wmc<*mc p4B'MJ rlfl pr v - 1 fife* JB^IH bC->»^^h?2l Sffeil NKr%' 1 SUCCUMB/NG TO A SUPER/OR TAUNT, THE REGULAR CREW OF DfSC ORDER GAYE tSSUE i42 OYER TO A TEAM OF SUPER-fNTEUtGENT MONKEYS. OUR NEW ED/TOR, IEFT. WELCOMES yOU. 0/£-COV§* 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 YOU tN THE NIGHT? 0/S-c(wrf/Y7S NEW YAWK PUNK RAW* i2 BURN BABY BURN WMACiFACe /3 (HP QLK4LJP2& ts SNUGGLfNG UP W/TH A M-BlA%ffir (6 'AM fS AiRHiAD e CLASSiCAteeAT 9 WD£0 PHiLTiR fO iCAA/RSAO 22 ?" 23 SHMDiG 24 MA/COWSR SPiCiAL 25 REAL UV£ ACTiOtV 26 t/A/osR Remus 26 CHARTS 30 OA/meoiAc 3i DATiBOOK 33 GRAPHIC DESIGN/LAYOUT MARK PlLON. TANIA AUKSON. IAN PATtRSQH S(Af/%eem.feat/ Wm LOCAL DISTRIBUTION Matt stcfhch, sian RAeem. i HARRINGTON Taco Beu tania k Dome Ma item; b.SHiis >dlan residents, are $15 for one S24 CDN 10 anyone elsewhere se). Please make cheques of Sin^c copies arc (2.00(1, money orders payable to DEADLINES: copy deadline lor December IH3 is November IS. Ad spice il available until November !? arid can be booked by ailing Kevin at (604)822-3017. Out run art available upon request. DiSCORDER is not responsible lor las, damage, ot any otlier inju ry as to unsolicited manuscripts, u:..Hi !>; .rtw.ix ;iii'lining kt not iimned to drawings, photographs, submiued on disc (Mac preferably), in legible print or in type. As always, engkshlspreleted. From UBC to Langley and Sqinmish to Bellingham, CiTR an be heard at 101.9 FM as well as through all major able systems in the Lower Mainland, eicepr Shaw in Whi.erock. Call the CiTR DJ line ar 822-2487, our office a! 822-301, <-%^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" ON SALE UNTIL NOVEMBER 14th AT 568 SEYMOUR STREET FOUR FLOORS OF FUN! FIFTH FLOOR—SAMTHE INTERACTIVE MAN I COMING SOON! SAM'S CLUB IS HERE! SEE IN STORE FOR DETAILS! mc n CDI1CERTS CHI ROB PRESENTS ZE1 PRESENTS Dancing Queen • S.O.S. Fernando • Mama Mia Take A Chance On Me Chiquitita • Super Trouper mm m AU AGES SHOj ff?*fpJ(POWERDRIVE mm o oo BJOR ' Richards On Richards Doors 8:00 p.m. Tickets available at all m^m*, Outlets er cterge by phone 280-4444 Thursday ember 10 WGDL @eo>Ja specially priced at wv*i"//j'/ 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 ■allc. 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. Bye Glenn (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 Remember, all love-letters and other epistles to AIRHEAD get sent to: AIRHEAD c/o DiSCORDER MAGAZINE #233-6138 SUB Blvd. Vancouver, B.C. CANADA V6T1Z1 FREE SIVOT OF JESUS!!! buy the cd! get the stickers! wear the T-shirt! feel the snot! phone the prayer line! live the life! be one of us... today!!! 24 hour free prayer line {BO*} 233-9932 or (3039738-4(001 in Canada if you r local groovy record store doesn't have the "FREE SIVOT OF JESUS" co, get them to order it for you from "cARoo",or in the u.s.a., order through "Caroline". write to us with your theological questions or problems and enclose a s.a.s.e. , you'll get (absolutely free) stickers of this (see below) ad, and cartoons etc. t-shirts are 100% cotton, x-large black or white (specify) of the ad design, send SI 41- 93 (cash only please!) send S3 for genuine phleomata INTERNATIONAL SECULAR ATAVISM box 69243 portland oregon 97201 u.s./v. INTERNATIONAL SECULAR ATAVISM box 1776 station "a" vancouver, b.c. canada v6c-2p7 FREE SNOT OF JESUS JESUS "CHRIST' LORD OF LORDS! DECONSTRUCTION point is driven tap by tap blow by blow deeper and deeper /punctures/blisters/splinters/ fractures/ soft green wood buries point within resilient grain /closure/ tough fibres grow around intrusions just a smalt knot on the surface reveals where a nail rests a hammer has been "Catherine Kerr MY STINKING SWEATER 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 have a nice day against my will nasty peristaltic gurgle of liquid monkey shit papaya and banana gave monkey diarrhea now all my knitting needles smell like bleach Wes Wartley Hey Trtihj m ***** hm'■ J.*p ''fa tm <WMM&vt y, v x <M&t .//1 "CHIPMUNKS & SQUIRRELS" FANS DELIGHT! YouVe read 'em right here ii DISCORDER! Now, for the first time anywhere THE FIRST OFFICIAL PAPERBACK COLLECTION OF MICHAEL AUSHENKER'S CHIPMUNKS &SQUIRRELSJ^OMIC STRIPS! .-.BE ONE OF THE FIRST 1 08 TO XORDER AND YOU'LL GET A \-COPY PERSONALLY DOODLED '•'.