each other) for years.
These bands are all rumoured to be
topics of heavy discussion around
die major label tables, and for ex-
..Strain are releasing a new 7" on
Heartlirst records soon...
...the nughty Sparkmarker are blowing minds and eardrums all over
town via their recently released
Products and Accessories...
...all tliree bands, as well as die recently disbanded Stovebolt, have
material on die upcoming Excursion
records compilation...
sensations, cub, recently returned
from a five week North American
tour. Highlights included three
shows in Eastern Canada with
Sebadoh and an appearance at the
CMJ conference in New York (yes,
Terry David Mulligan was there
too), cub also toured down the Eastern States, through Texas, and
played LA with the Muffs and Portland with die Softies and die Crabs.
Mint Record's Bill Baker said the
peppy threesome were "very well
received (in the USA) for a band
that's basically unheard of." cub's
new CD, Come Out, Come Out, featuring cover art by Toronto's Fiona
Smyth (Exclaim, Snipehunt, The
Girl Wants To), will be in stores by
January in CD and multi-coloured
triple 7" vinyl formats. This album
will capture the talents of new drummer Lisa G., who is "working out
amazing - she's doing a great job,"
says Bill. In die meantime, there are
rumours of anodier possible US tour
exclusively with Sebadoh...
Speaking of Sebadoh, Lou
Barlow's Canadian-only, Mint
Records exclusive release has gone
into its second pressing due to overwhelming international demand.
The 12 song CD/double 7", Another
Collection of Home Recordings,
features Lou, Bob Fay, Kathleen
Bilus, a song by Joni Mitchell, and
a Bryan Adams cover!
...cub's former drummer Valerie
now plays with Gaze, a four-member lo-fi pop outfit who will soothe
their way into your hearts...
The future of Victoria's Bum is
currently up in the air. After a successful and well-received tour in
Spain a few mondis back, the band
decided to make the move to the
mainland, with the exception of
front man Rob Nesbitt, who stayed
in the Geritol capital. Tlie Smugglers' guitarist Nick Thomas rocked
a huge Commodore crowd as a temporary lead at Bum's last show, but
the long-term plans for the project
are on hiatus for now.
The Smugglers are heading on
the road mid-mondi down die west
coast and along die southern States
performing widi die likes of Nine
Pound Hammer, Sicko, Driptank
and Man or Astroman? in anticipation for the first annual Rocket City
Shake festival in Tuscaloosa, Alabama (similar to Garageshock in
Smoother-dian-glass pop sensations Pluto recently wrapped up a
ten song recording session with
CBC's Todd Elvidge for David Wis-
dom's nationally-broadcast
Nightlines and are scheduled to tour
die west coast mid-mondi. Their 13-
song CD, Cool Way To Feel, featuring remixes of dieir first two 7"s and
a bunch of new material, will be
available in February on Mint
News on the Victoria front: M-
Blanket recently returned from a
hugely successful North American
tour; Black Kronstat has reformed
and are now fronted by a female
singer... Outright and Empty both
broke up and formed a hardcore
straight-edge combo called Rosa.
Feminist anarchist punk activists
Are You There God It's Me
Margaret changed their name to
Enflac(?)...and plan to release a 7"
North Vancouver's juvenile
punk stars dbs are currently busy recording their 23-song CD at Profile
Studios. Tales From the Crib will be
available in time for the Christmas
rush on Vancouver's new Nefer
Records. Four 'industry types' run
this label, headed by former CJSF
promotions director Marzie
Damien, who explains the operation
is "youth-run - we target our own
market" (all contributors are under
22 years young). Nefer Records also
signed Thrillsquad (formerly Go
Four 3), and two local hip-hop
bands, the Nitwitz and The Funk
Bastards, both currently in the studio preparing for die release of dieir
own respective records. Both
opened for De La Soul October 28.
(Nefer Records - 600-1027 Davie
Street, Vancouver, BC, V6E 4L2).
Speaking of hip-hop, homies
from as far away as Regina and all
down the West Coast will be in the
house at UBC's SUB Ballroom November 11 & 12 for CiTR's fourth
annual DJ Soundwar, featuring
competition in DJ, MC, Dancer and
Group categories, A street art showcase will be featured both nights.
Last year's Soundwar was a huge
success with the exception of a dieft
from the very radio station wliich
gives a damn enough to dirow down
this serious shit for all y'all - CiTR.
In fact, diis year's event was close
to not happening for this reason, but
dianks to the efforts of organizers
Brian Wieser, J Swing, Shazia Islam and Homa Ahmad, DJ
Soundwar 94 is indeed chillin' in
full effect. Keep the vibe alive with
some good old fashioned respect,
y'all...deadline for entries is November 4.
Winnipeg's 12 Eyes will be in
town recording more skatepunk influenced rawk at Profile Studios
Oh yeah, die Lux Theatre was
condemned early last mondi by the
Fire Marshall, and die future of die
old dear is currently up in the air.
No more frat raves, pleeasse...
After a brief stint in town Qong
enough to grace the cover of this
fine publication in August), Ottawa's Wandering Lucy has wandered once again to Olympia, Washington, where she is rumoured to be
working with Calvin Johnson of K
Wretched Ethyl are keeping
busy between sessions with their
own fanzine called Ethyl Quarterly.
Issue #2 (()ctober-December) is free
and features stories on punk rock
and science fiction, a reader section
called "Dear Ethyl," info on "Ediyl
at the Moment" and mail order
goodies. The grrrl positive punkers
will be hosting a video release party
for the smash single "It Ain't Hard"
at the Railway Club November 14.
Maybe Terry David Mulligan will
be there, too. (PO. Box 3507, Vancouver, BC, V6B 3Y4)
In the originality department, did
you know that hometown punkers
Insult to Injury are one of five
North American bands of the same
name? In a classic scenario of big-
fish-eat-little-fish, Vancouver's I to
I will be changing their name real
soon-like as one of their imitators
recently signed to corporate monster Sony Records. (Other local
bands which have faced similar fates
include Heatmiser. Horsey and
Catherine Wheel, who were forced
to change their names to Bushytails,
Good Horsey and Slowburn, respectively, whe n other bands of die same
name released material on larger
labels.) Insult to Injury (Vancouver's
own 'all-girl' I to I that is) recently
returned from a successful North
American tour and plan to release a
record soon. They'll be playing with
House of Commons and the
Dunderheads November 19 at
Crosstown Traffic.
Also on the 15th, Seattle's
Tattletalc (plus spoken word performances) will be playing at a secret location in town near you.
Grrrls only, man.
Finally, five month old power
popsters Gob played to an endiusi-
astic audience at die Railway Club
last mondi as part of CiTR's battle
of the bands, Slundig. You can check
out their brand of fast, short, and
sweet punky stylings (read young
Bum or Green Day) on the 16th at
the Anza Club, or contact Positive
Records for more info. (Positive -
16357 94th Avenue, Surrey, BC,
V4N 3C7)
In fact, lucky readers have a
chance to get some Gob as part of a
Vacouver Special giveaway - all ya
gotta do is give some. Hork up the
biggest mucous strain you can
dredge up, seal il in a watertight
container, dien mail or bring your
mighty specimen to: Be Careful
With That Envelope, Room 233 -
6138 SUB Blvd., Vancouver, BC,
V6T 1Z1 on or before November
15. Entries will be judged on texture, weight, temperature and packaging, and the best three entries will
receive a copy of Gob's new self-
titled full length CD. On you mark,
get set, blow!
Gloriosa - Prime Time Freak
Used to be TAMI but now forge on
as Gloriosa. Kind of like a melodic
54-40, aldiough diat could be used
against diem. I quite like the stuff
diey've sent in - tliis is their second
three song tape and all six tunes
have been strong. Keep up the good
work, lads! (#4-1965 Commercial
Drive, Vancouver BC, V5N 4A8)
Second Guessing - The Beautiful
Dreamy, ethereal little ditties, die
kind that are good to fall asleep to.
(That isn't bad. After all, sleep is,
to quote Hillel Wright, "horizontal
heaven.") Anyway, the Second
Guessing project has been active for
a few years now, and the mellow,
subtle music on their cassettes (I
count live, including this one) gets
smoother and silkier every time.
(3573 W 16th Avenue, Vancouver,
BC, V6R 3C2) DS
Floragore - six song cassette
Now diis is a really cool band. They
sound like a hybrid of Sonic Youth,
the Boredoms, the Gils, and a whole
enough, however, diey're ditched
way up in bucolic Duncan, BC!
Someone put them up so they can
play in town! Hot on the Island
scene. (Area 51, 163 Station Street,
Duncan BC. V9L 3E4)DS
The Primrods - We Are Army of
Tliis tape is hot. Features all the
tracks available on the Porn Star/
Sloth records' Citizen Advocacy
ten-inch split with Wagbeard, plus
a couple bonus tracks. SNFU/
Dayglo Abortions fans will dig diis
flavourful batch of tasty little ditties. (2523A 17th Avenue SW,
Calgary. AB.T3EOA2)
The Jaws ol' Lire - Goodbye
Gary Scnepper churns out some
well-crafted tunes, augmented by a
distinctive vocal style diat I swear
sounds like he just snorted a huge
blast of nitrous. "My Dead Body,"
"Perfect Match," "Bumping
Ugliew," "Run Into Your Arms," and
"Goodbye" are gems, but most of
die other ditties on tliis 11-song album are pretty good too. (no address
available) DS
Micky Christ/Dcmentia/( iutright
the Universe! Where's
magazine? Doesn't Spin know?
Migod. Lotsa fly punk bands emanating from the senior citizen capital of British Columbia. Micky
Christ are veterans of die scene but
grabbed me. Choice four song tape.
