Features CMJ Music Marathon 6 Liquid Soul 9 Black Market Babies Tour Diary 10 Brian Evenson 12 Cat Power 13 Pedro the Lion 14 Fantastic Plastic Machine 16 Columns Demo Derby 4 Grumpy Old Dog 5 VideopHilter 17 Kinetoscope 17 Seven Inch 18 Staplegun Showdown 18 Real Live Action 19 Under Review 20 Charts 23 On The Dial 24 December/January Datebook 26 editrix: miko hoffman art director: ken paul ad rep: kevin pendergraft production manager: tristan winch graphic design/layout: kenny, atomos, robert horsman, janet van deist production: ann goncalves, christa min, randal m, janet, careyann schaefer, tim stuart, kirsten weisenburger photography & illustrations: julie colero, jason da silva, ted dave, ann q, lori kiessling contributors: tania a, billy h, cody b, don b, Joshua b, brady c, julie c, justin c, mike c, bryce d, jay d, jules d, glenn d'c, david e, anna f, trevor f, ciprian g, christine g, steve g, lee h, maren h, dave j, anthony k, blaine k, namiko k, paul k, katrina m, siobhan m, lindsay p, mike s, dave t, shane v, tobias v, fern w, kirsten w, Jerome y programme guide: anna friz charts: julie colero datebook: ann/tristie distribution: matt steffich us distribution: tristie discorder on-line: janet publisher: linda scholten Comics Botched Ampallang Good Tasty Comic 4 23 Cover Ms. Chan Marshall, aka Cat Power, is real shy, real sweet, and does she ever have soul. Ann Goncalves captures miss kitty in a moment of contemplation backstage at the Starfish Room. Kenny Paul design, as usual. © "DiSCORDER" 1998 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17, 500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make checks or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the February '99 issue is January 1 3th. Ad space is available until January 20th and can be booked by calling Kev,n at (604) 822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822-2487, our office at 822-3017 ext. 0, or our news and sports lines at 822-3017 ext. 2. Fax us at 822-9364, email us at: citrradio@mail.ams.ubc.ca, visit our web site at http:// www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA. Printed In Canada THE PENDULUM IS CLOSED FROM DEC 19 TO JAN 3 STOP BY FOR LUNCH, DINNER, DESSERT, OR SOMETHING COLD TO DRINK. OPEN 7 cam to 7 pm MONDAY TO FRIDAY OPEN 9 cam to £» pm SATURDAY / SUNDAY AKFASTS SERVED UNTIL 1 1 cam ON WEEKENDS A WIDE SELECTION OF VEGETARIAN ENTREES 1/2 LB PASTA w/ FOCCACIA BREAD, ONLY $5 THE T E N D U L U M RESTAURANT LICENSED PATIO UBC • THE STUDENT UNION BUILDING • 6138 SUB BLVD. ^__r ttaUftM by Anna Friz Cefekote Att'd BWJutoij with 24Hwi*'»o.Ra<U*Ail * January 17 is art's birthday. You know art, it's always hanging around in galleries, parading stages, and showing up on street corners. According to French artist Robert Filliou, art was born a million years ago when someone dropped a sponge in a bucket of water. He decided art needed a good party, so he declared January 17 art's birthday and called for it to be an international holiday of feasting and celebration and making presents for art. Eventually, there could be two days of international celebration, then three, four and so on until a million years from now, every day is art's birthday. This year marks the 1,000,037th birthday of art. In celebration, CiTR has teamed up with the Western Front to celebrate art's birthday in style, with 24 Hours of Radio Art. "Radio art?" you wonder. And just what might that dubious category include? The soothing sounds of white noise and feedback loops? Someone gargling for half an hour? It has been done and may be done again. But radio art is not merely an onanistic exercise designed to alienate listeners. It is a distinct artform that is fluid and immediate; you get one chance to hear it with no possibility to rewind. Radio art has no physicality, it happens in the space of the imagination: "I hear voices, but there's nobody there." And in that space, all sounds are possible. Most radio art operates less like theatre and more like cinema: a montage of sounds collaged and layered together. Sounds fade in and out, then cut suddenly to a new theme. But there might also be plays, readings, ambient mutterings, and blatant messages. Whole geographies of sound may come to life, or life may be reduced to minimalist tinklings. A performer might go loud, live and vicious on the mic, or they might sidle up to your ear and talk sweet. Radio by design and radio by chance. Non-sequitors abound. We are assaulted by sound every day — from the humming of your fridge to insidious muzak — so everything is raw material. But what makes this different is that audio art will not try to sell you anything. Radio art is free and public. So when you tune in to CiTR 101.9 fM on Sunday, January 17, 1999, you will hear a host of local and international artists surfing the radio waves for 24 hours. Jam sessions using Internet audio streaming feeds will let us send the sounds around the globe. It's a day to retune your ears and listen up while you're making your own present for art.* DISCORDER IS ONLINE CHECK OUT BACK ISSUES SEND US SOME MAIL www.ams.ubcca/media/citr/discord/discord.htm SUBSCRIBE TO DiSCORDER & RECEIVE A CiTR PROMO PACK! NAME : ADDRESS| CITY EMAIL _ _PROV_ POSTAL 1 YEAR: $15 CDN $US15 US $24 ELSEWHERE DiSCORDER, 233-6138 SUB BLVD, VANCOUVER, BC V6T 1Z1 LJ ■" Dec W9m 99 MMDIBXHII ty'-rai T)lZVC I November 4, 1998 the Uni- I versify of Victoria Senate rejected a $2,000 Shell Canada Recruitment scholarship. The vote, a 25-17 victory, by the senate came on the eve of the third anniversary on the hanging of Ken Saro-Wiwa and eight other Ogoni minority rights activists by the Nigerian military dictatorship. Shell Nigeria is complicit because it supplied money and guns to Nigerian state security forces. Shell Canada is 78% owned and controlled by its international parent, Royal Dutch/ Shell Group, which controls Shell Nigeria. This is the first time in memory that a scholarship has been turned down at UVic for political reasons. "The debate was brief and I'm most grateful that the Senate opted to do the right and rejected this blood money from Shell," said John Fraser, Uvic Science student senator who introduced the motion to reject the Shell Canada scholarship. "We must consider the human rights record of those we wish to honour with degrees or "1 congratulate the Senate scholarships." at the University of Victoria. Since 1958, Shell Interna Only Shell Oil and the Nige tional has taken $30 billion rian dictatorship deny their en worth of oil out of Oigoni, lo vironmental devastation and cated in the delta of the Niger human rights abuses in River. Massive environmental Ogoni," said Sid Tan, co-chair problems in poverty-stricken man of the Sierra Club Lower Ogoni communities have de Mainland Group. "The UVic stroyed wildlife and plant life, senate has made a decision poisoned the air and water, that indicates another genera and left many residents half- tion is going to know that Shell dead and prone to respiratory is hell." The Ogoni Solidarity Network can be reached in Goldman Environmental Prize Vancouver by calling recipient Ken Saro-Wiwa and 604.91 5.9600 or by e-mail at eight other activists were <ogoni@vcn.bc.ca>. hanged Novem ber 10, 1995 for criticizing the Ni- __^ ship and Shell ^ CV^ Oil. Nine days \VT) later, the US Si- ^~-^S erra Club voted W3^ consumer boycott until the corpora tion pays com pensation to the Ogoni people and cleans up its Grumpy Old Dog I hadn't been to Sonar since I saw Bob Mould (it was the Town Pump then) do a short set at Music West a couple of years ago. The night DJ Spooky "That Subliminal Kid" was playing, I was confronted, not with a balding Mould hunched over his guitar, but with blinking video screens, staccato sounds, and a stage filled with equip- This was not a show that I would otherwise have seen, but a friend recommended the show to me. Highly. And I trusted him. My friend, Jay, told me that Paul Miller (DJ Spooky) would also be lecturing the day after the show about music semiotics. I became intrigued and my awareness of the intent and thought behind the music made me want to see it, hear . DJ Spooky calls his illbie if blends of synthe- pled and live vocals (ill: slightly off-kilter). At Sonar, DJ Spooky played the stand-up electronic bass for much of the show and, in talking to the band and the audience, he kept using the phrase "break it down." Standing there, trying to make sense of what I was hearing, those words finally clicked. "Break it down" meant deconstruction. Taking a piece of music and dividing it into dis- >ng, i is constructed to mean something. The person who constructs the song or article is delivering a message. By breaking the whole into a number of parts, that meaning becomes obscured. What was even more fas- s wher talked that when DJ Spooky I about "building it up," he \ referring to the reconstruction from the pieces lefto- r frc the he , :hanging the meaning of the original music by reorganizing its parts and even slipping in oarts from something else en- irely. I know this has been gong on for years, but allow me he excitement of just figuring BY BLAINE K it out. Opened my eyes a little bit. So if DJ Spooky took some Jean Chretien speeches, cut them down so that instead of an entire speech there was a series of sentence fragments, DJ Spooky could reorganiz make Jean nything. DJ ng. And by music to the Chretien Spooky Chretien's adding pie mix, Chretien's orig ing could be blu The really clever thing about this process is how the final piece — composed of fragments — has so many layers of meaning. We understand what Chretien meant originally, we understand what Chretien now that his words have been sense of what DJ Spooky is trying to say by subverting Chretien's voice, thoughts, and I've become a fan because I understand what's happening. Mine eyes hath seen the glory.• UNIVERSAL lager swilling, smoMng. cursing, tattooed sex goddesses mistresses ot tr>e middle ages scene _*_ M ES ffl ffi 3j Sj EI@ ___i LE S SATURDAY, DECEMBER 26 §mmmmm ,THB_ 88 FlffiS HE Hopeless Records PO Box 7495 Van Nuys, CA 91409 www.hopelessrecords.com Prices: cd-$IO lp/cs-$7 cd sample All prices postage paid in the US add 25% for foreign o 5 E^gsassffi Friday, October 30 Approximately 10 minutes before touching down at JFK airport, I wondered if I should make some kind of a plan for what to do once in New York. I had a phone number in my pocket and an unopened guidebook to the city. My decision to do STUFF in New York was rather an uninformed one, but I like leaving everything to chance. I hopped a shuttle bus to the Port Authority Bus Terminal, ate some crappy food, and waited for my friend AJ. to come and rescue me from the chaos of a new place. Thank goodness for near strangers who offer up their floor for 10 days. After dumping my too-much stuff (note for next year: one pair of pants, one sweater, some undies and socks — that's all you really need, kid) at A.J.'s office, we headed out to Brooklyn for a house party. I was then introduced to my home away from home on a floor in New Jersey. Hooray! Saturday, October 31 I spent most of my Hallowe'en sleeping. When we finally headed into Manhattan, it was dark out. I was introduced to the best music store in the city, Other Music. I gave them good business over the course of my stay. Heading back to Brooklyn, we assembled our oh-so-clever costume, readying ourselves for the big party at Ben from Matador's house. Perfectly suited to the location, AJ. went as the cover of the new Belle & Sebastian album. As I had no room to pack a costume, I got to wear green and paste construction paper leaves all over myself, acting as the bushes behind the scene. This was perfect for me, as I didn't know anyone, and I didn't have to talk to anyone, hidden in the background. I met a few people, and decided I was going to be a bomb at CMJ, since I just wanted to be a recluse. Sunday, November 1 No vacation could be complete without a day spent solely in New Jersey. Monday, November 2 Did I forget to mention that Belle & Sebastian were playing, and that I had managed to weasel myself a ticket for the sold-out show? At Thanks to the wonders of music directoring, I got to get out of this horrible place called university and explore the big, big city of New York for a week and a half. My excuse wos that I was attending the CMJ Festival — / don't know how often I "was in attendance, though. Too much to see in so little time made for some crazy action-packed days and nights, and the least amount of business networking possible. Here's the lowdown. John Disco from bis (above); bassist f rom Rainer Maria (right) Photos by J u L i e CMJ: My Holidt by Julie Colero The Supper Club, I was amazed at the poshness of the venue. Guv'ner opened and did an OK dissonantly poppy set. Belle & Sebastian took to the stage in fits and starts, looking confused and nervous. What a raggle toggle bunch this band is! Lyrics were forgotten, piano solos plunked wrong, and stringed instruments played out of time and tune. Bad? Nope — the most endearing show ever. There was lots of silliness and apologizing and I was charmed. The band played lots of songs from their EPs, whispered something about "the waitress having piles" at the end of The Boy With The Arab Strap, and did a little French ditty to end things off After the show, I smoked a pink cigarette and was contented. Tuesday, November 3 In the evening, t headed off to an "anti-Industry" industry party and was disturbed by the fact that no one knew what a touque wos Silfy Americans! I met up with Rusty, the music director from Calgary, and his assistant Elizabeth, who I ended up glomming on to for much of my stay. Wednesday, November 4 I ate lunch Uptown at Tom's Diner, the inspiration for Suzanne Vega's song and home to that flashy sign everyone sees on Seinfeld. We heoded to Tramps for the Jade Tree showcase I'm glad I got to the club pathetically early, as it ensured my spot front and centre for the first and arguably best band of the night, Euphone. Ryan Rhapsys is the best drummer I have ever seen in my whole life, ever. He's got the skills to pay the bills, baby, ond he's o sweetie to boot. The next three bands were less than par to the openers: Sweet Water Freak Down were loud hardcore, Kid Dynamite were ex- Lifetimers who screamed and jumped around a whole lot, and Jets To Brazil ... I don't even want to talk about them. Wondering why I stayed through all the mediocrity? Joan Of Arc. Sounds coming from the stage were even neater than sounds from the records. Hooray! I skipped The Promise Ring to catch a few minutes of crazy loud Ruins-esque Uz Jsme Doma at Baby Jupiter and then I was off again to see Cinerama. David Gedge was in fine S Dec 98/^ak 99 form with his new band and I was so happy that I dared to almost-sort- of dance amongst the crowd of complete strangers. Thursday, November 5 I was lucky enough to catch David Bozan of Pedro the Uon doing an acoustic set on rhe CMJ stage at the conference hotel early in the afternoon His short set was a pleasure to o fired kid like me. I drogged myself to fhe neighboring theater fo cofch an advance screening of Velvet Goldmine ond nearly nodded off amidst afl the glam-rock and naked bits Somewhat refreshed, I took to the streets to get myself over to the Knitting Factory I wonted to see ICU, the K band, but was worried when a fellow concert-goer informed me that it was actually I.C.U., a NY punk band, who were playing. When I got inside, my mind was set ot ease by the presence of a good lot of turntables I discovered fhe wonder of the theremin when ICU got to rockin' the near-empty room and I came away much ,mpressed. And here's where things get a bit silly —I decided to ditch fhe big city and head for Hoboken, New Jersey, fo see my favourite rock- gods, bis at Maxwell's. All inhibitions dropped af fhe door, I jumped ond sang like a big geek for a good hour, going so far as to imagine that Sci-Fi Steven winked at me. The new songs are super- catchy, and I got stuck with a perma-grin on my face Friday, November 6 I checked out Rainer Maria at an afternoon show at Brownies and spent the rest of the day wishing I wasn't too cool to wear earplugs. Those kids were loud and brilliantly dissonant. Later I hit up the K showcase at Tramps to see Gaze, our very own wonders. They played some really impressive new material and managed to avoid being eaten alive by their obsessive fans. Then it was off to Irving Plaza to see some of the Sub Pop showcase: Sunny Day Real Estate was the band which sold the show out, but I wanted to see Heroic Doses and the Murder City Devils. I was excited to see that Heroic Doses was actually Euphone plus Bill Dolan of 5ive Style, so I got to check out the masterfully blurry drumming again. When the MCDs came on, everyone around me seemed to take about 10 big steps backward. The guy next to me looked over with a pained expression on his face and said, "They hurt my ears!" I guess I was the only one who could take the rock. Maybe it's a West Coast thing ... which pant leg do I need to pull up? Saturday, November 7 I went to see Momus (Luna Lounge] who was suave and silfy and witty and, well, Momus. I ran across the road to check out Spatula (Baby Jupiter), who do good instrumental bud-soft stuff, with lots of ffantic cello-playing. Everybody ditched me to go to some place with free beer where I wasn't allowed to be, so I made if to Irving Plaza early enough to catch Buffalo Daughter. Um, boring? Too thumpy. I decided fo try and Claire Dones-spot while Ben Lee did his wimpy- boy thing ond generally twiddled my thumbs waiting for bis to play again, {Have you ol! picked up on my nerdiness yet?) Bis were good, but something wasn't right — they were being way too rock. After bis, I headed over to The Cooler to see Thee Headcoats. t caught a sizable chunk of the Question Mark and the Mysterions set and I enjoyed wotching people getting down When Thee Headcoats took the stage, I realized that Paul Weller might be getting a run for his money os my Brit-Rock-God; Billy Childish is aces! Sunday, November 8 It was my last day, so I did my best to spend all of my remaining money. I squeezed in one last show at Brownies before heading home and really didn't want to leave the show. I got to see Jejune, who do that dissonant emo thing that I love so much, and so well. I wanted to stick around for Hot Water Music and the chaos of eight other punk/emo bands, but no such luck. Instead, I spent my evening on a plane, playing UNO with the women next to me (I won).* UoUCMVS wrRt Htrrtnc the storts akd quk ntxr tssut wta hit the streets on January 29,1909 To 7NT5KVf?\NS VV7TW £.©AL, SX ST7SNNS, UAVPSN, AN{? AOO N To X-' ThlS SpAcE CoULd Be YOuRS! OUR NEXT ISSUE HITS THE STREETS JANUARY 29th. BOOK SPACE BY JANUARY 20th. CALL 822-3017, ext. 3 We'rE ChEaP & wE'rE gOoD. 