DiSCORDER jancember 00/01 free that girly, overcritical magazine from citr 101.9 fm The Need Dirty Three Panty III Kit Clayton and Sutekh Cataract TopTens! Looking Back... 2000 ^—^ (mirror not included) 8ob6glabs# Issue 213 • December/January 00/01 • That Magazine From CiTR 101.9fM features Panty Boy 12 Kit Clayton and Sutekh 13 Dirty Three 14 The Need 16 Cataract 18 CiTR's Top Tens of 2000! 26 cover What a surprise! Yukie Kawabe mailed us this cover art from Tokyo. She digs Discorder and we dig her. Check out more of her drawings in the Top Tens (p. 26). regulars Vancouver Special 4 Culture Shock 5 Louder than a Bomb 5 Kill Your Boyfriend 6 Radio Free Press 7" 8 Strut & Fret 9 Interview Hell I I Under Review 20 Real Live Action 22 On the Dial 28 Charts 29 Datebook 30 © "DiSCORDER"2000 by the Student Radio Society of the University of British Columbia.AII rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $ 15 for one year, to residents of the USA are $ 15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the February issue is January 17th. Ad . space is available until January 24th and can be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other un .olicited material. Material can be submitted on disc (Mac, preferably) or <n type. As always, English is preferred. Send e-mail to DiSCORDER at From UBC to Langley and Squamish to Bellingham.GTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. 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Fax us at 822.9364. e-mail us at: editrix barbara andersen ad rep maren hancock art director jenny watson production manager christa min photo editor ann goncalves art and design jenny, christa, farah dharshi, lori kiessling, michael piercey photography and illustrations bleek, ann goncalves, yukie kawabe, scott malin, christa min production minoo alipoor, nick bradley, irene naidu, lucas t.d.s., erin shaw, daryl wile, tristan "we miss you" winch contributors barbara a, claire b bleek, julie c, melanie c mike c, bryce d, eric f robin f, alia h, kitty, godfrey I, jannin jasmine I, anthony cat m, christa m, lindsay m, penelope m, sar June s, miria tobias v, nat x on the dial bryce dunn charts julie colero datebook maren hancock promotions coordinator alia hussey distribution matt steffich us distro citrmgr(c our web inn goncalves publisher printed in canada 66 WATER STREET VANCOUVER CANADA Upcoming: Thurday Dec 14 Nordic Trax Presents MARK FARINA $15/9pm Friday Dec 15 'HEAVY HITTING' Film Premiere @ CHERRY BOMBS $8/9pm Saturday Dec 16 DJ HOSHCI (Sense, GER) @ FEVER $12/9pm Sunday Dec 17 Nettwerk Records presents DOWNLOAD $12adv/8pm Monday Dec 18 FWUH 6th Anniversary Party $5/9pm Thursday Dec 21 Digniti Records presents VELVET Live! $5&$7/9pm Thursday Dec 28 DANA D'S XMAS w/ Conrad Black, Price, Tripwire, Dana D & Dr. J $5/9pm Saturday Dec 30 New Year's Warm-Up w/ Jay Tripwire & Kevin Shiu @ FEVER $10/9pm Sunday Dec 31 Sonar NEW YEARS w/ DANA D, SPUNK, LUKE & GUESTS w/ FWUH IN RM2 $30 advance tix @ Sonar, FF, Bassix and BoomTown Thursday Jan 18 uk) @ CHERRY BOMBS $l0/9pm Spectrum Ent presents ANTI-POP CONSORTIUM $tbc/8pm " rfeb6 Bob Mariey Birthday Special with LINTON KWESI JOHNSON $tbc/9pm Thursday Feb 15 LAZY DOG tour feat BEN WATT (EBTG) & JAY HANNAN (Black Market) $tbc/9pm the R&B, the Reggae, Open: 9pm-2am Club: [604] 683.6695 Fax: [604] 688.5953 House w/T.Bonei Luke. Rm2:do\* " tedby phofsujde Visual styling by: URBAN vaoi byjanismckenzie&jamaal This is the season when a grumpy columnist might start to brood over all the cool recordings she didn't get to review. A few of the exciting local CDs that didn't show up in my mail slot but deserve a year-end mention are: Vancouver Nights; Clover Honey, Go Horse Go; Neko Case, Furnace Room Lullaby; Beans, Tired Snow; Lily Frost, Lunamarium; Peggy Lee Band; New Pornographers, Mass Romantic; Veda Hille, You Do Not Live...; and Rodney Graham,The Bed- Bug, Love Buzz and Other Short Songs in the Popular Idiom. But going over the old columns does remind me of some of the special privileges and even joys of this job. If I didn't work here, would I have discovered the fabulously poppy and clever Salteens, the world- weary but pretty-sounding Radiogram, or the youthful ond energetic Vega? (Maybe, if I went out more often.) More things that wowed me: the Pepper Sands singer, Buck's attitude, Carolyn Mark's lyrics (and showmanship), Vancouver Special's and Northern Lights'all-round high-grade compilation quality, ond jungle's inimitable rock goofiness. It's been a pretty good year. LAVISH All-Day Breakfast (Independent) How can you not like a band that gives you its CD in a package with a menu, paper plate, and plastic knife and fork? (Remember the Surfdusters? They used to sell their cassettes in a little bag with a box of macaroni and cheese. Not that this is a competition, of course.) Lavish has made a few changes since their first CD, reviewed here a little more than a year ago. The lineup is somewhat different, the songwriting is better, and the arrangements, although still in the basic voice/guitar/bass/drums configuration, are bigger somehow. There are plenty of good tracks here, and some are darned catchy, such as "Happy Sad" (also on the earlier CD), "Lolly-Pop," and the meow-adorned "Feline Love Song." "Alarm Clock" has something of a sexy/ominous tone, and some Daytona-esque moments—which makes sense, since guitarist Mike Breen is a former Daytona bass player/collaborator (as well as, coincidentally, singer Gill's husband). Whether a Lavish song is poppy, introspective, sad (such as "Mirror Mirror" and "Go Away"), or snotty, you can depend on Gill's distinctive iron-tinged wail and those oft- nasty/clever lyrics, so familiar from that first EP. <lavishmusic@hotmail.com> jams NAOMI SIDER Appearing as Herself (Soda Sonic) Naomi has one of those thin, pure, rough-sweet voices usually associated with girls from the Deep South who were married at thirteen and now go around in bare feet playing an autoharp. At the same time, her lyrics are clearly written by someone who's read a few books, listened to a few records, and had a few worldly (maybe even big-city) disappointments—they're often all about the gap between girlish dreams and grown-up reality. (Other times they're about Old Testament themes, or a combination of all of the lemonloaf immMIm* above.) The very sparse, mostly quiet, mostly acoustic arrangements are well-suited to this kind of melancholy weariness and even the keening, spiritual despair of songs like "Mercy." Dark, dark, dark, but pretty too. <sodasonic@popstar.com> Janis Our first demo this month comes to us courtesy of SAINT DYMPHNA.who I believe hail from somewhere in the state of Washington. I say believe because I don't actually know, what with me losing the info sheet and such. Note to bands: put contact info on tape, not paper; demo directors are notoriously disorganized. Anyway, I recall liking this one off the top. It was smooth, mellow, and had much instrumentation I couldn't name. I postulate that drugs would certainly have enhanced the experience; nothing uppity. Unfortunately, 15 minutes into the track my mind had wandered and no monumental progression in melody brought me back. Where lies the blame? TENNESEETWIN are local folk, though I lost the info on this one too (two for two). I recall something about the singer's sister being a member of Bratmobile. And is that Limblifter's Kurt Dahle on "Egg"? What does that mean? Anyway, as far I can discern, this tape licks. Music = generic country. (When did everyone become a cowboy?) Vocals = intensely irritating (somewhat saved by good backups). <cindywol@vpl. vancouver.be.ca> The SLEEPY JUNES grace us with the sounds of Pitt Meadows, and I like it. Vince says the first track sounds likes Sebadoh, which I am forced to accept until further evidence presents itself.The vocals on track two are horrifying, and as we move into track three, it becomes painfully clear why the first track was first.Vince is now saying Halo Benders. Sure. Somewhere in the midst of this tape I found myself nodding to an instrumental funk groove. Who are these people? This band warrants further investigation. (604.465.9686) THE SPINOFFS.Where have I heard that name before? Ah, yes. They were participants in CiTR's illustrious Shindig! competition. I recall being monotonized by the one Ramones-type song they insisted on playing over and over again. The tape didn't change my opinion too much the first time through, but when I listened to it again last week, I realized just how damn catchy a lot of these tunes really are. And with titles like "Don't Stalk My Sister," it's hard not to like these guys at least a little. <thespinoffs@hotmail.com> Wow. Cool.There's my finest articulation of SEANA & SPLATTER BENDS, a tape recorded on Main St. but otherwise devoid of contact information.The first side was madness, incorporating a Pixies feel, a lot samples and just plain noise, as well as a healthy dose of utter chaos. Side two mellowed considerably, with the uniqueness factor also declining. Ben calls rip-off on track two ("We Three Kings"), whereas I thought track three was Beatles-licious. One more band to keep the peepers pealed for. CURTAIN OF HABIT are another band that have not yet learned the indisputable networking powers of contact information.The first track was quite nice. Erin says music = Cult, vocals = Bowie. From here, things begin to go downhill somewhat. It may be that indie rock demands too much from me, emotionally that is. It could be that everyone who uses an acoustic guitar seems to fancy themselves a Neil Young these days.And while the monotone vocals suited the first track... It's weird, almost every one of these songs has something to it I really like (especially track nine's Ween influence), but they all invariably fall apart somewhere. A little polish, the cutting of unsightly elements, and we could have ourselves a precious stone here. And finally, in the ongoing saga of the Slogan demo: it turns out that it was neither my discman nor stereo that was incompetent, but the CD itself. Be sure to tune in next month for yet another exciting installment of Local Demos! Jamaal * FOR MORE INFO DIAL 893-5519 BEAT STREET HO/TED BY NAT X & DJ LUTH THE FUNKTION HAPPEN/ EVERT WEDNETDAy NTTE @ THE CHAMELEON (801 W. GEORGIA) $5 OB FREE W/ yR CITR MEMBER/HIP CARD distributes 17,500 copies to hundreds of locations all over Vancouver, Seattle, Olympia, Bellingham and beyond. february advertising deadlines: book space: jan 24 submit artwork: jan 30 on the streets: feb 2 dial ms. hancock for the hookup: 1 AO~~<J!/YVit>ZK ZDOO by anthony monday • kuwaiti correspondent rubbed her tits over my chest, then tried to stick her tongue down my throat.The math department was drunk, propped up in a corner, and the PE department were all dancing up a storm, minus their shirts. As I stood there, with my badly brewed home-made wine (yeast still active), I realized I needed something stronger. Much stronger. I had seen other people drinking ethanol—'E' as it is affectionately called—and had sworn not Conformism Vs. Alcoholism. Or, How Crockery Ruined My Life. I've taken up drinking. Not that sissy stuff you do over there in the western world. No, I'm harder and sexier than a shit-faced slum lord on East Hastings. I've started drinking ethanol. Let When I arrived in Kuwait, I suddenly found myself a teacher. An art teacher. Being a teacher in itself is enough to drive anyone to extremes (think about it,you are either responsible for hundreds of snotty pimply pre-pubescent boys and girls, or 18 and 19 year-old hardbodied sex-filled creatures that ooze pheromones... I digress),but it was not the teaching that made me go hardcore-hard. No, it was something less obvious and more insidious—a mug. When I started being "Anthony Monday, Art Teacher Extraordinaire and Resident Homosexual," a nutty Danish lady showed me around the school, and we finally came to rest in the staff room. She went to the counter and held up a mug.'This is your mug," she said, not realizing the full impact of her words. I had a mug. In a staff room. I was—yes, I shudder to say it—part of a team. I was now "the man." I was the enemy, a conformist, tie-wearing, eating lunches out of Tupperware, bland, staff-room-frequenting homosexual, and it was all there, in my reflection on the mug. Even worse, it was one of those dark, shiny blue mugs that all the 'really stylish' suburban mothers own and bring out when their friends come to visit so they can ooh and aah over them. I can hear them cluck and coo: "Ooh, isn't this lovely, look at the colour, isn't it pretty. Oh, Mabel, where did you get these?" The same one they sell in all the dollar stores on Davie Street.The same colour mugs that, a couple of years ago, a whole gaggle of designer faggots toted around, mincing their fat asses as if they'd bloody invented the dildo, extolling the virtues of a dark blue, shiny,gay mug:"Nigel, what better way to show you're out of the closet and are a really flamboyant cock-sucker than owning one of these fabulous blue mugs?" "Yes, I agree, Horace, and look at the pretty colour." I mean, just because I am a depressed homosexual teaching a subject I know nothing about in Kuwait, it doesn't mean I want a "stylish" shiny dark blue mug that screams Faggot from across the playground.Worse.it screams Faggot That's Part of the Team to the entire country. I mean, what are the kids I teach going to think? "Have you seen that new art teacher, and that mug? What a ponce!" "Yeah," says the hardbodied 18 year-old, "What a fag. Pity, he's really sexy, and smart, and funny, and wow, what a writer. I'd really like to..." Sorry, I digress, again. It was at a staff party (shudder) when it really hit me.The computer science teacher—a 50 year- old Irish wannabe go-go dancer complete with white hair and pale lips—came up to me and cute drawing of anthony w/ sheep by scott malin to partake.The words "blindness" and "long-term memory loss" kept swimming around my head, and when I thought about it, I had no desire to drink slightly diluted computer cleaning fluid. I thought my self-respect didn't deserve the battery. But when the History and Geography teachers started dirty dancing to Britney Spears' "Oops I Did It Again," I cracked. With the whole mug fiasco so recently depressing me, it was really only a hop skip and a jump to drinking ethanol. Oh sure, there were a couple mental leaps I made, and I can't remember them now, but it made perfect sense at the time: I own a blue mug, I must drink ethanol. The first couple gulps I couldn't taste, they were quick and ugly, but soon the taste of alcohol, cool, evaporating alcohol, diffused itself directly into my brain and bloodstream. By the time I took my third gulp, I had developed a headache. The fourth was fine, but the fifth only led to another drink, and the room went blurry. I woke up the next morning, shaking, sweating, unable to move. Missing eight hours of my life. "Good stuff," I thought to myself through the haze,"Good stuff." Perhaps now, with my new found friend, I can survive the culture-less void I live in, the mainstream ebb-and-flow of this top 40 river I swim in. Lately, when there's been a lot of hot rain storms outside, turning the country into mud that looks and feels like beige shit, I stand ankle deep in it, and discreetly toast the world. "Cheers," I say, and everything isier to take."Cheers to the lone- ! of c hing desert, the loneliness, the loneliness, and the loneliness." I pretend I am a robot, rusting in the desert. It makes me feel a little better. • s of Reform : its policies Since its inception, the Canadian Alliance has tried to distance itself from the difficulties its predecessor, the Reform Party, experienced around matters of social policy. As this last election campaign demonstrated, however, the Alliance is still (and \ to be) unable to shed the ghost until it takes a long hard look al and their implications.The probler essarily with the idea of movement itself (though to me that is a scary thing), rather it is with the people its historical and current policies attract. Manuel Prutschi of the Canadian Jewish Congress said it well when he explained that groups like this are by far the most insidious since they have essentially become a part of the political mainstream: "These groups subscribe to chauvinism and xenophobia; they have an automatic dislike for foreigners. The nation which is the object of their patriotism is a rather exclusive club made up of individuals who are British, or northern European, preferably monarchist. Christian (essentially Protestant Christian), and white. Unlike the [far right] groups in the other categories, their racism is not advanced as overtly; racism is more-or-less masked, and promoted through their advocacy of issues which they put forward as of national concern. They are bigotry's fellow travelers." The coded language and masked bigotry of bynatx said party's policies makes them an ideal vehicle for the more radical right to gain political influence. For example, the CSIS investigation into the Heritage Front's connections with Reform resulted in the exposure of numerous members of that organization in key positions of the Reform Party's apparatus, particularly in Toronto's Beaches-Woodbine riding. Alan Overfield, former member of the Edmund Birch Society and the Western Guard who was elected to the riding executive in July 1991, testified at the Security Intelligence Review Committee hearings that Heritage Front membership was not a bone of contention for Reform. He believed that the Reform Party "played stupid" about such connections, but was aware of the background of many of its new members. He said that the Reform Party had Klan members out West:"'racists' are not in the Reform Party closet." At the same hearings, Heritage Front co-founder Wolfgang Droege claimed that despite his expulsion by the leadership of the Reform Party, he "felt much of the membership in the Reform Party seemed to have very similar opinions as I did on most issues." While many of the more high profile figures like Droege were purged, according to the information gleaned by the CSIS investigation, many more remain unexposed. Another key example is former Reform MP Jack Ramsey, who was ousted from the party for his rape