& AUTOGRAPHED TO YOU BY XTHE CARTOONIST! READERS & RETAILERS - SEND YOUR CHECK OR MONEY ORDER OF $6.9 5 PER COPY (includes shipping & handling) TO: ORIGINAL SYNDICATE fy*. 355 N. LA BREA AVE. LOS ANGELES, CA 90036 L 8 weeks delivery (in time for the holidays) 6 November 1994 Oh God, not another contest! What does Veruca Salt have to do with super-intelligent monkeys? i could tell you, hut then I'd have to kill you. Suffice to say they're opening for Hole on November 15th at the Starfish Room and we have five copies of their album, American Thighs, to give away. All you have to do to WIN is name your favouite type of Simian (that's monkey) on the back of a postcard and send it (with your name and address) to: Monkey c/o DiSCORDER 233-6138 SUP Blvd. Vancouver, B.C. VdTIZt POETRY&FICTION DiSCORDER WANTS YOUR ORIGINALFOERTY AND SHORT FICTION FOR PUBLICATION. SEND ALL SUBMISSIONS TO: DiSCORDER #233-613S> SUB BLVD, Vancouver, B.C. i\l V6T1Z1 OR Fax your stuff to: (604) g>22-9364 OR Call Scotia at -322-3017 to read your stuff on CiTR! w*w<*mc QUIT YER SQUAWKIN'f If you want DiSCORDER delivered free to your business, just PLEA Pacific Legal PHONE 291-0049 VOLUNTEERS NEEDED Are you an outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good sense of humour? We are a non-profit jociety that helps young offenders and children aged 8 to 12 who are at risk of getting into trouble. If you have about three hours per week available for at least the next six months we'd really like to hear from you. We believe that one-to-one interaction with a well-adjusted adult can improve the behaviour of a troubled child. Interested? Please call us today. mou saio;s il13 UT 9iq^IT^AV OquiTTT ST 8jm OS • * *9UJXpB9p M R N A TintyMusic Weightlessness: ntemplation 8c Distraction itcd2) It came crashing Flow Mindblocker Suspended in disbelief Mind the gap Another brief manic phase Weightlessness In a funk Tinty Music P.O. Box 85363 Seattle, WA 98145-1363 tntmusic@halcyon.com .r? to order, send check or money order for us$14 each ppd to the address at left. for visa/mc orders (s&h will be added) call the Creative Musicians Coalition at 1-309-685-4843, or send e-mail to aimcmc@pan.com. may the tint be with you... 72 minutes of music occupying the space between art & observation ©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 The ol the verung 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 Vancouver. 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, Prokofiev' certo No.3, and Schumann's Symphony No.2. The Great Composers series features J. S. Bach this month, 25.1, 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 ;ofthe 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 DiSCORDER, and I know you are, you have a punk rock obligation to go to this film. Still in the wickedly but 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 second thought 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 I mldn't. "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. Metallica?! 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 it? Pete: We recorded over the winter at Philos Ranch up in Mendocino, California. 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 Woodstock? 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. give 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 bar) 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 LACK 14 .;-.;.';:,'^ AVAIL ABLe IN " 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 GREAT SHOW!!! 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- l^g^lfetoSL by Sharon Hwang 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 X^i'V/^-aritis hot 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 Rambo. 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 Hastings... Oh right, that was our big industry Do you like playing those music conferences. 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 We'v 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." They 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 from? 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. who 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- sophisti- 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 that. 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 &'& CiTR 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 il itiii Ll!li4u>li iiiiariivwiiin HI n 11 (ii r URBAN ■r &J&LG ^Roland Thick TRAX R@uvfivrnr ^tOk 'MM MCA w, ^^Siife BH55IX 4fpff (Hi #'4 "i -nii'iJ £p PolyGram -•**•»*••■ awuwmHQ Sony Music bvj fluiZ-Hl IflftV-M 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 community. 