'NufF sMD. ^-f CiTR 101.9 fM FRIENDLY COMPETITION • JOKES-FOR-BEER • AMAZING PRIZES GRAND FINALS TONIGHT FRIDAY H DECEMBER 11t( @ THE STARFISH ROOM 1055 HOMER THE BANDS CLOVER HONEY, FEISTY, TEAM STRIKE FORCE CUSTOM DRUMS Y$&<&Shfyp Norman Q BooKflna. f notJUSTanother MUSICSHOP EYE TtAStK graphic oestpN Volunteers needed. Are you an outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good sense of humour? We are a non-profit society that helps young offenders and children ages 8 to 18 who are at risk of getting in trouble. dj equipment, cd's & vinyl j O needles O headphones © ' tixed dj tapes © mirror balls lub © trip hop © break beat 217. west hastinas street I voncouver, be, canada (§) 60t.689.773t fx. 60t.689.7781 mail orders available > Cambie] tired of not finding the new vinyl you want? %r. 3296 Main St. (at 17th) Vancouver 604.876.9233 we carry vinyl... garage + oi! + hip hop + anarco-punk + ska hardcore + emo + more major/indie labels new & used (we also have CDs & scooter stuff!) TOP $ PAID FOR PUNK VINYL HOURS MON-SAT 11AM-7PM SUN 12PM-6PM BUY • SELL • TRADE Liquid Liquid Hi° acid jazz outfit from Chicago, Comprised of the traditional rhythm section minus piano and plus trombone, trumpet, saxophone, congas, a mean-scratching dj, a rapper who only rhymes freestyle, and a singer who is the progeny of Nino Simone, all of these seasoned veterans settle down into a fresh sound, staying true to their jazz gonads by retaining an improvisational bent to their gig. Their self-titled debut and their recent release, Make Some Noise, on the label Ark 21 should be available at your local record store. If you like your osv crack sweaty, then check out Liquid Soul. DiSCORDER'S Hancunt booked up with front mon and saxophonist Mars Williams before their October 15th show at Richard's on Richards. j I :: DiSCORDER: Welcome to Dick's on Dicksl Mars Williams: Ah, that's v/hat it is. You've probably played here before ...? Yeah, we did a showcase here for EMI Records, and one other time which didn't go too well, but... Nq? No. Montreal [JazzFest '98] went really well, Montreal was great. I saw you guys there. Did you see any of the funk bands who played the following nights? No, because we went to Quebec City the night after that. We played two nights in Montreal and then we went to Quebec City, Was Montreal JazzFest a big deal for you guys to play? I know that you've played with everyone from The Waitresses to The Psychedelic Furs, but still ... Yeah, it was. This is my band, you know? This is something new to me, being a bandleader. Montreal is a very prestigious festival and with this band it's just different, it's a whole different thing,■ the crowd response, that's the thing ... and, the NRG ensemble, in Europe we go over great, the Berlin Jazz Festival, the Munich and Switzerland and Finland Jazz Festivals, so we've done a lot, and it's gotten great response, but it's not, it's a completely different thing, You formed in Chicago in 1994. Can you describe briefly what the scene was like there and then? We started off doing a freestyle kind of night on a Sunday at the Elbo Room. It was looser, we did a lot of freestyles, we [put different beats behind] some jazz standards, and a couple of songs I had, but then I started writing more specifically for this kind of band. It was a lot looser then, but it kinda established a direction of where the band was going to go. We had a lot more people sitting in, which was how the band got bigger, because it started as a teruieuj uiith Liquid Soul then if just grew. And certain people would come and shine — like Ron, our trumpet player, he would come and sit in on Sundays and so, I got spoiled And how did you hook up with Simone [vocalist and daughter of Nina Simone]? We've had female vocalists off and on, throughout the years, and it was something that I like. Sometimes I like it without, sometimes I don't. But it's nice lo have in a set, to break it up. And I hadn't found the right person [but] somebody said, 'You should check out Simone, she's doing Rent, she was Mimi in Rent.' So ! said, 'Oh yeah, like she's really going to quit Rent, making I don't know how much money a week,' She came and sat in with us one night and she loved the band. She said [she wanted] to do it and I said, 'Well, are you sure?' I tried to discourage her [but] she said, 'No this is what I really want to do.' So, has her mom heard what you guys are doing? No, I don't know if she'd like it or not. I've heard her mother con be a tyrant. A lot of contemporary music today could be described as hybrid. Do you think that this term applies to Liquid Soul? We don't really think obout what we're doing. As far as us using all these different musical styles and everything, it's just because I like it. I don't really like to think about It, you know? We start thinking about it and analyzing what we're doing, it's just going to be like us copying ourselves ... What does it mean for the band to be a collective, as mentioned on your website? Does that ever get sketchy with ten people in the band? See, I really don't think it is a collective. I think it's more of a band. Yeah, because also on the same website you are cited as the bandleader. t wouldn't say that it's a collective. I don't know why It's on the website Everybody does contribute, especially more now, to the writing process, [though], I mean, what would you describe as the difference between a collective and a band? Well, a collective Is a group where everyone shares power equally, whereas a band with a bandleader has sort of, somebody at the helm, not necessarily enforcing their rule, but... OK, so we kinda go into both categories in a way. Because yes, I'm the bandleader and it was my concept, musically. I read about your philosophy, which consists of 'bringing jazz back to the dance- floor.' Can you elaborate on that? Well, s pop n : and n ', you know, it got kinda snobby for awhile and it sti a lot of ways ... You see these guys up there, one guy takes a solo for ten minutes and another guy takes a solo for ten rri: fun, there's a jozz is even rr of the improvi: there's some jazz feel, so over top of hip hop beat: sn minutes - with this, rove behind if. The r ioned in style, I think, sn that happer nwhy But the grooves are all dance and it's kinda just bringing it back to the way it actually started, with the Big Band dance days and Dixieland. So, then, what do you think of this whole 'Swing Craze' shit? Does it make you mad to see the commercialization of jazz, a lot of white bands getting a lot of money for ripping people off, essentially? This whole Eric Clapton thing? For me, it's like, OK, they're recreating something and you said they're making money from it and 'Oh, this has really hit big now, let's do it,' you know. It's more re-creation than creation. With us, I don't think we're breaking down any barriers or doing anything that's that new, but we have established our own sound and we're taking elements of other things and using them as tools. And the swing thing, yeah, it's kinda getting a little bit commercialized and stuff, but it's better than a lot of other stuff out there. Yeah, it's better than Bon Jovi. OK, of all the jazz tunes to cover, why did you guys choose 'Salt Peanuts' for Make Some Noise? It just kinda happened naturally; in fact, the second half of it, the chocolate covered nut part of it, was actually started first, and then we came into the bridge and we were like, bomp ba bomp da, we're like, ah, 'Salt Peanuts' ... The band itself, and this is the impression that I got from seeing y'all at Montreal JazzFest, seems to be very active in their own promotion. It seems to be a real do- it-yourself thing happening with you guys. And you also chose a comparatively low profile, although very prestigious, label to be on. So was that decision not to go corporate intentional? In a way, I think that the major labels don'f know what to do with a band like us. I could probably right now, hold out and get a major record deal, but in doing so, I think that you run the risk of getting shelved, of being lost in the shuffle of a thousand-band roster. Originally why I went to Ark 2 1 was becouse there were some other labels interested, and if was starting to be like, 'Wow, everybody's looking at us.' But it was the major's going, 'Well, where's the top ten hit?' Ark 21 came to us and said, T love your CD,' which They said, 'We want to put it was either lots of drugs or ou guys were really... It's not drugs, unfortunately ... So the ability to improvise and keep things fresh obviously results in way more excitement for you, and in turn, more excitement from the audience. I think it's everybody's individual personality which really makes the band. Having a ten-piece band is difficult at times but, on the other hand, all this strong emotion and energy from everybody is because everyone in the band has that fiery attitude. My last question is: who are your favorite Canadian jazz artists? Uh, wow, I can't think of any. You can't think of any? Name some. There's a bunch of them that I know , but I just s, ond * like that. You produc ith the soloists; ng feel, which goes Latin flavourings. You have so many new people ii your band and t know that Stmone's not even on Make Some Noise and Ajax is only on four tracks, so you must already have enough material for a third and fourth album. Yeah. We have to keep it fresh for ourselves. Playing some of the old stuff, it's just over and over ... I don'f know like Elton John can c 'Yellowback Road' ever night... When we saw you in Montreal, you guys had so much energy on-stage. I mean, it and I respect, can't think of Canadian and who' not. I don't consider them in terms of nationality. • Liquid Soul plan Canada this summer. Look for them ho's \ I tt J J 9 &mmmm DEC/JAN LISTINGS FRIDAY. DECEMBER 11 SHINDIG FINALS: FEISTY TEAM STRIKE FORCE CLOVER HONEY SATURDAY, DECEMBER 12 NEWWAVE-AOKE MONDAY. DECEMBER 14 THE HELLACOPTERS WATTS THE SPITFIRES TUESDAY, DECEMBER 15 FIVE-0 TUESDAYS DJ's JASON HOPE GARYPAULr**, WEDNESDAY, DECEMBER 16 EL VEZ THURSDAY, DECEMBER 17 UNIT 187 DSK PUNCH DRUNK CAUSTIC THOUGHT FRIDAY. DECEMBER 18 STRAPPING YOUNG LAD RANDOM DAMAGE TRIKE WIPE-OUT VIBRATOR SATURDAY, DECEMBER 19 JOHNNY CASH TRIBUTE NIGHT THURSDAY, DECEMBER 31 NOISE THERAPY JAR FRIDAY, JANUARY 1 CRUST BROTHERS JOHN FORD SATURDAY, JANUARY 2 HEMEON WITH GUESTS THURSDAY, JANUARY 7 DALDILVOG NAKED FOR JESUS FRIDAY. JANUARY 8 POISON IDEA WITH GUESTS SATURDAY, JANUARY 9 ROYAL GRAND PRIX METRONOME COWBOYS WEDNESDAY, JANUARY 13 M-STRAIN WITH GUESTS "'ne Nights On The ^oI^tZb^ FRIDAY, JANUARY 15 764-HERO GAZE SATURDAY, JANUARY 16 FRYER TUCK WITH GUESTS SATURDAY, JANUARY 23 KNOCK DOWN GINGER VEAL • SATSUMA 1 Billy Hopeless' Tour Diary, I transcribed by Rich Jones, (Mostly) all photos by Billy Hopeless. ;riday September 25th: EJ's, Portland OR ' v the tour's going great. Wa got past the o problems or probing qnd llarrived at EJ's early enough to eat all the ie grease-enriched bar food we could Y stomach We had no competition on this show,; even though the threat of the Subhumans UK sh<?w down the street kept getting mentioned. We kept r ground knowing that the real Subhumans came from our hometown! Tonight we (ourselves and the Murder City Ijvils) were joined by Seattle's Hai Karate who pad the hard taste of playing between ouf rock ich The ss even though EJ's doesn't si e (beer only!) and yours truly ' s of his element with beer in hand II hard ^Saturday, September 26th: PCH Club, Long soc/i, CA *Tb some, the thought of an 18 hour drive >ckin' rollin' night would be a ^nightmare. The van breaks down. The van 't start. The van blows a tire ... The flies larded like vultures awaiting our demise, but inks to our guardian angel "Gabriel," ' the hospitality of Mount Shasta, and a ghetto blaster full of RAWK, we make it to the PCH Club on time. All-ages crusty punks stand outside due to I the unbearable heat inside. We were sweaty and inky before we'd even played a note! But the [kids appreciated the rawk and, as is traditional shows, they bought lotsa t-shirts! crawl into bed with Rob in a sleazy Hollywood motel. Oh, this is the good life. xlnight... WSunday, September 27th: The Garage, Los %Angeles, CA %PK kids, I'm sure the thought of me and n bed has prepared you, but now it I gets really weird. After sitting around the ^Murder City Devils' swanky pool-side :abana rooms, we're off to The Garage for a night called Club Sucker. Club Sucker is hosted by a 7-foot somethin' drag queen named Vaginal Davis who loves "Caucasian :ock!" A girl comes up on-stage when goffered a BMB girly t-shirt, proceeds to e right there, and starts accosting me! estly, all I wanted was to dance! Lots sof boys and queens told us how much |l they loved the show and wanted us l»to love them back! Vaginal Davis Toffered me her "Gonorrhea" and I accepted graciously. It was an .resting drink and an ing night not easily forgotten. Needless to say, tonight nobody wants ■ to share a bed with me ... ffi Monday, September 28th: Cafe Du Nord, San FratKisco, CA Tonight is "Trash Night" at Cafe Du Nord and the Block Market Babies and The Murder City Devils are alone on a show at last. The atmosphere is 1940s swing/jazz, tres elegant! Every show has been better than the last and this one is no exception! The crowd is fully decked-out, dolled- up, and in love with the rock 'n' roll! We meet up with our friends in American Heartbreak and then after the show we heed down the street to a cool rock club called the Lucky 13 Certain members of both bands got drunker than the rest (yes, it is possible, barely possible] and chaos results! While loading our gear out of the Cafe Du Nord, a squeegee guy cleaned our van windows. They're much meaner and more demanding here, but hey, this is America isn't it? The scene before leaving cannot be explained due to its personal and graphic nature But I'm sure we left our mark on the hangers-on who watched in disbelief. So let me ask you a question, San Francisco: What do you do with a drunken sailor? Tuesday, September 29th: Al's Bar, Los Angeles, CA So this is Al's Bar, the legendary CBGB's of LA We've seen and heard of its cockroach-infested, graffiti-filled room on Humpers albums, ond now we're here. Tonight we're separated from fhe Devils to join our allies the Streefwalkin' Cheetahs and a band called Miss Spiritual Tramp of '48 (an offshoot of Lutefisk) The booking agent, Toast (her name) of the Ray-O-Vacs (her band), is a sweetheart and keeps us drunk and drinking all night!! Not too busy tonight, but the crowd does include international fashion mogul to the stars Janet Planet! She loves our style and looks forward to working with us! This is probably our most destructive show to date, but there ain't much thotwe could do to this place that ain't already been done (besides clean it)! But that would ruin its appeal! While having a trucker-wash in the bathroom, I rrjeet a regular named Frank who was freebasing "something " Frank offers me a hit but I decline, telling him that I'm already fucked-up on rock V roll I don't do that shit," Frank replied, a s the worse of two evils ... if it Wednesday, September 30th: Paradise Lounge, San Francisco, CA Today we walked down Haight Street, saw some stinky hippies, a cow with a mohawk, and Mr. Magoo in bondage gear! But enough tourist sights, let's talk about the ROCK! Great club, great bands, great drinks! We're playing with Billyclub, a great hardcore band consisting of ex-members of Discharge, The Exploited, UK Subs, and REO Speedealer (to name just a few)! We're also playing with our friend Billy Rowe (of Jetboy fame) and his band American Heartbreak. The band had to turn down a pretty face or two, but we met lots of great people and connections were made. We crashed at Billy Rowe and his beautiful wife Mary Anne's ultra cool rock 'n' roll flat, and discovered that some people make cookies at any time, at any cost! Market Babies! Thursday, October 1st: day off Driving, driving and more driving. We make J the mistake of leaving the freeway whenjf lured by a sign promising Dairy Queen T and The City Centre Motel just outsid Eugene, Oregon. A long, dark road, c creepy hotel, a house with a statue of a witch holding a human head, animal (?) bone windchimes and ( ancient writing on its verandah, but no Dairy Queen! At this time, Rob, his voice filled with terror, tells Rich to "Get us the hell out of here!" We I sure were happy to I find a Motel 6 later " on A few beers, a sleqzy Malcolm McDowell movie, and once again I' bed with Rob. Oooh ; la% Friday, October 2nd: The Backroom, Seattle, WA It's good to be back home! Well it might as well be home. Tonight we rejoin our brothers The Murder City Devils and make new friends with NYC's finest, The Heartdrops. The place is packed beyond all belief and fortunately our showmanship is at its peak. The crowd cheers every foul word spewed from our mouths. Once again, I attempt to give away a T- shirt in exchange for a dance and it all goes awry. A beautiful young lady accepts the shirt, but she ain't fit to dance so she kisses me on the cheek and falls off the stage! I later see her backstage holding a bag of ice to her head, but she's a tough cookie and so I leave her to go dance with the boys at the merch counter. After the Devils rock the asses off the j crowd, it's off to a house party. We lo Seattle and have many friends here, so vi hate to leave, but we're really in need < clean clothes, so tomorrow we must return Vancouver. Besides, we still have one moi show left on the 4th... Saturday, October 3rd Had a top secret meeting, said goodbye to Seattle, and passed the border with no probler or probings once again. Oh, it's good to be home. I love my bed! Sunday, October 4th: Picadilly Pub, Vancouver, BC A good time was had by one and all. The place is packed and finally I sing a duet with Spencer from the Murder City Devils! Overall, kids, I think that no matter | where you are on this earth you wish you were somewhere else. I'm glad that I've chosen this "career." I'll get to see a lot of this world and I'll always love my home when I get back. I called my Mom to t<*" her I was home and about myj adventures. She told me that I am n I guess we all make our choices: Frank has made his, Vaginal Davis has made his/hers, you've made yours, and we've made ours Love and kisses, Hearts and Aces, Billy Hopeless, A Black Market Baby by choice*. [ol ^LETS talk\ 1 _1 ABOUT ) I _Pg^tt_JLFEEl>N&s /B M III M )Mw .- • _____,-- *%~ S I ^| *i 1 «^ _. «■* . ..a# :i>- ; I ^^» \ i •> ■ FAX write Por a Prcc catalog oF records shirts and shit -* '^FAT WRECK CHORDS PO BOX 193690 SAN FRANCISCO. CA 94119 BRIAN EVENSON IS QUITE POSSIBLY THE MOST DARING AMERICAN AUTHOR fo emerge in the last few decades. If you're keeping tabs, there've been many notable names that have stirred controversy in and out of the literary community — Bret Easfon Ellis, David Foster Wallace, A.M. Homes, Mark Leyner, fo name a few of the upstarts. These are all great writers, but none of them have come close to the true horror, fhe alarming humour, and the audacity that Brian Evenson has in even his shortest pieces. Stories about polygamy, killing cats, killing people, discovering your baby dead; stories about mad scientists, feverishly incestuous brothers. He has a book of short stories called Altmann's Tongue (Knopf), a book of early stories, Din of Celestial Angels (Wordcraft), and a novel ouf now called Father of Lies (Four Walls Eight Windows). Check ouf his freakish story in thei998 O. Henry Prize anthology. (He also has great taste music.) The following is another those darned e-mail interview! humour's always present. I'd like to be funny in the same way as Kafka and Beckett, funny, but in a way you're not altogether comfortable with. Tell me about your novel. You've written a good number of short stories and there's something very concentrated in their delivery that I imagine you had to deal with when writing something larger. The r /el i of Fafh- religious leader and kills a child, and then about the way in which the power structure tries to protect itself by keeping his crimes . It's DiSCORDER: A lot of your stories are incited by a murder or a dead body, which reminds me of Hitchcock movies in that it sets the audience at unease right off the bat. But from there you veer away from the traditional thriller structure, to where fewer variables are known and the moral centre isn't as clear. How is death a device for you? Brian Evenson. I see death as a catalyst that leads people to act in ways they normally wouldn't. If you begin with a death, it's unsettling not only because there's an inert body present but also because it wipes away the moral centre of the world. Things that in daily life we can count on no longer have their stability. My characters, confronted by the absence of stability, tend to rise to the surface of their skins, acting more often than thinking and almost never feeling; suspending moral codes while trying to find a non-existent stability. Once things are in that destabilized space, you have two choices as an author. Either you can try to re-establish stability, which is what thrillers do, or you can try to destabilize further, try to reach some point of sublimity in drawing nearer to chaos. A story like 'The Sanza Affair' is essentially a thriller turned inside out, where possibilities are multiple and anything you think you know at the start dissolves and never comes back together. Many of your stories share a similar sense of humour, very deadpan and very dark. How important is humour to your work? It serves in some ways as a balance for (or relief from) the darker aspects of my fiction, in other ways as a device to augment the darkness. It's restrained and deadpan, but ial for attack on religion as a attempt to depict and analyse the nature of institutional power, ihough along with that, the book moves with a lot ol velocity on the simple level of plot. It's a sort of thriller, 1 suppose. It's probably my most readable book, at least on that simple level, but at heart I'd like to think it's a schematic of institutional power that owe Foucault and to anarchist thought. I think what you lose when you move from a novel to a story is that level of concentration. Stories can operate as plateaus, with a sustained intensity. They can also evoke a great deal of ambiguity, can leave the reader suspended in the flux. A novel, by necessity, has hills and valleys. It demands a different sort of flux, at least a few stable spots to stand. At th< think the novel, especially the short novel, allows a philosophical exploration that the short story can't age. It allows you to think about identity in a way that the story can only enough dista see the potent abuse of power in my own institution and be able fo apply that fo a larger context. I can't say that knowing I'm Mormon is particularly helpful to people when they read my work. ily it just confuses fher i the Writing a criticism of institutional power with religion as the suspect institution, from your perspective, must carry a lot of personal weight. How has being Mormon affected your writing and the way people understand your writing? It does carry a lot of personal weight. For several years, 1 was in a leadership role in the local Mormon congregation, so I had the chance to see the way a hierarchy func- doesn't fi: typically Moi fions people carry about in their heads. Mormon culture is so insistent about praising the good and discarding the bad, yet af the same time there are a lot of blind spots and inconsistencies — as there is in any institution. Growing up, for instance, I knew o lot of Mormons who vouldn'f watch an R-rafed if it hod sex scenes in if, 3ut had no qualms about wofch- ig it if it was 'only violent,' al if olence was somehow more ible than sex. Many of my stories, I think, attempt to resensi- tize people (myself included) to violence. That's a direct response ilture. There isn't a lot of sex ir your stories, though. she as, which has given rr Sometimes there seems to be the threat of it, but it appears almost as a cultural transgression. Yes, it's often either oblique or