conviction. Ramsey was the former leader of (Zundel defense lawyer) Doug Christie's ultra-right Western Canada Concept Party, a party that supports a thinly veiled white-supremacist Western Canadian nation mirroring the intent and policies of the Aryan Nations groups in the US (albeit with less bombastic rhetoric). High profile and vocal supporters of WCC include Stockwell Day Sr., from whom the Canadian Alliance has recently been forced to distance itself for publicity reasons. More recently, remarks by Alliance candidates Betty Granger and Brian Fitzpatrick make it quite clear that whether ignorant or malicious, the specter of racism still haunts the party. Until people really examine what it is about this party that continues to attract bigots and extremists, the circus will continue to entertain the rest of us for some time to come. Check out Warren Kinsella's excellent expose Web of Hate (Harper Collins 1994) for an in-depth look at far-right shenanigans in Canada. • (ft of poll mi D I E A D STUFF www.knottyboy.com Wholesale Inquires call 250-537-0058 AVAILABLE AT SALONS, HEMP STORES, AND OTHER COOL PLACES NEAR YOU! wax • shampoo • xasta J^ats • apparel $ ii^gsa^i»s comicreviewsbyrobin M V TOP F/VE TREASURES Treasured, elusive, and will cause harm. Not really, but there are some comics out there that you never thought you'd find—-or you imagined you might get, if you became a multi-millionaire. This year, I somehow managed to discover and obtain some comics that I feel utterly fortunate to have. And yeah, I gotta gloat. VARIOUS ARTISTS Raw (Penguin) Did you know that I've only been collecting comics for 5 years? I mean, I dabbled when I was a kid, but it wasn't the obsession it is now. When I first started really reading comics I started with Heavy Metal. Sad, I know, but my friend Robin started with Raw. I was so envious. Raw is like the holy grail of comics for me—one of the first examples of comics being perceived and treated as art.Assembled by Art Spiegelman (Maus) and his wife Francoise Mouly, Raw was, to me, the embodiment of the New York art scene of the '80s. They messed around with format, genre, and style.They poked fun at the history of comics and its standards. They blurred the line between "high art" and comics. Moreover, JOHN PORCELLINO Perfect Example (Highwater) I work in a comic book store and do most of the ordering. I've ordered Perfect Example by John Porcellino three times already. It's never showed up. So I go to the biggest comic book convention in all of North America and it's there at the Highwater Books booth. "What the... (sputter, sputter )... how come, hey wait!" I collared Jordan Crane (Non) who said that the official story is that Highwater has no money. I bought a copy of Perfect Example, and I think I'm one of only four people who own it in the entire city.That just sucks. Porcellino is a way better indie god than Dave Sim: he had his own distribution company, Spit And A Half, and he wrote and drew his own comic, King Cat Comics. He isn't the most amazing artist, but he's expressive, fluid, and stylish. His stories are quiet and sincere. He draws with his heart. Plus he draws Way better cats than James Kolchalka (Magic Boy). Perfect Example is a beautiful story about that oh-so-tumul- tuous time between graduation and whatever the hell it is that you're going to do with the rest of your life. It's honest and bittersweet, awkward, and lonely. It's full of adventure and retrospection. It would appeal to ;ryone, if it ever came out to the Back inside wher6 THERE'S NoTmrtG AliVE mass public. they introduced so many great comic artists to this world: guys like New York artist Drew Friedman (Warts and All), the stippling fiend, known for his hyperreal reproductions of celebrities dead, familiar and forgotten; Chris Ware (Acme Novelty Library), this minute's media darling, did a strip straight out of university; and Charles Burns with Hardboiled Defective Stories. Heavy Metal's more cultured older brother, Raw, introduced us to Belgian artist Joost Swarte, whose fine line style is so very reminiscent of Herge—Tintin grows up. But Row is sometimes hard to sit through. Sue Coe is a great realistic smearing artist, but reading about the ritual slaughter of pigs in her story Porkopolis was just ick. I'm also not sure that I like Gary Panter so much. But you know, that was the great thing about Raw: lots of variety.There was a ton of stuff crammed in there, and it was done with such highbrow flair. It was educational, historical, and interesting. And it still holds up. Anyway, there was a low print run on Raw to begin with, and they've never reprinted any of them. Then Spiegelman went and won the Pulitzer Prize for Maus, a story that premiered in Raw. Harder and harder to find, but this year I got issues 1-3 of Vol. 2. Not as good as Vol. I, but still better than nothing. 6 ********. WOO WILL EISNER Dating & Hanging Out (Scholastic Inc.) What do you think? Was Will Eisner desperate for money or what? I was pretty surprised when I found this one right next to the cash register at work. It's a pretty funny book, though. He illustrates the whole thing, and I gotta tell you, there are some pretty hep cats in this comic. I was thoroughly surprised that Eisner was hip to their jive. Now I know you need some help in the dating and hanging out department, so let me impart to you some of Eisner's wisdom. On the history of dating: "Wanna go to the pyramids tonight, Nefertiti?" "No, I don't like your freaky eyeshadow." On overcoming shy- SPECIAL BREEDS THESE PEOPLE ARE HARD TO GET INVOLVED WITH. THEY DO THEIR THING, PERIOD. IF WHAT THEY DO IS ALSO YOUR BAG, GREAT . . . OTHERWISE DON'T WASTE YOUR TIME. ness: "Talk loud and wear shades." He even has a handy guide to selecting the "type" you want, like, the creeps or the special breeds. There is also a section on using astrology to select a date. "Aries people usually have arched eyebrows." "Cancerians make jood boy scouts." Such gems. I don't know about you, but I always thought of Will Eisner as a serious kinda guy. This book is just goofy. A definite find and must have. CHARLES ADDAMS My Crowd (Simon & Schuster) Charles Addams, otherwise known as the guy who created the Addams Family, was even funnier when he drew that crazy Addams Family stuff happening to normal people— tling. Aly Crowd is a collection of one- panel gags, fully inked and sometimes painted with watercolours. This is a treasure, full of people with haunted eyes. They remind me of Roald Dahl (The Witches)—so very dark and anaemic. There's one with a wife saying to her husband as he digs a square hole in the back yard,"Wallace, isn't that already too deep for the glads?" The panels always look so normal until you notice one little thing, like the man raking leaves in his front yard—oh wait, he's raking them around his wife who's tied to a tree. Or the empty bus getting off at a cemetery. All brilliant, in a big hardcover book with some colour, it's wonder- ful.And if you liked the Addams Family, there is a plethora of gags with the original family of VARIOUS ARTISTS The Playboy Cartoon Album 3 (Playboy) I know what you're thinking. "Playboy, tee hee. Playboy comics? Giggle, giggle." But for those in the know, Playboy is one-stop shopping for quality one page panel gags. Hugh Hefner, the frustrated cartoonist turned naked girl mogul, had excellent taste in cartoonists. Originally, Playboy catered to the liberated, cool daddio. The Playboy Cartoon Albums take all the great artists from the '50s, '60s, and beyond and puts them in one big book, printed in full colour on slick, glossy paper. Just'cause there are naked ladies all over the place is no reason to discount the talent. There were a lot of surprises on the Playboy payroll. You know the guy who did Plastic Man, Jack Cole? He was in Playboy. And the guy who practically created the pinup, Alberto Vargas? He was in Playboy. My all time favourite, though, and the thing that surprised me the most was that noted child poet and songwriter Shel Silverstein used to work for Playboy. (I actually found that out while playing Trivial Pursuit.) With his gangly drawings of lumpy people, he tells the history of the magazine. There's Silverstein in his wrinkled safari jacket surrounded by Hef and some other old-timers, and they're all in suits."Remember when we started... we were all good-natured slobs," says Silverstein. Or Hef would send him on a whirlwind tour of Spain and Silverstein would draw his experiences bullfighting, eating, and exploring and then send them back to be used in Playboy. To this day you can still find Gahan Wilson struttin' his wavy creepy lines and intense crosshatching cartoons. One of the few to come out of the '60s without the need to make a statement, Wilson just wanted to share his wonderfully dark sense of humour. My all-time favourite gag of his features a man sitting on the psy chiatrist couch being asked by the psychiatrist when he became aware of this "plot" to kill him. Meanwhile, the psychiatrist is motioning to these guys outside the door, and they have these goofy grins on their faces. Loch Ness monsters and gargoyles abound, as do your standard housewives and mousy men. Jules Pfeiffer was another fairly prominent figure during the early Playboy days, waxing poetic about women's lib, the war, and living in the city. Quite clever and cerebral. Okay so the purpose wasn't so much to gloat as it was to share. A lot of the stuff I mentioned is old, which invariably makes it hard to find. I collect old romance comics, I know. I was tempted to mention that I now have all of my Tank Girl comics in trade paperback format. A very rare thing indeed. But if you're a real fan of comics most of the fun lies in the digging around in musty comic bins or being in the right place at the right time. I don't know why I told you about all these... now you'll be looking, too. • zinesbybleek Top 10 lists are fun to make, yet arbitrary and personal, with little authoritative substance. Ever read the year's best list in Rolling Stone? Too many years of psychedelics, if you ask me. It occurred to us that an overview of this year's best and most groovy zines would fall flat unless we were able to rope in a panel of seasoned experts to sort through the mountains of scientifically prepared and maintained documents. A few local experts surfaced, showed their zine Ph.Ds, and things were off to a fine beginning. Beyond the local scene, we also have a panel of surprisingly intelligent Americans butting in (as usual). First off I'd like to mention a few of my own most memorable zine reads of the year. 1. Speck - You can't love others 'til you love yourself. 2. Chickfactor - Best group of Jet Setting poppers this side of Speck. 3. Dreom Whip - could be the best writing in zinedom, and Bill Brown was a great guest on the radio show as well. 4. I'm Johnny and I Don't Give a Fuck - Looks more like a book this year, but still comes in around the top of the year's greatest on many folk's list. 5. Pop Boffin - Reading is fun again, and triviality is king. 6. Turf- Great ideas and terrific humour throughout. 7. Queen of the Universe - Nettie was right when she thought "I can do this, and even better." 8. Motorcyco - The good Reverend keeps the throttle I let the Contributors decide whether or not they wanted to elaborate on the lists they sent. As you can see, some people took on more than the allotted number but, let's face it, handing rules to zinesters is like herding cats. Radio Free Press co-host Sam 1. Pop Boffin. Okay, okay, so I write a bunch of stuff for it and my "better half" edits it, but so what? We wouldn't keep doing it if we didn't think we were producing something worthwhile. Also, there's not enough STUFF out there generally for those of us who like things to be simultaneously intelligent AND colourful. 2. Turf Yep, there are two zines in the same city sharing an aesthetic. What are the chances of that happening? We mentioned this one a couple of times recently, so y'all should know all about it by now. Still, if for some crazy reason you HAVEN'T been reading this column up 'til now, let's just say that for those of us who enjoy enlightened materialism and the avoidance of mind-deadening work, Turf is an essential read. 3. Queen of the Universe. Yet ANOTHER local zine going for the cute-but-clever girl market. Hey, I could almost pretend there was a SCENE going on here or something. Anyway, like I said, there's a brand spanking new issue of Queen Nettie's much discussed zine, and it may just be her best yet. Dude, these girls are really giving those nerdy cal speculation. He's a drifter, a dreamer, a film-maker, and an indie rocker. And, like all the fine folks behind all the fine publications mentioned above, he's a genuine talent who deserves your support. This Christmas, give the gift of zines. David Hatton of Corvid Revue 1. Spunk. Violet does a time- capsule.A silkscreened beauty. (PO Box 55336, Hayward, CA 94545) 2. Not My Small Diary. Superb alternative cartoon collectible. (1204 Cresthill Rd., Birmingham,AL352l3) 3. The Glovebox Chronicles. Automotive perzine fun. <leekinginc@hotmail.com> 4. Chunk 666. Chop-happy / / -S3 ■1 '-^ A m*'^ "^r ^L X ^? ^rJ We?* WW UM^rT *' ^ He •**« zine boys like Ryan "Single Guy" Bigge a run for their money. Having said that... 4. Ill Days to Live. Bigge's satirical zine is one of the funniest things being published today in any medium—no kidding. It's clever, it's cynical, and it shares a lot of common ground with that stalwart of the Vancouver comics scene... 5. Stoy As You Are. Brad Yung— who, as I'm sure you know, is responsible for this one—gets far too much publicity for his own good as it is. I say, let's stop giving this mean fellow the breath of publicity and... Doh! I did it again! Ah well, at least it gives us an excuse to mention Brad's multi-talented Texan friend Bill Brown who has been kind enough to give the world... 6. Dream Whip. A beautiful bundle of personal prose, dreamy tangents, and whimsi- bicycle punks prepare you for carmageddon. <megulon5@pobox.com> 5. Stay As You Are. Cancon requires broadcasters to provide minimum Canadian content. C'est de rigeur. <bradyung@intergate.ca> Local zinester Judith Beeman 1. No Depression. I'm a rootin' tooting' cowgurl. Nah, not really, but No Depression covers the music that really sparks my rocket these days. 2. Roctober. $ 15 US for four stupendously thick issues. Each issue is totally different usually with a theme! Very (and I mean very very very) in-depth articles sometimes make it a somewhat frustrating read, but that's part of the 3. Magnet. $20 US gets you a free CD (with about eight choices), six issues of the mag Dave Fisher of Filler! and another free CD collec 1.Loud Paper tion with each issue (well, 2. Monk Mink Pink Punk okay, sometimes the music 3. Pop Watch sucks, but it's fun to hear new 4. Lola sounds). 5. What's Up Chuck? 4. Not My Small Diary. Delaine Derry is such a sweetie! She Le Grand Magistery e- alternates issues of her per group poster Cocoa sonal zine My Small Diary with Beware copies of Not My Small Diary 1. Psychotic # 1 Fan in which friends and strangers 2. Desperate Times send in comix documenting 3. AMP what they've been up to. 1 4. Broken Pencil especially like that she'll pub 5.Speck lish submissions from people who are not polished artists. Rebecca Dart and Robin Super cheap at two bucks a Bougie pop. Rebecca: 5. Queen of the Universe. Sweet, 1. Deviant cool, hip (in a great non-hip 2. Cinema Sewer way). A gotta get every time. 3. Ron Turner's various publi The new issue just came out. cations 6. Family Suckass. You just can't 4. Underbelly go wrong with anything hus 5. I'm Johnny and 1 Don't Give a band and wife team Robin Fuck Bougie and Rebecca Dart pub Robin lish, and Robin's latest zine— 1. I'm Johnny and 1 Don't Give a Family Circus comics with new, Fuck extremely, er, colourful dia 2. Deviant logue—is no exception. Two 3. Cannibal Culture issues thus far and both super 4. Cinema Sewer fun in an XXX way. 5. StayAsYouAre 7. Colin Upton. Colin, we miss you! Hope to see a new comic Sabrina Margarita of soon. Give this man a publish Bamboo Girl er. 1. Oriental Whatever 8. Superstar. James Lloyd has 2. Doris his paycheque signed by Matt 3.Craphound Groening-these days, but luck 4. Red Hanky Panky ily for us, still has time to pro 5.P/otz duce the occasional digest size comic. His latest, titled Paul Lukas of Beer Frome Superstar, is a fictional tale I.LcwnArt#l about Jim Morrison living on a 2. Now Vou're Cooking with Food! secluded desert island. Great #1 "lines" as they say and a very 3. Infiltration, all issues creative storyline. 4. Last Plane to Jakarta #5 5. Fortress Rocks: A Journal of the Stoy As You Are's Brad Antarctic #1 Yung 1. Dream Whip. It's the only Bob Bert of BB Gun zine 1 read anymore.That is all. 1. Index 2. Rock + Ro/7 Girl Eric Mast of Thumb 3. Giant Robot 1. Grooves 4. Bust 2. The Manipulators 5. Cheap Date 3. Clarence Banana 4. Ain't Nothin Like Fuckin Mike D of Patty Duke Moonshine 1. /Huffy Magazine 5.BMQ 2. Panophobia 3. Plume Matador A&R man Ben 4. Ongaku Otaku Goldberg 5. American Cheerleaderpeace 1. Chunklet 2. Arcane Candy Some nut from Caustic 3. Splendid (e-zine) Truths and Noizy Music 4. Comes With A Smile 1. Maximumrocknroll 5. Sound Collector 2. Flipside 3. Skyscraper Jeremy Holt of The 4. Caustic Truths HuskyBoy S. Caustic Truths 1. Wide-Eyed 2. The HuskyBoy. Only cuz 1 There it is. A good start any been spendin' lots o' time way and a great indication of with him. what we have to look forward 3. Fuck Everyth/ng.The greatest to in the next millennium. Feel rock zine ever. left out? Get involved! 4. Thrift Score Contact Radio Free Press and 5.Whatever you do. state your own preferences. Appear on the show. Send in Wide-Eyed publisher Chris your zines or just start one 1. The HuskyBoy today! • 2. Throwrug 3. Spider Stompin' Listen to Radio Free Press on 4. Kickstand CiTR 101.9 fM, Wednesdays 5. Adds Up! from 2-3 PM. W5 3r*n\n\\ ? 5pcv\ ~3^fV) W[broc? Vl^k^n SfoVsn u^oTcX rS^fe Kg) nwsfVtf re z4\-cWg\ ^r |S*YViT<? iMOiV) \Lip/ -for OS • ^ s^/ WodVs ^oqrs Q^fsA axle r « c\ £ZO.oo . -VStrc\Tc>i ** gftnoary) ^ 7 a<xy£. 