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 essful 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- Blanket? 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 it. 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 - Wonderboy. 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 people. 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 Gaughs). 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 audience? Chad: Is that like Elvis? Oh, moliawks? No, probably not, I don't dunk. 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 '71. 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 Winnipeg. 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 nothin'. 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 OK. 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 Injury? Chad: Nope, we just met them in Chicago, and then we parted company again. 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, though. 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 hero? 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 Victoria. 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. - CHAD • Brothers, we're gonna do another big tour; we're really big in Japan. We're gonna be opening for David Hasselhoff. Chad: How's your omelette? Yummy. 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 died? 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 around... 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 lives? 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 anything. 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 ages)! Contact M-Blanket: P.O. Box 5504, Unit B Victoria, BC V8R6S4 FADE INTO THE BLUE! I FREE PIERCINGS GRAB THE NEWJ un [FACES CD ^Gr tm The Debut second album from Seattle's first NON-Band! It's UN-Believable! AVAILABLE THROUGH; VAGRANT RECORDS™ 5512 UNIVERSITY WAY N.E. SEATTLE WA. 98105 (206) 525-0628 Write us for a full catalog! WITH A JEWELLERY PURCHASE YOU RECEIVE A FREE PIERCING BY CANADA'S MOST EXPERIENCED PIERCERS MACK'S LEATHERS 1043 GRANVILLE ST. 688-6225 OPEN SEVEN DAYS THE EXPERIENCED PIERCERS 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 industry. "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- lilH taiiimifliij 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 [sound]scapes. 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 thef 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 iregnancy. 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- natter? 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 sometliing. CANADA'S LARGEST AND BEST KNOWN RECORD STORES GOB This CD EP is power packed with lots of energy. GOB has the uncanny ability to keep their molecules together despite subsonic speed riffs. You want some punk, they got it! $7.99 CD OPIUM UNDERGROUND Bone Juiced, spankin' music from o to the other! SI 3.99 CD NGOMA / Culturally Modified Stone Finally! A recording that captures the intense energy of Vancouver's Worldbeat circus. Hornz, percussion, guitars, songs in English, French, and Spanish from the four men and four wome $14.99 CD. STICK MONKEY Stick Monkey «3» Gibsons & Marshalls & a singer who stomps out her words from her heart into yours. This heavy pop/punk debut CD is meant to be played loud and for fun. $11.99 CD OMNIBOL Omni bo l Omnibolous lom.nib.6l.usl adj. 1. Open to infinite interpretation equivocal in every aspect. $8.99 CD Attention All Bancs!! Po you have an undistributed demo CP or tape? Sam's carries Western Canada's largest selection of independent products! THE FLU Lighthouse The debut from Vancouver's frenetic young rock n' roll popsters. Eleven great songs about love, hate, hope, and fishing. Produced with the Rattled Rooster's Rev. Rick and mixed by Steven Drake of the Odds. $7.99 cass For more information on selling your music at Sam's, ask for Rob Zgaljic at our 568 Seymour St. locaton. All types of music i KIRSTEN NASH Bridging the Gap —« Written, performed and produced by Kirsten, "Bridging the Gap" manages to successfully meld inspirations from Janis Joplin and Joni Mitchell to Charles Mingus and Sting with Kirsten's own musical vision and expression into an album that remains definitively Kirsten Nash. $11.