grotesque or fransgressive. In the novel, there are scenes in which a husband and wife are in bed, but no sex scenes except for fhe fransgressive. I have written some pieces in which sex is more present in a more approachable fashion, but haven't managed to quite get it fo work the way I want. In any case, as a writer I nterested in the fransgressive, because I think it's in the trans- gressive that human action comes ouf in ifs purest, most desperate form. I know you do work as a music reviewer on the sly; has your taste in music filtered into your work? I'm thinking about the similarities in technique between your writing and say, the very dark, emotionless stuff by Third Eye Foundation or Panasonic. Music has always been very important to me. I listen to it when I write and revise; in fact, I often listen fo fhe same album again and again when I write a particular story, and i've tended toward darker sounds and repetitive sounds a great deal, like Panasonic and Third Eye Foundation and their precursors. When I was writing sever al of fhe stories in Altmann's Tongue (1994), I listened fo two songs by Einsturzende Neubauten again and again. And two of the stories in that book take their titles from songs by The Fall. [For] my latest book, Father of Lies, I kept coming back fo Kraufrock, mostly Faust and Can, but also newer bands like Slinf. The newest fiction I've been doing, I've been listening to a lot of electronic stuff, both early and contemporary. I've been listening to Throbbing Gristle and Psychic TV. But I'm also listening fo Luke Slater [and] DJ Spooky. Autechre, Merzbow, everything on Colin Newman's ~swim records label, Speedy J, a lot of stuff on Invisible Records. Also a great, dark, unknown band on Decibel Records called Oneiroid Psychosis. I'm not sure what's going to percolate out of all that yet. How did you get into this type of music and what keeps you interested in it? Most people lose interest or can't find the time to keep up with the velocity of change in music. In the late-'80s, between years of college, I temporarily stumbled info an incredibly lucrative job where I had literally no expenses. I began buying nine or ten CDs a week. Af first I bought only things I had heard or had heard of, but soon it became a kind of game. I started buying things af random, the only rules being that I was looking for music that I'd never heard of before. So, I bought things on impulse or for crazy reasons. I bought Einsturzende Neubauten's Halber Mensch largely because there was a border of feeth around fhe front cover. I picked up a Severed Heads album because it was in fhe bargain bin, and that got me interested in everything that Nettwerk records was putting ouf at the time, which eventually led me to contemporary electronic music. What would you suggest as some good reading as far as contemporary writing is concerned? I like Beth Nugent and James Purdy's work a great deal. I think they're both in a very original space. I like David Foster Wallace's essays more than his stories or novels, buf think most of his writing has something to offer. I like Walter Abish's How German Is It?, which I think is one of the best novels of the last few decades. Thomas Bernhard is one of my favourites—he's Austrian and writes novels with no paragraph breaks. Buf I also read people like Andrew Vachss and James Ellroy. I think Don Delillo's novels are very good as well, and I'm quite fond of Ben Marcus's The Age of Wire and String. That's at least a start. So, why do you write? I don't write for any grand social reasons; my reasons are mostly subconscious and personal, perhaps selfish. It gives me a certain satisfaction that I can't get fron* jny other ijoyable activity for me as an intense one and a satisfying one that helps challenge the way that I am in the world, what I believe. I like the risk of that. • DiSCORDER: Let's start with some biographical information. Cot Power; My name is C-H-A-R-L-Y-N Marie Marshall, buf when I was in sixth grade I took the C-H-A-N out and made it easier: Chan [pronounced like 'Shawn']. And I was born January21, 1972. Aquarius. Aquariusl I hear that you went to Africa. That was a long time ago. It'll be two years this January. And apparently it was a life changing experience. It was different. I've never seen homeless children before, people who lived with contaminated wafer. It does something to you. You learn something you never knew before. So after this, you started to write the songs for your new album? After this, I did not ever want fo play music again. I didn't want to play music at all, quite the opposite. Coming back from this experience, I didn't care at all and I'm still maintaining that feeling towards the luxury of music. So I came back and lived in the country and didn't listen to music and didn't like the association of myself with being a musician because I never really sought to be a musician. Coincidental things led me to where I am right now — it was never a conscious agenda. Coming back from Africa, I realized that there was no reality in the music world. A lot of the critical perspective of what's good and what's not good is so judgmental. So you went to Australia with Bill Callahan, I read. Is this true? This seems like gossip! Yes, it's true! I love him. Okay. So you went to Australia — is this where you met the Tren Bros.? No, I met them in New York two and a half years earlier. In New York, we played a show with Mick and Jim — from Dirty Three, the guitarist and the drummer — who are the Tren Bros. I met them in Boston and New York and I jokingly, without anticipating a reality behind it, asked if they would play on my next record and they said, 'Yeah, yeah, yeah.' But through developing this relationship, I went crazy and had this bad dream and wrote all these songs after eight months of not playing music. Then I thought maybe I should do this again, 'cause I felt different about things. Interlude: Sound check. Are there going to be any Smog/Cat Power amalgamation albums? When we were living together in South Carolina, sometimes we would get so bored that there was nothing to do. I mean, we had already gone to fhe lake, we had already gone to the forest, we had already fed the animals, so we would make sounds and make little songs and stuff. I don't know if we'll ever play together. I mean, I'd love to, of course. As he would too! But no plans in the works? No, not at all. How did you meet Steve Shelly? Well, when I first moved to New York, I moved in with a drummer friend of mine and we played shows as a duo every now and then. His friend, who I didn't know, was the boss at Matador Records. Our shows in New York were with this person, Glen Thrasher, and this guy from Matador would call him and ask us if we wanted to play shows. I didn't know that it was the boss from Matador and I quit for a year because this drummer friend of mine had to leave New York. So I didn't play for a year. I got a phone call on my answering machine one day: I came home from work and there was a message from Sharon Topper who is from God Is My Co-pilot. She left a message saying, 'Chan, you are supposed to play tonight at CBGB's gallery.' So I opened up the Village Voice and I saw that my name was there and I was supposed to play in 15 minutes. There were only four people [who[ actually liked me when I used to play so I thought I should go 'cause they're going to pay and I'm not going to be there. So I went and played this show by myself. I never thought I'd ever 'cause they kept on [telling] me, 'You should really play by yourself.' I thought I would never do that. It was like, fuck, responsibility, and it was Cat Power solo so I went down, got my guitar 15 minutes later, and played. Then that night, there was a message on my answering machine [from] Gerard, the boss at Matador, who was saying, 'I didn't know that you were playing tonight, I can't believe that you didn't call me.' He said, 'Do you want fo open up for Liz Phair? You'll get paid $200, [but] you're not going to be on the bill. If you want to play, you won't be advertised at all.' I was like, wow, 200 bucks. So I go down there and I walk [for] sound- check. It was a huge hall wifh glamorous seats. I never really played for more than maybe 50. I look over when I'm soundchecking and these girls and a couple guys [were] staring at me [and] it made me so uncomfortable. I finished the soundcheck and I ran away to the i They knew everybody and they were all er. I was a lot more shy back then. Steve and Tim walked up to me and said, 'We really liked your song, what's the name of your band? Where are you from? How old are you? How long have you been playing music? Do you live in New York? Come out for dinner.' So we all walked outside and went walking around. I'd never heard Liz Phair's music before and I asked Sonic Youth's light person, 'Are you Liz Phair?' I totally didn't know anything and they were laughing at me and I felt so stupid. I heard them say right after that say, 'Yeah, well Thurston and Kim.' And I thought, 'Oh, no' and then I realized that it was Steve Shelly — Steve from Sonic Youth — so I was like, 'Fuck.' Then I didn't talk fo anybody. Then I went and played the show. After the show, I get off stage and I'm trying to concentrate and Steve walks up and says, 'I wanna put out a record.' Then the stage manager comes out and says, 'Do you want to go back on?' and he lifts the curtains and everybody is standing up and banging on stuff. I started crying. I went to get my friends backstage and I pulled back the curtain where they were and these five guys run up and they're like, 'Can we ask you some questions? You're so ama* ing!' One of the guys says, 'My professor g< me your CD and I just love it.' I said, Tm nof Liz Phair,' and they were all like, 'Oh.' They all turned around and walked away. All those people who paid $18.75 to go and see Liz Phair didn't even know who she was. Isn't that sad.* BYSHAIVAjNDERMEER sm&mm DISCORDER: What are you hoping to accomplish with your music? David: I think that all the different arts have a way that they communicate information that is intrinsic within the art. Music has a specific way that it communicates information, different than a painting or a poem, approaching us on a different level. There are several ways that we understand information, and art presents it to our minds in a covert way. In acknowledging that, knowing that if I'm true to the creative process, hopefully my music will be able to communicate with people on the level that it has to me all my life. Lyrically, is it important that your beliefs be understood by your listeners? Do you think they will get more from the music if they know where you're coming from? We were just talking about this today. There's this song on the record called 'When They Really Get to Know You They Will Run,' and some [people] have questioned what I'm trying to say in the song. To me, it's not as important that they know what I'm trying to say as that they are presented with information which causes them to think and grapple with an issue. If I can cause them to take a second look at something ... everything's so relative these days, so open to interpretation, that I can't hope that everybody's going to understand my point of view, but I think that by being honest, they'll get accosted somehow by my message, whether they know where I'm coming from or not. I think that it causes people to think. I've heard lyrics in the past where I wasn't sure where the person was coming from, but that made it more thought-provoking, as it wasn't just easy to agree or disagree. I'd have to think about what they were saying and play both sides [of the argument] to see what I think. It's not totally important that people understand my point of view, but it helps sometimes. Have you had any bad press or bad luck due to your honesty? Sure. We had a door guy tell people at a show that we were Christian rock and then they didn't come in. We're subject to some of that stuff, but I think it's the lowest common denominator. People that have a brain in their head can see what's happening: that no one's trying to tell anyone else what to do. The object is discussion and getting to the bottom of things. We're not saying, 'You need to get your stuff together in the way that [we] think is right.' For the most part, I think people understand what's going Do the members of your band all hold the same belief system? Josh: We all consider ourselves Christians. We don't all have the same exact beliefs. A lot of times we end up talking stuff out, not necessarily arguing, but we're not like robots who say, 'Yes.' We'll talk to each other, saying stuff like, 'I don't believe that!' or 'I really believe this!' ... that's about anything, Christianity or otherwise. What do you think of bands like Earth Crisis? They're trying to get their message across ... Josh: I've only heard things about them. I'm sure that they're very good at hardcore and that they're very militant. A lot of people are offended by that. Josh: If anyone were like that, even if I agreed with them, I would think they were wrong in trying to impose their views on everybody. Everybody has a right to be different. David: That's the key with any belief system. If you have to force your beliefs on somebody, I think it's ineffective. If you really believe in what you're doing, you'll figure out the most effective way to bring it to people. Not to slip it in or anything like that, or to get it in behind their backs, but to present it to people where there's not a smokescreen. If I'm yelling at somebody, barriers go up instantly, and any chances of speaking rationally with them are over, unless you back off and present your case in a less- offensive way It just boils down to believing in what you're doing and wanting to see it pros per. If your orientation towards an issue is hostile and hard-line, it's usually ineffective. If they want someone to know where they're coming from, they should lower their voices. You had an EP on Tooth & Nail Records. What is your experience with that label? David: We were never technically on the label, we just did a one-off. We talked to them for a little while about being on their label, but ultimately, there were a few things, business- wise, that made us nervous. There wasn't a lot they could say to ease our minds on certain issues, so we tried to distance ourselves from them business-wise and just remain friends. I have thoughts about what they do, but that's not ultimately important. We didn't sign with them because we were nervous about the busi- What do you have in common with your tour-mates [Jets to Brazil, Promise Ring]? David: We're only doing a few shows with them ... not a whole lot! Josh: I think that we appeal to the same kids. If we don't now, after the show most of them go away happy. We're not like the other bands stylistically, but I think that all three bands are fairly thoughtful bands, lyrically and musically. We're not three-chord pop or distortion, not that that's bad ... David: We can't really pull off the energy and the rock that the other bands do. Josh: So far it's been good. All the crowds have been really receptive and supportive. I thought that maybe half the people would walk away, or ask, 'When's Promise Ring gonna play?' but it hasn't happened. David: Last night, we went out on a limb and opened with a really mellow song and everybody stuck around. I'm not really sure why, though. If I was a kid, I may not have. Do you consider religion fashionable right now? There are bands like MxPx doing it punk-style who are getting decent reactions ... David: With that band, their popularity grows the more they distance themselves from religion. I think that world religions are fashionable, but Christianity is never fashionable. Josh: You can never be accepted, really, by everybody, as a Christian. David: I think that it's because the Christian Church has probably been the most offensive organized institute in American history to anybody. Contrary to what scripture has to say, it's so exclusive and judgemental. I've had a problem with it because you just feel like you're going to get hammered for stuff and that's contrary to what the Bible actually says. Somehow, Christians have been getting it wrong for years and years, so there's a good reason why [Christianity] is never going to be accepted by the nation at large. I was wondering where you're at, spiritually. I admire the fact that you can refer to God as 'Dad' in your songs; that's something a lot of Christians would not ever really be able to do. Is this something you've worked through? David: With most of those songs, there are a lot of parallels and metaphors and most of it has been based on factual events. In the Bible, there's such a clear picture of Him as a paternal and also maternal figure. The ultimate goal with what the Bible claims as Christianity is a personal intimacy. This relationship is in many different forms and one of those is definitely a maternal/paternal relationship. Is 'Big Trucks' your own version of a parable? David: Yeah, in a lot of ways. I enjoyed the literary tool of a parable as it appears in the Bible and I think it's a great way to deal with things that are hard to pin down. It can make things more practical. 'Big Trucks' has a father trying to explain something to his son in terms he might understand. The kid still doesn't get it, which is generally the way things happen. i. 1 if y iCi 11 rii jri : | 14 Dec 98/Jak 99 Josh: But 'Big Trucks' is your dad ... David: Well, yeah, it is more horizontal, having more to do with a specific situation that my dad and I went through that I turned into a fictional story. Who are your musical role models? Did you listen to Christian music growing up? Josh: I never did. I didn't know anything about Christian music until I came out to Seattle about four years ago. There were all these '80s bands that I liked, like Rick Springfield, but the first thing I remember really caring about was Def Leppard. David: Hysteria? Josh: Pyromania. I'm a little older... David: In the house that I grew up in, we weren't allowed to listen to non-Christian music. By Grade nine or ten, there wasn't really anything that turned my crank. When I got into high school, I got a bit of a reprieve as far as that rule went. The first bands that I remember listening to and caring about were Fugazi and the Violent Femmes. My girlfriend had this Fugazi record and I was really intrigued by it. Without ever really knowing anything about the music, I started playing in hardcore bands. I played the drums and my friends always needed a drummer, so I played and I enjoyed it. A lot of the people I know are Christian and have issues with Christian culture. I've come to grips, working through my ideology, and have come to the opinion that there's nothing valid or good about a separate Christian culture. [The Christian music scene] is not a healthy subculture at all and I think it's to the detriment of most Christians, contrary to what most think. In your song where you deal with your experiences with the Church ['Secret of the Easy Yoke'], where are you coming from? David: This particular experience is fictional, but is based so closely on feelings that I had. Basically, what I projected on God for so many years is what I saw around me and what every body else seemed to be buying into, and I ended up with a really distorted view of God, one that I was unhappy with. In the song, it's like, 'This is messed up;' it's personal, in that it deals with me not being able to get past Chris- I sat through your CD with my ultra- Baptist brother and in this song you talk about bracelets ... are those the ... David: WWJD bracelets? Yeah. It's been a struggle, because I don't want to offend people, but at the same time, in a parallel that I'd need to wear a bracelet to remind me that I love my girlfriend and to do what she asks me to do, as far as treating her well ... It boggles my mind — it's not reality! According to what the Bible says, our relationship wilh Him is supposed to be a lovers' relationship. Intrinsically, if it's real, if that doesn't move me to live how I should, then how will a bracelet, a marketing ploy, [do it]? It's just such a slap in the face to me, a picture of duty, of things to keep track of and things to help remind you of them... 'You're not really ever going to get to know Him or talk about stuff, so don't worry and just use this' — it drove me crazy that this idea is so widely accepted by people. It broke my heart. It can't be like that. It's not what I want, and I don't think that's what He wants. That's what drove that song, [asking] am I serving a god that is based on a bracelet? The answer I came up with is no; there's got to be something else. In 'Promise,' you're talking about wanting a belief 'with long sleeves' because it's 'unpredictable.' Where are you coming from? David: I was using the metaphor [to express] keeping my bases covered. Everybody's always trying to keep their bases covered. It's a picture of wishy-washiness. Informed that they're playing in 5 minutes, without a soundcheck, I skip to the chase a Before you go, do you have a favourite book or verse of the Bible? David: At this point, the book of Romans, ond the book of Galatians have been so helpful to me, in seeing my way through all of the untruths that I was passed on while growing up. The misunderstandings that I had about how things worked, having to keep all my stuff together — those two books helped me to see the real order of operations, as far as faith in Jesus Christ goes. They've been immensely helpful in seeing what everything else says, in how righteousness is not about us performing by a set of rules. So you'd be more an advocate of self- motivated religion? You're not into organized religion? I need other people around me with similar beliefs. Clinging to any sort of denominational lines I think is totally bogus, but getting together with people who have similar beliefs is just natural. It's about being honest with people and not being in conflict all of the time. People are coming from totally different directions — you need to be with people who are coming from the same foundations so that you can work towards a better understanding It's important to hang out with other Christians, because they have an understanding about certain things. But it's also important for us to get away from that too, as it can get wear ing [because] certain Christians don't have that understanding, confusing things that could be so clear if they took off the blinders of culture.