3^ Santa Monica Blvd., Los Angeles, CA 90025) Then there's RAINER MARIA who do a decent pop-rocker a la Velocity Girl 1 their vith a lellow bybrycedunn It's end of term and my body doesn't work.Thanks to tendonitis, I don't have the get-go to tell you all about the many lovely 7"s turning up around the station these days. I will be good enough to advise you to go and get the featuring four hot tracks by four hot bands. Do it now, don't wait for further descriptions. Done. Also, get your hands on anything on the 555 label, which most recently released a slough of hot shit 7"s—Cex, Les rlPi The Downpo Aislers Set/The How. All are on coloured vinyl, all sound good. So it goes. And now, Bryce will tie up all the loose ends I love to leave. —Julie C. D- like she just don't care [ she's asked me to put my two c s worth into this months' wonders, until she's ready to break it dowi on deck is ZIKZAK, who, after listening ^ick-wack, due largely to the fact that they'n 3 sound like late '80s Brit-pop. (Bitter, #639-1 flip. (Polyvinyl, PO Box 1885 Danville, IL 61834) Short and sweet, I'm liking this FILM SCHOOL 7" 'cuz for just one guy, there's a lotta racket on these three tunes, open- tuned guitar, keyboard action, harmonies, whoa stop already! (Metoo!, #257-915 Cole St., San Francisco, CA 941 17) I've never really been too keen on anything that resembles "artsy" pop, and these two Winnipeg Bands, THE PAPERBACKS and PROJEKTOR, fall into that trap because I'm havin' to use my decoder ring to decipher their "artsy" lyrics. For example: "Let's go to the house 'cause I don't have a brother." What? (PO Box 14 RPO Corydon,Winnipeg, MN R3M 3S3) Vancouver's SALTEENS offer up two short and sweet gems of which one is a Guided By Voices song ("Motor Away").This accompanies the bold statement made on the b-side:"Why do other bands bother?" I think the better question is "Why do you?" (Drive-ln, PO Box 888211, Grand Rapids, Ml 98588) Okay, I'm starting to cross over into a little more familiar territorf'fiow. THE ANNIVERSARY from Lawrence, KS threw me a bit with their tune which mixtes the Beach Boys with Weezer, but their compatriots, HOT ROD CIRCUIT from Boston, istantly cuz they Seaweed (and who gives them props nowadays?). It's catchy, driving, throw-your-body-like-a- wet noodle rock. (Valgrant/ Heros and Villains #361-21 18 Wilshire Blvd., Santa Monica, CA 90403) Good to see that the powers that be at Rip-Off are recognizing talent north of the 491" with T-dot's EXPLODERS.Two songs of, yes, explosive, spastic, crunchy rock that surpasses the original lo-fi approach of most of the label's roster. (Rip-Off, 581 Maple Ave., San Bruno, CA 94066) ZEN GUERRILLA finally slap down a live favourite on their latest (The Who's "The Seeker"), and a soulful testifier on the flip side, while ELECTRIC FRANKENSTEIN show they've still got plenty of fight left in them with a double dose of R-A-W-K. Nail these down. (Sub Pop, PO Box 20645 Seattle, WA 98102) Finally, in the festive season, we have Christmas carols from the men in BLACK (HALOS), with a warm and fuzzy number entitled "Homeless for Christmas" and their female friends TUULI making damn sure "You Better Know By Now What I Want for Christmas." (Sympathy for the Record Industry, #303-4450 California Place, Long Beach, CA 90807) While we're on the subject, I could use a few things... Bryce carboon by yukie kawabe Cafe^es A*-^C4/rVi±2J fc>y|3enolop>onrnj|li«gcin RADIX THEATRE box2 a thought experiment set in the classic confines of your local diner Friday, November 3 TheTempleton Restaurant Of course everyone in the audience knew there was going to be something going down besides dinner, but I kept wishing that this wasn't the case. Maybe this is where the thought experiment part comes in. Imagine genuinely innocent restaurant patrons having their noshtime surroundings invaded and altered by staff who begin behaving oddly, acting out thoughts and feelings about their jobs and commenting on their own and each others' inner lives. Not quite as weird as your grilled cheese sandwich asking you if everything tastes okay, but it's getting Bcoc' has the most conventional performer/audience setup of anything I've seen the company do. We didn't ramble with the actors through an outdoor site, pass them on a busy street corner or get absorbed into the multimedia environment at one of their parties. We sat and watched a kind of surrealistic dinner theatre populated by a lonelyhearts waitress (played by Kendra Fanconi), a deep-thinking insomniac cook (Andrew Laurenson) and a jumpy, ranting busboy (Paul Ternes). In a way, the production strains against this setup as much as its characters do against the "box of mundane reality" that their jobs represent. The brilliance of RADIX is that it takes hold of the world and slants it—suspension of disbelief usually just isn't an issue. Perhaps this is why it was so exciting every time the production would leak into the outside world, as when the busboy left the diner to go on his break or the waitress had a little modern dance freak-out on Granville Street. It was like a pressure valve being released. RADIX can dance through some pretty stimulating intellectual territory without getting ponderous. From quantum theory in a Skinner Box to psychosocial analysis.it remained stunningly theatrical and dark-humoured. In my absolute favourite vignette, images were projected onto a sheet held against the serving hatch wall while the cook and busboy began a liturgical chant about Doris the waitress and her infatuation with the body parts of city dwellers glimpsed through bus and apartment windows.The incantation did a wonderful vocal collapse as they got to the part about her inability to relate to a whole person. Like a garment turned inside-out, site-specific theatre often wears its stage management on its sleeve. Performers switch lights on and off, open and close blinds, cue audio and video tapes and huck props around—once the secrecy of the effects has been so unceremoniously dumped, there's a curious rush to be had from watching these manipulations become part of the action. The show was a second incarnation of BOX (should we now call it Vbox2?) which ran at the 1999 Fringe. That one was described to me by a friend as "weirder and more abstract," which means I probably would have liked it even more. At the time, I was away visiting my sister in the wilds of Northern Alberta. Now if only RADIX could tour this stuff to some of the diners up there. KOHZENSHA BUTOH COMPANY Bone of Earth II Friday, November 10 Performance Works About six years ago.Japan did a gig at the Symphony of Fire. There was no showing off, no grand choreography in their pyrotechnics, no sky-filling, crowd- pleasing big ones—except for those that went off while we were looking in the opposite direction at some small, hypnotic filigree.The most dramatic segment was a monochrome re-creation of the Blitz which went on forages until it felt nastily real. It didn't end with the usual crescendo. In fact, it didn't really end so much as just go away. Unsurprisingly, Japan's not been back to the crackle-and-bang fest since. It was one of the most wonderful things I've ever seen, and I felt like I was going to explode when Though not quite the supernova in my Constellation of Meaningful Things, Bone of Earth II had the same flavour. Western notions of theatre and spectacle were gently turned around or ignored completely. Narrative thread and dramatic arc were big, beautiful blanks left for us to fill or be filled by. Of course, blanks are only as good as what defines them and Kohzensha was the flesh and bone dancing around some sad and lovely spaces. The company consists of a man and a woman— Yukio Waguri and Asuka Shimada—who didn't strive for gender neutrality in the same way as say, Kokoro. Instead they go for more of a gender inclusiveness, The piece has clearly marked sections, each one of which could stand on its own. I know the programme note mentioned a progression from wild- ness to death, but it still felt like they were tossing us the beads and we could make whatever kind of necklace we wanted. After Waguri had done his wild beast dance, scattering Butoh powder like a flour sifter on legs, on came Shimada as a masked geisha, her gestures meek, precise and exquisite. My stomach did a flip when I noticed that heic}egs were on backwards. Although she was facing us, so were her heels. Realizing that she was doing this whole thing with the mask on the back of her head gave it some loaded layers, both technically and subtextually. Waguri returned in a red gown and touchingly absurd hair bow to begin what at first seemed to be a drag-style parody. Shimada joined him in a matching yellow ensemble, and gradually we were watching two women dancing. There was a delicacy in Waguri's overtly female gestures and facial expres sions that winked sadly at the thumping, dreadlocked wildman of the opening. Some of the theatrical imagery was fabulous. The two clacked onstage, framed by collapsible poles which they used as walkers. It was like watching Bunraku puppets trying to manipulate themselves and constantly falling down. When they ran around in massive capes, they looked like floating heads on a sea of brightly coloured fabric. As the lighting and costumes changed to a death-speckled alabaster, it appeared that Wagari was going to wrap himself up in his own shroud, but instead he became a child, then a swaddled infant. I remembered a quote in the programme from one of Butoh's founders: "Butoh is a corpse standing straight up in a desperate bid for life." Standing over him as the stage went to black, Shimada seemed to be patiently waiting for him to do just that. When the mood strikes, I'll finish off with a subsection called THE PLUG HOLE, where I'll chatter about some upcoming performance event. In the course of last month's out-hanging, I happened to meet someone involved with Burn Gloom. a production documenting the experiences of 14 diverse artists who spent the big Y2K rollover in various parts of the world.Their stories, from such far flung places as Tasmania, Montreal. Canton, New York. Santiago, and London, to name a few, were distilled and worked into a piece of theatre by local actor and playwright Elaine Avila. The idea appealed to me, since I'd spent the last months of 1999 tortured by how such an arbitrary point in time could be so pregnant with meaning if I chose to see it that way—which I did. Needing some kind of ritual and knowing that Vancouver didn't make the cut as a location, I fled to San Francisco (the nearest city with an impressive resume and a friend to stay with) and hit the streets. Avila's piece is about our need for ritual and ability to turn chaos into our very own art. Directed by Katherine Weiss and featuring four performers plus the Talking Pictures Music Ensemble, Burn Gloom will run from January 10-14, 2001 at an as yet undisclosed venue. For more information, call 604.682.5920.' CiTR 101.9 fM DJ PROFILE ELVIRA 11. "REPLICA REJECT" WEDNESDAYS 7:3(M):001>M Record played most often on your show: I try to avoid playing the same material. However, over the years, a 7" of 100 locked grooves by different experimental artists has filled a lot of otherwise dead air. Works of the ladies in Sleater-Kinney have also gotten a lot of airplay. Record you would save in a fire: Any old/rare vinyl that I could sell to an indie music completist for an over-exaggerated price to rebuild my stash. Just ask me after it happens. Record that should burn in hell: Anything classified as easy listening. Worst band you like: What is bad music? I like lots of music considered unlistenable.and I am not ashamed of any music I enjoy. Last record you bought: Rusty Warren, Songs for Sinners. First record you bought: Cyndi Lauper, She's So Unusual. Musician you'd most like to marry: I'm not into the institution of marriage. However, eccentricity, honesty, and good dance moves will get me interested. Favourite show on CiTR: Nardwuar the Human Serviette Presents! Strangest phone call received while on air: Well, I have received the requisite prank calls from our diverse and sleazy audience.The calls that really puzzle me are the requests for 2Pac or Led Zeppelin. It's like, dude, are you even listening? Usually they are.' 3296 Main St. @ 17,h 876.9233 M0N-SAT11AM-7PM SUN 12PM-6PM www.singlesgoingsteady.com GARAGE, Oil, SKA, HIP HOP, HARDCORE, EMO, ANARCH0-PUNK LPs • 45s • CDs New & Used BOXING WEEK SALE 20% off Dec. 26-30 January Sale 15% All Month Long T0P$ PAID FOR PUNK VINYL 9S^SES3ffi j*T5CWI & CHRISTMAS: a short line to the good times/^ 'Us. tf)e s.ea£on for our giant BOXING WEEK SALE DECEMBER 26th to DECEMBER list EVERYTHING will be 20% to 50% off/ other items further discounted well below cost We will be closed December 2Sth and January 1st. Items placed on hold prior to the sale will not be discounted. VOTE ROBOT * In Meorm ^.; 1 NA CD Watch for the following early 2001 releases on Scratch! JERK WITH A BOMB-The Old Noise LP/CD VOTE ROBOT-ln Meorm NA CD PROPELLER-Argento CD BUGSKULL vs The BIG WHITE CLOUD LP/CD 726 Richards Street, Vancouver, BC Canada V6B 3A4 MJ Tel: (604) 687-0499 Fax: (604) 687-0408 \ STOCKING STUFFER CORNER! We've got something for everyone. These sure bets for you AND your loved ones! Zi.Z-Plays Music LP/CD m-The Art Of Drowning LP/CD AMOR, BELHOM, BURNS, CONVERTINO-reted Tete LP/CD AT THE mm-\H-Relationship ot Command LP/CD BOARDS OF CANADA-/n A Beautiful Place Out In The Country IT/CDEP BONNY PRINCE BUY & THE MARQUIS DE TREN-Gef On My 12"/CDEP ax-Role Model CD CHICKS ON SPEED-ffe-fle/eases Of The Un-Releases CD CORN SISTERS-r/re Other Women DEATH CAB FOR CUTIE-Forbidden Love CDEP ELECTRIC COMPANY-er/fos CD EUPHONE-tfasft/n- It Out LP/CD FRANKIESPARO/WyffetfScare LP/CD GODSPEED YOU BLACK EMPEROR -Lift Your Skinny Fists Like Antennas To Heaven 2LP/2CD GUIDED BY VOICES-Siwfcase: Failed Experiments... 4CD BOX HOT WATER MUSIC-Ateiw Fnrfer LP/CD imiUN Cm-American 3-Solitary Man LP KID606-GO On The EQ++ CO KYUSS-fl/i/es For The Red Sun/Welcome To Sky Valley/And The Circus Leaves Town 3CDB0X UBMIHS-Trilogy 3LP ...,-■ & MOUSE ON MARS-lnstrumentals CO?f»|R| NEWPORNOGRAPHERS-Afassflo/Ba/rt/c CD PEACHES-reacftes Of Peaches 2LP/CD PIZZICATO FIVETfte Fifth Release From Matador 2LP/CD QUEENS OF THE STONE AGE-R-fee/ Good Hit Of The Summer LP RAGE AGAINST THE MACHINE -Renegades LP SAMIAM-ylsfray LP/CD SCREECHING WEASEL-teen Punks In Heat LP/CD SONGS: Omn-Ghost Tropic LP/CD SMOG-Weatt The Puke Tree 12"/CDEP SWALLOWING SHIT (pre-Propagandhi!)-se// titled CD TALIB KWEL! & HI TOL-Reflection Eternal 2LP THE SEA AND CAKE-flwr LP/CD TWILIGHT CIRCUS DUB SOUND SYSTEM-Ouo Plates II CD VIH-BATTLE AXE WARRIORS 2LP/CD V/A-THf LYRICIST LOUNGE VOL. 2 2LP . VIC CHESTNUTT Merriment CD mkKZmikHS-Left And Leaving LP/CD Some titles limited, while supply lasts. GIFT CERTIFICATES AVAILABLE! VirginMeqastore Enter for d Chance to WIN! a pair of tickets to see R.L. Burnside in concert on January 19th at Richards on Richards (with special guest Robert Belfour) R.L. Burnside JL "Wish I Was In Heaven Sitting Down" $16*99 CD only also available from R. L Burnside; Come On In, Mr. Wizard and Too Bad Jim Contest details and entry ballots will be available at the Virgin Megastore lower level. Contest starts January 2nd and closes January 16th Robson S Burrard 604-669-2289 -lo—cesruteA. i nomial, moonlight as Bitch Lap Lap with Peaches, stadium rocked for a few months, etc. Nathan: Ex-King Cobb Steelie, currently Jim Guthrie Quintet, Royal City. Daddy: Dark shades, pink clouds, oranges. Let that be a nice background. WP: Permanent Stains, Seventy Whore, Peaches crew, solo things. How did y'all hook up? We're all boyfriends of girlfriend's roomates' collaborators' friends. Tell us about your tour. When did you campus," i.e., not a drop of booze anywhere. Is that not inhumane? Name the best and worst things about Toronto. Daddy: Family. WP:The Hustle. Leslie, tell us about Placebo. Leslie: A time capsule that all my current buddies get a kick out of. Daddy: Fuck Placebo already! Do you have day jobs? If so, what are they, and how do you feel about working? finally warmed up—an amazing place. Nathan: Vancouver has been good to me indeed! Ask yourselves three questions and answer them. Daddy: Q: What's the best new music out? A: Peaches s/t, Gonzales UberAlles, Mocky s/t. Nathan: Q:What is my name? A: Nathan. Q: When is my birthday? A: I forget. Q: Why? A: Dunno that either. Leslie Feist & Daddy Szigeti DiSCORDER: Names, birth signs, shoe size, favourite tour snacks. Leslie Feist: Aquarius, 6 1/2, carrots and oranges. Nathan Lawr: Sagittarius, 9, licorice all-sorts. Daddy: Aquarius, 9 1/2, corn nuts. The World Provider: Pisces, 14, sausage. Give a brief musical background for each of yourselves. Leslie: Been at this for a while. AC/DC cover band drummer, Kiwanis soloist, opera super- leave? What's the best thing that's happened so far? Worst thing? Strangest thing? Leslie: We left Toronto on September 3rd and came back on the 30th. Best thing is in-van rapport, shows, and meeting awesome screwed-up people. Daddy: Highlights: Matt Allen and crew (Lethbridge), Clover Honey (Edmonton), Bartok Guitarsplat (Calgary), and CiTR radio WP: Strangest thing: US college was Leslie: I'm still studying under the hailed Apostle of Hustle to learn how to pull livelihood out of a hat. I know how to do lots of stuff that I can fall back on. Daddy: String arranging, producing records, making hits. WP:This is currently my day job. Nathan: House painter for rich Jewish women. How do you like Vancouver? Leslie: You people are very lucky. That's all I have to say. Daddy: Finally upon my ninth visit here, I've Contact info: Daddy: daddyszigeti@hotmail.com WP: smfilms@interlog.com Leslie: surnamefeist@usa.net Nathan: I don't own a computer. www.listentofeist.com • By Amy Brannen ^I* *~1f* *-lr* *ilr» *■!■» *■!