Dementia (eight song tape) and
()utright (live songs) rip pretty good
too - the latter is a straight-edge
outfit with song titles like
Glowbug" and "Merlin" and die
former sports a singer who sounds
the meaning of die
e Enem
Left of Center - Speedbag
Kind of punk, but not really. Kind
of metal, but not really. Kind of
fucked up..really. Cassette included
a sticker and lyric sheet wluch made
me glad I decided not to drop high
school. (1725 Denman Street, Victoria, BC, V8R 1Y3)
Bickle- self titled
Tins tape confused the hell out of
me. Why metalmongers from West
Van would want to touch a candle
to anything that remotely smells like
Eddie Vedder's overbearing, tired
wails is beyond me. (335 Moyne
Drive, West Vancouver, BC, V7S
Frayed Knots-self titled
A smoothed out version of Parachute Club (remember the cheesy-
bouncy bass guitar slaps, wall wall
lines?) Aimed a little too hard at the
songs worth your attention it you
still sport leg warmers and appreciate well-packaged product. (PO Box
162-1472 Commercial Drive, Vancouver, BC, V5L 3X9)
Chronometer - self titled
My first listen to dus four song tape
reminded me of local guitar-heavy,
Jesus Lizard inspired The Many,
who liave dieir own release on the
thing to offer those who require a
heavier dose of rock. (Milo Records,
PO Box 2938,349 W. Georgia, Vancouver, BC, V6B 3X4)
The Cowards - self titled
And the beat keeps rocking...the
Cowards consist of members of
Hugo, a group who seem to approach their music in a much more
lighthearted fashion. This demo is
fun to listen to, and each song is
exactly three minutes long. (#101-
1515 E Broadway, Vancouver, BC,
V5N 3X2)
Two Tonne Bowlers - Mantifiluss
Refreshing ska beats from a group
of guys who know how to really go
for it (and they're sharp dressers
too). I'll bet the Ngoma/People
Playing Music crowd will really dig
the phat rhythm compositions on
this hoppin' disc. The fresh eight-
some have opened for Superconductor and The Smugglers in their
hometown, Penticton. (no address
She Screams - Out of Nowhere
Buffalo Tom meets the Barenaked
Ladies. Produced by Cecil English,
this slab includes a punke-d out version of "When the Saints Come
Marching In." Tlieir press sheet
speaks for itself: "She Screams certainly isn't another Vancouver
grunge or punk band. They are too
diverse lor diat." (no address)
Oct 29: Itch, Woo-Woos & guests
al Crosstown Traffic
Nov 10: L7, die Melvins & Wool at
die Commodore
Nov 11 & 12:   DJ Sound War at
UBC SUB Ballroom (6pm)
Nov 12: Tristan Psionic, Pluto & die
Teamsters at Crosstown Traffic
Nov 15: Hole, Veruca Salt & Maggi
Estep at the Commodore
Nov 15: Naked Aggression, M-
Blanket   and   the   Insipids   at
Crosstown Traffic
Nov 19: House of Commons, the
Dunderheads <v. Insult to Injury at
( rosstown Traffic
Nov 25: Dighdown, Dead Skin
Mask, Pebble & Xrosax at the
Nov 25: Cadillac Tramps &. Treble
( lianei ai die Commodore
!. Cliroi; SLUDGE
Saturday, September 24
Southwall is a drag to get lo (the big
Iwo buses and a Seabus), but it's a
cosy little spot to watch awesome
all-ages gigs and it's always worth
the trip and this one was no exception. Ponyboy opened the show
an hour later than scheduled (especially annoying "cause the poster
said ON TIME) with an enthusiastic set of tasty morsels for our eager
and ihen Pebble. 1 was going to skip
Pebble and go out with a bunch of
kids on a mission to buy bananas
bul 1 decided to stick around - good
thing I did! Pebble played some
catchy nines that rolled right along
and a couple of kids got up and
.ckin' i
punk heals. Impressive.
Stovebolt was next and diey
played a fantastic set that included
such goodies as "Pinto" and "Gran
Tot-in," both of which had the crowd
joining in. Sadly, this was
Stovebolt s last show. Anodier great
local band bites die dust.
Most people left when Sludge
came on but I stayed for some more
entertainment. They were loud, I
was tired, and I couldn't really hear
die singer's voice so I didn't really
pay much attention. Oh well, I left
satisfied with the music I had heard
diat night.
Laura Mitchell
Crosstown Traffic
Friday, September 30, 1994
The evening got to a start with the
costume-clad dynamic duo of Thee
Goblins taking the (lack of a) stage
and showing everyone die real way
lo do "The Hammer" - a dance thai
requires the participants to bash
each other about the brains with
purple and yellow inflatable hammers while pounding on keyboards.
After a few rockin' tunes from tlus
drums/keyboard combo il was time
to bring out die horns/guitar section
of the band, thereby instantly transforming the band into The Ska-
blins. For some reason the guitarist
never made it onto die stage, but
I went outside between sets 'cuz
it was crowded and hot as hell in
the deli by day - Vegas showroom
by iiighl locale, but I made it back
in time to see Penticton's Two Tonne
Bowlers play some pretty cool Ska-
ha music. The volume on the vocals-
was too low for me to hear die lyrics but they played some good.
rockin'tunes. Tlieir best song of the
night was a fast punk number which
turned into a medley of classic rock
tiffs dial included G'N'R's "Sweet
Child ()' Mine" I, and a few others, couldn't resist the temptation to
join the trombone player in making
that horn clevil-sign-thingy and start
punching the air. bul I think it must
have created some bad karma diat I
couldn't shake off 'cuz I missed oul
on the Bowlers' free CD handout
that took place just after I left to go
Usually opening for such events
as these, Tlie Evaporators played die
third set of die night, belting out
their garage-rock classics like "Winnipeg 64'." "I'm Goin' to France,"
and "Welcome to My Castle."
Nardwuar's crowd-swimming antics looked like diey might take a
dangerous turn at a few points but
he managed to return to home base
unharmed. It was nice to see this
band doing somediing other than
opening a gig 'cuz diey rock way
too hard to play first all the time.
Headlining the night was Olym-
, WA's
band, Karp, who kicked off the
widi two excellent, heavy songs diat
impressed the hell outta me. They
have a big 70s rock influence accompanied by loud, screaming vocals that make them one of the best
bands I've heard lately. Even more
than their music, the enthusiasm
they had while perfornung made
themgreat to watch. 50 bonus points
for being so into what they're doing and another 25 points for die
string-breaking feedback war and
drum solo that ended their set.
As the curtain closed there was
only unhappy silence from the
crowd when they realized that die
absence of their home-grown star,
Jason Priestley, could only mean
that he truly didn't love them
*. This
night of diverse, all-ages rock V
roll fun and music that even ended
in time to have a relaxed Coke at
Denny's and still get home to catch
Steve DiPasquale
Luxor (Cologne, Germany)
Monday, October 3
Well, sure enough, if it wasn't another rainy night here down by the
river Rhine when I once again ventured to the big city. Green Day was
on the roster and I have to admit
that, in light of the recent Top 40
mania surrounding these California
punks, I had doubts about attending the gig: I pictured it flooded by
screaming Mariah Carey fans turned
Green Day groupies for the week.
What I found instead was a bunch
of plaid-shirted, scruffy-haired German kids huddled in the freezing
rain waiting to be let in to see their
punk rock idols. Whoever came up
widi the tag "German efficiency"
obviously never witnessed four
doormen at the Luxor attempting to
squeeze a thousand soggy skaters
through a half-metre wide opening.
Tlus thinking would probably also
lead one to expect Germans to be
aware of such things as a maximum
capacity laws or fire codes. HA! Not
in this place! If there were such a
diing as a "maximum capacity" for
die Luxor it was reached and exceeded about ten fold that night. The
place was so packed that there was
not an inch of space where one's
body was not fused widi at least five
others, except in die front doorway
where diey still insisted on letting
people in one at a lime. Eventually,
die doormen noticed that the walls
were beginning to bulge and decided to slap a sold out sticker on
the hole in the wall and hope no one
fell through.
It was then that we, the lucky
ones who had made it inside, settled in our cosy surroundings to hear
die first band. Terror Gruppe. Don't
let die name throw you: These guys
were no death-metal-glam rockers,
diey were pure punk. From the tippy
top of die lead singer's coif and die
drummer's moliawk right down to
their in-your-face lyrics like Teh bin
ein Punk!" they ripped through one
melodious punk tune after anodier,
singing about such universal diemes
as losing your girlfriend, your stupid job with the stupid boss that you
hate, the stupid army, and the stupid Nazis who live in your building. For a couple of the songs they
even set up a ska beat before they
tore it all to pieces with some quick
guitar work. These guys were 100%
DIY. old school punk. If Terror
Gruppe lived in Bellingham, diey
would be on Estrus Records and
tlieir friendly cousins would be The
Rip-offs. Terror Gruppe is the type
of band diat makes you never want
to get old and become one of 'diem,'
just so you can keep rocking out
with cool groups like dus.
Green Day are also one of those
bands that make you feel warm and
punky all over. I'll admit, I was bitter about the fact that two years ago
they had played at the Nappy Dugout for five bucks to a crowd of 20
die-hards and afterwards were
scrounging around for someone to
put them up for the night and now
they were charging three times as
much and a tour bus was waiting
outside to lake them back to some
penthouse suite after the show. The
inescapable fact was, however, laid
bare right there on the stage in front
of me: these guys are damn good.
Surprisingly, Green Day didn't just
play hits from their most recent
chart-topper album Dookie, but
rather offered up an even mix of old
good stuff and new good stuff. And,
more surprisingly, the crowd knew
all the words to every song, even
such ancient chants as "Bottom of
the Barrel." It's not like the new
sounds any different from the old,
but that's o.k. because the essence
of this concert was Green Day delivering the signature Green Day
sound to make a bunch of nutty kids
after all,   seeing that the n
Teenage Fanclub sometimes got the
better of them, to the point where
their 'filler' live tunes were much
akin to those of the Fanclub (ie. boring), but now it seems that some of
those fillers have been eliminated
and replaced by better, newer songs.
Eidier that or the band has improved
to the point where almost all of their
songs are enjoyable to listen to.
As the Starfish Room started to
fill up it becane apparent that a lot
of people were there to see Fifth
Column. I just don't quite understand the appeal of bands like this.
They have worthwhile things to say
and a decent stage presence, but
their songs are so uninteresting that
they leave you (well, me and some
of the others in the audience) waiting impatiently for them to finish.
I've never been a fan of many of the
bands that are associated with the
riot grrrl scene for this reason, and
to expect, as they reproduced the
songs from that release in virtually
identical form, and with all the energy. I don't know what it is exactly that makes it worthwhile to go
out to shows when bands are hke
this, but I would surely see them
again. The 'aura' surrounding their
music greatly appeals to me, just as
I knew it would.
Brian Wieser
Malcolm Lowry Room
Saturday, October 15
So there I was at the back of the
Malcolm Lowry Room. The place
looks hke a really cosy place to see
a band until you realize that you
can't see the band when you're sitting down and if you stand or, god
forbid, dance, you'll block someone
else's view. Staying out of the way
Rebecca of the Spinanes tells them like it is at the
Starfish Room. Photo by Tanya Nemchin.
hasn't changed but that a new crowd
has taken notice of somediing you
knew was diere all along is one thing
diat makes this whole instant fame
dung a tad bit more palatable.
Stastna Kazi
Starfish Room
October 13, 1994
Sometimes preconceptions can get
die better of your mind. I had seen
all diree of these bands before at
various limes and I knew diat I liked
die Spinanes a lot, Pluto quite a bit,
and Fifth Column not at all. Given
dus. it came as no surprise that my
impressions of the tliree bands
matched my expectations. But I am
confident diat my biases didn't over-
lake my senses: radier, my senses
only confirmed my biases.