* ! I , ??>**f"{« 9 • y**f * *> * 9-»» k W/'fh the recent explosion of Japanese pop, Fantastic Plastic Machine becomes one of the large pieces of shrapnel to slice right through the conventional ideas of what pop should sound like. Fantastic Plastic Machine is the brainchild of one Tomoyuki Tanaka. An experienced dj and mu- '80s, Tanaka has always been ahead of his time for is it behind the times?). His continual devotion to film soundtracks from the '60s and an affection I modern electronic sounds makes for a musical lovechild that's somewhere between Astrud Gilberto and early '80s Kraftwerk with the recent album, By Fantastic Plastic Machine. Much like Japanese contemporaries Pizzicato Five, Fantastic Plastic is adept at making exceptionally cool kitsch to tap your toes to that isn't quite lounge and not neces- sarily <FANTASTIC PLASTIC MACHINE> you listening to back then? I enjoyed bossa nova, soundtracks, and some soul mu- fck^ sic. Not really much different than the things I listen to now. How about new wave? Of course! I remember a Japanese new wave band from the '80s called The Plastics ... Yes. They were great! There's a record in progress right now, which is a tribute to The Plastics. Various [Japanese] bands are recording their versions of the songs. When did you begin dj'ing? When I was in Margarine Strikes Back, I bought a turntable to use for related band things and itwas at that point I started dj'ing. I had done some dj'ing in some clubs else, but it's not at all hard to find in Shibuya-ku. What are some of your favourite soundtracks? There are so many, it's difficult for me to decide. The Thomas Crown Affair ['60s film starring Steve McQueen and Faye Dunaway] and Raumpattroille ['60s German sci-fi TV series] are some great ones. However, right now, I'm looking for soundtracks from TV broadcasts, music that's made for movie companies, TV and movie library music. It's very difficult to find. Some of it was written by very famous people, but it just wasn't known by the public. How do you feel about your Japanese contemporaries, bands like Pizzicato Five, Cornelius, Buffalo Daughter, etc.? It's not as if we stick together and we're bosom buddies, but we do keep in touch and respect each other. We do follow each others' bands are you listening to? Everything! I like Brit-pop, drum V bass ... you name it! How about punk? Yeah, one of my favourites is the British punk band, Snuff. Sometimes when I'm dj'ing, I'll play one of their records. How has the reception to your shows been on this North American tour, so far? This is my first time in North America [and] I was honestly thinking that the reception would be very cold and the audiences and the atmosphere would be a bit cheesy. But I was pleasantly surprised to see my music well- Speaking of cheesy, you appeared on MuchMusic's Electric Circus when you were in Toronto — how did that go? It WAS cheesy! But it was a lot of fun because you don't often get to experience something like that. At one point, the dancers stopped dancing because they couldn't understand or relate to a certain song I was playing. During the show I kept on thinking to myself, 'What am I doing here?' [laughs] Well, at least it was good exposure, even if a few people caught the show and really got into your music and then went and bought your record. Can you briefly explain how you create your music? There's several ways of doing it. Basically, I take older music and reconstruct it into segments and make it into pop songs. There's no real rule of thumb and that's where the difficulty is in testing different methods to produce that type of sound. Are there some parts of the songs where you use real instruments as opposed to samples? In some of the songs there are no samples at all. Synthesizers and other instruments are used as well. Right now, Fantastic Plastic Machine's style of music seems to be very popular - - it has that retro feel to it. Is that just a passing fad, or if it isn't, how do you think it will evolve? Retro is kind of a tricky word here. If you're talking about retro in terms of '60s and now early '70s music being used a lot, this will probably continue. So when you talk about the word retro, it's a different type of retro. On the other hana, you also get people who are listening to the music for the first time and to those people, it is new music. Even though music from the past is used, it is still new and rignt now and in the future, I will continue to concentrate on making music sound new.* <by Christine Gfroerer> >w, and this tete-a-tete transpired: DiSCORDER: Tell me about the Shibuya-ku scene in Japan. Fantastic Plastic Machine: Shibuya-ku is the name of a city [it's a ward of Tokyo — there are 23 wards in Tokyo], It's a very special and unusual place, not only in Japan but in the world. For example, if there was a record you have been looking for for ten years, you would find it there as long as you have the money. Shibuya-ku has music, fashion and information from any age, any type, and any country. There are at least a hundred record shops within a very small area. The music that is produced by the people who live there and buy their music from there is considered Shibuya-ku type of music. This style is influenced by the diverse cultures and music from that location. Shibuya-ku is the focal point of music within Japan as they have all the resources there, and from that point the different types of music that are produced tnere make it to the other parts of Japan. You were in a band in the '80s called Margarine Strikes Back. What were they like? It was a band I was involved in 1 2 years ago. The concept was very similar to Fantastic Plastic Machine; however, we did more live concerts and I was the bassist. We would play soundtracks from French movies, but in a funky way. At the time, it was a bit too early to be doing that sort of thing. I like the name of the band. Was it your idea? Yes, it was. I always choose really long names for my bands [laughs]. What kind of music were 16 Dec 98/Jam 99 and disc ; but Afthat time, I wa ing the type of peopl didn't start do- ally until 1992. ted to start play- nusic that other playing so I started a sound system \ djs called Sound Impossible, where we played only soundtracks from the '60s. It sounds, perhaps, as if it only appealed to a certain audience ... At first it was something new and it took time to catch on. It didn't have the rhythm that people are accustomed to nowadays because it's the music from generations ago. But what I'm doing now with Fantastic Plastic Machine is taking music from back then and adding present beats to it. What were the other djs in Japan playing in 1992? Acid Jc actions and support each other in our respective styles as we become known in other parts of the world. Japanese pop bands seem to be becoming more and more popular with North American and European audiences. What are your views on the recent interest and the 'exportation' of Japanese music? I've played in Europe about five times now and one thing I feel is that it's not about nationalities or difference of countries when writing or performing music. It's more about when I'm traveling to cities like Berlin or Amsterdam — that it's just a plane ride away — and I'm not really concentrating on Japanese culture or the Japanese aspect of it or that I create Japa- <Photo by Bar popular, we'd be looking for all sorts of soundtracks, Brazilian jazz, and easy listening records. Now a lot of people are into that sort of music and look for those records, but back then nobody was really into it. What is it about '60s music that you enjoy? It's not only the music but the fashion and the pop culture from that Is '60s music quite popular and accessible in Japan currently? It is perhaps the easiest place to get your hands on that type of music than anywhere else in the world. Japanese buyers are constantly buying from everywhere and everything just accumulates. For example, the soundtrack from Barbarella [cool sci-fi film from mid-'60s starring Jane Fonda] is a tough one to find anywhere . It's just music that like and produce. You will find that other Japanese bands such as Pizzicato Five, Cornelius, Buffalo Daughter, feel the same way. The music they create is just the music of the time and they just happen to be from Japan. One common thing I've noticed about Japanese pop bands is that they can create really cool, stylish, almost fashionable music without losing their musical credibility. Even if it's really fluffy pop, there's a certain freshness to it and nobody seems to take themselves too seriously. Yes, I agree. Those comments might be an indication of the style of music that is Japanese. What kinds of current Video Philter BY TANIA BOLSKAYA "It shrinks my liver, doesn't it, Nat? It pickles my kidneys, yeah. But what it does to the mind? It tosses the sandbags overboard so the balloons can soar. Suddenly, I'm above the ordinary. I'm competent. I'm walking a tightrope over Niagara Falls. I'm one of the great ones ... I'm William Shakespeare. And out there it's not Third Avenue any longer, it's the Nile. Nah, it's the Nile and down it moves the barge of Cleopatra." (Ray Milland as Don Birnam in The Lost Weekend) As the festive seasor creeps up and hits u: over the head with Yule logs and Toblerone, escape becomes a theme in all lives, save maternal ones. Brother's obliviou: while his kids are eating Draino Sister's doing the disappearinc act every time someone mention: "help in the kitchen," Dad': beefing about Mom and hei and Mom': "All I 3 Burl screaming, Ives Christmas!" Ihere are two things which I can always count on to relieve my suffering when my nearest and dearest are too near and far from dear - a couple of good flicks and a whole lot of Bucking the new release section and the current climate of temperance propaganda, this month I bring you tidings of great drinking movies of the past 65 years. A good drinking movie is here defined as one that accurately portrays the hellish joys of 40 proof elixir or that makes you want to fix yourself a stiff one and join the on-screen party. The best do a bit of both. Though it's a dish with a large side of ham, The Lost Weekend (1945) does a fine job of elaborating on the pitfalls of drinking as a means of procrastinating life. Don Birnam a promising writing career 'ered that chugging a fifth 3 great way to get over writer's block. Alcohol doesn't exactly prompt the stymied novelist's muse, but it sure helps get rid of hours, days, weeks, months, and years that he had planned to fill with work. Birnam's dignity as a character must be credited to actor Ray Milland, who won an Oscar for his performance as an alcoholic who can't quit for fear of the life he'd have to face in sobriety. "Most men lead lives of quiet desperation. I can't take quiet desperation!" For a dose of inebriety mixed with a life of modest literary success, there's no better place to spend a few hours than in the company of the wittiest American who ever lived, Dorothy Parker. Mrs. Parker and the Vicious Circle identifies not fear of professional failure but absolute personal failure as the root of a good woman's desire for drink. "I never liked a man I didn't meet" is one of the perennially dumped and smashed Mrs. Parker's more telling bon mots. Unlike The Lost Weekend, this boozy biography of the mistress of the Algonquin Table and her crowd of jazz-age pleasure-seekers has more than one consistently inebriated soul. Knowing the identities of the real people behind the on-screen characters is in noway necessary to enjoy the dysfunctional group dynamics of this set of alcoholic literati. Though at times in need of a swift kick in the pacing, Alan Parker's splicing of the young Dorothy, her hoary older self, and her sublimely searing poetry work well to round out a character that f Brandy Alexander I i A OBICIOUS ALTERNATIVE TO f NASTY CUD RUM AND EGGNOG 1 /2 OZ. BRANtDY * I 1/2 oz. Cremeoe I Cacao 1 OZ. MiLK 1 Shake with ice and strain jj I WEU INTO A BOWL-STYLE j I CHAMPAGNE GIASS OR A \ I MARTINI GIASS. SPOON THE f |: FOSAM FROM THE SHAKER j V ON TOP. Jennifer Jason Leigh breathes bourbon-soaked life into. Where The Lost Weekend stumbles (the "evils" of drinking, including some Delirious Tremens bats, look a little silly from a modern vantage point) and Mrs. Parker and the Vicious Circle distances (however much I wish I were a fabulously smart New Yorker in the 1920s, I'm not) The Days of Wine and Roses hits the shot glass soundly. Jack Lemmon and Lee Remmick are an average couple who meet, fall in love, drift into average middle- class lives, and seek alcohol as a refuge from the boredom of Eisenhower-era America. The film is a little didactic in the final quarter, with Jack Klugman as a preachy AA rep. However, sticking with me until my liver corrodes into a galvanized puck in my abdomen and I keel over while watching reruns of Maude, Lee Remmick's parting speech is one of the truest bits of acting and dialogue ever to grace the classic Hollywood screen. Check it out and see what I mean. Of course, the festive season can be, er ... festive and a healthy dose of celebratory drinking movies is required to truly get into the spirit. The best of this sort of booze-up just happens to be a mystery, a comedy, and a Christmas movie all in one The Thin Man (1934) is the tender story of an ex-detective who has married an heiress and on a holiday vacation to New York finds his habitual drinking frustratingly interrupted by a murder-mystery. If you're looking for a few quick lessons on how to drink with style and how to maintain a loving marriage with only a dog, twelve martinis and a couple of million dollars to support you, this is the film to study. It's time to go shake a few Brandy Alexanders and disappear with a little Drunken Master II (Jackie Chan never fought so good until he downed a jug of China's finest cooking wine). I'll leave you with a slightly slurred Happy Holidays and a glorious Woody Allen quote you can pilfer in a few months for your own perfidious purposes: Helen's Agent: You're a star because you are great and are a great star, but in the past few years you are better known as an adulteress and a drunk. Helen Sinclair: Please. I haven't had a drink since New Year's Eve. Helen's Agent: You're talking Chinese New Year. Helen Sinclair: Naturally. Still, that's two days! Do you know how long that is for me?*» •»n f Nick Charles on I Mixology: The important thing is the rhythm. Always have rhythm : IN YOUR SHAKING, Now a Manhattan you a1ways shake to fox-trot time, a Bronx to two-step time, a dry martini you always shake to wai.tz time. Kinetoscope 303 COLUMBIA ST GASTOWN 683-3757 CotuinUa EVERY NIGHT IS TWONEY NITE FILMS • VISUAL MEDIA BY A. NALPAS HAPPINESS a) I don't really know anything about the story behind Happiness, but in my mind the film's poster art (flat, disaffected cartoons of the film's characters) was absolutely perfect. You see, the film seemed to me like something akin to an adaptation of Daniel Clowes' Eight Ball, shot with real live actors, "the real world." Eight Ball was not only riotously funny, it was also relentlessly black, with a knack for drawing attention to some of the darkest regions of life, and especially the human psyche, in a way that could be incredibly unnerving. But as disturbing as Eight Ball could sometimes be, it was still just a comic — its relationship to the "real world" was, by the very nature of the medium, rather detached. What Happiness does is that it takes the same kind of material with the same kind of treatments, and it stages it with mode (a tampered realist mode, to be sure, but nonethe less a realist mode). The results range from riotously funny (just like Eight Ball] to profoundly disturbing. I made the mistake of having an espresso beforehand, and found myself feeling agitated, anxiety-stricken, and disturbed late into the night. At least part of that was the result of the film. b) "Be a part of history," the film's advertisements read. No matter how true the premise (that you are not a part of history, in all likelihood) behind such an exhortation may be, the suggestion that you can become a part of history by shelling out your $9.00 for this particular film — as good as it may be — is just sickening. DIARY OF A COUNTRY PRIEST How many films really, truly affect you? How many films have anything more than a superficial effect on your physical being? Bresson, like Dreyer, like Tarr, is a master of pace and tone, and Diary of a Country Priest is a showcase of this mastery. The film is subtle and its spell is cast ever so gradually, but by the film's end I was beginning to be convinced that I, too, had stomach cancer. Very few works of art have had a similar effect on me. The one s Crim that comes to mi and Punishment — every time I've read it I've become sick, THE VELVET GOLDMINE Insanely, absurdly ridiculous. Get this: within the film's first three minutes, the viewer has been subjected to classical allusions, a UFO flying through the sky sprinkling some kind of cosmic dust, and the suggestion that Oscar Wilde was some kind of extra-terrestrial whose brooch (is that Krypton- ite?) would change the course of history, or at least pop, and that's just the beginning. Why is Iggy Pop being conflated with Kurt Cobain throughout the film? Why is the film borrowing so liberally from Citizen Kane? Why? Why? Why?! "Leave your expectations ot the door," indeed. _■______■ FURIOS • CHAPTER 3 • HIGH TEST ESQ RvflH SHOCK THE DAY • THE COOL OF ME • TRIM WAYSIDE*SALTEENS • TAMMYBRIMNER ■_r__?