-* ^V *V^ ^* ^^ ^^ v& Ku RoeK^tarS ****** KRS iaiqpier Turbos ruNes" cool LeatH^r baNd bracelets avaiLabLe tHrougH our ppl order For me Qossip, BaNas, ^Leater-KiNNejj, DeS, 3Nd KRS THe QoSSp "tHats Not WHat i Heard" LP/CD KLeetfeX/LupUt reiSSUe doUbLe CD l^ocfc-rffc 120 HE .State AVe PMB 418 OLijMjMa, WA 98501 WWW.KiLLrocKStars.coM usa Mffi ifor- ■l October 7,2000? ft marked the first time ever in the legacy ofdTR's annual Shindig! event that we were spared the infa- is Jokes for Beers. Enter Panty Boy, a band added what last minute to the evening's lineup, and there was no time for such frivolity. The young fresh fellows of Panty Boy e frivolity of their own to sell—the kind of off-the-wall humour that is the stuff of cult followings. Even They Might Be Giants had to start somewhere, and this duo is no exception. They took their first round of Shindig! (and the coveted pair o' drumsticks) and returned for a second round several weeks later. They lost that round to fellow Victoria band Nicely Nicely, but undeniably Panty Boy has made their mark on music history here in Vancoi pendent release Orgy of the Senses has already seen some good action on the CiTR homejobs chart. With youth and good vibes on their side, the sky is the limit. Lucky Gomez kindly shares the love. DiSCORDER: Tell me your names and ages. Panty Boy:We are Lucky Gomez (cowboy hat) and Mr. Ruprett (sombrero). We are both 21. What are your influences, musical backgrounds, and favourite snack foods? I would say that Os Mutantes,The Velvet Underground, Love, and maybe The Cure or The Smiths have been big influences on Panty Boy... Oh, And The Four Tops, and that one Zombies song "Time of the Season." I think Mr. Ruprett really likes Stevie Wonder. Ruprett's going to be the next male soul diva. Snack foods are great! Cold cereal is great! Baked goods (scones, muffins) are great! I'm not sure what Mr. Ruprett likes, but I did see him eat something like 30 "buffalo wings" on the ferry ride home. If we had super powers, Mr. Ruprett would be indestructible, and I would beAsstastic. When did you start playing together, and does Panty Boy ever include any guest musicians other than the two core members? Although Mr. Ruprett has long been an acquaintance of mine, we've only recently begun to partake of the sweet fruit that is rock'n' roll together. Panty Boy became a real band September, after I finished recording the album.There was a brief flirtation with bass and drums, but it would seem that our des- a duo. We're a bit like blood brothers who didn't realize the truth until it was there's nothing we can do, and it's just ou of control. The plam aligned and the price was right. It was a match made in heaven. In terms of special guests... I think we'd both like to work with a string section and maybe a choir of small children. Or a professional wrestler. Andre the Giant has been an enormous influence on Mr. Ruprett. Do you ever argue about which hat each of you get to wear? Hats are a very important part of both of us. I don't know if we could play properly if we switched hats. Well, Ruprett probably could, but I don't know about me. He actually has a cowboy hat as well. We don't argue though; there's no hat envy or anything. Does Mr. Ruprett have a problem with anger management? I refer to Round One of Shindig!, and the violent drumstick stabbing that appeared to be taking place after you were )Z Ae^cesn^zA. WOO announced as the winners. As I said before, Andre the Giant has had a huge impact on Mr. Ruprett. What you actually witnessed Tuesday night was a "Skull Crusher"—which is technically an illegal move. He's really a very nice guy. We probably just had too many Shirley Temples. When did you discover the Omnichord? Describe the experience. It was actually my father who discovered the infa- nichord. He bought it it was right on the cutting edge of electric auto- harp technology. It kind of fell into my hands about a year ago, and I could just feel the love inside it. It was definitely a love thing. My dad used to take it on tour and play songs like "Guantanamera" and "Margaritaville." I don't know what he was thinking. One of the best songs on Orgy of the Senses is "Neil Diamond." Describe your relationship with Neil Diamond. I honestly don't know if I even have a relationship with Neil Diamond himself or with Bobby Bruce, the world's foremost Neil Diamond impersonator. I just saw an ad for this "Nearly Neil" tribute show and it was... compelling. I don't know if I like him, but there's something about his work that can't be denied. I keep meaning to watch The Jazz Singer in the hopes that it will shed some light on the mystery."Solitary Man" is my favorite Neil Diamond song."l Am, I Said" is a close second. What compelled you to enter Shindig!? Was this your first Vancouver show? I didn't know about Shindig! at first. I sent a cassette to Nardwuar the Human Serviette, who in turn gave it to the station, and then the Demo Director called me. I was unsure about performing since I didn't have a band, but the offer was too enticing to refuse. This was our first time in Vancouver... probably the most fun I've ever had performing. How would you describe the music scene in Victoria right now? I tend not to go out too much. Eep Op Orp rocks hard for love, and thaAMP thing is great.There's a bit of a venue shortage in Victoria. Also a lot of bands are getting in on this Music and Visuals idea. It sounds like a great melding of genres, but it seems more like two separate things just kind of... going. I probably just don't get it. It looks good, but I'd like to see someone playing big screen Atari behind the band, or ,f "^^^ World Championship Wrestling or some- f J thing. There could be more interaction, you (* ^ could have simultaneous horn shots and skull ^=n -v */) crushers- I ^^^f Have you thought of using "People In Your I Neighbourhood" as a springboard for cre- 1^—^| ating an updated production of TV's Mr. \CMtrj Rogers? Did you watch Mr. Rogers as children? As of yet there are no plans to resurrect Mr. Rogers and his Magical Land of Make Believe. I was definitely more into Mr. Dress-Up. Mr. Rogers just confused me and one for out. Perhaps ild use "People in your Neighbourhood" as a theme for a "Mr. Ruprett" TV show. Ruprett is surprisingly telegenic. In the second round of Shindig!, you had some new songs for us. Can you plain the inspiration for "My Special Day" and "Wrestling"? Surprisingly, "Special Day" was written on [my girlfriend] Sarah's special day.There was a festive atmosphere and pre- were having all sorts of fun, and it just seemed thing to write a song about. It's really meant for any special occasion: weddings, prom nights, birthdays. When you just want to say to somebody, "Hey, you're special! Today is your special day!" "Wrestling" is still somewhat shrouded in mystery. I'm not really a fan of modern day pro wrestling, but the classic Hulk Hogan/Andre tf really had something going for it. We watched WrestleMania II as sort of a research project; it was intense. Andre the ing the Battle Royale.The Hulkster defeating King Kong Bundy in the steel cage, and the poignant romance between Macho Man Randy Savage and his Special Lady.Though you wouldn't expect it, the commentators rarely say what the actual moves are called. There's just a lot of "A slam! And another SLAM! Off the top ropes!!!" World Championship Wrestling for the original Nintendo Entertainment System was a great game. It had all the moves... Boston Crab, Figure 4 Leg Lock... it had them all. We did see a more romantic side of Ruprett in that second round as well. He even played the Omnichord instead of you for the song "Dixie"—how does he approach playing the Omnichord as compared with you? Ruprett is quite a romantic, I must admit. All that stuff about lollipops and soda shops is for real, straight from the heart. He's become quite proficient on the Omnichord as well, despite that the instrument is a bit of a cruel mistress. Like I said before, the Omnichord feeds off your life force—what you put in you get out. I think Ruprett put a lot of love into that song, and the Omnichord really reflected that. He can play and sing at the same How did you feel about the second show, compared with the first round of Shindig!? Overall, I think that show was probably better than the first, though I was not too surprised when we didn't win.We had a few technical difficulties this time around, still figuring out this live performance stuff. Ruprett is undoubtedly coming into his own as a singer, and we're both more comfortable talkin' trash on the microphone. What were your thoughts on Nicely Nicely (the winner) and Dorothy? Do you know the Nicely Nicely guys from Victoria? Both bands were pretty swell. Hard rockin', tough lovin', good bands. Ruprett and I both have some sort of acquaintance with the Nicely Nicely guys. If we saw them on the street we would stop and say "hi," that sort of thing. What are your plans for the future? As Corey Hart once said, "The future's so bright, I gotta wear shades." [Actually, that was Timbuk 3. Corey said "I wear my sunglasses at night"—Ed.J Whether or not this prophecy applies to Panty Boy remains to be seen. Perhaps some more recording in the near future and probably some shows in Victoria... Maybe one day it will be Panty Boy's special day.We will follow the signs... • Minimalists are serious people.You can tell. They wear lots of black, have names like "Sutekh" (derived from an Egyptian God) and like to place themselves in the artsy pantheon alongside black-wearing auteurs like John Cage and Steve Reich.They are the purveyors of the fine modernist tradition of High Art, or they're post-modernists, or post-something.As the following very serious interview shows, we have obviously reached the pinnacle of intellectual music with a group of innovators from San Francisco. With a bit of luck and promises of black-beret give-aways, I assembled Sutekh, Joshua Kit Clayton, Safety Scissors, and Chris Sattinger. This group ofcrunchy, industrial, and hard-edged minimal dub-techno artists cream their pants when anything remotely connected to Cologne is mentioned (Germany, not the aftershave). (Music plays... Sutekh starts scratching records in the background. Fashion-conscious Chris SattingerAsk his agent. Kit:Yeah, ask my agent, Chris Sattinger. Sutekh: Chris Sattinger, how does Thai food relate to urban dub in the 21st century? (The following answer may shock and surprise you. It was, perhaps, the lowpoint of otherwise a brilliant discussion.) Chris: Dub is about cross-referencing cultures. It's about an exchange. [Lengthy pause, then, nervous laughter. Cato's Quebecois laugh can be heard. If you've never heard a Quebecois laugh, well, then you must not be cultured.] Sutekh: Oooohhh Kkkkaaayyyy. Moving on... Kit: [Looking at Chris] Yeah, you can answer all my questions. Sutekh:What did you eat for lunch yesterday, Kit Clayton? Kit: I had uhh... it's kind of like the way the Chinese food enters your stomach? And gets digested? Kit: Sometimes you want to apply the dub- effects yourself. You don't want to eat food that's already too dubbed-out, DUDE.You don't want your gastrointestinal tract to dub it all out over your bathroom floor. Sutekh: So the dub happens from within, is what you're saying. [This is one horrible, horrible joke. In fact, all of this, but more on that later.] Chris: One of you guys is more serious there than you need to be. [Arty laughter] Kit: Dub is a very serious matter. But this is a failed conversation.All of this needs to be erased. (At this point, a true mark of brilliance hits me. "I think I'll sell this to Vice" I say. After all, who else would take such a lame interview with no t and an absent, shitty interviewer? All of This Needs to Be Erased Flirtu Quebecois us. Wanker SF Minimalists Kit Llayton and Sutekh Steal My Interuieiu) by Tobias u Safety Scissors adjusts his Hair. He never says anything the whole time so don't expect much. Others assemble on the couch. Kit Clayton wants a Hello Kitty candy.) Cato [interviewer's girlfriend]: What flavour do you want? Do you want grape? Kit Clayton: What flavour is that? Is it bub- blegum flavour? Sutekh:The flavour will run out on ya. Kit: Hyayayahhahauauuahahahaa (weird gargling retard sound as he puts Hello Kitty gum in his face-hole). Sutekh: If you suck on it, it's better. Kit: Isn't it always better when you suck on it? Sutekh: Especially with Chinese food. Kit Well I don't fucking have to use chopsticks with your little piece of rice. [Serious, arty laughter and applause.] (Sutekh looks at me and gestures at the ultra- lanky superstar Kit,"Ask him about the Indians," he says. Joshua Kit Clayton's ears immediately perk up. A long, drawn-out sound escapes from his lips like a gasping, choking frog just trampled over by a thousand Catholic schoolgirls.The frog's dead, but he just saw one helluva an upskirt panty- shot on the way out."Nooo [gurgle]" says Kit.) DiSCORDER: Tell me about the Indians. Kit: Are we recording? We won't talk about the Indians. Indians do not exist. (I later discover this is a reference to some fictitious press release that said Kit recorded "some American Indians" with his laptop for some spiritual reason—I have to print this to save my ass. He turns to me, with a lopsided grin and a hint of desperation in his eyesk'AII of this has to be deleted.This is offensive..." he says. I smile and nod. Smile and nod. Smile and nod.) Sutekh: People need to know the truth about you, Josh. They want to know the real you. Kit: Okay. Erase this. (Now, Sutekh takes over the interview. A real artist in charge. He begins by talking about the First Thing One Should Always Ask: Food and Your Bowels.) Kit: I ate Thai food. Sutekh: How does Thai food relate to urban dub in the 21st century? (Our trusty D/SCORDER-mterviewer, thinking himself worthy of inane comment in the face of sheer brilliance and obvious genius, pops the questions that keeps him the powerful journalist he is:"Did you have SumTum?") Chris: Rub-a-dub. (I don't know why he said this) Kit: All of this has to be erased! Sum Turn Lau. Kit: No, we had Tom Young Gooon. And we had... uuhhh... Green Curry... and we had like, Lard Pork. ALL: LARD PORK'!? Kit: But what did I have for lunch yesterday? That's an interesting question. I think I had sausage. Sutekh: When was the last time you ate Chinese food? Kit: A long time ago. I don't really like Chinese food. Sutekh:What is it about Chinese food that you don't like? Kit: It's too sweet.There's a lot of sugar, and... Sutekh: You don't like things that are sweet?! Chris: Sweet! How could it be too sweet?!? Kit: I don't know. No, I like... it's like a weird, mucky like... Chris: Mushiness of it? (At this point, an evident artistic and hallowed discourse on Food is taking place. Yet where was the Control of this interview? Who was in Control after all? And who was asking the questions? Is this San Francisco? What the hell am I doing in San Francisco?!) Sutekh: Don't you think mucky food is kind of like, dub? Like the echo-box [some wank piece of gear], the way it reverberates inside your soul, [And in fact this is utterly true; Vice didn't take it] Then, all of a sudden, I am on the spot. Sutekh turns to me:"Ok, it's your turn to ask a question, interviewer." I freeze. What should I say? I try to think of something witty.) {Turning to Kit] Why do you look so much Cato: [Snidely] You mean the Arctic, right? KitNo.uh... Sutekh: Hawaii?? Kit: NO not that island. It was called, like, "Good Friendship Island" or "Clean Canadian People Island." It was somewhere that we were going to all play. Sutekh:That was on Victoria Island, wasn't it? Kit: Clean Canadian... (I try to explain that Victoria is the capital of BC when Chris Sattinger injects, once again with brilliance: "Gabriola Island," he says. He knows. After all, he's the agent.) Kit: Gabriola—the Clean Island.Their tourism bureau advertised heavily how clean they were. Sutekh:There's no Victoria island?!? No. Victoria is the capital of BC which is on Vancouver Island. Kit: I always thought BC stood for 'Before Christ'? I thought it was sort of like the Babel of North America. Sutekh:The North American Babel?!? Kit: Like the city of Babel.. [Lengthy pause—no one knows what the hell is going on. We all seem embarrassed.] Sutekh: Is that where the Indians come from? KitThis has to be deleted. Where are you off to next, traveling? Kit: Montreal, Canada. Montreal's dirty. Sutekh: That's because of the French people. [At this, Cato begins scoffing with that Quebecois look of insult and words like tabernac begin to be formed.] Kit: French people are dirty. Just like Montreal— it doesn't really fit in well with Canada. That's why they should have seceded—you guys would like Source Direct: (Kit turns to me with one lanky eye cocked: "Who's Source Direct?" I feel lame. I reply that he's a jungle producer from the UK. This leads us into the secono brilliant dissertation of this interview: Clean Canadians and the Dirty Quebecois. But before that, Sutekh interjects. "You just think all Americans look alike," he says. Finally, a chance to vindicate myself! Source Direct is British, I say. But not for long. "Well, Canadians think that British people and American people all look the same." Smack. Kit asks once again: "Is this going to be broadcast in audio format?" "Probably," I say."AII of this has to be erased," he says. I almost agree at this point. He has repeated this several times. But we haven't even got to the Dirty Quebecois yet. Kit now takes Control, and I lose it once again.) Kit: Now really, what do you think of San Francisco? It's dirty. Kit: It's not dirty! San Francisco is dirty?!? It's dirty compared to Vancouver. Kit: Where do you guys come from, Vancoooooouver or something?! [Sarcasm- wince] Sutekh: Oh, no wonder. Kit: Is Vancouver cleaner thanTaranno? Yes. KitTaranno is, like, sparkling. Then Vancouver is, like, sparkled- sparkling. Kit: What are those islands like? What's that island called?Victoria Island? Canary Island? (It is at this point that Heaven and all Nirvana occurs. The point when an American talks about Geography. Ladies and Gentleman, this is hubris: i.e., when you fuck up because your country Has The Bomb and couldn't give a cuckoo's ass where anything in the world is outside of the Big Ol' USA.) Sutekh:The Canary Islands are... ...somewhere else... have been a whole lot cleaner without those dirty French... sspppp... sppppaawwwn,. i... (He's barely able to get the words out a^ the majority of us choke on our food and lau;, ter, risking asphyxiation, and Cato gets fighr. lg mad. Her eyes bunch up. I love her like this. It's sexy. Nothing like a hopping mad Frenchie.) KitThis has to be deleted. [Egging Cato on] C'mon Cato, c'mon... Kit: [To Cato] Are you French? Oh, you are dirty! You look