There couldn't have been a better choice of opener for diis college
rock bill than Pluto. Pluto is college
rock, nowadays more than ever. I
used to diink diat their affinity with
Fifth Column merely perpetuates
my bias. Still, many in the ever
growing crowd were focused on the
band and enjoying diem, diough the
impression I had was diat diese people were already fans - I know that
the one person I was widi who had
also never heard them before was
equally unimpressed with their 45
12:30 came and so did the
Spinanes. [Oh really!] It was interesting to see their return to the Starfish Room less than a year after they
played here in support of dieir CD,
Manos. While they've received
much press in the time between,
diey haven't been dulled or otherwise negatively affected: diey came
off as charming and as musically entertaining as they were the last time.
The Spinanes are fantastic for a
multitude of reasons, not the least
of which is their ability to achieve a
full sound with only a small drum
kit, a lone electric guitar plated
through a small amplifier, and one
strong vocalist. If you've heard
Manos you would have known what
of drunk V thirsty 'n' horny bangers is a main priority when visiting
the MAC, but tonight wasn't so bad.
There was a bit of room and hardly
any bangers at all.
The Tonics (the Mary Janes up
until last month) started quite
promptly and played really well to
a potentially unappreciative crowd.
They managed to win 'em over for
the most part - but then how could
they go wrong performing rockin'
renditions of the themes from The
Littlest Hobo and Lome Greene's
New Wilderness? The addition of
guitarist Scream (bassist for
Zumpano) also helped; he filled out
dieir sound well and played some
freak-out rock V roll guitar.
And then The Falcoas came
on...Now, I'm going to try to be
objective here: I'm pretty sure The
Falcons call diemselves a surf band
- and a rock V roll band - but I ask
you: Doesn't it defeat the purpose
if a rock band doesn't wckl I mean
sure, The Falcons played some
pretty damn tight instrumnetal surf
music at a fairly low volume, but for
26 November 1994 Up UT>
Christ's sake, crank it up! It ain't a
wedding! C'mon guys, shake it up
- I don't give two shits if you just
played eight songs and "Pipeline"
was the only cover, just start ROCKING!
Maybe I'm just missing the
whole point of the Falcons. Afterall,
they were pretty old and maybe
that's the way they want to play rock
'n' roll. But to me it's like kissing
Mother Theresa: If you're gonna' do
it, you might as well slip her some
tongue. Know what I mean?
Grant Lawrence
Wednesday, Oct. 19
Both these bands have gone through
some changes; one has become exhilarating and the other has gone
downhill in a big way.
First, the bad news. Consolidated did a lot of songs from their
new album, Business of Punishment, and, well, they sucked. Adam
and Mark picked up guitars and
voila, became a bad guitar band.
This made their old material, particularly one of my favourite Con
solidated songs, "Typical Male
(Thinks With His Dick)," sound all
that much better. Mark has sprouted
a stylin' bob and is now free and
funny on stage, transforming Consolidated into a political version of
the Beastie Boys. Maybe the other
two members should grow their
I had a sneaking suspicion that
Mark Griffith (MC 900 Ft Jesus)
was going to be good, but I was re
ally surprised. His show was one of
the best, if not THE best shows I've
Griffith has an eight piece band
(including, of course, DJ Zero) and
the addition of bass, keyboards and
especially saxophone made
Griffith's jazz leanings come to the
fore. Even "Truth Is Out of Style"
got punched up with the addition of
some sax. Griffith writes some of
the freshest lyrics going about urban alienation - it was amazing to
see the crowd concentrating on the
mgs and s
ling   ;
Griffith's poetry.
The feeling at the show was one
of appreciation for Griffith and his
band, who were tight and free flowing at the same time. They came
back for two encores. One of them
was a cover of a jazz standard (by
Chet Baker, I believe, but the title
escapes me), with Griffith on trumpet and punctuated by DJ Zero's
scratching. (And then it seemed to
mutate briefly into something that
sounded suspiciously like "Atomic
Dog.") A suitably clever ending to
a whimsical perfor
June Scudeler
Richards on Richards
October 23, 1994
Dick's on Dicks will always be
Dick's on Dicks. Even amongst the
plaid, goatees and skater pups, this
venue is very lame - the cheeze just
seeps through like the bad aftertaste
of last night's banana-strawberry
Opening the show was Voodoo
Glow Skull, a punk-ska ensemble
from California. Despite several
politically-incorrest songs, they got
a few people to hit their bodies
against one another.
When those energetic boys from
the Mighty Mighty Bosstones hit
the stage, the sluggish Sunday
evening crowd began to show a
pulse, grooving to the infectious
vibe of the Bosstones' music. Before the encore, the band thanked
us for ditching the free Cult gig at
the Commodore and invited us to
stage-dive, as frontman Froggy was
getting bored up there. In the end,
we couldn't help but think that a
great show was wasted on a substandard venue and a lazy Sunday
Nicole Oguchi and Christy
her stack
at the
Beverly of
Photo by
...from the country   ttat brou^t you
^nne hurray,   Loverboy,   and Moneymoon Ju'te...
...from tlie t<ji>e^ tlwjt broiujM. you .^^^^^^^^^^
R-^n-dom kjllirvr,   tou.n<-tane,   and i\\ose lovely   "On ike Rocd"   compTltitTons!
RAW ENERGY RECORDS (416) 506-0209
2? EKgaSHaa Retrospective
(Tosk 8-Tracks)
Even though this band broke up
many months ago, the legend of
Kreviss lives long and furious widi
the release of this collection of recordings from live shows and die
studio. Now before I go on I'm sure
I'm going to have to explain some-
dung to die people who eidier don't
know or have forgotten about the
magical format diat is 8-Track. It
seems like every time I mention
anydung to do widi 8- Track people
look at me as if to say: 'Don't you
have a CD player!?' Or diey make
some comment like: 'Oh yeah, I remember my grandparents made us
listen to all of dieir gospel 8-Tracks
before Christ mas dinner back in
'74!'Well let me be the one to inform you that rock'n'roll 8-Track is
ahve in die world. Even m this city
Tosk 8 Tracks label from North
Vancouver putting out 8-Track re-
steaddy for about a year now (gel
diem at Scratch). So kids, go to your
local pawn shop or garage .sale and
pick one up for yourself, and you
can be die first kid on your block to
openly adimt that those aren't your
parents' Carpenters albums blaring
endlessly from your bedroom window or from your newly installed
Pulp Fiction Soundtrack
Like Donny & Marie, the Pulp Fiction Soundtrack is a little bit country and a little bit rock'n'roll. Unlike most other soundtracks, it successfully captures die atmosphere of
the film and makes the thrilling
frenzy that is Pulp Fiction available
anywhere there's a music machine.
Surf instruiiientals (by the likes of
Dick Dale and the Tornadoes) are
interspersed widi C&W classics (the
Statler Bros' timeless Flowers on
the Wall ), soul scorchers (Son of a
Preacher Man belted out by Dusty
Springfield), disco jams (Kool and
the Gang's ultra-funky Jungle
Boogie ), and bits of die grooviest
dialogue ever to shimmy off the
screen. The only thing missing from
(his CD are the main characters'
styluT do's. I dare you not to dance.
Tania Bolskaya
ack ph
With that out of die way let me
proceed. Kreviss was a mostly female band with a line up of anywhere from five to ten members,
most of diem hammering on their
guitars in a drunken stupor and wailing about the many different reasons
why boys are lame. This
u.ck III
Kind Hearted Wonutn
(Probably made by herself in the
kitchen of her trailer park home,
melting the vinyl in a cast-iron
skillet over a rusty Coleman
lore and this disc again i
doubt that she may be simply trying to find a new subject ripe for
artistic exploitation. Romanticism il
eschewed i n favour of a bleak, desolate approach that better reflects the
reality of life in these communities
where existence is so completely
dependent on the arbitrary benevolence of nature and death is no
stranger. Most of the songs feature
simply Shocked with her guitar
(only one has any percussion accompaniment). Her voice sounds
cold, stark, and lost but is strong and
has an immediacy that makes die
songs seem very personal.
Kind Hearted Woman U a disc
for patient, listening fans only.
There are no upbeat, uplifting numbers that duplicate "Come A Long
Way" from her last release, Arkansas Traveller.
While Shocked's refusal to put a
pop gloss on her serious efforts is a
rare and admirable trait in today's
musical landscape, overpopulated
as it is by vapid, overproduced female singer/songwriters, her commitment to her artisdc vision has left
her without a major record company
distribution deal. Therefore, to
quote the long defunct K-Tel formula, "Tliis album is not available
in stores'" Tlie only helpful hint we
can offer is die following address
you can write to in the hopes that
they will send you more informa-
Michelle Shocked
Strawberry Jam Tours, Inc.
409 N. Pacific Coast Hwy #484
Redondo Beach, CA 90277
Biff Paradise
The Afghan Whigs last effort was a
cup of Earl Grey tea compared to
this Silkworm endeavour. Libertine
is a bleak record, containing 46 minutes of heartbreak, loss, and pain.
In typical Silkworm fashion, a web
of dissonant and at times harrowing music is spun whilst a barrage
of tortured lyrics draw the listener
deeper and deeper into the band's
melancholy. Libertine is noisy but
mostly slow to mid-tempo. A few
songs - "Cotton Girl," "The Cigarette Lighters," and "Couldn't You
Wait?" - rock, but the centrepiece
of the album is "Yen + Janet Forever." It sounds as though Silkworm
are fighting dieir instruments all the
way to the climax of the song and
as for die lyric, "I'm son*y that it
rained all night/The letters your sisters wore were strung too tight," I
don't know what it means, but it
sounds very cool. The record's
strongest suits are the sparse yet
heavy-sounding production (what
drum sound!) and most importantly,
die sound of a band giving it's collective all.
Sean Harvey
Pilot EP
(Tim Kerr Records)
Hailing from Portland, Oregon, Pilot is die latest project of ex-Dharma
Bum's vocalist Jeremy Wilson. The
three tunes on this EP ("Anodier
Day Has Begun," "Tlie Blue," and
"Fork for a Tongue") are not a dras
tic departure from the Dharma
Bums' material; in fact, one would
be hard-pressed to tell the difference
between the two bands given
Wilson's distinctive voice. All in all,
simple, melodic, and harmless.
Fred derF
(This Way Up)
One afternoon I dropped by a dear
little friend of mine's place and he
was blaring something that reminded me vaguely of Nick Cave.