***9 CD MINORITY Minority #§# Step up to this! Blasting grooves wHh old school ihymes and enouc-h attitude to piss you right off. Rap, hardcore, h*p hop, metal, funk: it's all here. These seven messengers on their mission of positive anger must be seen and heard to be believed. They don't hide the truth-they live it. Love 'em or hate 'em... you can't itriofe 'em. $2.99 cass BLAISE PASCAL Foreword In this day and age of bombast and angst, it's a relief that there are still some folks willing to let their subtle charm shine through. Fall in love again for the first time. $ 9.99 CD WINGNUTS Strange Bird Corporate rock takes the m out of music and just makes you sic, but now finally here's the Wingnuts first CD. Folky, rockin, outrageous, you'll be recommending this one to your friends. $11.99 CD i. ..,':i* t > m * at Jann Arden with guests FRIDAY, NOVEMBER II Vogue Theatre DINOSAUR Jf Oo#©and Juried Friday Nov. 11 Commodore vm, m''' r1" Tickets also available at Track Records 2- /frffe^ jB^Xrlf ^ . ' Jt JEff* Wednesday, November 16 -Starfish Room- Ska** C°(l/(^ ,o</er~ (jftri tyur STEUART SMITH gu.tars LARRY KLEIN e Thursday, November 24 Commodore fStflRpr* watchmen s town pump mmm,:'":-- ts available at all ^^^^w^^,^^^^^ outlets -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, BC,V7L2S2-free) Runt 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 -$1) 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 Vancouver) 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 *wv£b*t l/anc°uV<?f* 0C 6&232<£& Quality Constonments at a X-MartPticeff 22 Novteniber 1994 jL^£> -v^s / 1 / / 1 Hi ^<^[ 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- preci 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, ON SALE THIS MONTH: JON SPENCER BLUES EXPLOSION Orange mlko*siuicd 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! mm 311A CAMBIE STREET VANCOUVER B.C. CANADA V6B 2N«f § 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. USA) 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 domination. 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 Seal LA's 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) ClO! ) Me." It's u-ellen •ic. (Lucky, PO Box 4636, Seattle, WA, 98104, USA) Aim 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 Hie: guys 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 eventual 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 doing. 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 ewtf<% 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 -.. end Oct 31-Nov I EDDIE KIRKLAND BAND Nov 2-3 PINETOP PERKINS Nov 4-5 INCOGNITO Nov 7-9 SIDEMEN Nov IO-I2 JOHNNY V Nov 14 JAYLEEN STONEHOUSE Nov 15-16 NIGEL MAC Nov 17-19 AL FOREMAN BAND Nov 21-26 AMOS GARRETT Nov 28-29 BOBBY PARKER Nov 30 RICK TAYLOR mnmsmHEMBBsmst SATURDAY 3-8 PM / SUNDAY BLUES MARATHON JAM 7-11 PM MIKE JACOBS' JAMS ARE SPONSORED BY MOTHERS MUSIC AND THE DRUM SHOP OPEN EACH NIGHT FROM 9:30 PM T01:30 AM OPEN WEEKDAYS FROM 11:30 AM v^p ly]'^ ^^gJr^J ' ' iJ^ jB^ jllnjl lfllh ^ ^t* i^^gl SEAN^S 1111 RAGGETT '■:;'v.: 7 "V, V ..... \^}v &* < r±l H PU i 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 Bellingham). 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 Records. 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 mid-month... 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 Records. 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! DEMOS! 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) DS Second Guessing - The Beautiful Ugly 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 Del. 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 ■Mer >chro e Enem 'All 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 1J6) 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) CDs! 