clean on the surface, but no matter how much you scrub behind your ears you can't get away from your dirty little French spawn (At this point, I hope no members of the FLQ are reading. Kit does admit that he is just kidding. He was, after all, just in France, and it was very dirty. Sutekh, however, disagrees: "France was not dirty. Just because there is dog-poop everywhere it doesn't mean that France was dirty." Kit disagrees. He thinks that Berlin is dirty. He also thinks that Americans are dirty too.After all, he's just placing our Quebecois Cato in the context of a clean, Gabriollian society.) Kit: Now Seth is going to tell us the origin of his name. How did you get your name? Sutekh: One day I went up on the mountain, with my laptop. I talked to the Indians.And I said "Indian master. Kit Clayton sent me up here to get advice from you. And I am wondering, what should be my artist name?" And they told me. Kit: Falling-Pants? Sutekh:Yes, and translated into the Indian dub- language, that is Sutekh. • They've alt got music out on Context. Belief- Systems, scape, Background, Tektite, Force Inc., Source, Cytrax, Parallel, Missile, yadda yadda. Start looking at http:llwww.belief-systems.com. ]3Ht&g£LI^SE f /«■ & In l992,Warren Ellis bravely fiddled where no man had ever fiddled before— Melbourne's inner-city pub-circuit. The result was The Dirty Three—big daddies to a misfit-breed of classical musicians. In October this year,"Australadians" from Whistler and beyond gathered to hear The Dirty Three perform in Vancouver. I was amongst them and caught up with D3 violinist Warren Ellis a few hours before the show. Our discussion—filmed as part of a profile documentary to be released in New York in 2001—takes place on week one of their North American tour. Things seem to be going fairly well for Ellis, who became a father earlier this year. D3's latest full-length album, Whatever You Love, You Are, has just been voted "Best Australian Independent Release of 2000" by music-industry insiders. Ellis crosses his legs and bends forward is his chair. In some ways, he doesn't know what the big deal is about. "Our line-up always struck me as kind of normal, really."After years of cleaning windows, toilets, teaching children and a stint in a whiskey distillery, Ellis settled with music because "it's a real release for things that I don't particualorly have a language to communicate in any other way." Not that he's short on words. In live performance, for example, Ellis' introductions often last longer than your average short story. And what a telling— complete with poem and pause, curse and confession, death, drugs, damsels, and that passionate, matadonal style of dance. Unmistakable. A self-described "late starter," Ellis played his first gig at age 2 7 in the darkest cori\er of a small burgundy pup—the dirty s/<fe of Melbourne. It was a low-budget affair, wifh no PA and no stage. No matter—the audience., were oil mates anyway. With guitarist Mick Turner (Tren Brother and recent Cat Power collaborator, along with D3 percussionist Jim White), Ellis stretched their five songs into two hours of music. "We just played really long."To their surprise, people loved it. People like fellow Melbournite Nick Cave (Warren moonlights as a Bad Seed), who invited the band to join him for their first European tour. By 1996—after subsequent support gigs for the likes of Pavement, Beck, Jon Spencer, Beastie Boys—there wasn't a good share-house in Melbourne who didn't own a copy of Horse Stories and, later, Ocean Songs, their two most popular albums before the current release. By this stage, Ellis had become the unintentional hero of a swarm of young, classically-trained musicians who felt alienated by narrow definitions of how their instruments should sound.That habit of'ploying long'was, in part, the realization of a new genre of music, one which no one's quite coined a term for. One critic recently referred to the style as "ensemble-rock." If you think that's bad, how about "folk-rock,""classical-rock,"or "rock sound-scape"? DiSCORDER: Does it matter what we call it? Warren Ellis:Well, it doesn't really matter to me. It does matter to some people. For me, music is music. Things have distinct flavors because of where they're from. If you listen to folk music from all around Europe, it's very different [from] Asian music, but essentially it's all music. It's interesting because people will ask you for an explanation and that almost presupposes that some thought has gone into it, and you know, quite often there is some thought, and quite often there's not. I find the more and more I'm involved in making music, the more I have to remove myself from it after the fact. Meaning starts becoming apparent afterwards for me. I find that with other things as well—you bring your own package along to some thing and it starts having a meaning. Some bits of music, people say what they think is going on in it, and it can be really wonderful and it's something you've never thought at all. You have no right, even as the maker of it, to say, "Actually it's not about that," because you don't own it anymore—it's in the public domain. But I don't really feel very qualified at all. I don't really know how relevant it is actually, to you play. But ther a basic kind of struc- Some musicians—those who play "typically classical" instruments yet don't fit the definition of "typically classical"—say that your music has brought them hope. Do you ever get a sense of that? I don't know. It would be nice to think... I always like it when people come up and tell me that closer to having an answer for it. And also because you're doing it involved with other people—in this case I'm one of three people—you're speaking for yourself, and you're not really representing the other people. Automatically if there's one person talking it's assumed that they're the key [person], and that's far from the truth in this case. All of a sudden the focus of it's changed, and that sort of bothered me. You began as a classical violinist. Did you find the style unsatisfying? I did some exams and played for orchestras. I didn't understand it at all. It didn't seem to be connected to anything that I was enjoying when I was a kid, you know? It was really frustrating trying to play "It's a Long Way to the Top When You Wanna Rock n' Roll" on a violin, you know? I didn't really connect with it. It's interesting because I think a lot of the melodies that I heard then are now, in some way, coming back within me. I found myself at the beginning going so far away from the sound of the violin that I really was doing everything I could to not sound like that. Now I'm quite happy to come back to it. That's something that's come in the last couple of years within the way that I play. I don't think about it that much. Moments like these are probably the most that I would analyze something. I tend to not do that. What's D3's process for making the music you make? There's always a basic idea—we're not freeform in the sense that people would imagine it.There are elements of freeness in there; there's also a structure. It's grounded in that.There're so many directions it can go off on, whether it's dynamics or how you're playing, speed, or what pressure to justify your music? It's interesting this thing of justifying things because you don't have to justify nothing! It's almost like a lot of people have more time to think about it than you do, and because you're really involved with it closely, it's hard to be objective about it. I mean, I love music, and I love to make music, and that's really kind of it. We thought about it after the fact, but we didn't really get together and make a certain thing, you know? It just happened really naturally—it has evolved like a relationship evolves. I started wondering on the last couple of records, do we need to get some more people, to expand, you know? Not wanting to repeat yourself—that's the only thing. I read biographies of film directors.To hear how they constantly try to do different things, to look at things differently, to pull you out all of a sudden, from where you're just rattling along. I guess that one of the big fears is that you'll just continue to repeat yourself. But you don't want to force change—that's something really unnatural. That's probably the most mysterious thing about it I think,'cause if that happens, the rest follows, you know? I want to ask you about the relationship within a band. How has the dynamic within the band changed after eight years of playing with each other? I guess we've seen each other at out best and our worst.There's times when it's just gotten ludicrous. I know groups who go away for a couple of months, and they never want to see each other again. Sometimes you just have to put things behind you because you're just the same as everybody else in terms of relationship. The band becomes like another person in a way, someone to look after, to take care of, you know. It sort of seems like nurturing a child. It grows, and you grow together. It's something very different now than it was back then. In essence, it's still the same, but you know, things have changed too. You were just talking about wanting to create something new all the time. Where does a pressure like that come from? We've never been a band who've buckled to any outside pressures. If we had, we'd have probably stopped long before we started.We came out of an environment that was really healthy in a musical aspect in Melbourne, but in regards to things with record labels—this was eight years ago—we were playing in bars, and labels weren't really interested in putting out things without a singer. It never struck me as very strange as all. If we had buckled to any pressure like that we wouldn't be doing what we're doing, and we never did for that reason, we just enjoyed playing together. Definitely the pressure comes from your self and within the group. I see it more like a kind of a journey—it seems to follow through from other things in your life. I can't separate music from my life. It's always struck me as really important to keep looking. I never feel particularly content with anything I do. Do you ever come to a point where you wonder "Is this success?" or "What is success?" It's a really personal thing. If you're trying to get in the top 10 and you do, then you've succeeded, but I've never looked at of success, only in terms of how much more I can get from it. I still listen to AC/DC, I still listen to Beethoven and Bach and Stravinsky, and I still listen to things I listened to a long time ago, but I also know that I keep looking for [new] things. I start getting a bit frustrated or something, and I want to absorb more things. band as anything other than a vehicle for us to do what place where we really have freedom. It's also a place where it allows me to connect with Would you be content just to record and not play live? No. Music's always been about communication for me, in terms of when I listen to it. It's communicating, you know. It's one of the things that are really unique about music—you can get out and see the audience you play to. They're there in the room. When you write a book, you don't see everyone who reads it or their reaction to it. It makes [music] quite different from the other creative art forms. Part of the appeal of your music is that it isn't all "happy happy." I guess it depends on what makes you happy. I find a lot of what "Tfiinpi, »»/ib;-; tn"ey.'ne cnnlu-m-ed, dvn't exilt. l/l>u d* a yuainttnzy, yuut if in a ttv-arvet* and f&avi>- i-t £4eve-—it d#e s physic titty e-x,ist ■6ut ai fun actuatty Anvinp- a tiy<e~, ti> 6e tt-ed 6 y /'r yu te. " lly pr leval urges, and it feels like quite a special place for that reason. So many things you have to fit in to a structure and I just find it really liberating. Over the | years I've have moments whei totally question whether anything is going to happen... I guess a lot of it has to do with faith and believing in what you're doing. Is that a belief in the process or the fact that you're doing something worthwhile? I try not to take too much notice of what because it can be really mislflllF^ It's like that feeling some daysjfjiu'get up anj carve a hole in the sky, and other days yoi like you can't even get out of bed. Some days it feels right and some days it doesn't. I find myself constantly questioning things. I don't always feel really happy with everything that I've done, and I don't think it's really good to sit on it for too long either. Maybe I'm just not a very happy person with myself, I don't know. It's quite interesting actually because I've had this coming up. We've sort of got into this thing where we do a record, you have this burst doing it, that gets done, and you get into this things of playing, this system of things, a process. Sometimes it's really good and sometimes I wonder, on a purely creative level, is it? I mean, it's so important to play in front of people—that's where it really gets a life. Things, unless they're consumed, don't exist.You do a painting, put it in a drawer and leave it there—it does physically exist but as for actually having a life, it needs to be consumed by people. we do really uplifting. It's working your way out of something, it's the learning part.That's when you start learning. Particularly when we started, [performing live] was a really fantastic workout, unloading a whole lot of frustration, physically and emotionally. It's definitely a vehicle for that. It goes back to what I was saying about tapping in to something quite What keeps you sane on the road? Today? I like to listen to music. I find the novelty of travelling around wore off after a while. It can be playing the show. Sometimes playing a show can feel like it's gonna be a real hurdle, and sometimes it's really great, you've risen out of where you were. Other days you can feel so depressed after playing. Some days I feel so depressed after playing; it hasn't connected, you know? You always have this thing where when it's been really great, you want it to [continue] being really great, and it's like anything. It's never constant. I guess leaving ourselves so wide open with what we do, you're bound to fall. I think that's part of the intrinsic charm and beauty of what we're doing. We've always been prepared to step out on a Isn't that, in a way, part of what you were saying before about changing direction, as in, you needing those crisis points? I imagine it would be an incredibly dislocating experience to be on the road for so long. It's like those things sometimes when you try really hard, you fall " -.And then yofffust let things go naturally It can unfold real- fantastically.You get really surprised. But you can't help but we expectations, too, based on prior experiences. I think people get that, too, if they've seen a show that's really moved them and then they're let down or whatever. That seemed to happen with Jeff Buckley's first and second tours in Melbourne. It seems like sometimes, so much weight is put on the performer, and it's like "You've really let me down." It's like, hang on, it's saying as much about you as it is about them. More, probably more about you. Maybe you've just changed, you know? It seems like the whole music thing—we've got caught in it, we've found some funny niche in there—it can be really ruthless too. It's really hard if suddenly you're really fashionable, and the next day you're not, but you still believe in what you're doing. Do you have to force yourself to a point where it really doesn't matter because it is so fickle? I don't think I feel like that. I would hope I'm not like that. I hope I don't get like that. I've had to physically pull myself onto stage some nights, but I'd hope I don't get like that. Do you have any concept of your music being particularly Australian? Well I am Australian. I don't feel any less Australian not living there [Ellis moved to Paris with his wife four years ago]. In fact, I probably feel more Australian now I don't live there because I have a much fonder picture of it being away from there. I grew up there, and your environment influences you. I don't know if it's a distinctly Australian sound. People say it sounds like the desert, sounds really big and wide, but that's their preconceptions. I'd never been to the desert until the start of this year. The furthest I'd ever been was a couple of hundred kilometers from Melbourne until a few years ago. I think Australia's far enough away from everywhere else to kind of have an identity. I find that with New Zealand as well. I don't really know. Do you ever miss the feeling of things being "small and local"? Certainly. In terms of it getting bigger, I never thought about that either. We seem to be more popular than I even ever would've thought. I wouldn't really like it to be much bigger'cause I find it really unmusical to play to really big crowds. When we've done festivals it's so impersonal, you're so far removed from things. It's a big of a vicious circle, really. When you become famous I assume you become particularly susceptible to other people's idealizations. It sounds like you're graceful about that. [Lough] I'm not particularly famous. Well, back in Melbourne you've got a bit of a name for yourself.You don't think of yourself as famous? No I don't. No I don't at all. I feel really fortunate, but no, I never honestly really think about that. • 4? C/rr. "&■ * tv rt ft c ti fi-m-m- (£. -n n -C n /v -e n by BARBARA andersen 1. The evening after my interview with Rachel Cams and Radio Sloan of the Need, I watched a live webcast of their show at the Double Door in Chicago. During a pause in the set, Radio told the audience, "We improvise our set list It's so unprofessional." Rachel responded, "But that's okay; we're all about practice and dialogue." "Oh yeah, we're gay, I forgot,"said Radio. 2. The Need Is Dead (Chainsaw Records, 2000) mixes Satan with savoir. It and previous releases defy description. 3. Their rock opera, The Transfused, written with activistlwriter/singer Nomy Lamm, premiered at the Capitol Theater in Olympia.Washington this summer. 4. Their collective pedigree includes stints in Kicking Giant, Ce Be Barnes Band, and the Fakes. 5. They have matching tattoos. 