____ Fmlri REDE PRODUCTIONS PRESENTS ARTHUR FUNKERELI & PAINTED BLANK _Ej-_-I m-iflL M O LE ST IC S EAST VAN CD RELEASE PARTY K_Z3__I R=HiFi SADDLESORES BEEKEEPERS • PLANTAINS DUKE OF MEDULA • D.D. ASTOR AQUA VELVA SOCRATIC METHOD DOG EAT DOGMA VINYL TEAM STRIKE FORCI PLUS SPECIAL GUESTS ZIMMERS HOLE • PUNCH DRUNK ETERNAL (TICKETS $15) SONIC REVIVAL • RAFT OF MEDUSA • GLADYS PATCHES • DARKEST OF THE HILLSIDE THICKETS • COSMIC HERO'S SHINE • CUSTARD'S LAST BANDSTAND SWEATHOGS . LID » MUDSLINGER . ZUMPANO » BEEKEEPERS ♦ JACK TRIPPER FOR BOOKING INFO CALL CANDY (ALL TYPES OF MUSIC) 683-3757 it e^ssuss 7 inch BY THE INVISIBLE CLAIRE The half-foot high stack of 45s which greeted me on my latest visit to the CiTR Music Department was in deed a sight for sore eyes. Not having the money, time, or energy to seek out reviewable items myself, I rely upon their provisions. When the influx of short vinyl slows to a trickle, my enthusiasm declines and with it, too, the quality of my writing. It had been so long since I'd witnessed such a bounty of new music that my initial reaction was suspicion — it must be crap. Strangely enough, I have yet to find anything in this new windfall that is not, at the very least, interesting. Out of my desire to stockpile against a drier season, this edition of Seven Inch will be no longer than usual. However, signal to noise is up, up, up. I sense an imbalance in the force. high-energy it might short out your stereo, so be warned. (10-in-l, 508 Legion Way #4, Olympia, WA, 98501) Laughter is rarely invoked by this particular medium — ennui, yes; annoyance, yes; joy, yes. However, nothing has made me laugh as hard as "Hot Water Pipe," the second song on the CORPUSSE EP, Fan Favorite, since, well, ever. I very nearly gave myself a stomach ulcer listening to Corpusse (a bizarre creature apparently hailing from Toronto) pontificating about his THE BANGS single Maggie the Cat, with its extraordinarily colourful jacket and peach-hued vinyl, invites you inside for some ultra-amplified, manic rock and roll. The title track on this three- songer is a tribute to Bangs bassist Maggie Vail who, if we are to believe her praisers and fellow bandmates, is one of the hippest chicks around. Sarah Utter, guitarist and primary singer, yelps and howls like she was born to it. Co-vocals are shared on "Lights Out" between Sarah and drummer Jesse. This record is so plumbing problems over moody atmospherics. His voice ranges from deep angsty growl to shriek- opera falsetto, but all this dramatic detailing merely makes the subject matter — namely, a leaky pipe and how much it needs fixing — even funnier. The other three songs, in particular "I Heard the Chickens," which features lu- (Corpusse, c/o 689 Queen St. West, Box 171, Toronto, ON, M6J 1E6) Ecstasy, pure ecstasy. Yes, THE MAKE-UP are good; they've cleaned up their sound quite a bit in the past few years and if they're still a bunch of arrogantly weird brats, you can't really blame them. "Pow! To The People," on the new and absolutely stunning Make-up/LUNGLEG split single, is nothing short of anthemic in all of its funky, slick dub glory. However, the real surprise and that which brought me Lungleg's contribution, the marvelous "Krayola." I know what you're thinking: "Lungleg? Those Scottish minxes? But they never wrote a song over one minute forty?! They're a punk novelty act!" Think again! "Krayola" made me instantly envision the following scenario: the Banshees, circa 1980, decide to do the disco thing. Siouxsie is requested to tone down her vocal acrobatics and a brilliant dance platter is born. Ecstasy, pure ecstasy — a song to swan around your room while lip- synching. (Southern, PO its cornucopia of lyrical fixations. Hardcore likes Big Moral Concepts: Unity, Trust, Truth, Sacrifice, Pain, Respect, Good versus Evil. MISCONDUCT, from Sweden, treat all of these grand themes on Signed in Blood. The music is grandiosely hardcore, but it is, as with most music of its genre, merely a soundtrack for the elucidation of moral messages. Perhaps hardcore is the true manifestation of modern Gothicism — after all, what could be more Gothic than "a sacred union signed in blood?" English majors are encouraged to write and refute my thesis. (Bad Taste, Stora Sodergatan 38, 222 23 Lund, Sweden) Winnipeg label Permafrost present Self-Portrait, the first in a series of 7" compilation records SILVER SCOOTER have improved a great deal since I last lambasted their indie-pop technique. "If nonsense only knew" is an excellent pop song and wins them a big chunk of respect in my mind. EVIE do the scratchy, cluttery, '60s-influenced "Before" with naive charm. "Missed Out," by HUSHFEED, is neat wall-of-noise indie rock with bratty but cool vocals. ORANGE GLASS, although perhaps the best known of all these bands, impressed me the least; "Same Old Flame" is nice, but hardly exceptional. This single is on lovely clear vinyl and would make a nice addition to any rainy day radio program. (Permafrost, 341 Parkmanor Blvd., Winnipeg, MB, R2V 4H5) If you like your activist women loud and evil, then REINA AVEJA might be the band for you. Bee Complex is a slow, heavy, Melvins-inspired three- song EP which conspires to crush whole cities under its weight. Reina Aveja's vocalist, who, if her photograph is to be believed, is a rather small, dreadlocked woman with the eyes of a demented, rabid bat, has the voice of death. Quite simply, I've never heard such an astoundingly Satanic hardcore/death metal voice come from a member of the fair sex. (Probe, PO Box 5068, Pleasanton, CA, 94566) SLINGSHOT EPISODE make exceptionally good pop- punk in the vein of Tilt. It takes talent to stretch the pop-punk format beyond three minutes, something this band does with ease. Their lady singer sings very well; moreover, she is way cute. "Dead Air To Deaf Ear" features three unstoppable, loud songs that don't sacrifice intelligence to energy. (What Else? PO Box 341 1, Dayton, OH, 45401) Three boys from Lethbridge, Alberta, collectively called THE UNAMEDS (how does one pronounce that? Oo-na-meds? Un- name-eds?), have released a single, Them and We, which represents mighty loud, cluttery, mathematical rock. Mathematical is perhaps a somewhat misleading i rhythmic to the poin of Unameds' songs are long and epic in scope. If you put Nomeansno into a blender, something this noble and fucked up might emerge. (Unameds, c/ o 92 Lemoyne Crescent, Lethbridge, AB, T1K4A5)* Staplegun Showdown Well, cherished zine reading public, I lied. This issue's column was going to be devoted to zines that ride the fence separating the internet and the print medium. But the influx of print zines this month has demanded that I give them my first and foremost attention. Granted, a couple of them have websites, but their existences rely more heavily on photocopies and snail mail. So let's move! MY MOON OR MORE #1, $1, 8 1/2X5 1/2,40 pages In the utopia that is zineland, it's hard to justify being "ripped off," because really, it was this rag or a pack of gum, right? Still, we are all concerned with getting the best value for our meager zine budget, and I'm convinced that My Moon or More, with its card-stock cover and ace quality, is one heck of a good deal. I always like a nice layout and this one's so delicious, it's practically edible. Cullen has compiled 40 pages of highly entertaining writing. You'll find a slew of well-depicted, odd characters who've crossed paths with the MMOM staff — from the camp counselor friend who, by the end of the summer, is smoking up before giving his campfire talks, to the drunken frat boy obsessed with his presumed Irish heritage There are lots of strange and funny reprints from medicaLtype sources, including a puberty manual to giggle at. Cullen and co. ain't no wussies; there's angst here, but it's clever, sparing angst. In the utopia lhat is zineland, my friends, this zine is the most exciting thing to fall from the sky in some Hme. (c/o Cullen Carter, 824 Orange St, River Falls, Wl, 54022, <cullen.j.carter@uwrf.edu>) THE REAL DEAL free!, 20 pages, 8 1/2X11 This zine really bewilders me. It's messy, full of errors and extreme silliness. Despite this, The Real Deal has existed for seven issues, count 'em, seven. Furthermore, they have their own radio show on, presumably, the UVic station. With all this under their belt, I have to give these guys some credit, as they must be doing something right Their report and photo-documentation of a road trip through BC was fairly amusing. As sloppy as this rag is, you can tell that the "editorial staff" get a real kick out of making this and that's a big part of what zine-making is all about. Still, it's a "you had to be there" zine that is probably best read when intoxicated or overtired and giggly. (1692 Chandler, Victoria, BC, V8S 1N6, <dgidney@yahoo.com>) SLAMPIECE #3+4, $2, 24 pages, 8 1/2 by 5 1/2 (approx) A charming UK music fanzine written by two girls who originally hail from Vancouver. The computer layout is really sharp and all the photos come out clear, something few zines can claim! Lara and Liz's great sense of humor makes reading about Slampiece admirees (bands, actors, authors and more) a very enjoyable endeavor. With a consistent style (profiles presented as short articles with one or two photos) and no filler, Slampiece is a delicious relief from the common mess and chaos of fanzines. If nothing else, order it for the super-goofy computer-drawn cartoon on the back cover of each issue. I couldn't access their web page at the time of writing this as their server seemed to be down, but I'd recommend seeing it because they seem to be quite electronically-oriented, (c/o Lara and Liz, 28A Golhurst Terrace, London, NW6 3HU, UK, <slampiece@hotmail.com>, freespace.virgin.net/ slampiece. inc/home.html) MIDNIGHT MESSENGER: The Underground Magazine — Music and News Vol.1 Issue 1, $3 black & white, $6 colour, 8 1/2 X 11, 44 pages The Midnight Messenger is a large music zine that lightly covers various non-major label bands (I wouldn't call them all "underground"), including Bif Naked, Sloan, Mystery Machine, Kittens, The Inbreds, and other lesser-known groups. The information is very general, but presented in a fairly clean-cut and knowledgeable fashion. I'd recommend it more to those looking for an indie primer than those who enjoy inside reading on what the "college music scene" is up to. Editor Mark Owens doesn't seem to have met yet with the harsh realities of the small press/underground publishing. The zine itself is generously computer printed. He also runs Midnight Owl Records, "the indie label that gives a hoot," and he heads up Midnight Owl Graphics & Promotions: "high quality work at indie prices." Oh, and don't forget the website, featuring more information about the bands on his CD comp of BC indie rock, which you can have thrown in with your copy of MM for $ 1 2. If you're going to order this zine, do it now because I have a feeling Mark may have bitten off more than he can chew, project-wise! (c/o Mark Owens, Box 65-2831 Shaughnessy St., Port Coquitlam, BC, V3C 3H1, Thanks ro all who've sent in zines so far! Please keep fueling Staplegun Showdown wtth your projects! 920 P&* Street, Kamloops, BC, V2C3AZ REMEMBB?, V I DON'T GET ZWES, YOU DON'T GET REVIEWS, AND IF THERE ARE NO REVIEWS, NO ONE GETS suggsoJ What wouuj a _»* be wtihout lots or BAD REVIEWS BACKING IT UP? ^ Tm. next time, mock on. , Real Live Action BANG ON A CAN ALL- STARS Sunday, October 18 Arts Club Theatre Intended to be a one-time event, Bang On A Can was started in 1986 in New York by artistic directors/composers Julia Wolfe, David Lang and Michael Gordon. It originated to offer respite from what Wolfe calls a "polarized" and "not fun" climate for New Music in New York City at the time. According to Wolfe, the present line-up, which came together in 1992, are "the best players" since the festival started, thus the title Bang On A Can All- Stars. Although the All-Stars have several recordings, they have received the most recognition for their latest, a "live" version of Brian Eno's 1978 ambient classic Music For Airports. I'm a huge fan of Eno's original recording and I had heard and mostly enjoyed the All-Stars' version on CD, so I was looking forward to seeing them perform it live. Boy, did they let me down: I wanted less, they gave too much. I otherwise like "new music," but all I really wanted to hear was Eno's Music For Airports. In the end, the All- Stars performed only one part of four and it wasn't the one listed in the program. Instead of part 1/1 they played part 2/2. I'm fine with Eno's version, but 2/2 is my least favourite track on the All-Stars' CD. Recorded, and I discovered especially live, they add too much flourish and character, turning Eno's cool, programmatic mood music into cloying, vaguely world, music and new age softness. While I guess it is silly to have expected an entire evening of just Eno, I had other problems with the performance. The sound mainly troubled me, getting in the way of all the music performed. Maybe it was the room, but sound engineer Cotton seemed to have trouble getting the mix right. There was a harsh sharpness to everything, particularly the drums. They sounded flat, thin, and had some crappy reverb on The other compositions, by David Lang, Tan Dun, Evan Ziporyn, Julia Wolfe Michael Gordon and Hermento Pascoal, were clever and certainly expertly performed, but failed to transcend the bad sound, or my admittedly self-imposed disappointment. Sorry to give the All-Stars such short words here, but I'll stick to their CDs if I want to hear them again. Brady Cranfield HENRY ROLLINS Friday, October 19 Orpheum A stool and a spotlight. Black clothes and sweat. Screaming poetry. That's what I pictured when I thought of Henry Rollins and "spoken word." Instead, I got No-neck Hank walking on stage wearing pleated pants and "hard shoes." I saw a stand-up comedy show. So what the hell did he talk about for three hours? His acting career, his affinity for jerking off, his views on women, his adolescent memories with Ian MacKaye, his worldly travels - - you know, real, ordinary things. If the anecdote he was telling wasn't as funny as he'd like it to be, all he'd have to say was "dick" and the crowd would ejaculate with laughter. He seems like a pretty good guy. But somehow, I felt that he kept contradicting himself. He told us how great of a person Pamela Anderson is and how he shouldn't judge people by their appearances, and then he'd tell us how all the women in L.A. are stupid because they have breast implants. He mocked himself the whole time, seemingly a humble guy, but he was so damn confident in everything he said. In the few serious moments, he tried to get the inner beauty point across by using a gold buddha encased in plaster ogy. He told us not to be apathetic — to live, to move, to read. He asked us why we would to poison our bodies with drug: and drink. He never got all gelistic though. I guess I have to admire Henry Rollins. He talked for three hours straight without a lapse of memory, without any awkward moments, without even sitting down. I could've done without his African safari finale and I wish he didn't sound like he was trying to suck up to women so much — aw hell, I'm just trying to bring him down. Christa Min YOUNG AND RESTLESS READING Writers Festival Thursday, October 22 Arts Club Revue Touted as young, edgy Canadian voices, Andre Alexis, Lynn Coady, Miriam Toews, and Russell Smith claimed to be anything but representatives of the marquee which unified them at this year's Readers and Writers festival at Granville Island. The four novelists are Canada's newest generation of published writers. Young? Well, maybe in relation to the nation's graying literary establishment. Restless? Jaded, black-clad, perhaps, but not one of the four would take personal responsibility for the LIVE REVIEWS reading's veneer of youthful rebellion. Alexis read from Childhood, his most recent work, which was nominated for the 1998 Ciller Prize. Coady read from her novel Strange Heaven. Toews MC'ed the event and read a passage from Summer of my Amazing Luck, and Smith shared a passage from his new work, Noise. Smith affirmed that he does not deliberately cultivate an attitude in his writing. He blamed the "young and restless" label on pure hype. "The media is obsessed with this idea of edge," Smith said. He was emphatic that if edge is apparent in his latest novel, it is merely a reflection of how he sees and experiences things, rather than the result of a contrived plan to write a certain The other three authors agreed with Smith, questioning the youth label as much as the restless one. Nonetheless, the passages read by three of the authors revolved around the experiences of youth, and none presented young in Canada: there was no Hockey Sweater, nor waxing poetic about maple sugar. Whether it is Alexis describing a young boy meeting the man who may or may not be his father surrounded by women who may or may not actually be men dressed up as women; or whether we meet Coady's protagonist and her ironic take on Christmas in a children's psych ward, the reluctant young and restless are giving us the work of a new, suspicious generation. In an era when everything is labelled and categorized before it even knows itself, it is natural that these latest writers just want to be left alone to be novelists in their own right rather than some subcategory of pop culture. So how then did the four find themselves on the same stage if they renounce the title assigned to them at this year's Writers Festival? Despite being literary newcomers (again relatively speaking), all four novelists were able to use dark humour to illuminate normal events. Alexis, Coady, Toews and Smith presented characters who took a detached view of circumstances which, however huge or small, were beyond their control. Much like four writers on a literary circuit scorning the very tag intended to identify and sell Kirsten Weisenburger FIREWATER P.W. LONG Wednesday, November 4 Starfish Room P.W. Long, as far as I'm con cerned, is one of those guys who's obviously got talent and taste, but who'll never quite "get there." He's a proficient guitarist, but not a great one; he's an OK vocalist, but not an exceptional one; and he doesn't have the charisma to be the kind of performer that truly moves you. His set picked up a little steam when he brought out "the kid" to do some skin-pounding for him. "The kid" looked like he was about 14 and he was one of those deceiving types that doesn't really look like he's doing much of anything, but he certainly lent a little misty mountain hop to the proceedings. Firewater came out soon afterwards and rocked the house even harder and more convincingly than they had a few months ago when they opened for The Jesus Lizard, but unfortunately there were very few on-hand, and for some reason there were even fewer by the show's end. Fuck, seeing shows in Vancouver can be frustrating sometimes and this was definitely one of those shows. Firewater pulled out all the stops, throwing down that intoxicating blend of "Bucharest meets the Bowery" in the most seductive manner, urging, pleading with the audience to take up their promise, to join in the communion, to let go, if only for a moment ... but to no avail. Napoleon McKay DIAMANDA GALAS Saturday, November 7 Starfish Room The set was stark drama, like Miss Diamanda Galas herself. Simply a HUGE, glossy Steinway grand piano, occupying nearly the whole of the Starfish Room's tiny, battered stage, a mic, and the Lady herself, resplendent in black (naturally) and purple glamour. No band — nothing superfluous. This was the "Prayer and Malediction" tour, which, according to the live album of the me name, has been going on ice 1996. I don't really want say that the growing impor- lce of covers in Galas' reper- re indicates the dulling of her edge (though I wonder), espe cially since she executes such numbers as "I'm Gonna Live the Life I Sing About in My Songs" with such extraordinary passion and intensity. She performed a song in Italian ... beautiful, as was her rendition of "Gloomy Sunday." She seemed considerably more blues-inflected in style at this stage in her career, having moved a distance from the shrieking, funereal madwoman of "Plague Mass" and "Litanies of Satan," perhaps more of an accomplished musician, but still with the same burning core, still the same vocal range that reaches to Heaven while standing in Hell (indulge me). The audience was extraordinary. I've seen that venue as crowded before, but rarely filled with an air of such worshipful adulation. My prime source of discontent with the evening lay in the extreme brevity of the performance, starting at the crack of 8pm and clocking in at exactly 55 minutes. For her to make an appearance i city is I felt -a lehow cheated to ha\ had it so truncated. Kobalt THE SALTEENS SPEEDBUMP PEEPHOLE Friday, November 20 Vancouver Press Club Vancouver needs more venues like the Press Club. The intimacy of the club allows an unfamiliar band to quickly connect with and hold the attention of the audience. Peephole was impressively tight for their very first show. Sticking to what they know, the simplicity of the set matched that of the venue. A strong performance by Speedbump was unfortunately hidden behind a plethora of sound and equipment problems. In another venue, this might have been a disaster, but instead it turned into the interactive portion of the evening with the audience playing sound engineer. With the sound problems at bay, The Salteens bounced through a set of punk-tinged pop tunes. An impromptu encore/ singalong, including "Let It Be," with the band swapping instruments, was a fun way to end the evening. The whole night was an enjoyable opportunity to drink suds, hang with friends, and enjoy live music — something that is sadly rare in this Justin Callison ROCK AGAINST APEC II: FOLK THE POLICE Tuesday, November 24 Pit Pub, UBC Rock and activism united at the APEC legal defense fundraiser, "Rock Against APEC II: Folk the Police." A sizable audience turned out to hear a varied mix of musical acts that included The Raging Grannies, Full Sketch, Scum Element, Hog Tied, MOTORAMA, The Malchiks and The Flying Folk Army. Organized by Nathan Allen and Caleb Sigurgeirson, the event earned nearly 1,000 dollars for the independently-funded student activists embroiled in the RCMP's public complaints commission The Raging Grannies opened the show with their musical brand of political-satire. The costumed, singing group got right into the spirit of the event, taking musical shots at both the RCMP and CSIS and contributing 500 dollars to the defense fund. Full Sketch played a set of "postminimalist" instrumental numbers that blended kitsch and pop-culture elements into an understated rock and roll manifesto. This college-core band is getting some deserved attention on the local scene. Scum Element gave an intense performance of grunge-inflected tunes. PCC complainant Garth Mullins, fronting Hog Tied, yelled out punk anthems, including the autobiographical "Arrest Me I'm Guilty" and "Pepper-Spray Democracy." The Malchik's upbeat ska followed the mechanical rhythms of MOTORAMA. The Flying Folk Army, a seven-piece Celtic band, had the audience clapping along with the fiddles at the end of the night. D. Jago GET OUT OF YOUR SHELL. ^ANIGHT IN SEATTLE > DOESNT HAVE TO LEAVE YOU BROKE STAY AT THE GREEN DOWNTOWN SEATTLE HOSTEL YOUR FIRST NIGHT, IS ONLY • 24 HOUR DESK • SECURITY BUILDING • FREE BREAKFAST • FREE INTERNET • FREE BEER FRIDAYS • DORMITORY AND PRIVATE ROOMS AVAILABLE 1525 2nd Ave (btwn Pike & Pine) by Pike Place Market" CALL 1-888-424-6783 FOR RESERVATIONS „ i ^^^^^ I9 Under Review BAD ASS Word on the Streets (Priority) Coming straight from Long Beach, California is Bad Ass with his solo debut. Most West Coast hip hop fans have heard him before on his work with Snoop Dogg, Warren G., and Tupac. Most notably, he was a member of the LBC Crew, who had the song "Beware of my Crew" from the Thin Line soundtrack a couple of years back. With his solo debut he does OK, but doesn't really prove he can hold his own, as the best tracks on his album all feature other artists. The stand-out tracks are the ones with former Death Row inmates: The Lady of Rage on "A Hold on Hip-Hop" and Snoop Dogg on "We be Puffin' it Down." It seems like it was only a matter