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 available) 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) ALL AGES SHOWS! Nations 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 Soudiwall Nov 25: Cadillac Tramps &. Treble ( lianei ai die Commodore kccoi subsii !. Cliroi; SLUDGE STOVEBOLT PEBBLE PONY BOY Sooth-wall 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 the 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 I DARE YOU TO GO TO THIS GIG JASON PRIESTLEY 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 e-piei 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 anym *. This L-ellet 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 GREEN DAY TERROR GRUPPE 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 THE FALCONS THE TONICS 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 SPINANES FIFTH COLUMN PLUTO 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 MC 900 FT JESUS CONSOLIDATED Commodore 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 THE MIGHTY MIGHTY BOSSTONES VOODOO GLOW SKULL 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 daquin. 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 Armstong Blowing her stack at the Starfish Room is Beverly of Fifth Column. Photo by Tanya Nemchin. ...from the country ttat brou^t you ^nne hurray, Loverboy, and Moneymoon Ju'te... rrrrTip IJuLJ& SATANATRAS IGHT ATE HATE" THROBBIN HOODS "AMBUSH" ...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 VARIOUS ARTISTS Pulp Fiction Soundtrack (MCA) 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 the 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 MICHELLE SHOCKED 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 SILKWORM Libertine (Elrecordo) 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 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 TINDERSTICKS Tindersticks (This Way Up) THE DIVINE COMEDY Promenade (Setanta) 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 BAD RELIGION Stranger Than Fiction (Atlantic) 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" stove things back around full circle. l:nveiled " Most of the songs A ink -wife whos delivery fails. A Tlie title track should prove to be is are pr viously unreleased modie 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 harve t in on time These are some probablv the best of die bunch. Will live stuff A must have if there ol the ubjectswh > populate Ameri- this song be able to propel Bad Re iv hardc. 'me^Zum-seaie!! (hilie nail agrari ne, KindHearted ligion to the heights of former label mates the Offspring? Wait and see... itccl sot c protection. Worn, 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 ENGINE KID/ICEBURN 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 acular 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 GLAZED BABY Handgun (N/A) 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 ROY LONEY AND THE LONG SHOTS 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 ORBITAL Snivilisation (FFRR) On Snivilisation, Orbital's durd album, the group mixes a little hardcore Willi trance and ambient to produce a mellow album widi an mter- jmH want to forget about die world just fall asleep. Think of it as techno version of Enigma. Alistair Savage LIZ PHAIR Whip-Smart (Matador/Atlantic) 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 PUNCHBUGGY 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 GIANT SAND (Imago) 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 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 rock-and-roll-I-only-listen-to- Green-Day-and-die-Breeders-shell. 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 diunder. "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 (Matador) 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 Trashed 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 unbrelia its best. Tin* miko hoffman .- To I three 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 Shellac At Action Park (N/A) 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 you. Martin Gamache 29 Lj^m*m november 94 INDIE HOME JOBS 1 the mysterons inferno 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 fence 11 the bushytails hot rod ronny 12 hjouhe P' 13 green achers miliaria road H pet sugar 15 the mckrackins willikilligan 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 disappear 20 gaze seamonkey's pie MONKEYS 1 king kong king kong film 2 curious george curious george literature 3 bubbles michael jackson pet 4 magilla gorida lianna barbara tv 5 bonzo betime for bonzo film 6 comelius planet of the apes film 7 donkey kong donkey kong video game 8 cheetah tarzan film/literature 9 mickey dolenz the monkees tv 10 che guevera bolivia dead geurilla E.LEf? yaouB 1 bad religion 2 farside 3 machine head 4 madball 7 sparkmarker 8 strung out 9 unbroken stranger than fictioi rigged wash rae/lexas another day in paradise life.love.regret 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. •Relativity". 