0. During the interview, they responded very politely to the fact that my interest in the Need seemed to escape the ordinary parameters of rock journalism. DiSCORDER: So there's some sort of web broadcast going on of the show tonight [in Chicago]? Rachel Carns:Yeah, DCN, dcn.com I think. How did you get that set up? Rachel:They just e-mailed us, said they wanted to broadcast our shows, the cameras were already all set up, there won't even need to be anybody there, it'll all be very unobtrusive. I'd never even heard of DCN, so I was pretty surprised. Rachel: Yeah, there's I think three shows that we're doing that are going to be broadcast by them. You've already started doing the Blonde Redhead tour? Rachel:Yeah. How's that going? Rachel: It's going well; sold out shows everywhere, pretty much. From what I've seen, Blonde Redhead and the Need have slightly different audiences. RachehYeah, there's a small crossover. But it's definitely, like, you know. Our peeps are there, but there's this whole other crowd of people that we have to win over who have never heard our band before. Are you getting a good reaction? Rachel: Generally, yeah. Haven't had any hecklers. Hecklers can be fun, though. I remember at the Yoyo show (1999) you had some streakers goin' on. [laughter] RachehYeah, that was a strange one. Was it strange? Or is that a regular occurrence? Rachel: Well, that was our one and only streaker, actually. Was that the same show where our friends took all their shirts off? Radio Sloan:Yeah, yeah, yeah, yeah. I remember someone saying, "Friends don't let friends show tits." That was the crowning line. [g'gg'es] Rachel: I think that was me. [more giggles] I wanted to ask you about The Transfused. Are you happy with how it turned out? Rachel: Oh, I thought it was amazing.The whole thing. It was a year and a half's work for us to make that happen. It was really incredible. It was bigger and more time-consuming than either one of us imagined that it was going to be. So many people in the community who were involved, like hundreds of people. There was a cast of 22, plus so many people working on different art aspects and techno aspects of the show that it was just really exciting. What do you hope that The Transfused achieved in your community? I'm looking at it as an activist event. Radio: It really was. I do think the point that we were trying to make came across to people. All the feedback: "This part was great because of this!" or whatever. People seemed to really get it. Which was great. That's really hard when you're creating something because you don't want it to totally go over peoples' heads, but you don't want it to be totally simple and stupid. I rate that part average. But generally you feel that it was successful in reaching Radio: I think so. Did you see it? I didn't. Some friends of mine went down and they were really impressed. RacheLYeah, I thought it was great. And it was a great space for a lot of people in Olympia who are involved in activism in different forms, like artists and musicians, and marchers and civil disobedience people, and all these radical kids to get involved and be able to give what they do to a huge project. It really worked in that way I think. Things in the US and in Canada are becoming a lot more politically conservative. What do activists or radicals need to do to make themselves and their causes more visible and louder in this era? Radio: Well, don't you think there's going to be a huge backlash if that sort of thing actually happens? I do. And that's what I'm hoping will happen if we have an even further shift to the right here. Radio: Yeah. Me too, me too. Rachel: I think so too. And just the way that power is diffused I think, if "right-wing" at the cartoon level is in power, that kind of allows for the same extreme of radical and progressive reaction to it on multiple levels. Do you appreciate those extremes? They're creative extremes. RachehYeah, they are. Some of the most amazing art and literature happened during wartime, historically. I think even though it sucks, sometimes when things are toned down or "not so bad", it's easy to get comfortable. More than anything it's a reminder that you have to keep your head up. Who is Marcie, the woman who sings those two songs on your last album? Radio: Marcie is a friend of ours who lives in Los Angeles who sings for a band called Patsy and a band called Page. We've just been huge fans of her vocal stylings and asked her to do a few songs on this last record with us. We wanted a chance to work with her. We kind of wrote those songs ["Eva Carriere" and "MonaTinsley"] with her in mind. She has a very smooth delivery that fits in with the open spaces and smoothness of parts of that album. "THE NEED AND NOMY SOUNDTRACK TO WRES WE JUST PLAYED AN HOURS AND SINGING \ RacheLWe really like working with other people, bringing other people onto our weird little Need planet and seeing what happens. And you had Karaneedaoke—which I can't pronounce very well. Can you visualize something like that happening again, with more guests? Radio:We were just talking about doing a show on New Year's. We do it every couple of months in Olympia. We put the word out that we're going to do the show and people say. "Oh, I've always wanted to sing this song!" We ask a couple of people to play with us, and we learn the songs and practice with them a couple of times and have a show that covers different singers. 16 ^^uisr^**- 2000 PHOTOS LORI KIESSLING What are some of the ones you've been doing recently? Radio: We haven't done one for, like, five months. I can't remember what we did last time? Rachel:Yeah, it's been a while. Radio: I can't remember what we did last time. Rachel: Our repertoire has included Bruce Springsteen, Tom Petty, the B-52s, Heart... I thought the B-52s cover was really great, and it was only after I heard your version of it that I realized that the B-52s' first album has a lot of similarities with some of your music. Rachel: People say that. It's interesting because it's definitely not conscious. I wasn't even really listening to the B-52s at that time. But I appreciate their aesthetic. Was the "American Woman" cover a part of Karaneedaoke? Radio: No, we wanted to give Pat [Maley] a song for his [Projector] compilation. He'd asked us for one and said he was willing to record any song for us.We just wanted to do that song because we had been playing it at a couple of shows, and it seemed like a good thing to do. LAMM WERE THE UVE TUNG THAT YEAR, AND IMPROVISED SONG FOR vwa GOING ON IN THE PIT I To reclaim it from Lenny Kravitz? [laughter] Rachel: Wasn't that maybe before Lenny Kravitz covered it? We'd been playing it for a while. I remember hearing your recording for the first time around the same time that the Lenny Kravitz version came out. Radio:Yeah, we would never play it again because of that. I was kind of actually embarrassed that somebody might relate it to that. RachehWell [his] is such a crap version. It doesn't groove at all. Radio: It's not okay for him to do that song, I really don't think. Rachel: But enough about Lenny Kravitz. Who is DJ Zena? Radio: Zena is a friend of ours from Olympia who does a lot of DJ stuff at parties and plays clubs and stuff. Like Marcie, we just really wanted a chance to work with her, so she did DJ stuff on a couple of songs we did with her. Someone asked me to ask you, Radio, what type of guitar you play. Radio: I play a Rickenbacker 610 with hot sweet pickups that I installed myself. Obviously you do a lot of electronics work, customization of amps and such. What are some of the things you've done with the rig that you're playing with now? Radio: Marshall just came out with a new amp that I really wanted, so I actually just have a regular old Marshall half-stack right now. But the Rickenbacker was really good for the first record because it had this kind of country punk sound, like Rickenbackers always have or something. Kinda twangy. But then the second record we started playing a lot more heavy metal stuff, and it just wasn't really cutting it. I really liked the way the guitar felt, so I didn't want another one. So I went and I rounded out a new hole in the guitar and put in heavy metal pickups so I had the option of both. Which is actually really fussy because I have to switch around pickups all the time. [Apropos of nothing] Mudwrestling! Rachel: [laughs] Mudwrestling. I wanted so badly to go and I had to get home from Yoyo, so I've got the poster hanging in my office as a reminder of what I missed. How many times have you organized Olympia Womyn's Mudwrestling? Radio:We did it twice, right? Rachel: Yeah, we actually took the torch from folks who had done mudwrestling every year before that. It's not like we originated the idea of mudwrestling in Olympia. We just happened to do it during Yoyo when things were a little more high-profile and now when we're touring people come up to me and ask me if we're going to do mudwrestling next year! How did it turn out? RachehThe Need and Nomy Lamm were the live soundtrack to wrestling that year, and we just played an improvised song for three hours and Nomy improvised vocals, singing commentary on what was going on in the pit. Like a play-by-play of mudwrestling? Rachel:Yeah. And we had go-go dancers! Radio: It was really funny. Rachel: It was a great time. It was really HOT. The poster I have for last year's mudwrestling has a bunch of other bands on it. Meme America and some others. Radio:We didn't play that year. I actually ended up moving into the house where they had the mudwrestling, which is why we ended up having it twice. I was organizing it and I knew that it was going to be really big that day. I was running around, doing things, so I didn't want to play. Rachel: It was also a great chance for these bands, which we thought were really rad, to play for a bunch of people—bands that weren't asked to play Yoyo. The last time you were in Vancouver you played with Meme America and they were really mind-blowing. Radio:They're great, huh? And they're close friends of yours as well? Radio: Well, you know Sally? That's Sally, our Sally. Is it true you've got a 7" coming out with Erase Errata? Rachel: Yeah, it's a CD actually—a compilation between The Need, Erase Errata, and Meme America. It should be released within the next couple of months. If you have anything else that I don't know about that you feel like talking about, go ahead! Radio: I have something I want to tell you. Right now I'm working on coming up with some new terms for audio connectors, because I'm so fucking sick of hearing,"Can I have a female quarter-inch cord, please?" You know what I'm talking about? Yeah, I do. Radio: I'm going to try to come up with something else. Just a different name, and just make it a standard and make a fanzine about it or something, some kind of format, and send it to music stores, send it to record stores, send it to however many magazines I can afford to. Because I think it's time that that changed, right? • See the Need play with Propagandhi, Che: Chapter 12 7, Sook-Yin Lee, Roe Spoon andTrixie's Undersea Adventure at Rock For Choice on Saturday, January 13th at the Vancouver East Cultural Centre. Discography The Need w/Miranda July Margie Ruskie StopsTime 7" (Kill Rock Stars, 1996) The Need 7" (Kill Rock Stars, 1996) Jackie O'Lantern 7" (Outpunk, 1996) The Need w/Joe Preston and DJ Zena Hi-Fi 10" (Up, 1999) Karaneedaoke 7" (Kill Rock Stars, I 999) The Need CD (Chainsaw, 1997) The Need Is Dead CD (Chainsaw, 2000) The Transfused CD (Yoyo, 2000) The Need/Erase Errata/Meme America CD (Toyo, forthcoming) BY E SI I C FLEKYOURHEAD M Inl ME k HOPELESS - PICK UP ALL OF THESE RECORDS FROM HOPELESS AND SUB CITY - ORDER ONLINE WWW.HOPELESSRECORDS.COM - albumszinesrecordedmedia DEATH CAB FOR CUTIE Forbidden Love (Barsuk) The last time we heard from DCFC, critics everywhere were calling them the next big thing. I guess the question, then, is whether or not they have made the leap from next big thing status to contenders for the indie rock throne. The track listing screams "cool your jets, this is just an EP." It's just five songs, two of which are alter- is of songs from their last albur which is n thei to judge the band by this EP. The first track, "Photobooth," however, is honestly the best song I've heard all year.The rest of the EP, sadly, isn't quite so spectacular. The second song, the only other new one, is catchy as hell, but gets old fast.The third song is a B-side from their acclaimed debut and, though it's a nice song, you can certainly tell why they left it off the album. Most disappointing, though, are the alternate versions of "405" and "Company Call Epilogue" from their last album. Personally, I'd buy this EP again just for "Photobooth," but it's not the definitive masterpiece that's just waiting squeeze out of these guys. godfrey j. Leung, esq. DROP MODULATION elementary (drop modulation) Today I received an e-mail from some rave company from Europe that is touring North America, claiming to bring back the "pure" music and "pure" origins of the rave scene. Against better judgement, I sent them a reply to this spam, basically calling them naive and pointing out that they were a business and not a break-in. How things have changed. And as I write this, a slow, pounding beat, like the call to a sand- worm, permeates slumber. Warm in mellow-round sound, Jovian Francey and Tom Szymanski finally bring out a CD of one of their incredible live sets that have been an integral part ofTeamLounge events. In every city there are pockets of things special that seem to compile in a sort of obverse black hole, an outpouring of creativity and in Vancouver it is that slow dub feeling, found on Interchill and Phil Western records, and with the Twilight Circus Dub Soundsystem and the sexy-slow monolithic and monumental gatherings ofTeamLounge. "Wildflowers," the fourth and last track on the CD—and this is not because it is short, because each track is close to 20 minutes long—remains my favourite. The beats are Orb-influenced, but the sound, the rolling sound of the melodrama, is all drop modulation. "Butterfly" is another rolling exploration, with the beats moving in strange patterns, on strange equipment: no 808s here, we have Texas Instruments Drum Calculators... "Q t pi II," the first track, explores beatless synth modules until a bass, watery, dripping, and echoey in a cavern of mysterious delights, occurs with murderous-stealth precision: a leading, fissure, to the awkward chant, hidden topography of "inflatable." A taste can be found via real audio at www.teamlounge.com. but any music lover will find and buy this at Boomtown in Vancouver. THE INSOMNIACS Get Something Going (Estrus) Indeed these paisley-wearin'.Vox-playin' mofos of mod-pop get the heads and feets goin' with their latest blast of biff-bang-pow straight out of their aptly named homebase of Englishtown, New Jersey. Thirteen tunes of explosive R 'n' B, stirring soul and Creation-style countdowns that combine the best elements of'60s freakbeat, garage, and powerpop to tame the pent-up purists and make them ready, steady, go! Bryce Dunn THE JOCKS The Top Three Answers on the Boards (New Disorder) Every couple of years, a band comes along and records an album that restores everyone's faith in the ageing genre known as punk rock. Sometimes this restoration stems from a questioning of the conventions of punk, such as Operation Ivy's fusion of punk and ska, or Lifetime's admonition and rejection of the He-Man attitude of hardcore on Hello Bastards. Sometimes it's just a reminder of the power of straight-ahead and attitude-fuelled punk rock, like Rancid's Let's Go. The Top Three Answers OnThe Boards is one such landmark album.Taking a lot from FYP and ending up with something that leaves you wondering what Darby Crash would have come up with had he lived for a couple more years, the Jocks have done what the new Rancid and Murder City Devils have only attempted.The scary thing is that these kids are only in twelfth grade, so they've got a long future as the undisputed kings of punk rock ahead of them. On second thought, I'd jump on the bandwagon now, before Epitaph or Fat Wreck Chords signs them and sanitizes them for the Warped Tour crowd. godfrey j. Leung, esq. LILY FROST Luminarium (Trademark) THE NEW PORNOGRAPHERS Mass Romantic (Mint) One of the few useful things a person could learn from this year's New Music West program was that there's a whole culture of ham-fistedly commercial Canadian bands claiming to play "power pop." Such wannabe music industry players are labouring under the misapprehension that insipid melodies plus turgid guitars equals a free pass to the glittering world of MuchMusic and, consequently, stardom. Haven't these jokers noticed that—Sloan aside—indie-pop simply doesn't shift Canadian units? Dude, if you're not Our Lady Peace (rock) or Shania Twain (pop), then forget it.There's simply no significant crossover audience just waiting to discover the wonderful taste of Veal Someone should tell this to Vancouver singer Lindsey Davis. The ex-Colourific's new project— fronting a guitar-pop act under the name Lily Frost—has a hard-to-define air of manufacturing and careerism about it. And yet, Luminarium, the band's second LP, is a retro Francophile confection guaranteed to alienate Canadian consumers who regard such things as effete and/or boring. Sure, it could get them cult status in Japan or even score a minor hit in the UK, but one rather suspects that this album won't get heard much outside BC. Which is actually a shame because the sinister industry machinations behind this project shouldn't be allowed to distract from the lovely surfaces they come cloaked in. A crystalline stream of ice-princess eroticism runs through the album—from the walls of guitar EFX, through the breathy vocals and electronic window-dressing, right down to the Serge Gainsbourg-pastiche cover. Still, Luminarium is really just a neatly contrived package, which displays none of the messy loose ends that always come with the gift of pop genius. For that we have to look to Zumpano mastermind Carl Newman, a man whose talent for melodic classicism walks hand-in-hand with a combination of booziness and reticence which is distinctly unprofessional (and all the more precious for it). Newman's latest project is a Van City supergroup