The singer had a voice that was a
cross between Cave and The The's
Matt Johnson; since then, my mom
has rightly added Roger Whitaker
to the list. It was thus diat I was
introduced to Nottingham, England's Tindersticks.
I dutifully trotted out and
bought the bands' self-titled debut,
quickly falling in love with the
band's orchestral perversity. I came
across an article about them in Britain's Select magazine and discovered they had opened for Nick Cave
in Europe last year (that Nick guy
has impeccable taste).
"Tyed," the second track on
Tviderstick, sounds like die interior
of a jazz club - uneasy and claustrophobic with sudden bursts of
guitar and a strange, out of tune
trumpet plus vocalist Stuart Staples
lazily murmuring about drops of
blood. Delicious. "Whiskey & Water," a song about star-crossed lov
ers, has the same smoky feel with
some cutting violin work by
Bernard Butler (Suede) lookalike
Dickon Hinchcliffe. If Tindersticks
sound a bit too precious, there is a
bit of (deliberate) kitsch in all this
tragedy. Cheesy keyboards have
been known to creep in and with
song tides like "Jism" and "Paco
de Renaldo's Dream," you know
things aren't quite as tragic as they
seem. A compelling debut that has
been aptly described as being playful AND morose.
A tip of the hat to Select magazine for their review of The Divine
Comedy's Promenade. Aptly compared to Michael Ny man doing pop
music and the best of Peter
Greenaway'sT/ie Cook The Thief,
His Wife and Her Lover soundtrack, this is a gem that would do
nicely on a tape with Tindersticks
on the B-side. There are some
simiharities - the sense of kitsch for
instance - but on Promenade there
isn't an electric guitar in sight. This
is all the more remarkable considering its unhip baroqueness. This
For now, The Divine Comedy
is Derry-born songwriter Neil
Hannon, plus violins, violas, cello,
oboe and saxophone. Hannon (who
is only in his early twenties) has
on this album a deep, ironic voice
and, as on Tindersticks, things
never get too precious because
Hannon is a smart aleck. On my
favourite track, "The Booklovers,"
Hannon recites writer's names over
a lilting melody. The end result is
both moving and completely silly
Stranger Than Fiction
Containing all of the essential elements of a Bad Religion record,
Stranger Than Fiction hearkens
back to what many would consider
Bad Religion's 'golden age,' when
they produced dieir classic albums
Suffer and No Control. This may be
Bad Religion's best offering to date.
Sonically, the Andy Wallace
(Nirvana, Rollins Band, Slayer,
Sepultura, etc.) imxing and production puts Stranger Than Fiction
miles ahead of their previous albums The sound is large, full and
clear with an obvious effort aimed
at reproducing tlieir furious live
While the classic sounds of Bad
Religion are ever present here, it is
songs like "Infected," "Slumber,"
and "Stranger Than Fiction" that
show quite clearly what direction
Bad Religion could be headed in the
future. Tlie redone version of "21st
Century (Digital Boy)" brings
■C-ltttt-, T   "MURDER CITY   «,
Hi. song
include "Pop Song"
things back around full circle.
" Most of the songs
A ink
-wife whos
delivery fails. A
Tlie title track should prove to be
is are pr
viously unreleased
i who sum
es her only child.
a huge hit with commercial radio it
,s simply,, great, well written son-
id a very
slutlv recording ol
t in on time
These are some
probablv the best of die bunch. Will
live stuff
A must have if there
ol the
> populate Ameri-
this song be able to propel Bad Re
iv  hardc.
nail agrari
ne, KindHearted
ligion to the heights of former label
mates the Offspring? Wait and see...
itccl sot
c protection.
I, Michelle
Shocked chroni-
Eric FYH
do whal
I do. Slam in thai It-
cles 11
e hardships
of these women
all night long.
Colllin Knight
28  November 1994
; demonstrated a dedicated re-
i for Iii.story. tradition, and folk- at the same time. Every author gets
an appropriate aside after their
name: Bret Easton Ellis gets a
bloodcurdling scream, Mary
Wollstonecraft is "vindicated," and
Umberto Eco receives an "I don't
understand it." Hannon is even cool
enough to name one of my fave
scribes, Scotland's Iain Banks
"When the Lights Go Out All Over
Europe" is a tribute to European
movie making, again with a less
than serious chorus: "When the
lights go out all over Europe /1 forget all about old Hollywood /
' cause Dons Day could never make
me cheer up / quite the way those
French girls could."
What really amazes me about
The Divine Comedy is that
Hannon's debut album was guitar
rock and the second, Liberation, is
a precursor to Promenade, except
for the presence of guitars and a
parody of a europop song on it.
Who knows what brought about
dus progression. I have a sneaking
suspicion diat Neil Hannon could
be some kind of genuis.
Neil Tennant, who was a member of that despised underclass
known as music journalist before
he created Tlie Pet Shop Boys, once
wrote diat great music makes you
feel happy and sad simultaneously.
These two releases fulfill that criteria amply.
June Schudler
split CD
(Revelation Records)
While it is of course every artist's
right to create whatever pleases
diemselves, diis split CD is somediing that will appeal to only a very
small audience and may be perceived as self-indulgent, engine kid
and Iceburn do not create music for
die masses.
Iceburn prove diemselves to be
more than adept at handling their instruments widi dieir hardcore/jazz
fusion peice "Danses," an improvisation on the dieme of Stravinsky's
Le Sucre du pnnlemps that is nodi-
mg short of truly amazing. Unfortunately, while the musicianship is
ing I
d blowing, die song drags
m widiout ever really com-
o a boil.
;ngine kid, on the odier hand,
come in packing a much louder and
harder punch but are also brought
down by overlong songs diat never
quite grab one's attention.
Bodi of diese bands deserve a tip
of the hat for their ground-breaking
This four song EP is short and
heavy. It's not a whimpy, cheesy "hit
the yellow pedal" sort of heavy but
a big low end Chigagobini type
growl that originates at the bottom
of your bowels and ends up all over
the place when you press play
Glazed Baby were even more amazing when I saw them live this summer. There the rhythmic and sonic
diversity of the percussion was not
lost as it is on this disc. Nevertheless, Handgun is an intense album
that leaves the room buzzing even
after it has finished playing.
Martin Gamache
Full Grown Head
(Shake Records)
For those of you who are not as brilliant as myself, Roy Loney was one
of the original members of the
Flamin' Groovies, a band he helped
form in the mid-sixties (who went
on to be the Rolling Stones that
DIDN'T make it). They made some
great records for a few decades,
diough Roy departed early on. Before he left, he contributed on such
Groovies' classics as "Teenage
Head" and "Slow Death." Roy and
the Groovies influenced a whole
generation of rockers; everybody
covers their tunes and a few bands
have even named themselves after
their song titles (Toronto's Teenage
Head and Japan's Supersnazz). Roy
has remained relatively active on die
independent scene since departing
from the Groovies and is this time
backed by the Long Shots—none
odier that Seattle's Young Fresh Fellows (minus one Kurt Bloch, add
one Joey Kline). With the versatile
Fellows, Loney's vital signs are
strong on old hits like "Slow Death"
(the first time he's recorded it since
die original version) and busting at
the seams in great rock' n'roll romps
like "Fool Proof" and "Neo
Mondo." There's the classic
Groovies feel widi "Been Around
Too Long" and "Full Grown Head,"
some good garage-punk in "See
Jane Go" and "Teeny Weeny Man,"
plus a possible mass hit with a can't-
miss rock' n'roll tune about society's
biggest frustration - the busy signal
- in "Get Off the Phone." I've never
seen Loney live but he's been described as Dudley Moore meets
Mick Jagger. If die energy on diis
album is any indication, a Long
Shots show could be one hell of an
event. Until I get that chance, the
dnrteen blasters on this album will
do me just fine.
Grant La
On Snivilisation, Orbital's durd album, the group mixes a little hardcore Willi trance and ambient to produce a mellow album widi an mter-
want to forget about die world
just fall asleep. Think of it as
techno version of Enigma.
Alistair Savage
If the lyrical content ofWhip-Smart
is any indication, Liz Phair seems
to be a much happier person since
her Exile in Guyville days. She has
a lot of things to be pleased with and
her confidence shows: every song
is well-produced, catchy, and intelligent and die album makes for a
satisfying listen. If you are a fan of
Exile, be warned: diis album lacks
the introspectiveness, sparseness,
and intimacy diat made Phair's frosh
debut so endearing and captivating.
Brad Wood (Shrimpboat member and Chicago's Idful Studios-
guy) again joins Phair as her rhydim
section and producer. One difference between Whip-Smart (an adjective that could easily be used for
die artist) and her previous release
is diat instead of Phair accompanying her own voice with overdubs,
Wood sings most of the back-up.
This change creates less of a 'Liz'.,
feel, more of a 'band' feel and what
lacks in voice overdubs is made up
for widi guitar tracks extraordinaire!
Whip-Smart's first single, "Supernova," despite the use of that big ol'
bad word that Phair loves to sing, is
destined to Top every 40 chart.
Good for Phair. Bad for anyone
who cringes at the sound of wankin'
guitars gone wild.
These songs sound more nostalgic, more pop-oriented, and much
more accessible dian her previous
work. It is obvious that Liz Phair, a
woman with a lot of talent, has intentionally created the Album for
Everyone wliich most semi-underground artists end up doing eventually. This usually results in snubbing
dieir so-called fans who liked diem
before diey were popular. Let's face
it, kids: diis album is different. You
may or may not care. I'm sure Liz
Phair doesn't, because Whip-Smart
has H-I-T written all over it. Now a
Rolling Stone darling and a major
label superstar, Phair can ride on
whatever wave she wants.
miko hoilman
All Nite Christian Rollerskate
(En Guard)
Proving that not all good melodic
guitar pop comes from the west
coast, Ottawa's Punchbuggy have
released their debut disc All Nite
Christian Rollerskate. Crammed
with everything from straight-up,
crunchy punk rock tunes to
smoother pop numbers like "Signal"
and "Goggles Pizano" to a rough
romp dirough Pat Benatar's "Hit Me
With Your Best Shot" that spells disaster from die get-go, this is another
notch in die En Guard belt. A solid
release from Punchbuggy. Yeeha!
Bryce Dunn
Glum is an extremely dynamic release; one second you're straining
to hear a barely audible acoustic
section that features traditional in-
strumen'ation (including dobros,
pianos, and fiddles) and the next
you're blasted by biting guitars. Co-
produced by Malcolm Burn (Blue
Rodeo, but any resemblance to overrated country bands is purely coincidental), the album has a very natural, live feel to it and share a kinship widi many of Neil Young's albums. Along with guests like Victoria Williams and Lisa Germano,
Giant Sand leads you down a meandering padi of raw, country-oriented songs from the straightforward "Yer Ropes," to the classic
Hank Williams Sr. tune "I'm So
Lonesome I could Cry." A solid release from diis Arizona quartet-just
don'l expect a bunch of polished
three-minute luts.