of time until someone from the West sampled the now famous BT Express loop, which has been used on everything from "Northern Touch" to "Get at me Dog." On his version, "This Life of Mine," Bad Ass does a decent interpretation, but again, it's his guests The Outlaws who shii Duld n mend Word on the Streets; it doesn't suck, but it's far from dope. If you're a hard-core Long Beach fan then you will probably want it. For everyone else, if you're thinking about getting it because of the guest appearances, it ain't worth it. Mike S. BUFFALO TOM (Beggars Banquet) Buffalo Tom just keep cranking out pretty much the same album over and over again. Sounds like their recording budget has expanded, though. They seem to be suffering from Goo Goo Dolls/ Soul Asylum syndrome; that is to say, they've inched away from bland indie rock and towards bland mainstream rock. You know you've made the leap when you've got that big rock song with the strings. Singer and guitarist Bill Janovitz did the country thing on his 1996 solo album Lonesome Billy, recorded in Arizona with the Giant Sand/Calexico guys and it was a really good album. Janovitz should ditch the other two Buffalo Tom chumps and do the solo thing instead. But hey, I guess rock 'n' roll's where the fame and fortune is. Fred derF CHOCOLATE GENIUS Black Music (V2) A wide range of moods and styles appear on this album. Songs like "Clinic" offer up me lodic, ambient pop while "Hangover Nine" makes its way through a raw, laid-back funk groove. Horns, guitar, and piano all get their turn to shine in this collection. Marc Anthony Thompson penned the majority of these songs himself with the help of some hired hands on tracks like "It's All Good" and "A Cheap Excuse." The album's production has intentionally been left to spare, allowing the lyrical themes of family, poverty, and lost loves to sound that much more sincere. Guest stars, including Chris Wood and John Medeski from Medeski, Martin & Wood, lend their talents all over this project. It's hard to categorize this album, but the variety of styles gives the listener lots to get into. Cody Beales CLUB 8 The Friend I Once Had (March) Indie cheeriness doesn't come more indily cheery than with the fresh-faced Swedish duo of Karolina Komstedt (vocals) and Johan Angergard (instruments) getting over-excited with cute chirpy vocals, harmonies, melodic guitars, tambourines, drum machines and more. If you have ever taken more than a passing interest in wonderfully poppy music, then toss out your Cardigans records and maybe one Saint Etienne record and listen to these jolly sometimes-verging- on-samba, sometimes-verging-on- Euro-disco collection of tunes where there's "Better Days" even though "Tomorrow Never Comes." Some ofthe songs have such a singalong sweetness to them that they get lodged in your memory, particularly tracks like "Everlasting Love" and "Someday." The mood changes occasionally to a more mellow and slightly sad theme, but the sun always comes out from behind the clouds on the next track and you know everything's going to be okay again. Club 8 has a special quality and sound that makes you think that if the indie UK label Sarah Records hadn't folded, they'd be at the front of queue to sign them — but, as it happens, Club 8 are on New York's March Records. This is a label whose catalogue is worth checking out, especially if everything sounds as delightful and tuneful as these Swedish CG N'DEA DAVENPORT N'Dea Davenport (V2) N'Dea Davenport sets out to distance herself from her former band, The Brand New Heavies, with this, her debut solo venture. However, she has far greater success when she sticks to the BNH's signature formula, namely the funk, soul, and R'n'B that made them so popular. When she dabbles in electronica and other musical styles, her incredible voice can't save her, and this leads to a lack of cohesion between songs and on the album as a whole. And what possessed her to cover Neil Young's "Old Man"? Steve Guimond EC80R World Beaters (Digital Hardcore Recordings) It's been a long time since the last Ec8or album (not including the Grand Royal North American compilation) and was it worth the wait? No. Whereas Ec8or used to deliver some great snot-nosed tunes with a slightly darker and more industrial edge than their labelmates, Atari Teenage Riot, World Beaters does not have the same charming ambience as the self-titled Ec8or album or the Spex is a Fat Bitch EP. Compare, for example, "We are Pissed" with the new track "Our Present is Our Piss." Gina sounds like she's been sucking helium on a daily basis, thus her vocals border on unlistenable on some of the tracks. What happened to the voice that screamed, "Discriminate the Next Fashion Sucker You Meet — It's a Raver!"? Why the hell did DHR put that ridiculous picture of Gina (sans shirt, with stickers) on the inside sleeve? Is this for real? Likewise, Patric's instrumental tracks, usually slamming, are lost in a wall of noise. Gone is the edge and the kick — perhaps we're starting to get old, but World Beaters needs to be "Better Better Better." T.Star FUNERAL ORATION Survival (Hopeless) Tired of pop-punk monotony? Sick of Fat Mike rip-offs? Looking for something a little different? This Amsterdam quartet has one of the most original sounds going. Peter Zirschky's distinguishing vocals backed by raw but tight musicianship have set Funeral Oration apart from the punk menagerie since '83. Their third North American full- length is a little poppier than previous albums, but no less infectious; "You Will" and "Upstream, Downstream" will have you singing along in no time flat. Survival is 15 short, catchy melodies guaranteed to brighten your day. David Evans GEARWHORE Drive (Astralwerks) This is a decently put together package, assembled in the bedroom of Brian Natonski (the Gearwhore himself, presumably). This is hard and fast— but not blurringly so — with something of a harsh edge, although that sorta varies from track to track. Seems like the 'Whore tries to capture a distinct sound on each track: "Vector Tribe" has ethnic-type drums and electric squawks that sound like jungle animals, "Love" is kinda slinky and groovy, and so on. Slick artwork, too. I find the tracks somewhat monotonous at times, but this kind of music was meant to be a party soundtrack to dance to, not to sit down and analyze like I'm doing. Not bad, but nothing that hasn't already been done earlier and better. Cobalt GOLDEN SMOG Weird Tales (Rykodisc) Golden Smog's third release is not as great an album as you'd think it would be. I mean, listen to the talent you've got in the same room: Gary Louris and Marc Perlman (The Jayhawks), Jeff Tweedy (Wilco), Kraig Johnson (Run Westy Run), Dan Murphy (Soul Asylum), and Jody Stephens (Big Star). But think about it; why would they use their best songs for some side project? Wouldn't they save them for their Overall, the album has a kind of '70s Rod Stewart sound and feel to it (think a less exciting "Maggie May") — kinda kitschy, retro, and rootsy, with the best stuff on Weird Tales consistently coming courtesy of Gary Louris and Kraig Johnson. But Weird Tales is nothing to wet your pants over. Save your money and buy a Jayhawks or Wilco album Fred derF DAVID GRUBBS The Thicket (Drag City) To my ears, David Grubbs has moved on. His headier days seem neatly packed up — still accessible, if now less frequented. All this comes across on The Thicket, Grubbs' first post-Gastr Del Sol album. There is a confident self-justification and purpose here. His songs seem more contained now, more finalized. This direction is well rooted: Grubbs has always been an extremely careful and controlled songwriter, clearly evident in his earlier Bastro days. However, on first listen The Thicket comes across as just so even-keeled and overt that it is almost dry. There are some very nice songs, good instrumentation and smart lyrics, but few real surprises. Perhaps my expectations were too high, but with good reason. The brilliant Camofleur neatly finalized Gastr Del Sol and had ideas to spare. Jim O'Rourke's Bad Timing, a virtual homage to John Fahey and also his first postGastr Del Sol album, was equally accomplished. But I can appreciate Grubbs' decision to pare down his efforts. After the post-production heavy Gastr Del Sol, it must be a relief to simply perform these barely electrified songs more in real time (and space). The jaunty "Fool Summons Train" and "Orange Disaster" are pleasant and catchy and the horns and snappy ending on "Two Shades of Blue" more than make up for Grubbs' usually weak voice, while the brooding then frenetic "Buried In The Wall" greatly benefits from guest vocalist Mary Lass Stewart (my favorite track). The spare and simple quality of these recordings is enduring (or endearing??) and time spent in the latest version of Mayo Thompson's The Red Krayola also seems to be an influence (with fine result). To be fair, The Thicket is slowly growing on me, but it would take an active effort or a committed fan-ish attitude to become lost within it. Brady Cranfield MICKEY HART Planet Drum Supralingua (Rykodisc) Back in 1991, Mickey Hart of the Grateful Dead gathered together a number of renowned drummers and produced an album called Planet Drum. It went on, deservingly, to win a Grammy. This album is an attempt to follow up on that success. It again gathers together well-respected drummers and, as a drum album it succeeds, but it could have been more. The album actually comes with an additional EP that features remixes of four songs off the first album by such people as Loop Guru, Jack Dangers of Meat Beat Manifesto, and Richie Hawtin Too often, though, the technology added does not improve the drumming to any great degree. Why couldn't the digital drummers (remix artists) partake in the recording with the analog drummers? Now that would be really neat. Paul Kundarewich PJ HARVEY Is This Desire? (Island) PJ Harvey's minimal, raw sound makes a sharp contrast with one smooth production. The style is still in keeping with her usual, though, so if you like Polly Jean, then you'll like Is This Desire? JBS JULIANA HATFIELD Bed (Zoo) Welcome back to the world of bubble-gum/candy-Hard-babe- Rock and complacently critical lyrics. Juliana Hatfield, one of the influences in today's solo- Womyn-Rock boom, is staying true to her simple style of rock- band trio of clear-cut drums, one guitar and a bass. And when it comes to lyrics, you can expect the same consistent combination of every-day realism ("clean up my mess" — everyone's got a dirty room, right?), personal re- assertion in just-as-personal problems, and mild philosophy of the world. This album also doesn't disappoint the masochist in all of us by exploring, at a cosmic level, the enjoyment of "going down" (generally speaking) and the other's demise ("Live it up"). Bed is a more personal album, filled wifh rhetorical dialogues, monologues of self-determination, and the classic Juliana Hatfield "doo-dee-doo-dee" or "la-la-la-la-la" (pay attention to "Bad Day"). Altogether, J.H. made Bed a good album, style- consistent in every way, but it leaves me confused as to what albur n lis) strange, flashing memories of high school melodrama and Reality Bites pizza nights (which I supposedly attended). Ciprian Gligor JONNY L Magnetic (XL) Jonny L's new album is tech-step for those of us who want something more rich and deep than Photek s carefully-controlled surgical drum V bass cuts. This is d 'n' b with soul. Passion is evident throughout the album, even with the futurist organ stabs and floating synth lines. Among the stylings of skyscrapers there exists a hypersense of further emotive properties beyond Photek's minimal psychosis. "Accelerate" features Lady Miss Keir of Dee- lite fame. Although I can testify that the nice Lady can't spin worth a moose trying to produce the four horsemen of the Apocalypse through intravenous copulation with a squirrel, she still has a mystical vocal quality that works well with the calculated "break/stop" rhythms and industrial clankings and honkings of the traffic light bassline Jonny L works into the track. More dabbles into sonic experimentation are heard on such tracks as "PBX" and "See Red," which reminds me of 12" projects by Seba & Lotek. Jump-up also gets a shout on this album in a collaboration with Silvah Bullet on "20 Degrees," which, although proficient, is nothing special. This could be seen as a more original adaptation of a style or a track which doesn't necessarily work. When all is said and done and the speakers are on, turntable platter spinning, and the dj max'n the wax, I think the feeling of the album is most easily captured in the last track, "Vain," with its female wafting vocals soothing the soul and Jonny L's programming hurting the feet. MAD CADDIES Duck and Cover (Fat) Hmm. Maybe there really is something to this ongoing revival of horn-based music. The Mad Caddies were even upgraded from 2nd string Honest Don's to full-on Fat status. And they deserve it. This is a really good album. At times I was blown away. Super high energy. Super cool horn riffs. Mostly. This sort of thing is kind of getting repetitive. Think of it as something in between the Voodoo Glow Skulls and your typical Hellcat Records release. I've now stopped listening to it, but there's still some really cool stuff on this. Dave Tolnai RUSSELL MALONE Sweef Georgia Peach (Impulse) I have not disliked a single album from Impulse. And the music from Russell Malone makes me happy. You may have heard his music before if you listen to the Diana Krall Trio His guitar is sophisticated and fun and adventuresome in a mature way. His recording mates, Ron Carter on bass, Kenny Barron on piano, Lewis Nash on drums, and Steven Koon, are impeccable. The whole recording has such a positive vibe. It's a perfect late night record. Paul Kundarewich ASHOK MATHUR Once Upon an Elephant (Arsenal Pulp) Although the exact chronology of events is somewhat unclear, the basic plot of this new book seems to present itself through the discovery near a river somewhere in present-day Canada of a disembodied human head and the headless body of a small elephant. As the story unfolds, the question of "whodunnit?" gives way to other questions such as "what was actually done?" The police seem to be missing an elephant head and a human body, but because neither the elephant nor the previous human head owner seems to have disappeared from anywhere, the absence of the two complimentary items is comparatively unremarkable. Less remarkable, certainly, than the defense argument later used which depends in part upon the defendant being able to catch from the witness stand one juggling ball in each hand; a feat itself remarkable only in that it involves eight balls. Clearly rooted in Hindu tradition, Once Upon an Elephant lacks some of the tension of more typical crime and courtroom dramatic novels, in that it is a bit of a non-murder non-mystery. But, upon abandoning such obvious criteria, it is not difficult to find a good deal of value in the humour of this book. Most of the story is presented through brief, personal accounts of the various events provided by the judge, the police officers, the lawyers, members of the media, and the "victim" himself, very much after the fact. This book is very light reading and I can recommend it to anyone who can accept the notion that, whatever else religion is, it is, at times, funny. Joshua C. Broyles JANA McCALL Jana McCall (Up) An impressive debut from an artist from the Pacific Northwest, who finds herself among a stable of impressive artists on the Up Records roster. There is a dark, sombre and sad feel to this album that lends well to the dreamy and ethereal music, which itself immediately draws comparisons to such bands as Lush, My Bloody Valentine and other, for lack of a better description, "shoegazers." Jana McCall s haunting voice and pain will reside in your mind for a while after listening to this record. Steve Guimond MK NAOMI Archives Don't go looking for this one in stores, for as far as I know this is only a promo of some of MK Naomi's older, less trance-orientated projects. However, along with other MK Naomi material, it will soon be available by mail-order at http:// www.mknaomi.com. The CD itself is drippingly fantastic, with well-worked Orb-ish ambient dub pieces remnant of Orbvs Terrervm. Those familiar with the ambient dub sound may question this similarity. Remember, though, that these tracks were produced from 1 995-1997, the same time period as Orbvs Terrervm. Floating through my mind are the drums of the first track, "Extropia I," which showcases Naomi's harder, more tribal roots, and the slow subtle beginning harmonics of Mancini. Cascading sound that pierces through definition as the rain falls down, down here in Vancouver ... and probably also in Toronto, where ex-Vancouverite MK Naomi now resides. Check out http:// www.interlog.com/~mknaomi/ the_story.html for more information. NINETY NINE 767 (Endearing) Summary: Suzanne Vega sound-alike tried to be Bjork sound-alike, while alternately playing vibraphone against generic fuzz-guitar; though not necessarily desirable, an interesting effect. At the risk of coming off as a forensic, perhaps if we examine some songs, we might hypothesize some recurrent mechanism whereby Lora Macfarlane creates this overall impression: "Car Song" is short and sweet, an ad-jingle for self-reliance, apparently. The words are interesting, but difficult to follow. "Vox" is one of those slow, self- indulgent, slowly pumping, strum- forever on-a-major-seventh-chord songs. "Manga Girl Cut" sounds like Tom Waits, but really short and simple. "Dorsal" is a hit single for commercial airplay. No joke. "Pavlov's Dog" is straight- ahead indie rock. Why is it seemingly the only track that doesn't use some kind of a bell? "Population 100 000" is another hit single. No Joke. Lyrically self-destructive. The line about her doing a Ph.D. on Sonic Youth is particularly telling. My hypothesis: the project is either over-introspective or under-produced, depending on how you look at it. The lyrics are too deep to maintain appropriate listener attention when sung with a uniform lack of inflection, and recorded with all the perspicuity of wallpaper. The artist shows a great deal of promise and if she chooses to develop her range of expression before making another recording, we might all wind up kicking ourselves for not having snatched up this collector's item. Joshua C. Broyles ORGY Candyass (Elementary) Candyass is the latest attempt to merge electronic music and hard rock. While this has been done before, Orgy's version is a bit different. Whereas Trent Reznor's NIN takes recordings of the live band, chops it up on a computer and then completely reconstructs it into the final arrangement, Orgy has taken the live band and only modified the sound of some instruments, mainly the guitars and keyboards. The result is that it sounds fairly conventional. While the songwriting is good, the fact that it is not totally original and that the singer reminds me too much of Marilyn Manson, doesn't make me jump and shout about this new band. Don Bourassa PUNCHBUGGY My Norwegian Cousin (Sour) If you can get past the blatantly sexist cover photo (scantily-clad "Norwegian Cousin" doing the laundry in a laundromat as the band looks on), the music contained on this CD is Punchbuggy's yummiest to date. Like fine wine, this band gets better with age. The band has been well-seasoned by extensive North American touring between albums; as a result, the musicianship (which now includes a full horn section on a couple of tracks), songwriting, and singing is tenfold better than on their last release, 1996's Grand Opening Going Out of Business Sale. But be prepared, Punchbuggy has ditching its previous punk-pop leanings in favour of a more '70s/ '80s-influenced rock-pop/new wave flavour. This four-piece is finally beginning to hit its stride. This is best displayed in the mixed salad of tunes such as the horn-garnished "Smash It Up," the crunchy, driving "Around the Clock," and the sizzling Trooper-esque lead-off track, "Make It Up to You." Full of chewy hooks and riffs and hearty drum beats, My Norwegian Cousin will keep you coming back for seconds and thirds. Mike Chilton REEL BIG FISH Why Do They Rock So Hard? (Mojo) It's about time. After a two year period, Reel Big Fish has finally released a full-length follow-up to 1996's Turn the Radio Off, and it's just as hyper, if not more. Most of the songs on this CD are brand new, with the exception of "I'm Cool," originally on the 1997 EP, Keep Your Receipt, but now done reggae-style rather than its original speedy, brassy style. Reel Big Fish has attitude, that's for sure. Or perhaps they humor. But for some reason, there are just so many lyrics expressing thoughts along the lines of: "I'm a loser/ Nobody cares for me..../You don't like me ... you suck ... I suck .../1 don't care .../I'm really cool.... Somehow, they still manage to win me over with their superficially happy sounding, pumped-up ska with a punk rock twist, despite their lame lyrics. Maybe that's part of the attraction — fans get a good kick out of the words. Some of my favorite tracks are "Scott's a Dork," "I Want Your Girlfriend To Be My Girlfriend," and "Thank You For Not Moshing" — finally, someone has written a song from the point of view of a fan in the pit. Go out and get yourself a copy of Why Do They Rock So Hard and if you've got real guts, check these guys out live. Jerome Yang THE