called the New Pornographers, which features Dan from Destroyer and, occasionally, Neko Case. Their debut LP, Mass Romantic, is—hand-on- heart—the best pop-rock LP I've heard in years. In contrast to Lily Frost, New Porn achieve a fresh, uncontrived sound remarkable for a band working in such an essentially outdated idiom. Its chaotically crafted mini-epics flow seamlessly through complex structures, rendered with a perfectly orchestrated mess of squelching synths, screeching saxes, and oh so much more. These songs are catchy enough to drive pop fans crazy and punchy enough to grab the rock audience's attention. In fact, the only thing that will prevent them from taking the world by storm is the fact that they're a bunch of terminally un-ambitious Vancouver scenesters who would probably regard commercial success as a drag (Neko excepted, of course). Still, Moss Romantic is already selling like hot cakes here Sam Macklin SEAN MACDONALD Parasites and Kings (Nettwerk) One of the saddest things about the suicide of Adrian Rout was the fact that his band, the Ids, was on the cusp of ascending to great heights. "That night he leapt off the edge of the world and into the end. I sat down at my desk and tried to figure out what the fuck had just happened... Finally, in my hotel room on Yonge, I found him hiding in my guitar 'Happy Birthday,' I said, and burst into tears. And although he had not yet become an angel, when he spoke.it was in verse." So writes former Ids front- Sean MacDonald in the CD booklet as an introduction to the staggeringly heart-wrenching "Toronto Song," a song that relates that dreadful night when depression forced Rout to take his own It is obvious that MacDonald has been shaken by Rout's unfortunate passing, if only by the fact that he chose not to replace Rout behind the drum kit. In fact, MacDonald apparently considered quitting the music biz altogether and going back to school—he had even done a "farewell" show at the Sugar Refinery last year. But the other, most obvious indication we have of MacDonald's state of mind lies in the music of this album: while he strove for politically aware black humour in the Ids' song lyrics, solo MacDonald is lyrically, and usually musically, devoid of any happiness—his lyrical humour is gone, leaving only a sardonic blackness 6f emotive content. Sometimes the dark side of MacDonald works in his favour.After all, the chilling creepiness of "Long Lost Friend" and "Butterfly Wings," among others, show that he has not lost his ability to write lyrics and music that evoke a definite mood, no matter if its playful or dark. In fact, this newfound dark image that MacDonald has cultivated could establish him as the Edgar Allen Poe of Canadian alt-pop. Let's hope, however, that nobody need to die unnecessarily for MacDonald to churn out a follow- up as disturbingly good as this solo debut. Spike MR DIBBS Primitive Tracks (Cease and Desist) In terms of infrastructure and sheer musical quality, the rap music underground has never been stronger. Acts like Anti- Pop Consortium, Mike Ladd, Sole, and Atmosphere have been responsible for some of the best music released this year. By abandoning the more unfortunate aspects besetting hip hop culture (mindless- ness, machismo, materialism) while intensifying the things once made it so vital (raw beats and half-baked lyrics) these folks have created a As a founding member of I 200 Hobos, Mr Dibbs was down with this renaissance at its inception, so the arrival of this EP is enough to raise expectations and pulses. Sadly, in comparison to the various classics the scene has unleashed upon the world this year. Primitive Tracks is a rather haphazard, low-key release. Still, while it's devoid of the super- complex avant-rapping one might expect, this is a worthwhile release insofar as it highlights other aspects of the music and associated cul- First and foremost the soundtrack to a skateboarding video (of all things), the EP begins with a collection of beat-driven instrumental. On first listen, these sound rather slight and occasionally elliptical; with repeated sittings they reveal a great deal of momentum and texture. That is to say, Dibbs makes beats as raw and gritty as a skater's knee wound. But it's on the last track—a live recording of a 20-minute DJ set— that Dibbs cuts the deepest. Chopping between genres with a willful abandon, he reduces his source materials to a stroboscopic display of lo- fi beat science.This is old school turntablism at its finest and rounds off the disc in satisfactory style. Sam Macklin THE PETS Love and War (Endearing) Mood swings.Thanks to the miracles of modern prescription medicine, I'm at the mercy of mood swings. As such, I was hoping that a nice pop album would take the edge off of the, shall we say, more unhappy extremes. I was hoping that The Pets had made a nice poppy debut album for Endearing. I was right. Kinda. Dealing with where I was right, I'll declare that there are I I good songs on this album.While the pop songs in question aren't mind-blow- ingly brilliant, they're not the worst songs ever committed to tape, either. Heck, these songs served their purpose—keeping me happy—so well, I didn't even mind that The Pets seemed to use every pop cliche (handclaps, trumpet, etc.) in their song writing. Fun pop songs are just flat fun. Now for the "kinda." Love and War suffers from too many songs. It probably wouldn't matter as much if these three songs were just bad pop songs at the end of the CD. They aren't. They're two boring pop songs and one bad introspective rock number plunked down in the middle of the CD for no good reason. I know I could just skip over these tracks, but track sequencing isn't my job, now is it? Oh, well. I shouldn't complain. I got the pop album I was looking for didn't I? Sigh. Mood swings. Cot TAHITI 80 Puzzle (Minty Fresh) How does one deal with a CD that seems to contain no irony whatsoever in our heavily postmodern age? Or is France's Tahiti 80s take on Brit pop so earnest that it is ironic by default? my books you must admire a country that spawned Serge Gainsbourg, the Marquis de Sade and some mindblowingly obscure literary theory. So how does the sunniness of Tahiti 80, with its English vocals (French would have been preferable but less palatable to the masses) and collision of Brit pop. Air, and guitar and fit into this legacy? I struggled with Puzzle's bonhomie, with lyrics like "When I look into your eyes/I see a yellow butterfly/Flying a high in a beautiful/Summer sky." By looking at all this enthusiasm as excessive in its own right, I have come to grips with all this pop perkiness. After all, Tahiti 80 do admit that "Don't waste your time/Trying to find a meaning/To everything/You might get disappointed." Put that brain in neutral, enjoy the Puzzle of Tahiti 80, and try to forget you're an English major. June Scudeler V/A The Unaccompanied Voice:An Acappela Compilation (Secretly Canadian) This compilation ranges from beautiful (Mimi Parker and Alan Sparhawk) to annoying (Nikki McClure and almost everything else on the album), but most surprising is that none of these people know how to sing. Usually they are covered by their music, but here they are left bare, showing every flaw, every breath. It's like if you saw some guy walking down the street with his sch- long hanging out. If these people were singing in your ear you might like it. you know, in private, but not for everyone to hear. You'd want the man to tuck his package the hell away, keep it a secret for someone who wants to know. Perhaps for some of you. it's not the sound of their voices, but the sounds of their names that will make you want this: Modest Mouse. The Grifters, Damien Jurardo, Pedro the Lion, Songs.Ohia, Richard Buckner, Sharon Topper... Christa Min rage attacks their favourite songs! Renegades is a collection of songs originally written and recorded by artists like MC5, The Stooges, EPMD, Bob Dylan, The Rolling Stones, Minor Threat, Devo, Volume 10, ErikB and Rakim, and Cypress Hill. All songs were produced by the legendary Rick Rubin - founder of Def Jam. Four different colour covers are being made available for this release. Two bonus tracks will be included on the initial run of the album only! features the hit single RENEGADES OF FUNK cd's in stores now www.ratra.com www.epicrecords.com livemusicreviews <%<®<®<%<®<®<q<q<®<®<®^ Sfnagj ILosa^ Stegj Pmssi^)! ROU$Xlsjq CfITXC XNFlUfNCFP ?UnK ROCK vtfXTH BAGfXpef, TXN WMXfTttf MMP qUFST VOCMf By *MANC M*CQOWAN FORMFRiy OF THr poque$J ZL <i«~c^n^v WOO imply that Godspeed is musically bad, exactly, because they're not, they're just in need of some necessary self-clarification. Or perhaps they should change their name to Pink Floyd You King Crimson, or something, and not bother. This seems like a cheap shot, I realize, but I feel that it is fair and important to assess Godspeed's music according to the political persona they have adopted. This political persona cannot be examined independently from the form through which Godspeed is primarily active, namely, progressive rock. In any case, the tricky relationship between politics and art, for lack of a better word, is tough to reconcile, although many big brains have tried. For example, Bertolt Brecht felt that good political art should address audiences in a directly political manner, articulated through a complementary relationship between form and content. In effect, political messages should be fairly easy to discern, and the style of the artwork should be accessible and facilitate the delivery of such messages. He also felt that art should confront and challenge viewers, making it impossible to become passive or thoughtlessly obedient. Clearly, following Brecht's view at least, and I agree with it, the soporific instrumental rock operas that Godspeed produces need to work much harder to try and encourage the development of an active and radical political consciousness. There seems to be a pronounced contradiction between the notion of active and radical political engagement and Godspeed's longwinded and melodramatic repertoire. And the fact that Godspeed also often believe that a thoroughgoing political engagement requires more than what Godspeed is currently providing. So, what's it going to be, revolution or progressive rock? Ultimately, and much more importantly, this same question also needs to be asked of their fans. And, by the way, although I don't enjoy everything they do, I believe Mecca Normal better understand what I'm talking Kitty DAVE HOLLAND Friday, October 27 Vogue Theatre A trumpet, a saxophone, a vibraphone, a drum set, and of course, the star of the group, Dave Holland on an acoustic bass. I like jazz groups led by an instrument other than a member of the wind family—the winds always stand out a lot anyway, and the fact that the inspiration for these melodies comes from a bass is a welcome change. It makes the music very balanced. The show was at the Vogue theatre, which surprisingly wasn't at all full. In contrast to many of the shows that I see, the crowd was older and way more serious. They clapped politely at the end of every song, but I could tell that they were really impressed. Most of the songs were from Dave Holland's most recent release with his current band, Prime Directive.The sounds ranged from full-contact explosion to softer melodies, but all of it was very effective. Most of the other musicians in the group also seemed especially Kick around QtctrlW looo @>Sc.0\Y V\aV,* makes claim to a punk past provides further irony here. After all.it was in part the turgidity and self- importance of progressive rock that inspired punk in the first place.To me, this ironic contradiction was vividly highlighted when the membership of Godspeed admonished their fans for passively submitting to a backpack search by the Vogue's security, and then sat down and played over two hours of same-sounding progressive rock, otherwise never directly addressing their fans again.Talk about passivity.This is not to say that Godspeed's show was bereft of all politically minded inten- tionality and content, however. I mean, I suppose there were projections of bleak buildings and lonely looking people to watch, as well as Godspeed's patented field-recordings of disgruntled people to listen to. But really, I'd argue that these freeze-dried gestures seem more to romanticize anomie and make fetishistic the alienation that can from come from abstract modern society than anything else. And, in fact, I'd also argue that the aestheticization of anomie and alienation into a mere lifestyle or style option is basically politically ineffectual, perhaps even politically dangerous, and not to mention totally opposite of what Godspeed supposedly otherwise stands for and promotes. Believe me, I'm trying to be fair.And in being fair. Godspeed demands this kind of response—these are the terms that they have established for themselves. I do applaud them for trying, and I encourage their continued effort, but I think that so far they are simply failing to live up to their promise and potential. Basically, if they want to be truly politically active, and to help make change and generate critical thought, then they need to put a little more effort into at least somehow taking advantage of their growing popularity as a useful platform.This doesn't automatically require making dull speeches or stultifying political austerity—this option is for the unimaginative more than the politically engaged.Yet I do proficient, and the songs were played in such a way as to show off everyone's talents in turn.The only one who didn't seem to belong was the vibraphonist. I briefly toyed with, but then rejected, the idea that they had invited him just for the novelty of having a vibraphone.Who knows? Mirium Torchinsky THE CRAMPS LORDS OF ALTAMONT Sunday, November 5 Commodore Ballroom Well I missed the Lords Of Altamont, who must have gone on pretty damn early cuz we got there at 10:00 PM and it was still a good half hour before our beloved Cramps hit the stage. The reports I got were "entertaining." "a good light show" and such, but for them to pull the same schtick that they used in the Bomboras (a couple of members from them) by lighting their instruments on fire could have been avoided. Anyhoo, I'll catch 'em next time. With the buzz of biker-film soundtracks and the sights of too much PVC attacking my brain, our gruesome foursome emerged, strapped it on, and let loose. Opting to open with a couple of covers, it didn't appear that Lux and the gang really had it in them from the start, but that changed quickly with the charge of "Cramp Stomp," and the crowd did just that. Sticking to a lot of the classics is what did it for me, and seeing Lux go off announcing select songs as "our favourite sport" and then bashing the mic on his head or the floor or guitarist Poison Ivy was demented. Speaking of Ivy, from my vantage point, respondent in glitter and flaming black vinyl pants, she seemed to maintain a distance from the crowd and the rest of the group, but she knocked out some excellent riffs. So did her counterpart on the opposite side of the stage, the "Lou Reed circa '78" bassist Sugarpie Jones—who had a few cool moves of his zs nm^smm own, including the flip around the waist guitar and the fuzz-drenched solo during "TV Set" where he played the bass upside down on its neck rather than the body. Drummer Harry Drumdini kept the jungle beat boomin' and definitely got a workout during the encore. By "Can Your Pussy Do The Dog?" it was clear to us all that Lux was going down in a blaze of glory, while squeezing himself into (possibly an audience member's?) a pair of silky red underwear, and trying to destroy every single mic stand that got in his way. Fine by me—I went home a happy camper. Bryce Dunn THE SEA AND CAKE VERSUS TOWN AND COUNTRY Thursday, November 2 Richard's on Richards In 1998, according to GuitarWorld readers, number eight of the greatest solos of all time was played by Don Felder and Joe Walsh in "Hotel California." Felder says he came up with the solo while "soaking wet in a bathing suit, sitting on the couch, thinking the worked is a wonderful place to be." In the same survey, the 31 st greatest solo of all time is Ted Nugent's in "Stranglehold." Number 77 is Jerry Cantrell's in some stupid Alice in Chains song, and number 97 is Billy Corgan's in "Cherub Rock." Excuse me. Where is "The Fire?" Where the hell is "Grotto of Miracles?" Right. The Sea and Cake. Versus was better. Town and Country was worse. The pale- faced crowd felt warm and loved in their fuzzy cardigans.They gazed at the effeminate beauty of Prekop and Prewitt caressing their guitars. I can't recall there being a solo at any time. film clips of Japanese gangsters, the movie Baraka, all interspersed with clips of themselves dressed as spies in an airport.They hung out at the back of the stage, looking serious behind lots of equipment: turntables, DAT machines, the works. The first few tracks they played had a slow, hit-you-in- the-tummy sort of beat, and they were joined at the front of the stage by two female singers with breathy, strong voices, and an ace percussionist. I debated with some friends regarding whether or not the singers were lipsynching, but we were unable to come to a definitive conclusion on that front. I still think that they were. The second part of the show was more fun. The waifish female singers were replaced by dreadlocked rastafarians with smooth lyrics, low Rockers Hi-Fi-type voices, and a major stage presence. They got everybody dancing, and the Commodore was full. Thievery Corporation played a good mix of tracks from their older albums as well as the popular newest one. The Mirror Conspiracy. Notable was their kicking ending track from their DJ Kicks album. Although some people may have disliked the fact they were subdued and refused to interact with the audience, I thought that their performance fit perfectly with their subversive spy Chris i Mm THIEVERY CORPORATION Friday, November 10 Commodore Ballroom Rob Garza and Eric Hilton of the Thievery Corporation entered the stage at the Commodore in front of a backdrop of weird '60s "bhe effeminate beauty of prekop and prewitt caressing their guitars." (bhe sea and cake ab richarcfs.) phobo by ann goncalves. NOUSEFORANAME PULLY ONE