Fred derF
Palace Brothers
(Drag City)
"Everything except country." A
typical answer to that question,
"What kind of music do you like?"
It's time to come out from your
This Palace Brothers album is a
short and sweet collection of incredibly melodic, brooding, hui
"Nighttime's the right time to
pull all the dimes from your pocket
/ Nighttime's the right time to climb
on a rocket / Nighttime's the right
time to pull your shoulder out of its
socket / Nighttime's the right time
to learn a new language."
For those of you who have experienced the Palace sound before
on die band's first full-lengdi, There
Is No One What Will Take Care Of
You, let it be known diat . Tlie Palace Brodiers have joined Drag City
labelmates Smog, die Silver Jews,
and Royal Trux in lo-fi heaven. Improbably, tlus album is even more
pared down with one lonely voice
sings atop quiet guitar strummings
broken by the occasional bout of
"When you have no one, no one
can hurt you / In the corners there
is life that is good for you /Will you
miss me when I burn, and will you
eye me with a longing / It is longing diat I feel to be missed for, to be
Picture Sentndoh or Billy
Callahan singing in a southern,
crackly voice, not only about depression and despair, but also about
your favourite farm animal.
"I send my love to you. won't
you send some back to me . . . The
moon is falling, my wounds are calling, my head is bleeding and I'm a
duck / The lake is cracking, it hears
me quacking . . ."
Makes you wish it were raining,
and you were walking outside with-
Pizzicato Five is one of die hottest
groups in Japan, and has only now
come over to North America by way
of dus five track CD, Five x Five,
wluch is a pitifully small sampling
of the group's work. Visitors to Japan say that the youdi culture diere
is only where Nordi America was
20 year ago, in terms of dress and
this category. The opening is a vibrant drum beat with an insane
trumpet followed by the first song
"Baby Love Child." which is sweet
and fresh (as in refreshing), if somewhat inane. Some of it may be
blamed on die Japanese to English
translauon. The next track is an interview with Ihe lead singer Nomiya
Maki diat also has a solid drum beat.
The interview, although informative
anil .sometimes interesting, drags on
for way too long and has you reaching for the stop button.   The next
Twiggy vs. James Bond, "shows die-
group's fascination with ihe American seventies, anil includes samples
that sound like they were taken
straight out of a James Bond movie
or a Nancy Sinatra song It's the
mast danceable track on the CD and
proves that with bands hke Pizzicato Five or Ministry, you don't
have to understand the lyrics to enjoy the song. Tlie last song, although
containing some interesting samples
of traditional Asian music and old
movie soundtracks, is as lame as its
title, "Me, Japanese Boy." Nonetheless, let's hope diat they decide to
release more of their work in the
Thomas Wong
bum, originally put out by Dr.
Strange Records.
Strung Out, Lag Wagon, and
Face To Face all play up-tempo
melodic pop-punk, all tliree seemingly owing much to their label's
founder, Fat Mike, and his band
NOFX. That's not to say that they
sound just like NOFX, but the similarities are both apparent and obvious—polished guitar work, tight
and quick start/stops, a strong sense
of melody, and top notch production. Widi Lag Wagon and Stung
Out's recordings being done at
Westbeach (scene of the crime in
many Epitaph's recordings) this
does nothing more than make those
similarities even more striking.
Though the three bands play in
a similar vein, Lag Wagon turn
things up a few notches - cranking
out rapid fire technical riffs and adding an almost metallic 'crunch' to
their sound. Trashed is serious high
adrenaline fun, and Lag Wagon's
take on Van Morrison's "Brown
Eyed Girl" is notlung short of truly
Lag Wagon
Face To Face
Don't Turn Away
Strung Out
Another Day In Paradise
(Fat Wreck Chords)
These are just tliree of the lal
leases from the upstart hat
punk rock label. Fat Wreck C
Now that Epitaph has become
>e the new
its best.
miko hoffman
.- To I
e the;
dungs hovering around mid-tempo,
every once in a while they'll pick
up die pace and launch into a high
velocity punk rock blast. Don't turn
away - sit down, strap in and pre-
It seems as if Strung Out have
come out of virtually nowhere, but
dieir debut Another Day In Paradise
would have you think otherwise: It
more than proves diat they are a
band that is well worthy of any
praise which will surely come their
way. Another Day In Paradise is a
fun-filled half-hour of infectious
harmonies backed by solid drumming and precise riffage. Strung Out
are definitely a band to keep your
Finally, it is more than certain
that diese three are bound to be a
huge hit with the baggy clothes,
snow/skate crowd - and if you've
been lucky to hear even just one of
these bands and liked them, chances
are that you will enjoy any of the
others. Lag Wagon, Face To Face,
and Strung Out are young, fresh,
and vital. Have the Offspring been
overplayed? Bored with Bad Religion and need somediing new? Hey!
Clear the track make way for the
new guard! Check these guys out!
Eric FYH
At Action Park
This is by far my fall record of
choice. Odier than the complex and
attractive packaging that all Shellac
pushes that Big Black/Rapenian
sound further by simplifying it and
giving it a new life, creating somewhat of a streamlined, barer, bul
more intense Big Black widi a 'real'
drummer. Above average production expected and delivered courtesy
ol J Toiler and I. Burgess Thank
Martin Gamache
29 Lj^m*m november 94 INDIE HOME JOBS
1   the mysterons
2   squeeky
not all daisies
3   plump
first gig
4  tickle trunk
no means no
5   meet daisy
eliot's shape
G   lashback
big dump
7   speedbuggy
i  am your  friend
8   stevebolt
dead   fucker
9  groverfur
i like you
10  velveteens
11   the bushytails
hot rod ronny
12   hjouhe
13  green achers
miliaria road
H   pet
15   the mckrackins
16   tattle tale
a girl's toolbox
17   impalor
i'd cr
>ss the fjords for you
18   waterfall
undertakin' my breath away
19   the flu
20   gaze
seamonkey's pie
1 king kong
king kong
2 curious george
curious george
3 bubbles
michael jackson
4 magilla gorida
lianna barbara
5 bonzo
betime for bonzo
6 comelius
planet of the apes
7 donkey kong
donkey kong
video game
8 cheetah
9 mickey dolenz
the monkees
10 che guevera
dead geurilla
1 bad religion
2 farside
3 machine head
4 madball
7 sparkmarker
8 strung out
9 unbroken
stranger than fictioi
wash   rae/lexas
another day in paradise
final    notice
fat   wreck  chords
30  November 1994 •Mlfyouare
suffering an identity crisis you may want to tune
into this show more than once. Your host Bob
Williston chronicles Canada in 20th Century sound
THE   JAZZ   SHOW   9i00PM-12.00AM
Vancouver's longest running prime time jazz
program. Hosted by the ever-suave Gavin
Walker. Features il It.
Nov. Il "Out ol the Cool' is featured
tonight. A classic by bandleader/composer/
pianist Gil Evans • a modem masterpiece.
Nov. Ml "The 'Coltrane' of the
vibraharp", Walt Dickerson. the much
overlooked genius from a very rare record.
No*. 211 Tonight we celebrate the
birthday of the "Father of the Tenor
Saxophone" Coleman Hawkins by playing a
great album made in 1962 called "Today and
No*. 28i Jamaican-bom trumpeter Dizzy
Reece ends Ihe monlh with his album called
"Star-Bright" with pianist Wynton Kelly and
Merengue, Cumbia and other fiery fiesta
favourites. Latin music so hot it'll give you a tan!
Alternating Tuesdays with Straight Culta
Jalkindhar. Live readings and the latest in techno
bizzarro with host Lupus Yonderooy.
KM>0PM-t2t00 AM Let DJ's Jindwa and
Bindwa immerse you in radioactive Bhungra!
"Chakkh de phutay". Listen lo all our favorite
Punjabi tunes - remixes and originals. Bmaaaah!
>3l00PMThe abstemious paul
j. lump frolicks amongst sugar coated daisies
whilst Ihe spiders enjoy their lolly pop.
This si
»s and 2:00 WWOD he
LOVE SUCKS   1iI5-3i00PM   Tune in
what you do: Thursdays al supper tune in to
this show.
OUT FOR HICKS 6i00-7l30PM No Birkenslocks,
nothing politically correct. We don't get paid so
you're damn right we have kin wilh it. Hosted by
Chris B.
Rock 'n' Roll - If you don't gel inlo Rock V Roll
All ol time is measured by its art. Most broadcast-
show presents the most recent new music Irom
around the world. Ears open. Hosted by Paul
Steenhuisen and Ian Cmtchley.
inna all styles and fashion. Mike Cherry and Peter
Williams alternate as hosts.
SOUL CHURCH 3i00-5i00 PM Alternating Sundays with Brent Argo. Vancouver's only program
devoted entirely to African-Canadian and African-
American Gospel music. Your host, Vince Yeh.
to Ihe gay, lesbian, bisexual, and transsexual
k ol Vancouver
(only when Ispeakl.a woikof music bya twentieth-
century composer—can you say minimalist?—
and whatever else appeals to me. Fag and dyke
positive. Mail in your requests, because I am not
FEMININE HY-JINX 4l00-5l00PM For women
who sometimes don'l feel fresh, bul always get
fresh. Spoken word and music: light to heavy flow.
identities.  This show has everything except a
name. Any suggestions?
cotton or even a cotton poly blend. Vinnie Carpelli
and Sonny Prince bring you one hour of pure
tightpants, ball hugging, crooning POLYESTER!
GEETANJAU 9.00-1 OiOOPM Geetanjali is a
one-hour radio show which features a wide range
of music Irom India. This includes classical music,
both Hindustani and Camatic, popular music from
Semi-classical music such as Ghazals and
Bhajans, and also (>iawwalis, Folk Songs, etc.
Hosted by J. Dhar, A Patel and V. Ranjan.
Join host Dave Emory and colleague Nip Tuck lor
some extraordinary political research guaranteed
to make you think twice. Bring your tape deck and
two C-90s. Originally broadcast on KFJC (Los
Altos, California).
4AM Drop yer gear andstay up late Naked radio
lor nake people. Get bent. Love Dave.
THE MORNING SHOW 7.30-8.15AM Wake up
with all Ihe news, sports and weather you need.
Plus what's happening at UBC each day with UBC
Digest, a feature interview and more. With the
BBC World Service News at 6:00.7:05am,
live from London, England.
lllOOAM Your favourite brown-sters, James
and Peter, offer a savoury blend of Ihe familiar and
exotic in an excitingly luscious blend of aural
delights! Tune in and enjoy each weekly brown
plate special.