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 Now". 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! ijRADIO SABROSAJ! WOLF AT THE DOOR 10iOOPM-12iOOAM Alternating Tuesdays with Straight Culta Jalkindhar. Live readings and the latest in techno bizzarro with host Lupus Yonderooy. STRAIGHT OUTTA JALLUNDHAR 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! AURAL TENTACLES MIDNITE • VERY >3l00PMThe abstemious paul j. lump frolicks amongst sugar coated daisies whilst Ihe spiders enjoy their lolly pop. FLEX YOUR HEAD 3i00-5i00PM HARD ERIC —ERIC CORE— LATE This si »s and 2:00 WWOD he WEDNESDAYS 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. OLD SCHOOLR0CK»ROU7i3O.9iOOPMRm,Isof Rock 'n' Roll - If you don't gel inlo Rock V Roll LIVE FROM THUNDERBIRD RADIO HELL 9l00- ON THE DIAL SUNDAYS ARE YOU SERIOUS? MUSIC 81OOAM-12i00PM 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. THE ROCKERS SHOW 12.00-3.OOPM Reggae 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. HEATHER'S SHOW GiOO-8iOOPM Dedicated 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. backgre andgreatmusicfrom identities. This show has everything except a name. Any suggestions? LULU'S BACK IN TOWN Bi00-9i00PM No 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. RADIO FREE AMERICA IOiOOPM-1 2.00AM 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). IN THE GRIP OF INCOHERENCY 12-00AM- 4AM Drop yer gear andstay up late Naked radio lor nake people. Get bent. Love Dave. MONDAYS 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. BREAKFAST WITH THE BROWNS 81IS- 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. THE STUPID RADIO SHOW 11 lOO AM-1 lOO PM With your hosts the Gourd of Ignorance and Don the Wanderer. Whatwillweplaytoday? Rogwill with SKINTIGHTBUFFOOKBY-wimpy British pop, Beastie Boys, indie guitar swing, and techno thrown in lor good measure. Hit your olfactory nerve centre with juw_scudelei-8mindlink.bc.ca. HE MEAT-EATING VEGAN 3.00-".00PM I endeavour to feature dead air, verbal flatulence SCREAMING INCONSISTENCIES 12i00 AlOOAM* The ultimate contra: you over with nostalgia, then bringing you back to what you might call reality. We do THIRD TIME'S THE CHARM 8.30- 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! BLOOD ON THE SADDLE IIOO-3IO0PM Country 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. THE CiTR DINNER REPORT 5i00-5i30PM For 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 5:05pm sic andgrrrls in r ndTri-J 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, THURSDAYS 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. CAIIADIANL-|TWH11i30-liOO*>MToques,plaids, 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 RADIO TRANSUBSTANTIATION YEA!! - Alternating with TFIL IliOO-lAM Straight from the mean streets. Ethan Meyer, Dylan Rymer, and mixmaster Kaptain Nero straddle and masssage your eardrums with TALES FROM THE INFINITE UVINGROOM - 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. FRIDAYS VENUS FLYTRAP'S LOVE DEN 8.30- 10.00AM Greg here. Join me in the love den to the st I. it> NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3i30-«i00PM Cleo! Cleo! Cleo! THE CiTR DINNER REPORT 5.00-5.30PM Do you want us to make you a Saber Tooth Tiger? Half an hour of unbeatable news coverage plus are you serious music? ROCKERS SHOW Break-fat witk tke &rowwf third time's the charm miU«(« Mi compact disco VtHks Flytrap's love 9tn tke SATURDAY EDGE POWER CHORD DIGITAL turn CHRONOMETER Radio free WOMEN 1 if** Norma! ft* >wip MiMO SHOW helen's hut uVfi mvi THE YACH CLUB 1 CANADIAN LUNCH *JLJC*JLJt. MFJfmHflL OBJEKT Ittlf BLOOD ON THE SADDLE love sucks S&M lo fi little stigarlump hmmmmrn fiisn MAO/ Soul Church Mttt-Wmg V-f-t-M Mary Tyler scooter trash FUXVWR H£AO AFRICAN SHOW NARDWUAR/ Feminine Hy-jinx -*I«:K *S UK H-Mfdcr'* SUcw FUmIr) C«terpill«r AW6T6 H6hSt ESOTERIK tort for Kirtf NATION 2 NATION Vo*lry Show THE SHOW (kipkop) THE PEAKING CANUCK/ kip kop kutif UNHEARD MUSIC and sometimes why OLD SCHOOL ROCK & ROLL Lulu's Back in Town JEFFfrflflVE *S***rT*NJ*U THE JAZZ SHOW RITMO LATINO AFRICAN VARIETY LIVE FROM THUNDERBIRD RADIO HELL •HOME BASS shporrs ONE STEP BEYOND/ RADIO FREE AMERICA WOLF HI THE DOOR/ sm Odtt-i JdllfcKtlAr POPGUN Groom Jumping RADIO T.YV TALES FROM THE INFINITE LIVINGROOM IN THE GRIP OF INCOHERENCY SCREAMING INCONSISTENCIES IHEOBT.RFB UtMf denominator SOMETHINC ;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 SATURDAYS THE SATURDAY EDGE 8.00AM-12iOOPM 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. GROOVE JUMPING 1 O1OOPM-I1OOAM 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 NATION 2 NATION SCHEDULE CHANGES: Say bye bye to Summer of Hate! Norman's Kitchen is now SCOOTER WHOM & HOW 3f n^^m^ A GRIP! CATCH STRIKELESS SPORTS ACTION on our TWO BIG SCREENS!! LIVE BANDS EVERY THURSDAY NIGHT! NOVEMBE( NOVEMBER 1 OfH NOVEMBER 17th fFflkHL* : ■" ■■■ ,,:, .