RHEOSTATICS The Nightlines Sessions (DROG) This is recorded proof that David Wisdom is indeed a dj/pro- grammer/genius par excellence*. The original broadcast of The Rheostatics' Nightlines Sessions proved to be the last hurrah for its namesake show, but, man, whatta way to go. Listening to this scant 36- minute-short session not only makes me pine for the return of Nightlines to the airwaves (RadioSonic is a lacklustre alternative, unfortunately), but it also makes one see what Mr. Wisdom sees in the band. Quirky odes to particular listeners of Nightlines ("The Pooby Song"), touching yet still tongue-in-cheek love songs ("Baby, I Love You"), songs which relay the stark realism of life ("Frank") and others that are all- out flights of whimsy ("Henry's Music Beard" and "Ugly Manhattan") reign supreme on The Nightlines Sessions, much like these qualities do on all of the 'Statics studio albums. If you have never heard The Rheostatics before, this is a good primer. If you pine for those old Nightlines weekends or simply missed the last installment be- ;r the death of Di and Dodi (which weirdly coincided with the airing of the final show), this is must have souvenir. Nightlines, RIP! Mike "Spike" Chilton DUKE ROBILLARD Stretchin' Out Live (Stony Plain) Stretchin' Out Live is the response to the requests Duke Robillard has received for a live album. For years, his live audiences have been treated to inspired jump-blues playing that has not been present on his studio records. Recorded at Richard's on Richard's in 1995, this release has Robillard and his band in fine form. The interplay between Robillard's electric guitar and Gordon Beadle's tenor and baritone sax is amazing, especially on the longer tracks. There are two tracks approaching ten minutes in length and normally this can lead to self-indulgent improvisation — not so with this band. Unlike the live version of "Freebird," the Duke Robillard band keeps things interesting by really listening to what the other bandmates are doing and playing off of that. This is how live blues is supposed to sound. Don Bourassa JULIE RUIN Julie Ruin (Kill Rock Stars) Why not just a 7" record? It would've made a good-7". The '80s glam organ and adolescent vocals don't hold enough appeal for an entire album. Some of the songs are bad, some are all right, but most are pretty boring. Sometimes good things can be done with a drum machine and sometimes it just makes it too easy for people to JBS SKINNY PUPPY Remix DysTemper (Nettwerk) I must confess that I've heard Skinny Puppy before and might be likely to recognize SP when I hear it, but this is the first SP CD I've actually sat down and listened to. What I've noticed in general: I don't normally turn my home stereo up more than halfway, but this CD sounds better the louder I play it. Each of the tracks is remixed by some particular music-world personality, some of whom I suspect may not be lifelong SP fans. The results are variable in extremity. "Killing Game" (the Autechre "Bent" remix) has no tempo or "beat" to speak of, no evident pitch structure, or other musically normative referents other than something akin to an arbitrarily articulated "phrase." It is also refreshingly ungroovy; the only track here immune to dance interpretation. "Love in Vein" (the Neotropic "Go Girl Trio" mix) features all the subtle-yet-juicy harmonic enhancements my fellow Neotropic fans will recognize, making this track ironically sweet and festive, at least in comparison to pure SP. Let this review serve to document that I promise to buy more Skinny Puppy CDs if they let Neotropic do more of their mixing. Other tracks are remixed by Adrian Sherwood, Ken "hiwatt" Marshall, Gunter Schultz of KMFDM, Ogre and Mark Walk, Rhys Fulber, Chino, God Lives Underwater, Chris Vrenna, Guru, and Josh Wink. Understandably, some are skinnier than others, but all are puppy-flavoured. Joshua C. Broyles THE SLACKERS The Question (Hellcat) The real question on my mind was: will The Slackers' latest release live up to the previous two? After a long day of lectures, the time finally came to answer the question. With my greasy paws, I put the disc in my stereo and prepared to pass my judgment. It was not looking good; the first track, "Manuel," just didn't cut it. With the second track, things started to look up: I'm a sucker for the "Shuna-a-nuh." The rest of the disc went the same way, to my glee. This album has a Motown vocal feel to it, and I like it. There is the odd track that lost it a bit; but that's OK, you can't win them all. For the yet uninitiated, The Slackers produce some of the best new ska/rocksteady, with a real traditional feel. So the question has been answered: The Slackers are still slacken'. jayd ELLIOTT SMITH XO (Dreamworks) Good ol' Elliott Smith. He's a good guy. If you've never heard of him, he's the guy who played at the Oscars for his work on the Good Will Hunting soundtrack. XO brings us his usual "urban folk," as I once heard it described. This album boasts more hi tech. production than his previous one. It isn't just Elliott singing and playing his guitar any more, either. Now he has more back-up musicians assisting him in his melodies. All things considered, this is a good, consistent piece of work, still along the same lines we expect from the old Elliott Smith. Katrina SQUIRREL NUT ZIPPERS Perennial Favorites (Mammoth) It's that swing thing that all the hip kids have been listening to. Plinky plonky banjo and bap bap de bop horn sections. Passable Billie Holiday influence, slow numbers (although I find myself singing along meow meow meow), frantic upbeat group efforts like "The Ghost of Stephen Foster," and even a weirdo extended "art" number about that favourite mythical deep sea beast, the Kraken. I was disappointed by the non- sequitor-ical lyrics; better a "Hidey Hidey Hidey Ho" than "if ships were made of cellophane we'd all get stinking drunk much faster," in my opinion. The packaging is nifty, though, and if you buy it in the stores, you get some CD-ROM stuff which my promo copy lacked. This album is listenable, but not outstanding. fiende CiTR dis' pix for the best of 1998 One Love Fridays 8:3<M0am 1. Richard Buckner Since 2. Whiskeytown Stranger's Almanac 3. Superchunk Indoor Living 4. Versus Two cents Plus Tax 5. Son Volt Wide Swing Tremolo Tragic Animal Stories Tuesdays 11:30am-_pm top 5 albums by bands that broke up in '98 1. Bedhead Transaction de Novo 2. Polvo Shapes 3. A Minor Forest Inindependence 4. Ativin German Water 5. Roadside Monument / am the day of current TASTE Dead Air Alt. Fridays 12.-00-3am 1. USA for Africa "We are the World" 2. Queen "We are the Champions" 3. Vangeus "Chariots of Fire" 4. Helix "R-O-C-K You" 5. David Foster "Man in Motion" [St. Elmo's theme) LlPGLOSS & Cigarettes Sundays 5:00-6pm 1. Rialto Rialto 2. St. Etienne Good Humor 3. Manic St. Preachers This is my Truth Tell me Yours 4. Pulp This is Hardcore 5. Massive Attack Mezzanine Caught in the Red Fridays 6:30-8:30am 1. Andre Williams Silky 2. Murder City Devils Empty Bottles, Broken Hearts 3. Zeke Kicked in the Teeth 4. ? & the Mysterians Do you feel it Baby? (Live) 5. The Makers Psychopathia Sexualis Vengeance is Mine Mondays 12:00-4am 1. 88 Fingers Louie Back on the Streets 2. Frenzal Rhomb Meet the Family 3. Strung Out Twisted by Design 4. Less than Jake Hello Rockview 5. Disgusteens Nothing Personal 7" The Chill-Out Room Sundays 12:00-? top 5 songs 1. Faithless "Insomnia" 2. outkast "atliens" 3. Daft Punk "Revolution 909" 4. T.Q. "Westside" 5. Union State "The One" Breakfast with the Browns Mondays 8:00-11am ... 10 YEARS AND STILL HOT DEAD ... 1. Francoize Breut Francoize Breut 2. Perfume Tree Feeler 3. Adjusters Before the Revolution 4. Various Orchestral Party Act 2 5. Nils Petter Molvaer Khmer Live! At the Hi-Hat! Alt. Saturdays 10:00pm-1am 1. Godspeed you Black Emperor F#A#°° 2. Glyn Styler Live at the Mermaid Lounge 3. Arab Strap Philophobia 4. The Make-Up In Mass Mind 5. Doc Boggs Country Blues & His Folkways Years The Ether Table Tuesdays 2:30-3:30pm 1. The Body Lovers Part One of Three 2. MJ Harris & Martyn Bates Murder Ballads: Incest Songs 3. Various Theme: Desire 4. Fetisch Park Alluvial 5. Various Interiors: A Sentrax Corporation Compilation The Nooze Fridays 5:00-5:30pm 1. Liz Phair Whitechocolatespacegg 2. The Make-Up In AAass Mind 3. Atom and his Package 4. Miles Davis Sketches of Spain 5. Destroyer City of Daughters The Onomatopoeia Show Thursdays 2:00-3pm top 5 comics 1. Optic Nerve 2. Caffeine 3. Non 4. Action Girl 5. Oni Double Feature Ska-T's Scenic Drive Fridays 10:00am-12pm 1. The Adjusters Before the Revolution 2. The Slackers The Question 3. Dr. RingDing Ram Di Dance 4. Gangster Politics Gangster Politics 5. Various Ska United Spike's Musical Pins and Needles Show Wednesdays 9:00-10am 1. Len "Get Your Legs Broke" 2. Jungle "Gunshy" 3. Cub "Oh Canaduh" 4. Grimskunk "La Pistolera" 5. Tricky Woo "Teach us American" Love Sucks Wednesdays 12:00-2pm 5 much admired recordINGS: Plastikman Consumed Noto Endless Loop Edition muslimgauze syringia Gas Zaubergerg Downpour Windstorms, Broken Microphones Stand and Be Cunted Tuesdays 3:30-5pm DJ Hancunt's top 5 coolest feminists 1. Bell Hooks 2. Angela Davis 3. Michelle Clinton 4. Pat Califia 5. Annie Sprinkle Filibuster Thursdays 10:00-11:30am top 5 oppressed instruments (featured in Filibuster) 1. Accordian 2. Banjo 3. Kazoo 4. One-string guitar 5. Your face v_ Mary Tyler Moore Alt.Wednesdays 7:30-9pm 1. bis, live in New Jersey 2. Bikini Kill The Singles 3. discovering The Go Gos 4. Ida Husik covering The Jam's "Monday" on Faith in Space 5. Little Red Car Wreck Motor like a Mother 22 Dec 9S/9m 99 CiTR charts WHAT'S BEING PLAYED ON dec 98/jan 99 long vinyl dec 98/jan 99 short vinyl 1 murder city devils empty bottles broken hearts sub pop 1 disgusteens nothing personal longshot 2 spitfires spitfires sonic swirl 2 longstocking will you stay? k 3 icu chotto matte a moment! k 3 various record number 2 magic teeth 4 mark mark independent 4 forbidden dimension i kiss yer shadow ship rec'd 5 various artists cd sampler thingy damaged goods 5 make-up/lung leg split southern 6 various artists in their eyes rhino 6 rondelles revenge k 7 euphone breaking parole hefty 7 ladies who lunch everybody's happy ... grand royal 8 mk naomi tonkababy ep independent 8 franklin major taylor tree 9 blonde redhead in an expression of ... touch & go 9 eric the red life after tuesday caulfield 10 jim carroll pools of mercury mercury 10 juliedoiron/snailhouse do you remember ... stereo-type 11 johnny favourite .. holiday romance universal 11 tren brothers gone away sec etly Canadian 12 pj harvey is this desire? island 12 curse of horseflesh the fuck you say! ship rec'd 13 various artists flaming cow disease spawner 13 bangs maggie the cat ten-in-one 14 rondelles fiction romance ... smells Hike records 14 rizzo shymaster cher doll 15 front line assembly monument roadrunner 15 capt. qitn i do turducken 16 talvin singh ok island 16 the unameds them and we independent 17 slackers the question hellcat 17 kiss offs bottle blonde peek-a-boo 18 belle & Sebastian boy with the arab strap matador 18 burning airlines carnival/scissoring de soto 19 julie ruin julie ruin kill rock stars 19 small stars moths up 20 electric frankenstein spare parts get hip 20 tight bros take you higher ten-in-one 21 satan's pilgrims 22 mcface not the green torn show ceiling fan 23 exhaust exhaust constellation 24 silver jews american water drag city favourite holiday tunes 25 beekeeper beekeeper southern discorder took an informal, random poll ... 26 cadallaca introducing cadallaca k the spinanes (den trawler) • elvis presley (i'll be home for christmas) 27 jad fair & yo la tengo strange but true matador • dr. seuss (you'r e a mean one 28 jon spencer bx acme matador mr. grinch) • david bowie & bing 29 beck mutations geffen crosby (little ^.<vT^^ drummer boy) »nina 30 various artists sampler southern/tree/polyvinyl simone (little boy P__||!r b'Ue) » brave combo 31 dillinger four midwestern songs ... hopeless Irhestnutsl • **.I tamm^B^B\ vinrp guaraldi (a 32 mojave 3 out of tune 4ad rhniTif*. hrnwn 1^T___B____) rhrktmn-*) 'porky 33 fireballs of freedom the new professionals empty pia (blue rYWT -TfflB* christmas) • jose 34 stereolab aluminum tunes drag city feliciano (feliz ^^_H navidad) • 35 refused the shape of punk to come epitaph HOW THE CHARTS WORK . The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by our djs during the previous month (ie, "Dec/Jan" charts reflect airplay in November). Weekly charts can be received via e-mail. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"-» dec 98/jan 99 indie home jobs 1 full sketch sketchersize 2 tampax twin swamp foam 3 bishop of battle coldward & stormward 4 clover honey three four 5 team strike force lager + lime 6 sophistos military surf magic 7 dreamy angel laundromatte queen 8 fridge art tiara untitled(?) 9 lamps freedom drunk 10 leeches donkey kong 11 capt. cook i'm glad for you 12 the drove he stinks 13 chick magnets make-up girl 14 retreads everybody wants something 15 destroyer karen is in rome 16 mr ultra cool mr ultra cool 17 kirby grips mod boy 18 transvestimentals incidental transvestimental song 19 touch & gos campus radio boy 20 dixie's death pool she rides a bike with an engine what we listened to ... 1 the aislers set terrible things happen 2 pedro the lion it's hard to find a friend 3 seaweed actions and indications 4 the weakerthans fallow 5 the butchies are we not femme? 6 the halo benders the rebels not in 7 rainer maria past worn searching 8 julie ruin s/t 9 helium magic city 10 nick cave the boatman's call irtfrrnwj umt b\j Jason txz SiIvcl 23 E^g£[I@Iffi On The Dial SUNDAYS ARE YOU SERIOUS? MUSIC 8:30AM- 12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:0O-3KX)PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE alt. 3:00- 5:00PM Real-cowshit-caught-in-yer- boots country. WIRELESS alt. 3*00-5KX)PM QUEER FM 6.-00-8.O0PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of human interest features, background on current issues and great music from musicians of all sexual preferences and gender identities. HELLO INDIA 8:00-9*O0PM GEETANJAU 9:00-10:00PM Geetanjali features a wide range ol music from India, including classical music, both Hindustani and Carnatic, popular music from Indian movies from the 1930's to the 1990's, semi- classical music such as Ghazals and Bhajans, and 'also Quawwalis, folk songs, etc. THE SHOW lO*00PM-l:O0AM Strictly Hip Hop — Strictly Underground — Strictly Vinyl With your hosts Checkmate, Flip Out & J Swing on the 1 & 2's. THE CHILL-OUT ROOM 01:00- 4:00AM DJ Clutch spins hip-hop. ..DJ Decter spins techno. So chill out with us. Have a nice day. MONDAYS BLUEGRASS FOR BREAKFAST 6:00- 8:00AM BREAKFAST WITH THE BROWNS 8:15-11:00AM Your favourite brown- sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! Tune in and enjoy each weekly brown plate special. Instrumental, trance, lounge and ambience. BLUE MONDAY alt. 11:00AM- 1:00PM ECHOES FROM THE SUGAR CUBE FACTORY alt. 11:00AM- 1:00PM SOUPE DU JOUR 1:00-3:00PM Feeling a little french impaired? Francophone music from around the globe, sans Celine Dion. THE MEAT-EATING VEGAN 3:00- 4:00PM I endeavour to feature dead air, verbal flatulence (only when I speak), a work of music by a twentieth- century composer — can you say minimalist? — ond whatever else appeals to me. Fag and dyke positive. EVIL VS. GOOD 4*00-5:00PM Who will triumph? Hardcore/punk from beyond the grave. BBC WORLDNEWS SERVICE 5*00- 5:30PM BIRDWATCHERS 5:30**O0PM Join the Sports department for their eye on the T-birds. POLYFILLER alt. 6:00-7:00PM MUSIC FOR ROBOTS alt 6:00- 7:00pm Viva la Robotica Revolution. Estrogen-charged robots on Planet Noiz. HIP HOP HAVOC 7:00-9HX)PM THE JAZZ SHOW 940PM-11O0AM Vancouver's longest running prime time jazz program. Hosted by the ever- suave Gavin Walker. Features at 11. Dec 14: Pianist/composer Herbie Hancock from his early Blue Note period. Hancock's second is called "My Point of View" with guitaris t Grant Green and tenor saxophone heavy Hank Mobley. Dec 21: Hancock's beautiful creation Speak Like A Child. Dec 28: Hancock with Inventions and Dimensions. Jan 4: The great soprano saxophonist Sidney Bechet with boss trumpeteer "Wild Bill" Davison. Jan 11: Big band jazz with Stan Kenton: Standards in Silhouette. Jan 18: Piano giant Tommy Flanagan Sunset ond the Mockingbird. Jan 25: One of the most popular groups in jazz in the 1950's led by baritone saxophonist/composer Gerry Mulligan with Chet Baker. VENGEANCE IS MINE 12:00- 4:00AM Hosted by Trevor. It's punk rock, baby! Gone from the charts but not from our hearts — thank fucking Christ. TtJBSDAYS THE MORNING AFTER SHOW 6:00- 8:00AM THE CLASSICAL SHOW 8:00- 9:30AM Listen carefully as Johnny B. brings you the classical music show featuring Canadian composers, amateur hour and more. Radio con fuoco for the masses. THIRD TIME'S THE CHARM 9:30- 11:30AM Torrid trashfock, sleazy surf and pulsatin' punk provide the perfect scissor kick to your head every Tuesday morn. There's no second chance when Kung-Fu is used for evil with drunken fist Bryce. Klyaalll! TRAGIC ANIMAL STORIES alt. 11:30AM-1:00PM Tales of puppy love gone awry, and of baby ducks crossing the street, all backed up by a sad soundtrack of various inditnock bands for your own enjoyment and education. Cry in your beer, please. COLONEL SANDER'S HIDEOUT 1:0O-2:30PM Canadiana trash rock that you can pilot your Camaro to. Chris and Jeff supply the rock, you bring the Camaro. ETHER TABLE 2:30-3:30PM STAND AND BE CUNTED 3:30- 5:00PM DJ Hancunt urges women to get down with their cunts while listening to women in jazz, funk, rap, soul, worldbeat, disco and beyond. BBC WORLDNEWS SERVICE 5:00- 6:00PM RADIO ACTIVE 5:30-6:00PM Activism, issues and fucking up the corporate powers that be. FLEX YOUR HEAD 6:00-8:00PM Hardcore and punk rock since 1989. http://flexyourhead. vancouverhardcore.com/ SAREGAMA 8:00-9:00PM Featuring traditional (classical, light and folk) and contemporary South- Indian music. LA BOMBA 9:00-10:00PM La Bomba (the bomb) explodes with the best salsa and merengue, with your papi DJ Papilicious. WITCHDOCTOR HIGHBALL alt. 10:00PM-12:00AM Noise, ambient, electronic, hip hop, free jazz, Christian better living LP's, the occasional amateur radio play, whatever. VENUS FLYTRAP'S LOVE DEN alt. 10:00PM-12:00AM Join Greg in the love den for a cocktail. We'll hear retro stuff, groovy jazz, and thicker stuff too. See you here... and bring some ice. AURAL TENTACLES 12:00AM-VERY LATE Warning: This show is moody and unpredictable. It encourages insomnia and may prove to be hazardous to your health. Listener discretion is advised. Ambient, ethnic, funk, pop, dance, punk, electronic, synth, blues, and unusual rock. WEDNESDAYS SUBURBAN JUNGLE 7:00-9:O0AM A perfect blend of the sublime and absurd, with your refined and exotic hosts Jack Velvet and Carmen Ghia. SPIKE'S MUSICAL PINS AND NEEDLES 9:00AM-10:00AM Spike spins Canadian tunes accompanied by spotlights on local artists. Weekly "Vintage Vancouver" segment takes a look back at this city's musical past. BOTH SIDES 10:00AM- 12:00PM Jose Luis discusses free trade and other issues in the Americas. LOVE SUCKS 12:00-2:00PM Music at work. (Cut up mixed genres — eclectic, electric included but not mandatory). AUDIO SPROCKET 2:00-3:00PM MOTORDADDY 3:00-5:OOPM "eat, sleep, ride, listen to Motordaddy, BBC WORLDSERVICE 5:00-5:1 OPM RACHEL'S SONG 5:10-6:00PM Info on health and the environment. From recycling and conservation projects to diet, health, and consumption and sustainability in the urban context. SOLID STATE 6:00-7:30PM Featuring the latest in techno, trance, acid and progressive house. Spotlights on local artists, ticket giveaways, & live performances. Hosted by M-Path. AND SOMETIMES WHY alt. 7:30- 9:00PM barbara manning, the make-up, cat power, sushi ... these are a few of our fave-oh-writthings. la la la! MARY TYLER MOORE SHOW alt. 7:30-9:00PM Girl music of all shapes and sizes. FOIKOASIS 9*00-10:30PM Featuring the latest local and international releases in folk/roots/world music, phone interviews, in-studio guests and more. Requests always welcomed! STRAIGHT OUTTA JALLUNDHAR 10:30PM-12KX)AMLetDJsJindwa and Bindwa immerse you in radioac tive Bhungra! "Chakkh de phutay." Listen to all our favourite Punjabi tunes — remixes and originals. HANSKLOSS'MISERYHOUR 12:00- 4:00AM Mix of most depressing, unheard and unlistenable melodies, tunes and voices. THURSDAYS RADIO EUINIKATHIKO 6:30-8:30 AM Wake up to the sounds of Greece with Elena and Niko. REEL MUSIC 8:30-10:00AM Soundtracks and classical. FILIBUSTER 10:00-11:30AM Part accordion-tinged musical meanderings, part experiemental weirdness, with a little bad hill blood thrown in for good measure. This show is a genre-free zone. CANADIAN LUNCH 11:30AM- 1:00PM From Tofino to Gander, Baffin Island to Portage La Prairie. The all- Canadian soundtrack for your midday snack! STEVE&MKE 1O0-2O0PM Crashing the bays' club in the pit. Hard and fast, heavy and slow. Listen to it, baby, (hardcore). ONOMATOPOEIA 2:00-3:00PM Comix IX oh yah and some music.With Robin and Jules. BOMBSHELL alt 3:00-5:00PM RHYMES AND REASONS alt 3:00- 5:00PM COUNCIL CRAP 5:00-5:30PM SHAPE UP alt 5:30-6:00PM ENTERTAINMENT DESK alt. 5:30- 6:00PM Movie reviews and criticism. OUT FOR KICKS 6r00-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn rightwe have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30- 9:00PM Roots of rock & roll. UVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bandz from 10-11. SLIPPERY SLOT alt. 11:00PM- 1:00AM One step beyond logic. PLUTONIAN NIGHTS 1:00- 4:00AM Late nightvinyl. Occasional skips. Cheers. FRIDAYS CAUGHT IN THE RED 6:30-8:30AM Garage rock and olher things. ONE LOVE 8:3O-10:O0AM Anything and everything from the wonderful world of music, as long as harmonies can be sung, and the melodies be SKA-TS SCENE-IK DRIVE! 