With your hosts the Gourd of Ignorance and Don
the Wanderer. Whatwillweplaytoday? Rogwill
pop, Beastie Boys, indie guitar swing, and techno
thrown in lor good measure. Hit your olfactory
nerve centre with juw_scudelei-8mindlink.bc.ca.
endeavour to feature dead air, verbal flatulence
AlOOAM* The ultimate contra:
you over with nostalgia, then bringing you
back to what you might call reality. We do
lllOOAM That's right, bub! Punk-pop, surf-
slop, and lots more trash lor yer can. Tune in
to me, Bryce D., for all Ihe crud that's got
class every Tuesday momiig. Yowza!
music to scrape the cowshit off your boots to. With
yer host-poke Jeff Gray.
rewing       SCOOTER TRASH     3.00-3.OOPM    We
being hassled by the man!
ESOTERIK  6I00-7.30PM (es'o'ter-ik), adj
understood by, or intended for, only a selec
number of disciples: secret; mysterious.
asy Utilities Eat
fourhost Jus bn Love
listeners. Holy Hannah! It's a Femininst show.
more interesting dinner guests join Princess
Andrea and her team: Jedi Knight Neil, Leanna
Skywalker, and Gran Moff Ian (#5?). We bring
you the Force of the news, dark side and all.
With Ihe BBC World Service News 6 5
sic andgrrrls in r
THE UNHEARD MUSIC 7i00-9i00PM Meat the
unherd where the unheard and the hordes of
hardly herd are heard, courtesy of host and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9.00-10.00PM Get on board
Vancouver's only tropical fiesta express with your
Wendi, Rolando, and Mateo as they
lo the lal
in Salsa,
RADIO FREE WOMEN    10i00-11i30AM
Going boldly where no man has gone before!
We interview happenin'women! Weyack! We
spin tunes!   Hosted by Anna and Deb.
bad-bacon, beer, igloos and beavers. Eat your
lunch every Thursday with Skyler.
STEVE A MKE 1iOO-2iOOPM    Crashing the
boys' club in the pit. Hard and fast, heavy and
slow.   Listen to It, baby.
Nov. 24i
Doc. Ii    Spiritual Heroine
Alternating with TFIL    IliOO-lAM
Straight from the mean streets. Ethan Meyer,
Dylan Rymer, and mixmaster Kaptain Nero
straddle and masssage your eardrums with
Alternating with RTY    11:00-1AM
Chris Pariah explores the Metanoid states and
psycho-sonic scapes of The Infinite Livingroom,
that Nth dimensional space between perplexed
consciousness and profound absurdity.
10.00AM Greg here. Join me in the love den
to the st
I.     it>
Do you want us to make you a Saber Tooth Tiger?
Half an hour of unbeatable news coverage plus
are you
witk tke
third time's
the charm
miU«(« Mi
VtHks Flytrap's
love 9tn
Radio free
1 if** Norma!
uVfi mvi
lo fi   little
fiisn MAO/
Mary Tyler
Feminine Hy-jinx
-*I«:K *S UK
AW6T6 H6hSt
tort for Kirtf
Vo*lry Show
kip kop kutif
and sometimes
Lulu's Back
in Town
Odtt-i JdllfcKtlAr
;d by DJ Ni
includes some trance, acid, tribal, etc...
Guest DJ's, interviews, retrospectives,
giveaways, and more are part of the flavor
of homebass.
LIMP SINK 12.00AM-Morr.ing
Nov. 4: The Friendly Catapuller Show
Nov. It: The Doctor Killdare Show
Nov. 18: The Friendly Calerpuller Show
Nov. 28: The Doctor Kildare Show
Now in its I Oth year on the air, The Edge on
Folk features music you won't hear anywhere
else, studio guests, new releases, Brirish
comedy sketches, folk music calendar, ticket
giveaways, etc., plus World Cup Rtfort
at 11:30 AM. 8-9 AM: African/World roots. 9-
POWERCHORD 12.00-3|00PM Vancouver's
only true n
no tapes, i
Gerald Ratllehead
and Metal Ron do the damage.
THE AFRICAN SHOW 3i00-5l00PM II sa music
thing from all Africa.    It's an awareness
thing of self and others. It's an African house
party Stories, music, dance fun. Welcome!
Your hosts: Umerah and Mawele
THE SHOW 61OO-81OOPM Strictly Hip Hop -
Strictly Undergound - Strictly Vinyl With
your hosts Craig G., Mr. Checka 4 J Swing on
the I S. 2's.
THE RIG STOW    9*00-1 OlOOPM    Killing
ugly radio with one easy step.
Terry, Wozzle. Jeff, Warren. Who will it be?
NEW SHOWS Say helloooo!
to Ron, ofLowest Common
Denominator, fLllin' in
for- a while Thurs. at
lam     till     whenever!
Also, Cocktails with
Daryl and Susi is now
CHANGES: Say bye bye
to Summer of Hate!
Norman's Kitchen is
now     SCOOTER
WHOM    &    HOW
3f n^^m^ A GRIP!
:  ■" ■■■ ,,:, .■:.;.■      .    *
I Ai    Meow
\ phePhew
The Insipids
The Pendrons
Spiritual Heroine
NOV 15
Itown Corporation
Muscle Wtches
Underwater Sunshine
The Cowardz
NOV 29
The Papillomas
Come on down to the Railway
*>5U Vmmlr Street
Check out hot local bands every Tuesday
Plus thg%er-popular "Jokes for beer"
1. \/&fa\    J^\  ETZ" AfX downtown
gi^ftticsise   ifssSSS1  1p&/-i */-a*-*X sound
w.     «»»*»»«      ilpconDt^f       r^J ■&&$$ m, studios FRI 28 All Demon*; Night w/Facepuller, Neptune Telescope & the Concubines at Station Street...De La Soul w/Source of Labour, Lop Sided, Junk
Bastards & the Nitwitz at the Plaza of Nations...Hard Rock Miners at the
Railway...Luka Bloom at the Starfish...Attila the Stockbroker & T. Crane at
the PITT Gallery.Friday Folk at Koemer's (no cover)...Martin Carthy & Dave
Swarbnck at the W.I.S. E. Hall (8:30pm).The Star Catalogues at the Russian Hall...Strains at Station Street (8pm)...alternative Dance Night at
Graceland.. Gospel Night at St. Andrew's \**Cs*jtey~
Markie-Mark. Garth, Carlos, T-Bone, Qi^l", Mario.;
(206 292 1478)...Psycho (7pm) A/The Fx.-rff'(9:30pm) \x the
SUBTHEATRE... /       JW /
SAT 29 itch. WooWoos & guests at (>os|§£*n Traffic (all ag^)...
mond (Kiss tribute!) at tlie Vogue Pond ■•**<■.■ the Wheat C-hiet- .*
Late at tlie Starfish...BlackCat Bone at the NetHforirTfiea
Shannon Johnson at the W.I.S.E. Hall (8:30pm)...Hard
Railway.Gilby Clarke (from Guns N' Roses!) at the ""
Catalogues at tlie Russian Hall...StraiNMi .
Shift w/DJs T-Bone, Ursula & Dickey Doo at District Coffee...Noah's Ark w/
DJ Noah (techno) at Graceland...Little Shop of Horrors w/DJs Ursula. T-
Bone, Dickey Doo & Quest at 940 Richards (689 7734)...Jazz Yo Azz w/DJs
Clarence & Luis at tlie Anza...Hallow's Eve w/DJs T-Bone, Dickey Doo, Czech
& Quik Fix (893 0203)...Psycho (7pm), The Exorcist (9:30pm) & The Rocky
Horror Picture Show (midnight) at the UBC SUBTHEATRE.. Caligula (uncut) midnight at tlie Plaza Theatre...
SUN 30 The Allman Brothers at the Queen E...New Sci-Fi Horror at the
Railway...Gawa Gyani at tlie Vancouver East Cultural Centre (7pm)...Psycho
(7pm) & The Exorcist (9:30pm) at tlie UBC Cinema...
MON 31 Barenaked Ladies at the Queen E...Alternative Halloween (D.O.A.
w/Art Bergman & tlie PayolaS) at the Commodore. ..Carnival Halloween Event
at the Ashe Gallery (154 W Hastings)...Halloween Bash at the Railway...free
Tai Chi at the UBC Grad Centre (12:45pm)...Zoo Boogaloo at the
Starfish...Peterbilt & the Things at the Malcolm Lowry Room (NO
COVER).   Hie Rocky Horror Picture Show at Tlie Plaza Theatre...
TBA ATTHE RAILWAY CLUB...Barenaked Ladies at tlie Q.E. Theatre...Sara
Craig w/ Rick Colburne & Hard Poetry at the Town Pump.Gail Bowen &
Friends at the V.E.C.C. (proceeds to AIDS Vancouver)..Daryl Jalinke & Jerry
Legar at tlie Alma St. ('ale. .Deleiiiini al Studio J (8pm)..Hagood Hardy Trio
at the Massey Theatre...The Upstairs at First Street Studio...
WED 2 Fishbone w/Weapon of Choice at tlie Commodore....Rita Chiarelli at
tlie Railway Club...Bug, Bonesaw & Stickmonkey at tlie Hungry Eye...Tlie
Philosopher Kings at Richards on Richards...Steve Maddock & Miles Black
at tlie Alma St. Cafe.Kitaro at the Orpheum.Vinyl w/ DJs T-Bone & Dickey
Doo at the Starfish...Suck w/D.I Czech at Luvafair...Wonderland w/DJs Lace
& Little T at MaRS...Delenum at Studio J (8pm)...Slacker(7pm) & Naked
(9.30pm) at UBC SUBTHEATRE.happy birthday k.d. lang (b. 1961)...
cover).Everclear w/Pluto & Pet at tlie Starfish..Coco Love Alcorn at the
Malcolm Lowery Room...Deadline at the Town Pump...Terror of Tiny Town
at the Railway Club.. Fear of Drinking with Murray Boal & friends at the
W.I.S.E. Hall...Tony Wilson's Flowers for Albert at The Glass
Slipper...Delerium at Studio J (8pm)...Tinga Tinga w/DJs Flyte & Friendly
Planet at the Twilight Zone...Michael Snow & Jack Vorvis (5.30pm) at the
Western Front...Slacker (7pm) & Naked (9.30pm) at UBC SUBTHEATRE...