■:.;.■ . * NOVEMBER ^^.fH BANDS START® 9:30 THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BLVD. • 604-822-65? 1 ■3«l*Je% N0V1 I Ai Meow \ phePhew X9A NOV* The Insipids The Pendrons Spiritual Heroine NOV 15 Sushytails Itown Corporation Muscle Wtches NOVZZ Underwater Sunshine The Cowardz Marmalade NOV 29 (hwerfur The Papillomas m 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... TUE 1 CiTR PRESENTS SHINDIG FEATURING MEOW, THE PHEW & 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)... THU 3 SUB-SONIC THURSDAYS FEATURING THE PHILOSOPHER KINGS & FORD PIER AND THE DROMEDARIES AT THE PIT PUB (no 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)... TUE 8 CiTR PRESENTS SHINDIG FEATURING THE INSIPIDS, THE DENDRONS, & SPIRITUAL HEROINE ATTHE RAILWAY CLUB...Jabber 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 SUBTHEATRE... 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 WO'SEMIFINALS FEA- 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 SUBTHEATRE... 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) TUE 15 CiTR PRESENTS SHINDIG FEATURING BUSHYTAILS, DOWN CORPORATION & THE MUSCLE BITCHES AT THE RAII WYj L. CLUB...Hole, Veruca Salt & Mn^ Estep at the Commodo, ,m" J,;,,Ik' 3I6 W Hastings (downtown) AGES...CiTR PRESENTS THE WE I 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 2648 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) THU 17 SUB-SONIC THURSDAYS FEATURING II 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) SUBTHEATRE... 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) ::: UBCSUBTtfEATRr 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 TUi; 22CiTR PRESENTS SHINDIG ROUND ONE SEMIFINALS FEA- :. f NDERWAT'ER SUNSHINE:, TH^COWARDS AND MARMA- ! 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 SUBTHEATRE(UBC) 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... SUBMISSIONS FOR DATEBOOK ARE FREE! PLEASE FAX YOUR 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 688-8701 689 5256 682 3291 665 3050 731 3456 681 1732 876 2747 682 3221 822 6273 681 6740 685 7050 684PUNX 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 ss i^m^m A SMALL RAVOFLIGHT- /y "1 We began seeing each other «^r„ 1' two or three times SARA'S Ju LI AN 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 ^m f^c \JoVd-5e home voas onevientfol a^a she seemed «n subtly better spirits . ^s****** ^y/Z/'Mn'th 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^ ^ YoO'O CoHSlDEF. FINANCING. MY DEBUTAUBOM. 34 November 1994 1869 W 4th Ave.. Vancouver, BC V6J1M4 CANADA tel 604.738.3232 STORE HOURS 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 Portishead » 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 X"1 soutl,/^ ."> v.^ overalls, , and hard times, /r authentic a hillbilly blues sound as two young white guys from Arizona could ever produce. 16.98 O ZULU'S NU'S Daytona 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! Butterglory • 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 Come » 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 performance. 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 NoMeansNo 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 Various • 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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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1994-11-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1994-11-01 |
Extent | 36 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1994_11 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 6c4e1d3d-4ed5-46c9-a21d-61408ea16033 |
DOI | 10.14288/1.0050236 |
AggregatedSourceRepository | CONTENTdm |
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