10:00AM- 12:00PM Listen in to win a date with one of the co-hosts! THESE ARE THE BREAKS 12:00- 2:00PM DJ Splice brings you a flipped up, freaked out, full-on, funktified, sample heavy beat-lain trip, focusing on anything with breakbeats. Versatile at any style. UTTUE TWIN STARS 2-OO-3:30PM Underground, experimental, indie and women. Jacuzzi space rock at its finest. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM NOIZ 4K»-5KX)PM self tided BBC WORLDSERVICE 5:00-5:30PM FAR EAST SIDE SOUNDS alt. 6:00- 9:00PM AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa & African music from around the world. HOMEBASS 9:00PM-12:00AM Hosted by DJ Noah, the main focus of the show is techno, but also includes some trance, acid, tribal, etc. Guest DJ's, interviews, retrospectives, giveaways, and more. UMP SINK alt. 12:00-6:00AM Rant, phone-in and kiss your mother with the guests. DEAD AIR alt. 12:00AM-LATE Exceptionally interesting girl talk. SATURDAYS THE SATURDAY EDGE 8:00AM- 12:00PM Studio guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways. 8-9AM: African/World roots. 9AM- 12PM: Celtic music and performances. ON THE CORNER 12:00-1:00PM Julz spins classic experimental jazz with forays into the lands of funk, acid jazz and trip hop. POWERCHORD 1:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. LUCKY SCRATCH 3:00-5:00PM From backwoods delta low-down slide to urban harp honks, crooners and tunesters in the blue degree. Blues and blues roots with your hosts Anna and AJ. RADIO FREE AMERICA 6:00- 8:00PM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think. Originally broadcast on KFJC (Los Altos, Cal.|. LIVEI AT THE HI-HAT!! alt. 10:00PM-1:00AM "Sho nuff bumpin'I "-Popular Music. Phone, write or call for reservations. Dance 10 till 1. Admission $6.00. PIPEDREAMs alt. 10:00-1:00AM SOUL TREE alt. 1:00-4:30AM EARWAX alt. 1:00AM- 4:30AM Noiz terrorism cut thru raw rhythms/ as punk rock dissects Detroit minimalism/my Motor City madness runs tragic/my Jungle-ism spawns breakbeat sporadics/while the hardcore be open to these lyrics I flash/Da truth will be found bound in sounds/locked in my ears like Earwax. Word. -Guy Smiley REGGAE LINKUP 4:30-8:30AM with Sister B. WHOM HOW /V\BANWH\LB, IN RAQ\OLAND.... advertising thafs built to last Itook Space January 10 *jr| Artwork; January 26 *» On the Streets: January Z9 SZZ-3017(ext.3) for info 25 nm&°Mmz Datebook. AT'S HAPPENING IN DECEMBER & JANUARY FRI DEC 11 CiTR PRESENTS SHINDIG! FINALS: Clover Honey, Team Strike Force, Feisty@Starfish; Chris Isaak, Jude@Orpheum; Deftones, Quicksand, Snapcase@Croatian Cultural Centre; Molestics CD release party@Railway Club; Squeeze: A Duet for Musician and Dancer@Cultch; Jon Moritsugu's Fame Whore@Blinding Light; Furios, Chapter 3, High Test@Columbia; View New@Maindance (828 E. Hastings); The Lounge Cats, Splitting Adam@Pic Pub SAT 12 Saturnalienation: one-day independent publishing extravaganza, presented by Small Press Action Network; all-day zine fair, Lonesome Monsters, Deadcats in evening ($5)@Grandview Legion #179 (2205 Commercial); 54-40@Whistler Conference Centre; Coop Radio Benefit: Pigment Vehicle, Soukous Rythyms, Solarbaby, Motorama, Cathode Ray@Brickyard; Hissy Fit, Strong Like Tractor, Chick Magnets@Railway; New Wave-Aoke@Starfish; Broun Fellinis@Chameleon; Maxx Average Corporation, Rootes Group, Disgusteens@Pic Pub; Squeeze: A Duet for Musician and Dancer@Cultch; Video Rampage@Video In, Rock for Bread@Langley Vineyard (5708 Glover Rd., Langley); View New@Maindance (828 E. Hastings); Blue Plate Special@Richard's on Richards SUN 13 Ian Tyson@Cultch; Gone with the Wmd@Ridge; Jamie Clark@Naam; Time Stands Still, Somewhere in _urope@Cinematheque; The Preservatives@WISE Hall MON 14 CiTR PRESENTS: The Hellacopters, Watts, Spitfires@Starfish; Mediaeval Babes@Vogue; Slam & Funk D'Void@Sonar; Rocksteady Ska@Gate; Saving Private Ryan@Ridge, The Ducktape Platypus X-mas Special@Van Press Club TUE 15 Tales of Ordinary Madness@Bukowski's; The Lion, The Witch & The Wardrobe@Pacific Theatre; Martin Humphreys@Ryerson United Church (W. 45th @ Yew) WED 16 El-Vez@Starfish; Alexander Browne's Swing Pararde@Hot Jazz Club; Sub-Terrain Magazine: Evening of Readings@Vancouver Press Club; PC.P. Art Exhibit@Brickyard; Wayside, Salteens, Tammybrimner, the Special Guests@Columbia THUR 17 Unit 187, DSK, Punchdrunk, Caustic Thought@Starfish, Billy Nasty (UK)@Sonar; Chinese Box, Raise the Red Lantern@Ridge, Jon Moritsugu's Fame Whore@Blinding Light; Arthur Funkereli, Painted Blank@Columbia FRI 18 Veda Hille, Thermos@Railway; Strapping Young Lad, Random Damage, Wipeout, Vibrator@Starfish; Red Psalm, Ten Thousand Suns@Cinematheque; Mike Hoolboom's Panic 8od/es@Blinding Light SAT 19 Veda Hille, Thermos@Railway; Johnny Cash Tribute@Starfish; The Abyss 315 E. Broadway (side entrance) 488 6219 Anderson's Restaurant (Jazz on the Creek) 684 3777 Anza Club 3 W. 8th (Mount Pleasant) 876 7128 Arts Hotline 684 2787 Bassix 217 W. Hastings (at Cambie) 689 7734 Backstage Lounge 1585 Johnston (Granville Island) 687 1354 Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087 Blinding Light 36 Powell St. 878 3366 The Brickyard 315 Carrall St. 685 3978 Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195 Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant) 873 1331 Caprice Theatre 965 Granville (Granville Mall) 683 6099 Celebrities 1022 Davie (at Burrard) 689 3180 Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959 Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806 Chan Centre for the Performing Arts 6265 Crescent Rd (UBC) Club Mardi Gras 398 Richards St. 687 5007 CN Imax Theatre 999 Canada Place 682 4629 Columbia Hotel 303 Columbia (at Cordova) 683 3757 Commodore Lanes 838 Granville (Granville Mall) 681 1531 Cordova Cafe 307 Cordova (Gastown) 683 5637 Denman Place Cinema 1030 Denman (West End) 683 2201 Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207 DV8 515 Davie (downtown) 682 4388 Firehall Arts Centre 80 E. Cordova (at Main) 689 0926 Food Not Bombs Vancouver 872 6719 Frederic Wood Theatre (UBC) 822 2678 Garage Pub 2889 E. Hastings (downtown) 822 9364 Gastown Theatre 36 Powell (Gastown) 684 MASK The Gate 1176 Granville (downtown) 688 8701 The Good Jacket 225 E. Broadway (at Main) 872.5665 The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057 26 Dec 98/9ak 99 SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE FEBRUARY ISSUE IS JANUARY 15TH! Lhasa@Vogue; Joey Keithley@Sugar Refinery; Saddleson ers, Plantains@Columbia; Crash@Chameleon; Paperboys@Cultch; Dance for Children of Poverty@Hot Jazz Club; The Black Market Babies, The Firecrackers, The Spitfires, The Catheters@Pic Pub SUN 20 Holly Cole w/ Vancouver Symphony@Orpheum; The Falcons, Currenr@Cinematheque; Mike Hoolboom's Panic 8od/es@Blinding Light MON 21 Holly Cole w/Vancouver Symphony@Orpheum; Rocksteady Ska@Gate; Smoke Signals, S/am@Ridge TUE 22 Holly Cole w/ Vancouver Symphony@Orpheum; DJ IZ (aka Josh)@Chameleon; X-mas Odd/t/es@Blinding Light; Tales of Ordinary Madness@Bukowski's WED 23 The Lion, The Witch & The Wardrobe@Pacific Theatre; X- mas Odd/t/es@Blinding Light; Duke of Medula, DD. Astors, Aqua Velva@Columbia; Damien Azriel@Naam THUR 24 Sonar X-mas@Sonar FRI 25 IT'S CHRISTMASI SAT 26 Spearhead@Richard's on Richards; Socratic Method, Vinyl, Dog Eat Dogma@Columbia SUN 27 Leesun@Naam; World's Best Commercials@Ridge MON 28 Rocksteady Ska@Gate; World's Best Commerc/'a/s@Ridge TUE 29 Tales of Ordinary MadnessOBukowski's WED 30 The Lion, The Witch & The Wardrobe@Pacific Theatre; Slam- Bam-Jam-a-Rama@Marine Club; Miriam Davidson@Naam; Team Strike Force@Columbia; Urceus Exit@DV8 THUR 31 slide your eyes over to that black box to the right ... FRI JAN 1 The Crust Brothers, John Ford@Starfish; The Lion, The Witch & The Wardrobe@Pacific Theatre SAT 2 The Lion, The Witch & The Wardrobe@Pacific Theatre SUN 3 Scrambled Angst@Sugar Refinery; World's Best Commerc/a(s@Ridge MON 4 Vancouver Poetry Slam@Vancouver Press Club; Rocksteady Ska@Gate TUE 5 Tales of Ordinary Madness@Bukowski's; A Merry War, Withnail and /©Ridge WED 6 Slam-Bam-Jam-a-Rama@Marine Club; Happiness, Welcome to the Dollhouse@R\dge THUR 7 Dal Dii Vog, Naked For Jesus@Starfish; BY08@Blinding Light FRI 8 Superhero Shorfs@Blinding Light; Poison ldea@Starfish; Lawn Dogs, Modulations@Ridge SAT 9 Royal Grand Prix, Metronome Cowboys@Starfish SUN 10 Superhero Shorts@Blinding Light MON 11 Rocksteady Ska@Gate; Lawn Dogs, Modu/ations@Ridge TUE 12 Cinema of Phil Hoffman@Blinding Light; Tales of Ordinary Madness@Bukowski's WED 13 Slam-Bam-Jam-a-Rama@Marine Club; Cinema of Phil Hoffman@Blinding Light; M-Strain@Starfish THUR 14 Birds and Buildings: the films of Patrick Halm@Blinding Light FRI 15 764-HERO, gaze@Starfish; Todd Verow's Little Shots of Happ/ness@Blinding Light SAT 16 Fryer Tuck@Starfish; The Imposters, Big Nighl@Ridge SUN 17 Solo 2 Trio@Cultch; The Imposters, Big Nighf@R\dge MON 18 Rocksteady Ska@Gate; Wizard of Oz, Big Ch///@Ridge TUE 19 Tales of Ordinary Madness@Bukowski's WED 20 Slam-Bam-Jam-a-Rama@Marine Club THUR 21 Todd Verow's Little Shots of Happmess@Blinding Light; Pecker, Cry 8aby@Ridge : Nick Zedd@Blinding Light; Flamenco FRI 22 Transgressive Cin (premiere)@Ridge SAT 23 Knock Down Ginger SUN 24 Transgre , Veal, Satsuma@Starfish ia: Nick Zedd@Blinding Light MON 25 Galactic Cowboys, Kings X@Starfish; Rocksteady Ska@Gate TUE 26 Tales of Ordinary Madness@Bukowski's; Halifilms: new shorts@Blinding Light WED 27 Halifilms: new shorts@Blinding Light; Slam-Bam-Jam-a- Rama@Marine Club THUR 28 New(Cine)Works@Blinding Light; Flamenco (premiere)@Ridge FRI 29 Transgressive Cinema: Nick Zedd@Blinding Light; Strapping Young Lad@Starfish; Velvet Goldmine, Boogie Nights@Ridge VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORES Hollywood Theatre 3123 W. Broadway (Kitsilano) Hot Jazz Society 2120 Main (Mt. Pleasant) It's A Secret 1221 Granville St. (downtown) Jericho Arts Centre 1600 Discovery (Pt. Grey) Jupiter Cafe & Billiards 1216 (near Deman St) La Quena 1111 Commercial (the Drive) The Lotus Club 455 Abbott (Gastown) Lucky's 3972 Main Luv-A-Fair 1275 Seymour (downtown) Mars 1320 Richards (downtown) Maximum Blues Pub 1176 Granville (downtown) Medialuna 1926 W. Broadway Minoru Pavillion 7191 Granville (Richmond) Moon Base Gallery 231 Carrall St. (gastown) Naam Restaurant 2724 W 4th Ave (kitsilano) Old American Pub 928 Main (downtown) Orpheum Theatre Smithe & Seymour (downtown) Pacific Cinematheque 1131 Howe (downtown) Palladium (formerly Graceland) 1250 Richards (downtowi Paradise 27 Church (New West) Paradise Cinema 919 Granville (Granville Mall) Park Theatre 3440 Cambie (South Vancouver) Picadilly Pub 630 W. Pender (at Seymour) Pitt Gallery 317 W. Hastings (downtown) Plaza Theatre 881 Granville (Granville Mall) Purple Onion 15 Water St. (gastown) Queen Elizabeth Theatre Hamilton & Georgia Raffels Lounge 1 221 Granville (downtown) The Rage 750 Pacific Blvd. South (Plaza of Nations) Railway Club 579 Dunsmuir (at Seymour) Richard's On Richards 1036 Richards (downtown) Ridge Cinema 3131 Arbutus (at 16th Ave.) 738 3211 873 4131 688 7755 224 8007 251 6626 685 7777 875 9858 685 3288 230 MARS 688 8701 608.0913 738 7151 682 3291 665 3050 688 3456 688 2648 525 0371 681 1732 876 2747 682 3221 681 6740 685 7050 602 9442 665 3050 473 1593 685 5585 681 1625 687 6794 738 6311 Russian Hall 600 Campbell (Chinatown) Scratch Records 109 W. Cordova (Gastown) Seylynn Hall 605 Mountain Hwy (North Van) Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) Singles Going Steady 3296 Main (at 17th) Sonar 66 Water (Gastown) Southhill Candy Shop 4198 Main (at 26th) Squish'd Knish 4470 Main (at 29th) The Space 316 Hastings (downtown) Starfish Room 1055 Homer (downtown) Starlight Cinema 935 Denman (West End) Station Street Arts Centre 930 Station (off Main) St. Regis Hotel 602 Dunsmiur (downtown) Stone Temple Cabaret 1082 Granville St. (downtown) Sugar Refinery 1115 Granville (downtown) Theatre E 254 E. Hastings (Chinatown) Thunderbird Ent. Centre 120 W. 16th St. (N. Van) Vancouver E. Cultural Centre 1895 Venables (at Victoria) Vancouver Little Theatre 3102 Main (Mt. Pleasant) Vancouver Press Club 2215 Granville (S. Grc Varsity Theatre 4375 W. 10th (Point Grey) Vert/Washout 1020 Granville (dowtown) Video In Studios 1965 Main (Mt. Pleasant) Virgin Mega Store 788 Burrard (at Robson) Vogue Theatre 918 Granville (Granville Mall) Waterfront Theatre 1405 Anderson (Granville I Western Front (303 E. 8th Ave) Whip Gallery 209 E. 6th Ave (at Main) W.I.S.E. Hall 1882Adanac (the Drive) Women In Print 3566 W. 4th (Kitsilano) Yale Blues Pub 1300 Granville (downtown) Zulu Records 1869 W. 4th (Kitsilano) Hie) 874 6200 687 6355 291 6864 876 9233 683 6695 876 7463 879 9017 682 4171 689 0096 688 3312 488 1333 683 2004 681 8915 988 2473 254 9578 876 4165 738 7015 222 2235 872 2999 872 8337 669 2289 331 7909 685 6217 876 9343 874 4687 254 5858 732 4128 681 9253 738 3232 Clje Zulu Tomes IT AINT OVER TIL ITS OVER ^ 1998 CLOSES WITH A BANG I VOLUME AUSTAR Self Connected, Twice Elected cd Fans of Land of the Loops and ICU probably already know about these cute noisemakers. If not, well, this fine second full-length is a great place to start. Awkward in a good way, and with a fine sense of humour, this is neat, lo-fi electronica at its best (and we think the cute thing is probably a ruse). Lots of catchy songs that get stuck in your head. 14.98 CD (sale) PROPAGANDHI Where Quantity Is Job One cd t: much anticipated second release for the Winnipeg based G-7 Records label, featuring a jam packed collection of hard to find material from this energetic and politically focused punk band. Finish off your 1998 in style with this urgent and thoughtful sonic blast! 12.98 CD (SALE) I AM SPOONBENDER Sender/ Receiver cd With the passing of Vancouver's legendary cub, our good pal Robynn finally gets to demonstrate her experimental rock side — and massive psychic powers! Under the alias Cup, Robynn has joined forces with highly skilled Can acolytes Dustin and Brain, becoming I AM SPOONBENDER: a subconscious instrument/interface for deftly organized space rock. Mo simple revival, I AM SPOONBENDER reorder the past and present in cool ways. The human world can only now hold them back. We dig the new sound and obey. Recorded by that notorious Darryl Neudort. 14.98 CD (sale) EXTENDED HOURS THIS CHRISTMAS SEASON DECEMBER 15-23 OPEN TIL 9:00PM DECEMBER 24 10:30AM-6:00PM DECEMBER 25 CLOSED 9:00AM ■6:00PM GOB How Far Shallow Takes You cd SHI -spy _E__j_j_WH[ ■ u Local punk rock noisemakers ring in the New Year with lots of loud aggro-drunken cheer. 16 songs that have garnered these young lads loads of attention both around the city and now throughout the States! Check them out now before they hit the high road with the likes of Rancid, Drop Kick Murphy's and more! 16.98 CD (sale) PIANO MAGIC BlissedOut Vol. 13. CD PIANO MAGIC'S spare nautically inspired works nicely fade in and out with easy, pleasant tones and melodies. Amidst such careful beauty, the challenge is not succumbing to sleep. Hmmm, on second thought, this holiday season, why not put PIANO MAGIC on and chill totally out. Oh yes, this latest edition of the Darla Records' Blissed Out series certainly well fits the bill. Give in. 16.98 CD (sale) .-/;.•:■. Various SAMPLING THE FUTURE cd Boy can the kids dance nowadays! Offering a broad cross-section of contemporary US and UK club beats, this new Thrive Records compilation ought to please both the seasoned and beginner electronica enthusiast. Featuring mixes by Underworld, Bentiey Rhythm Ace, Dub Pistols and more. Isn't it time we all gave these new dances a try? Or even better yet, let's at least come up with some colourful names for them! 16.98 CD (SALE) HELLACOPTERS Payln' Dues cd Super Shitty To The Max cd Awesome, these guys rock so tough and heavy that we're putting both of these massive titles ; ""^|| on sale. No kidding, we think f--*M. they're the hardest act around, ^--fi' ■ they're from Sweden, and we're '***'■'«■» .'iil.x..*. i totally scared of them. They're fucking terrifying. Supposedly, the singer used to be the drummer in the grind-core metal band Entombed. The drummer, damn it! Not to say too much, but Iggy also used to be a drummer. All right! Rock is coming back, man! 16.98 each CD (sale) SEASONAL SOUNDS A SELECTED REVIEW OF SOME COOL YULE FOR Y'ALL BOOKER T& THE MGs In the Christmas Spirit $16.98 CD (IMPORT) JAMES BROWN Funky Christmas $24.98 CD (IMPORT) JOHNNY CASH Personal Christinas Collection $16.98 CD (IMPORT) BOBBY DARIN The 25th Day Of December $16.98 CD (IMPORT) JOHN FAHEY Christmas Guitar $24.98 CD (IMPORT) ELLA FITZGERALD Wishes You A Swinging Christmas $16.98 CD VINCE GUARALDI TRIO A Charlie Brown Christmas $20.98 CD BORIS KARL0FF How the Grinch Stole Christmas $12.98 CD ETTA JAMES 12 Songs of Christmas $17.98 CD ARTHUR LYMAN With A Christmas Vibe $14.98 CD (IMPORT) LOUVIN' BROTHERS Christmas With the Louvin' Brothers $20.98 CD(IMPORT) MOJO NIXON Homy Holidays $20.98 (IMPORT) BUCK OWENS Christmas With Buck Owens $18.98 CD (IMPORT) PARTRIDGE FAMILY A Partridge Family Christinas Card $18.98 CD (IMPORT) JIMMY SMITH Christmas Cookin' $18.98 CD (IMPORT) SQUIRREL NUT ZIPPERS Christmas Caravan $19.98 CD VANDALS Christmas with the Vandals $20.98 CD (IMPORT) VENTURES Christmas Album $20.98 CD (IMPORT) Various HAPPY BIRTHDAY BABY JESUS $29.98. 2CD (IMPORT) Various HARDCORE HOLIDAY $20.98 CD Various HAVE YOURSELF A JAZZY LITTLE CHRISTMAS $16.98 CD Various HIPSTER'S HOLIDAY $22.98 CD (IMPORT) Various JUST SAY NOEL $19.98 CD Various PUNK ROCK CHRISTMAS $19.98 CD (IMPORT) Various REGGAE CHRISTMAS $16.98 CD Various SANTA'S GOT A GTO $20.98 CD (IMPORT) Various YOU SLEIGH ME $22.98 CD (IMPORT) Various YULE BE BOPPIN' (BLUE NOTE) $19.98 CD TOPTENSREVEALED! NEW POLLING DATA JUSTIN f BRADY 2. ARAB STRAP Philophobia 3. BEANS Portage 4. REFUSED The Shape 01 Punk To Come 5. STARS OF THE LID . JON MCCAFFERTY Per Aslera Ad Aslra 6. PLASTIKMAN Consumed 7. SLICKER Confidence in Dubber 8. TIED AND TICKLED TRIO Tied And Tickled Trio JOEL R.L. PHELPS The Downer Trio EP BEDHEAD Transaction De Novo CAT POWER Moon Pix ARAB STRAP Philophobia BEANS Portage Soundtrack BUFFALO 66 VERSUS Two Cents Plus Tax BOXHEAD ENSEMBLE The Lasl Place To Go MIRANDA JULY The Binet-Simon Test 10. THE AISLERS SET Terrible Things Happen 10. KOTO LOOPS: Infinity Edition (vinyl only) CHRISTINE 1. SAINT ETIENNE Good Humor 2. PULP This Is Hardcore 3. RIALTO s/t 4. AIR Moon Safari 5. FANTASTIC PLASTIC MACHINE By Fantastic Plastic Machine 6. DIVINE COMEDY Fin Oe Siecle 7. MONO Formica Blues 8. SERGE GAINSBOURG Histoire De Melody Nelson (reissue) 9. DAVID HOLMES Essential Mix 98/01 10. Various ULTRA CHICKS VOL. 3 BABY POP! GRANT H. 1. MARKHOLLIS Ma r* Hoi lis 2. GODSPEED YOU BLACK EMPEROR F# A# Infinity 3. BEDHEAD Transaction De Novo 4. REFUSED The Shape Ot Punk To Come 5. SHUDDER TO THINK High Art (soundtrack) 6. CAT POWER Moon Pix 7. PINETOP SEVEN Rigging The Toplights 8. PJ HARVEY Is This Desire? 9. ARAB STRAP Philophobia 10. BLONDE REDHEAD In An Expression Of The Impressionable NIC 1. ARAB STRAP Philophobia 2. BELLE a SEBASTIAN The Boy W ire You Becomes You NAOMI Playback Singers REFUSED The Shape Of Punk To Come ROCKET FROM THE CRYPT RFTC P.W. LONG WITH REELFOOT Push Me Again SLOAN Navy Blues TRICKY WOO T he Enemy Is Real JAMES BROWN Say II Loud Say It Prou I 08.26.68 CALEXICO The Black Light MORCHEEBA Big Calm H H HIS NAME IS ALIVE FI. Lake MONEY MARK Push The BOBBY CONN Rise Upl BEASTIE BOYS Hello Nasty BECK Mutations LUCINDA WILLIAMS Car Wheels On A Gravel Road AIR Moon Safari JLIE ARAB STRAP Philophobia 3. JUNE OF 44 4 Greal Points 4. PEDRO THE LION It's Hard To Find A Friend 5. MURDER CITY DEVILS Empty Bottles SHAHERA 1. HOLLY GOLIGHTLY The Good Things 2. TRICKY WOO The Enemy Is Real 3. BOBBY CONN Rise Upl 4. MURDER CITY DEVILS Empty Bottles 5. THE SMUGGLERS Growing Up Smuggler 6. PULP This Is Hardcore The Inexpressionable THEA 1. BELLE & SEBASTIAN The Boy With The Arab Strap 2. Soundtrack BUFFALO 66 3. BLONDE REDHEAD In An Expression Of The Inexpressionable 4. BEDHEAD Transaction De Novo 5. BOXHEAO ENSEMBLE The Last Place To Go 6. TINOERSTICKS Donkeys 92-97 8. DO MAY SAY TH 9. ICU Chotlo Mi 10. FLIN FLON s/t ( s/t 10. GET-UP KIDS 4-MinuteMile KEVIN 1. PERNICE BROTHERS Overcome By Happiness 2. BILLY BRAGG * WILCO Mermaid Avenue 3. HELLACOPTERS Payin' The Dues 4. APRIL MARCH & LOS CINCOS s/t 5. TRICKY WOO The Enemy Is Real 6. SHUDDER TO THINK First Love, Last Rites ( 7. t BOXING DAY AT ZULU? Our continuing story: After much speculation, a detailed announcement will be made in the pre-Christmas issues of the Georgia Straight and Terminal City magazines. "Read for details, and see you here," is the quote that best sums it up!
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-12-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1998-12-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1998_12 |
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 | 2909f6f7-a711-469f-9116-aca5080c7f3e |
DOI | 10.14288/1.0050240 |
AggregatedSourceRepository | CONTENTdm |
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0050240/manifest