FRI 4 Corrosion of Conformity at the Town Pump... Ray Condo at the Malcolm
Lowery Room...Grames Bros., People Playing Music at die Commodore...The
Blue Shadows at the Railway CIub...Jim Nolet Trio (9pm) Paul Plimley &
Francois Houle (12am) at the Glass Slipper... Dele, aim al ...Studio I
(8pm)...Hauser/Leimgruber/Hammett-Vaughan (5.30pm) at the:?Ste**t;rii
Front...Ranch Romance at the WISE Hall...Corrina, Corrina (7pm i."
(9.30pm) at UBC SUBTHEATRE...Caligula (uncut) midnight at fljpi/.!
SAT 5 All Ages Sneak Preview of Spike & Mike's Sick and Twisted Annua
tion Festival at die Ridge Theatre (4.30pm)...Alpha Diallo & Baling w/Ni>oiiia
at the Starfish...Bughouse 5 and Wandering Lucy record release pany ,ii the
Malcolm Lowery Room..."On The Weill Side" (9pm) Stellar Saxophone *>,«
tet (12am) at tlie Glass Slipper...Tlie Blue Shadows at die Railway pur*.,. Doc-
Rock Benefit for The Children's Wish Foundafiont at the ('ommoctore...Glenn
Honuclu's Shamisen Trio (5.30pm) at the Western Front...54-40 .it the
Breakers...Delenum at Studio J (7:30pm)„.Midnight Shift ^iDh 1-Bcxie,
Ursula & Dickey-Doo at District Coffee...Corrina,Comna (7prti) X Speed
(9.30pm) at UBC SLp;'THEATRE...Caligula (uncut) midiughl al the Plaza
SUN 6 Ween at ihe Starfish Room...Tarnation al the Hungry Eye...Ser<v.!i
(5.30pm) at the Western Front...Lee Pui Ming l.nti'tnble at the
V.E.C.C...RomajjiHivsky & Philips with Dos Fallopi.i at ttt^Slarltght
Theatre...Deleriuml&l Studio .1 i2pni-liall puce cloxins ttfaMpiCoiTina,
Corrina (7pm) & S"pi§*d (9.30pm Ml I BC SI B II UiAL^pp**';':
MON 7 Zoo Boogaloo »•/ .DJ* Spuw-K .&,iM3m%\v Siartisli.di^^H;:
night at the Hollywood ( W^ht^0^Sfm the Railwa> ('lul. ..Atttiior :
Caroline Adderson at the Bob Priftieijifetawowii I .ibr.irv in Burnabv 1 i.if-j-fiy::
birthday Joni Mitchell (b. 1943)...
A guests at the Starfish Room Author Caroline Adderson at the New West-
nunster Public Library...
WED 9 Murder Museum at the Railway Club...Suck w/DJ Czech al
Luvafair...Wonderland w/DJs Lace & Little Tat MaRS...Vinyl w/DJs T-Bone
& Dickey Doo at the Starfish...For Better, For Worse at the Pacific
Theatre...Fanny & Alexander (7pm) & Weekend (9.30pm) at UBC
THU 10SUB-SONIC THURSDAYS FEATURING SILLY RABBIT, D.D.T., SUBTI lEATRE.Cahgula (uncut) midnight at the Plaza Theatre .
& BIG GULP ATTHE PIT PUB (no cover)...L7, The Melvins <& Wool at the
Commodore (ALL AGES)...Tankhog w/Nine Pound Hammer at Ihe Starfish SAT 26 Cadillac Tramps w/Treble Charger at the Comrnodore...Herald Nix
Room..Mudlarks and Insomniacs at the Malcolm Lowery Room...Murder at the Railway Club...Midnight Shift w/DJs T-Bone, Ursula & Dickey Doo at
Museum at the Railway Club...Bjorn Again (Abba Tribute!) at Dicks on District Coffee... Judith Marcuse Dance Co. present States of Grace at the
Dicks..Lowry Olafson & Susan Crowe at the Vancouver East Cultural Norman Rothstem Theatre...Fresh (7pm) & Natural Bom Killers (9.30pm)
Centre...Endangered Tibet at the Vogue Theatre...Tinga Tinga w/DJs Flyte & atUBC SUBTHEATRE.Caligula (uncut) midnight at the Plaza Theatre...
Friendly Planet at the Twilight Zone (progressive house)...Fanny & Alexan-
(7pm) & Weekend (9.30pm) at UBC SUBTHEATRE... SUN 27 Lost Tribe, Medeski, Martin & Wood at the Starfish Room...Inti-
Illimani at the Vogue Theatre.Judith Marcuse Q-gBSSe Co. present States of
, I 11 CiTR PRESENTS DJ SOUNDWAR IV (6pm) at the SUB BMT- Grace at the Nomian Roll.sieui lhcaln    Fresh (?J**1i) & Natural Born Killers
<|OM   (ALL   AGES!)...Dnio.say#-Jr..   Come.   &   Jun. d   9<   ihe (9.30pm) at tha UBC SUB 1 HI AT Rl
'mmodore...Babe Gurr and MajgjjfCoulombe at teh MalcoJj^Lowery
j-JesteelsJdn w/gucs(£ lax ai \l()\ 2S Zoo I        il I) $$       I   n the Starfish   cheap date
iufeprii./S-'mk**- ' 'U:s:'Volta*?iS*:s,300lh Birthda*K..TURlN( I (11 vtSs^TBA AT THE RAILWAY
Party widi T. Crane, A Splendid Day For An Auto-da-fe, and Late Night    CLUB
'      it    at    Studio    16,...Schindler's    List    (8pm)    at    UBC
WED 30 Suck w/DJ Czech al I.uvmyiiair...Vinyl w/ DJs T-Bone & Dickey
Dooal the Starfish. .Wonderland w.'DJs I.tee ,v Little'I al Ma US...El Mariaclii
SAT 12 CiTR PRESENTS DJ SOUNDWAR IV (6pm) at the SUB BALL-    (7pm) ,v ( 'Ihoiion (9. U)pm) at the UBC SUBTHEATRE...lhe Lost Dakotas
ROOM (ALL AGES!)...Thrillsquad & gaze at the Malcolm Lowry Room...    al ihe Railway Club..
Tristan Psionic and Pluto at Crosstown Traffic...Wretched Ethyl at Station
Street...Freedy Johnston at die Starfish Room (early show)...Memphis Slax    VI<1\U<^VI']\U*A'I'MJ1*Y1<MJ1^A1<MJI*T1<MJI^TENUI<]S
at die Railway Club...DDTw/Silly Rabbit at die Starfish (late show)...Midnight
Shift w/DJs T-Bone, Ursula & Dickey Doo at District Coffee...Tempest at di
WISE Hall...Schindler's List (8pm) at UBC SUBTHEATRE...Caligula (ur
cut) midnight at die Plaza Theatre..happy birthday Neil Young (b.1945)...
SUN 13 Rediscover Carmen
dren Literacy at the Vogue
Alma Street Cafe 2505 Alma (at Broadway) 222 2244
An/.a Club 3 W 8th (Mount Pleasant) 876 7128
Art* Hotline 684 2787
< ltd-    ■<•■ Gallery    III) W II  Us 1 d,.»•**<,«-■} 685 0509
' RC    B.ukM.,ge Lming.  I-S- loliHStoHfGranGHe Island. 687 1354
< :rf. Den* Solvit   JO'M, Cwnmercial ithc Drive 1 254 I I'15
MON 14   Wretched Ethyl video release party at Ihe Railway Club, /oo   <''•*'' vil Bio.idw.n (Mount Pleasant) 873 1331
liulil al the    Capri-e I beaUt- Mf.**: Granville (Granville Mall)
< clebrilirs   1022 I)..-. 1. I \\. st I nd)
C\lmii\ Theatre 999 Canada Place  (downtown)
■don Ballroom  870 Granville (Granville Mall)
CLUB...Hole, Veruca Salt & Mn^ Estep at the Commodo, ,m" J,;,,Ik' 3I6 W Hastings (downtown)
Pump...Naked Aggression w/M-Blanke*
(all ages)..Poet Amos ()/ .
Denman Place Cinema 1030 Denman (West End)
Di.slriel ( oile*.   1035 Mainland (Yaletown)
I irehall Arts Centre  280 E Cordova (at Main)
Glass Slipper 2714 Prince Edward  (Mount Pleasant)
683 6099
s689 3180
682 4629
681 7838
683 2201
687 0032
689 0926
877 0066
WED 16   Jeff Buckley w/Brenda Kahn a. The Starfish P    .muartv    jj^and  l250 Richards ',du^row^")"
show)...Tlie Mudlarks at die Railway Club...Gob al the Anza Club...Vittyl w/    ,,    ■■        ,. .,    „ ,..„,..„
DJs T-Bone & Dickey Doo at the Starfish (late show)...Wonderlan,l W/L       Haslnis-s < umm. , Centre 2096 E Hast.ngs (East Van)255 2606
Lace & Little T at MaRS...Suck w/DJ Czech at Luvafair...Fadier's Hon.-* at    ■■''■»l' |{(      *24 u Haslings (downtown)
the Burnaby Soudi Secondary School Theatre... Eraserhead (7pm) A Eh otem    Hollywood Theatre 3123 W Broadway (Kitsilano)
Man (9.30pm) at UBC SUBTHEATRE... Hungry I'je 23 W Cordova (Gastown)
km ill. 1  s P11I1   (, .le 4  (UBC)
CHANTS AND HAPPY MAN AT THE PIT PUB (no cove.)   Colourilfu
the Malcolm Lowery Room...Deep Julia at the Railway Qub...Tinga Tinga
w/DJs Flyte & Friendly Planet at the Twilight Zone (progressive
house)...Father's House at the Burnaby South Secondary School Malcolm Lowry Room 4125 E Hastings (Burnaby)
Theatre...Eraserhead (7pm) & Elephant Man (9.30pm) at UBC Maximum Blues Pub 1176 Granville (downtown)
LaQueua  Mil ( ommercial Drive (the Dri
v-A-fair 12**-- Seymour (downtown)
x Theatre 57 K Hastings (Gastown)
Odyssey 1251 Howe (West End)
Old American 928 Main (downtown)
Orpheum Theatre   Smithe & Seymour (downtown)
FRI 18  Torture King (formerly of the Jim Rose Circus Sideshow) at the
Ashe Gallery (154 W Hastings)...I Mother Earth w/ Black eye Buddha at the
Commodore...'Ihe Minstrels at the Malcolm Lowery Room...Lisa Germano Pacific Cinematheque 1131 Howe (downtown)
& Pale Saints* at the Town Pump...Happy Man at the Railway Club..Father's Paradise Cinema 919 Granville (Granville Mall)
House at the Bumaby Soudi Secondary School Theatre...Barcelona (7pm) A. Park Theatre 3440 Cambie (South Vancouver)
True Lies (9.30pm) at UBC SUBTHEATRE..happy birthday Margaret pjcadilly Pub 630 W Pender (downtown)
At wood (b 1939) pjt pub bascment student Union Building (UBC)
SAT 19   Ikme flf < ommons w/The Dunderheads & Insult to Injury al Pi" GalU'r>' 317 W Hastings (downtown)
•   ■- =iTrail ie (all ages)...Frente w/guests at the Starfish Rcom...Happy p|aza Theatre 881 Granville (Granville Mall)
the Railway Club...Connie Kaldor w/Mark Perry at the Vancouver Punk Listings
1 ,i>uCuJlu-il Centre(8pm)...Midnight Shift w/DJs T-Bone, Ursula & Dickey Railway Club 579 Dunsmuir (downtown)
j>H,atS|stfictCoffee...Father's House atthe Burnaby South Secondary School rj,,     Cinema 3131 Arbutus (at 16thAvenue)
lhealre..;Baieelona    (7pm)    &    True    Lies    (9.30pm)    at    UBC D      .      „ „ ,„„ ,. __  .   „ .„, .     .        ,
!   ATRE...Cal.gula (unoit) midnight at die Plaza Theatre... «USS,an "a" 6"" ^.T    ' ^h,n"town>
•:•• • Shaggy Horse 818 Richards (downtown)
SUN 20 Paul Kelley al die Sfari'tfh Room...Connie Kaldor w/Mark Perry at Southwall 23rd & Lonsdale (North Van)
^  die Vancouver 1 . Spm)...Bernie Senensky/Gary Speedy O'Tubbs Fairview (Bellingham)
Ban/.Q-KUk--. ,a i 7pm) & True Lies (9.30pm) at Starfish Room 1055 Homer (downtown)
MON 21 ci.
iters and Illi
.00 w/DJs Spun-K & Cze-
Irish E\es Are Smiling An evening with David F
aj the .Napp> Dugout...
Starlight Cinema 935 Denman (West End)
Of B.C.Inspiration Night at the    Station Strict Arts Centrc 93° Sta,i,,n id"^iown)
■->.      .       K    „     _.°.... *R  l-.v..^.. 1 T>f. «..!.. 1 K.,11.,...1......,
it die Starfish...When
ler & Brian Mulroney
! ADE.ATTHE RAILWAY CLUB    Ihe Pretenders at ihe Commodor
3B Tavern 1226 State 1
Town Pump 66 Water Stre
Twilight Zone 7 Alex&der (Gastown)
UBC Grad Centre Gate 4 (UBC)
Vancouver East Cultural Centre 1895 Venables
Vancouver Centrc Cinema 650 W. Georgia
WED 2.^ Ihe Pretenders at the Commodore.. Jabber & the Hazel Motes at   Varsity Theatre 4375 W 10th Avenue (Point Grey)
way Club...Wonderland w/DJs Lace & Litte T at MaRS...Vinyl w/   Video In 1965 Main (South Van)
DJs T-Bone & Dickey Doo at the Starfish...Suck w/DJ Czech at Luvafair...     Vogue Theatre 918 Granville (Granville Mall)
-TDTT-woin-, mu.rTuimon.vo »Tn.rn.Tn,mwm,TrvTimr Waterfront Theatre 1405 Anderson(Granville Is.)
THU24SUB-SONK  IHLRSDAYSAI [TIE PIT PI B WITH TEX I URL w , ,, .- u „,««,., ...    n •    ,
AND KNOCK DOWN GINGER (no cover)...Shawn Colvin w/ guests at die „ ,   „T" Adanac (the Unve)
Commodore...Herald Nix at the Railway CIub...Tinga Tinga w/DJs Flyte A Yale ,'lut's Pub 130° Granville (downtown)
Friendly Planet at the Twilight Zone (progressive house)...listen to Canadian
Lunch today 11:30am-lpm on CiTR 101.9fM...
1- KI 2.- Dtghdown. I )ead Skin Mask, Xro.sax & Pebble ai ihe Southwall (all LISTINGS FOR THE DECEMBER ISSUE: ATTENTION   "DIS-
ages)...Ca<hllac Tramps wHreble Charger at th ) ..Blue rn„ni;l, nATERnrik'" ST»*nw,d  ry tup PPIMT nE* aiii IME
RodeoattheCommodore...FreeplayattheGla,sSl,P|v,..neraM \',x a. the ( <),(l)l k l)Allli()()K   A1 822 9364, BY THE PRIM DEADLINE,
Railway Club....Fresh (7pm) & Natural Born Killers (9.30pm) at   UBC NOVEMBER 17.
681 4620
738 3211
688 5351
822 0999
251 6626
685 3288
682 5455
685 0143
689 5256
682 3291
665 3050
731 3456
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
681 1625
738 6311
874 6200
688 2923
980 5202
(206) 734 1539
682 4171
689 0096
688 3312
(206) 734 1881
683 6695
682 8550
822 3697
822 0999
254 9578
669 4442
222 2235
872 8337
257 6205
685 6217
254 5858
681 9253
"1   We began seeing each   other «^r„
1'   two or three times
Th'-r^s became more vntense
X KnevJ x couldn't   l\*Je.
without V\ec. . .
rloth;*ntf- x could  do vJoold d*ssoa-5e
her and she \00V~ ±o he*~    *-***-      '
rooms until voe reached
oj<-  destination   '"   '
As fbc me, x \jjas hopelessly in
lo^e aod spaced no expense to
Keep Bridget atov^Side     •
wh.en -sh-c vMa->n'l-dcTin$ Solty or
cesentf o\ x *go1-t0 feel'.nd; sne
cn.cjht be.de\lelopin<-T a l«Ttl*»»\\\
true affection -forme., '■ \#*u
f^c \JoVd-5e home voas onevientfol
a^a   she seemed  «n subtly
better spirits . ^s******
Occdis'iondlly She  VAjoold s%»fi$ and ddnce $oc cnz,„)r\tir dre^m _
was -Vo bea Pop recording- artistaodX was the sugar daddy ''jy\
SKe had alujaysb«en voa*,tir»^ for.. *^v^ ^
34   November 1994  1869 W 4th Ave..
Vancouver, BC
tel 604.738.3232
MontoWed 10.30-7:00
Thurs and Fri 10.30-9.00
Sat 9.30-6.30
Sun 12.00-6.00
K^eepyour eyes on these
new import -Ss?domestic
releases, now on sale at%ulu.
Veruca Salt
•  American Thighs
Home of Liz Phair, Urge Overkill, etc.,
Chicago's winds blow another indie cool-
thing! Enter Veruca Salt — the band
destined to replace The Breeders or
Magnapop if they should falter. Here's
thirteen cuts of thick guitar pop. American
Thighs, produced by Brad Wood (Liz
Phair, Jale). "So windy, I'd like to pin you
down and tack you to the wall." How nice!
16.98 O
» Dummy
Evocatively haunting, late night space
soundtracks. Chilling,, almost eerie dance
grooves. A totally classy debut release
which captures you from it's first notes to
it's dying tones. Highly recommended!
16.98 0        10.98 61
Doo Rag
« Chuncked and Muddled
Resonating with the spirit an-'^-our of
the history they emui'-^A^V^ <*hly,
Doo Rag take i" ^V^v^^s^'-^ - dirt
road   ti»H.^vv-v" v v^ ^ Vv ^'-v  American
, and hard
times, /r authentic a hillbilly blues sound
as two young white guys from Arizona
could ever produce.
16.98 O
town Pump • Friday, November 19
tix at the door
Sook-Yin Lee
Vancouver's perennial favorite has a new re
on Zulu records, arriving the last week of
November. Stay tuned!
• Crumble
Matt and Debbie Butterglory make music
that sounds like these expatriate New
Zealanders went to school in Chapel Hill,
NC, summered in Olympia, WA, and
eventually ended up in California,
hanging out at the 7-11 with Pavement.
If geography could speak! An honest and
undeniably great low-fi pop record.
16.98 0
» don't ask, don't tell
Come don't ask, don't tell, they just try to
show us something about the strange
comfort of an existential detente through
the sad beauty of their complex, textural,
and engaging music, captured articulately
through a solid blue-* rock aesthetic and
14.98 O        9.98 Hi
The Golden Palominos
• Pure
Heralded as an American super-group,
The Golden Palominos truly are on par
with renowned collaborations like This
Mortal Coil. Lead by producer/ composer
Anton Fier (Bob Mould, Michael Stipe,
Syd Straw), ihe Palominos' Pure maps
the lush terrains ol contemporary music
and culture. Little Suicides and Heaven
feature Palomino stand-by Lori Larson's
voice, rich with de-span, |o\, and personal
question. What results is a strident release.
16.98 0 10 98 HI
Face To Face
• Over It
Not unlike their forefathers of the early
to mid-8()s (i.e Naked Raygun, Dag
Nasty, etc), Face To Face's Over It is a
much-welcomed release for those put off
by the homogenization of punk rock. Over
It is either a long EP or a short LP (seven
songs) of anthem-style rock.
12.98 0        8.98 Hi
e Mr Right and Mr Wrong
Before Andy Kerr moved to Amsterdam,
and NoMeansNo started the long,
gruelling task of rebuilding, the band
recorded some material that never saw the
light of day —until now! From material
dating back to four-track recordings from
'79 and '80, to the three outtakes from last
year's Why Do They Call Me Mr Happy?, Mr
Right and Mr Wrong is a don'tmissdon't
NoMeansNo collection.
14.98 O
Silver Jews
# Starlight Walker - Starfight Rocker!
Wish you will, wish you might, you know [H
this disc is gonna be alright! These low-fi
rebels with a slanted and enchanted
history drop some of the catchiest songs
that no one knows about. We think it's
about time that you found out.
16.98 0 11.98 HI
• Hey Drag City
Hey you! If you wanna be turned on the
the best truly independent label in North
America, you gotta get this record! It's the
very label that   "discovered"   Pavement,
Royal   Trux,   Smog,    and   Tlie   Palace
Brothers.   With   unreleased   tracks   from
these bands and others, you can lay
ol  your ha^^fed cash on  this
knowing that it ain't gonna be a drag.
16.98 0 11.08 HI
jon Spencer Blues Explosion
:♦  orange
think otiinge and you think flavour. And
dammit, this record's got tons of it.
Blazing, punked-out blues tillage from the
hardest working entertainer going. If you
missed his incredible performance in b;
October, don't miss this red hot chunk of ":
white trash blues that'll have you moving
in ways that might embarrass your mother.
14.98 O        9.98 HI
All during November, all used vinyl is 20% off! Lots of stock will be added throughout the month to keep those bins happy and those fingers flipping!


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