MAN ARMY BABBLEFISH Sunday, November 12 Grandview Legion This show rocked! The venue size was perfect for the four bands that played Sunday of the Remembrance Day long weekend. First up was Babblefish, a local band getting some exposure.They were really trying to bring the crowd together and to hype them up for the upcoming bands.They played a short set that consisted of a variety of songs from rock to ska and even some Backstreet Boys. The second band, One Man Army, was better. They were from San Francisco and played a Pully was really good. By the time they hit the stage, the auditorium was pretty full. They really got people moving, and the mosh pit only got bigger and crazier. Maybe it's because they played a full stage. Five members = super sound. No Use For A Name just blew the roof off. Everyone was singing along. You could tell the band was having a good time because they had the crowd in the palm of their hands. I was surprised that it was 7:30 when they wrapped it up. Perfect time to go out for dinner and talk about the concert. It was a great evening of great music. Jasmine Ladouceur THE ELEMENTS TOUR: SOULS OF MISCHIEF X-ECUTIONERS BUKOE-ONE Sunday, November 12 The Elements tour, featuring headliners Souls of Mischief and the X-Ecutioners, drew in a full house on the Sunday of the Remembrance Day weekend. For some, this was an opportunity to check out one of the components of the Hieroglyphics family and some profound turntable musicians. For others, it was stuff they've already seen before. I'm not saying that these people did- f W m m ■ m t ir*V^ sords & ap| k . ^~ 1 wh< ; 4 :< "-vl ^ k ft? 1 . h 1 i ' VoV Hi «5rJ—v ----- - Ji| W) 1 i p\ >^[H W | j N Trjfh1 y i yi /^C-Ljr Mr ! JL! (/ (f\c^y 4^i l ! V j : -M i 1 1 Jt*** < FN Ml ^^ (X ! rl H rrr jrtfX ! \7 \Y - house • techno k/ ml 4_^> 1 1 1 \ 1 -1 (6 Ir "1 in >r re ir u n< O o Lil it e< in IV rr 2 4] n'n'ba hop / >ient / akbeat ce / p I, cds, table is & w -125; 893 ss / ju rare gr downl / elec rogres mixta cartrid omens 2 BUI 8696 n o e tr si P€ S< u FT S 3\ m o v« is *S r R e /€ P . i bi A I o a. accessories an clothing lRD ST (at Davie) >oomtown@oanet.com . n't enjoy Souls performing "That's When You Lost" or "Never No More," but the only song they didn't hear Souls perform was "Last Night," a single from their new album, Trilogy. As for the X- Ecutioners, it was all stuff they performed last time they were in Vancouver, but that doesn't make them any less entertaining or skilled. Just ask any of the hip hop-starved kids in the audience. I lost count of the times Mista Sinsta licked his hands before touching the tables. I guess what impressed me most were the first two opening MCs, not only because I haven't seen them perform before, but also because they had skills.The first MC hyped the crowd and had them pledging their love of hip hop. He was extremely clever and had dope flow. I especially liked his last piece, where he discussed how being an MC may not be exactly the most understood and accepted profession and why he does it. Another track that stood out was the one where he rhymed over an old-school Nintendo beat—Zelda is always good. Bukoe-One had the crowd rocking to his "Cheese and Butter" joint and also proved to be quite the clever MC. Amongst the pushing and shoving the X-Ecutioners were not only content to carry over but also to heighten the energy created by the opening MCs.They were followed by Souls, who knew how to "rock it like that." Note to all Hiero fans: bring more weed, and don't pass the Souls roaches—I know you like them better than that. Jan-9 VEAL NEW PORNOGRAPHERS Friday, November 17 Starfish Room The New Pornographers show was without a doubt the most enjoyable concert I have been to this year. I'd heard them before, and I liked them, but at the risk of sounding cliche, the concert made me a fan. The army of Pornographers crammed together on the tiny Starfish stage was in itself a sight to behold, but if that isn't good enough for you, how about Neko Case shakin' her rad self and wailing like there ain't no tomor- Products Turntables DJ Mixers Needles CD Players Record Cases/Bags Headphones Lighting Gear Vestax Rane Ortofon Stanton YonkviSle Martin .:; Technics *Nurnark Denon ^Shure AMDJ Meckie AKG AISen&Heath Microh Odyssey Christmas Specials: Record Cases/Bags Selected AMDJ Mixers Free Vestax Tee wA/estax Mixer Mon. - Sat. 1 Qam - 5pm Ph; 87'3.37'SS • Fax; S73-37"73 321 West 5th Avenue .Vancouver tWe arts located at 1 black east of Carnbie) Z? A^uiyyuMA, WOO ting late at night, exhausted but wired. I feel ri Che Guevara's diary, and I'm not saying this y words, he outlined everything that is fuck- and then a cautious blueprint, an incitement crowd, ranging from old punks to young punks row? I'm sure I caught a glimpse of her tonsils at least once while she doused us with her torrentially powerful voice. Or, she would have, had the mic levels been sufficient for the appreciative audience to HEAR what she, Carl Newman, and the rest of the band were singing. (Sound people, I axe you, who the heck told you that an audience should only hear guitars and drums?!) The rest of the band were as amusing as Queen Neko. At least one member of Limblifter attends every concert I go to, so I suppose it was fitting that this time he was actually in the band. On the skins Kurt Dahle was endlessly entertaining. His facial expressions and contortions were priceless, and I think he even smacked a roadie or two in the butt with a stick mid-song without missing a beat. Not to mention that he smashed the shit out of the The band played each and every fantastic song (credit Carl Newman and Dan Bejar) from their brand spankin' new album, Mass Romantic, the highlight of which, of course, was the ever popular "Letter From An Occupant," and all of this good stuff still wasn't enough for the crowd. How many opening bands do YOU know of who get to respond to a vehemently demanded encore? The Pornographers played well, sang the harmonies accurately (from what we could hear of them), and were friendly to the spazzy crowd who just couldn't help rocking out. My only criticism—and no offense—is,"What's up with Venus?" Shouldn't the tambourine player have a sense of rhythm? Sorry. I had to mention it. It'was really the only musical problem. My apologies to Veal, the headliner. I had a violent headache and really had to leave early, but I don't feel like I missed a full show because The New Pornographers are headliners unto themselves. Why do we let bad bands exist when we could just listen to The New Pornographers play ALL the time? JELLO BIAFRA Norm Theatre Tuesday, November 28 Jello Biafra just spoke for five and a half hours. I ar like smashing McDonald's windows while reciting line to be facetious. Biafra was fucking off the hook: in sc ing wrong on this planet, our personal responsibility for revolution. Biafra started at 8 PM, after the sold-oi to ex-punks to philosophy professors to CiTR-types to hackers, general riff-raff, a few lost and confused souls, and some hippies filed into the stuffy Norm in the basement of the SUB at UBC. Biafra came on stage, in trenchcoat and sunglasses, reading his infamous "Martial Law" piece, with some Canadian modifications—such as (paraphrase) "everyone will be required to own a velvet painting of Stockwell Day." This set the tone for the rest of the evening—Biafra knows more about Canadian politricks and our relation to NAFTA, the WTO, Monsanto Frankenfoods, the working of the Religious Right than "Doris" himself. Humour captured the night, with spontaneous cheers, applauses, and comments yeiled out— people only left to catch necessary buses as the night wore on. We were here for the long haul, and so was Biafra. People paid good money to see Biafra speak, and it's always a dilemma when a radical charges cold cash to hear them. But when that person speaks for five and a half hours, where by the third hour" anyone could have just walked in for free anyways, there was a real sense of really getting something out of "Biafra." (Pop quiz: how many of you know what "Biafra" means/is? "Is" is the right answer: it's a" small area of Africa where the Ibo people tried to gain independence. The US and UK, among others, didn't like this and so shut off the area's food supply. Genocide by starvation. I didn't know this before.) The only two points where Biafra choked—and I don't mean choked as in got fuddled in his speech, as Jello could out-talk and out-wit damn near anyone—was when discussing the backstabbing vres of his ex-bandmates and the friends he has lost from drugs.These things have hurt him. Badly. But one gets the feeling that it is the strength he draws from speaking, from stepping out of his "nerdy, unsocial" personality into a public arena where what can be described as community occurs that keeps him critiquing, criticizing, thinking, refusing to shut the fuck up, to be a good consumer, despite the best attempts of Tipper Gore et al. It was more of a teach-in than anything, an inspiration, a questioning, a reality-check. Biafra's ideas are not populist anarcho-enviro-tripe either. Fundamentalism for him is out—there is no Utopian vision here. There's pragmatism that questii the "practical," the "pragmatic." He describes being radical (well,"normal" really) like a pendulum needle that springs back the other way when pulled too hard to one side— hence today's SUV-yuppies that > yesterday's hippies. So the blueprint is setting yourself in a radical stance without going so far that your expectations are unlivable and unrealistic. It's a difficult stance. It's one pursued by academics such as Derrida and Spivak, but hearing it from Biafra was refreshing, like getting slapped in the face, but a good slap, one that says woke the fuck up, stop watching fucking TV, this shit is going down. Because it will go down—Biafra thinks so in our own lifetimes. "Are we ready for it?" he asks. No, is the answer.There is much work to be done—what can you do to contribute? Start here: http://www.vancouver.indymedia.org. Tobias v H| SATURDAY DECEMBER 23 f CHRISTMAS MADNESS SpRMTROOPERS Jf t 1 DJ SPECS HER MAJESTY LADY RAIN GSWAY urban dance party _|COMMODORE BALLROOM || wm THANK YOU MUCHLY TO OUR SPONSORS... 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Dave Evans Tammy Fassaert Lonesome River Band Ronnie McCoury Sheep River Rounder Larry Sparks Jody Stecher and Kate Brislin lllrdTyme Out Murder on Music Ro Bod Moon Shining Corner of My Eye Venie's Dream Talkin to Myself Heartbreak Town Four Rode By Special Delivery Songs of the Carter I John and Mary "Steve'"s Official Best of 2000 List Caugh In The Red All hours of the night Fridays }:00- 10:00 AM American Steel Live @ the Brickyard Dandy Warhols / 3 Tales From Urban Bohemia The Fuses Are Lies The Makers Rock Star God Leatherface Horsebox Murder City De In Name and Blood Black Cat Music All We'll Ever Be is All Alone The Briefs Poor and Weird Dillinger Four VsGod The Peeps SIT Tuuli Rock Star Potential Radiohead Kid A Neko Case Live @ Richard's The Dwarves Come Clean Screeching Weasel Teen Punks in Heat The Nasty On SIT Servo Now We are Six Various Artists Fistful Of Rock and Roll series Shaking hands w th Bo Diddley at the Commodore Thunderbird Radio Hell Thursdays 9:00-1 1:00 PM Top Ten Local Live Shows: Arthur Ellis 2000 @ the Brickyard and you missed it! 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Mouse on Mars Live @ Interactive Coal Mines Mitsou records from Port Moody (or Ebay) James Kochalka Tigerbeat6 Kid606's label Soccer and Basketball That funny naked Hefner video Third Time's The Charm Tuesdays 9:30- 1:30 AM The Chill-Out Room Les Sexareenos Live In The Bed! LP and live Sundays I2:30-2:00AM The Hives Veni Vedi Vicious Scared Of Chaka Live @ Gibson's in Seattle, WA. DJ Scot Project "Future is Now!" (Hardriff Mix) Buffy The Vampire Slayer Mario Piu "The Vision" The crew at Singles Going Steady! Max Graham "Airtight" International Noise Conspiracy \^k Live @ Starfish Parker and Clind "The Generator" The Makers Rock Stor God and live Arcne "Scream" The Briefs anything recorded and live Alex D'Alicia "Isn't Life Wonderful" The Peepshows Meet The... 7" Nightclub "French Kiss" (DJ Scat Mix) The White Stripes Christa's Hello Operator 7" Olmec Heads DJWag Quadron "Lift Off" ('00 Flemming Mix) "The Big Bang" (WAG Mix) "The Love 1 Lost" Top 10 Sound Atrocities Breakfast With the Browns Mondays 8:00-1 1:00 AM St. Germain Stereophonic Space Sounds Godspeed you Black Emperor Amon Tobin Kitty Craft Senor Coconut Various Tarwater Stereolab Einjtuerzende Neubauten The Spacesound Effect UftYour Skinny Fists... Supermod'ified Catskilts El Baile Aleman Songs For The Jet Set 2000 Animals, Suns & Atoms Last of the Microbe Hunters Silence is Sexy The way the drums were recorded on Black Sabbaths Paranoid All the cheap ass SST vinyl re-issues Everything mixed and recorded by Calvin Johnson The Brickyard Peavey Amps The Commodore Tambourines Wah-wah pedals "Boom boxes'Y'Ghetto Blasters" Multiple tracked vocals a la Elliott Smith, Edith Frost, or anyone else equally annoying. StTropez Alternating Sundays 5:00-6:00PM Broadcast Bertrand Burgalat Ladytron Petula Clark (re-issui Cinnnamon Louis Philippe V/A Sssound of Mmmusic Commodore Rock Ceux Qui Ont CoeurlLes Jame: Kiss in the Funhouse Genius of Bertrand Burgalat You Will Have Your Revenge Sound ofWoter Swinging Mademoiselles The Noise Th« Ptople Moke ^©[fgSl^SB Sunday Monday Tuesday Wednesday Thursday Friday Saturday 10 i u |12M 1 REGGAE LINKUP ARE YOU SERIOUS? MUSIC All of time is measured by its art.This show pre- new music from around the world. Ears open. ROCKERS SHOW .eggae inna all style: BLOOD ON THE SADDLE teal-cowshit-caught-in-yer HELLO INDIA GEETANJALI - wide range of THE SHOW Strictly Hip-Hop — Strictly Underground — Strictly CHILL-OUT ROOM SALARIO MINIMO Spanish rock, ska, techno and alternative music— THE CUTE 4N' CUDDLY SHOW (2 hours of non-stop children's music) ait GIRLFOOD PARTS UNKNOWN Underground pop for the minuese with the occasional interview with your host Chris. STAND AND BE CUNTED alt BLACK NOISE EVIL VS. GOOD Who will triumph? Hardcore/punk from beyond PACIFIC PICKIN WORLD HEAT THIRD TIME'S THE CHARM Put your hands together fc IlELECTROMAGNETIC PULSES CONTEMPORARY Music and poetry for jackasses. NEW SHOW PROM QUEEN alt. ELECTRIC AVENUES FILL-IN SUBURBAN JUNGLE refined and exotic hosts Jac Velvet and Carmen Ghia. fool's paradise Japanese music and talk. THE NORTHERN WISH THE SHAKE RADIO FREE PRESS MOTORDADDY "Eat, sleep, ride, listen to Motordaddy, repeat." WENER S BARBEQUE ■w 24 Karat Goldman. 10,000 voices Poetry, spoken word, prefor- rachel's song END OF THE WORLD NEWS THE ETHER TABLE No rock.no talk. Just CANADIAN LUNCH FromTofino to Gander, Baffin Island to Portage La Prairie.The all-Canadian soundtrack for your midday snack! STEVE & MIKE ling the boys'club in the rantoicbabyfhardcore) RHYMES & REASONS FILL-IN CAUGHT IN THE RED Trawling the trash heap of over 50 years worth of real rock 'n' roll ska-t's scenic drive THESE ARE THE BREAKS DJ Splice and A.V. Shack HIGH ON GRASS good breakfast. Roc on. Von Flufflestein. LEGALLY HIP REELS TO REAL PEDAL REVOLUTIONARY NOOZE & ARTS SOUPE DU JOUR Feeling a little French-impaired? Francophone music from around ie globe, sans Celine Dion. RELATIONSHIP SHOW PIRATE RADIO-Fori THE JAZZ SHOW Vancouver's longest running prime time jazz pro- m. Hosted by the suave Gavin Walker. Features at I I: see panel at right. vengeance is mine! Hosted by Trevor. It's punk rock, baby! Gone from the charts but not from our hearts—thank fucking Christ. PSYCHEDELIC AIRWAVES FLEX YOUR HEAD RADIO ELLINIKATHIKO Greek radio. A WALKABOUT THE WORLD VENUS FLYTRAP alt. SOULSONIC WANDERLUST Phat platter, slim chatter. AURAL TENTACLES Ambient, ethnic, funk pop, dance, punk, electronic, and unusual rock. POP GOES THE W D SOMETIMES WHY it, alt country, polka and STRAIGHT OUTTA JALLUNDHAR HANS KLOSS' MISERY HOUR FIRST FLOOR SOUND OUT FOR KICKS id by Chris B. ON AIR WITH GREASED HAIR Roots of rock'n' roll. LIVE FROM... THUNDERBIRD HELL Local muzak from 9. Live bandz from 10-1 I. PLUTONIAN NIGHTS Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs and performers. http://plutonia.org FAR EAST SIDE SOUNDS alt. AFRICAN RHYTHMS David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa and African music from around the world HOMEBASS Hosted by DJ Noah: techno, but also some trance, acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more. THE MORNING AFTER SHOW THE LEO RAMIREZ SHOW THE SATURDAY EDGE Studio guests, new releases, British comedy sketches, folk mus calendar, and ticket g aways.8-9AM: African/World root 9AM-12PM: Celtic m and performance: LUCKY SCRATCH m backwoods delta low-down slide ti harp honks, blues and blues roots with your hosts Jim and Paul. SOULSISTAH RADIO POWERCHORD Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattle- ' head and Metal Ron do the damage. RADIO FREE AMERICA Extraordinary political research guaranteed to make you think. Originally broadcast on KFJC (Los Angeles, CA). SYNAPTIC SANDWICH SOUL TREE 11 112** PIPEDREAMS TABLETURNZ alt. EARWAX "Noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/distort da source full force with needlz on wax/my chaos runs rampant when I free da jazz..." Out.— Guy Smiley REAGGAE LINKUP I Hardcore dancehall reggae that will make your mitochondria quake. Hosted by Sister B. JAZZ I SHOW I zS -<l*~C4s>viJyjlA. WOO whaf sbeingplayedoncitrl 01.9fm HowTheChartsWork 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,"Jancember" charts reflect airplay over November). Weekly charts can be received via e-mail. Send mail to"majordomo@unixg.ubc.ca" with the command:"subscribe citr-charts". JancemberLongVinyl I new pornographers mass romantic mint 2 godspeed you black... lift yr skinny fists... kranky 3 talib kweli & hi-tek train of thought rawkus 4 state of bengal visual audio six degrees s deltron 3030 deltron 3030 75 ark 6 bratmobile ladies, women and girls lookout! 7 roni size in the mode mercury 8 mr. dibbs primitive tracks cease and desist 9 elevator a taste of complete perspective teenage usa io radiohead kid a capitol 11 pj harvey songs from the city, songs from. . island 12 sigurros agaetis byrjun fat cat 13 medeski, martin and wood the dropper blue note 14 various artists xen cuts ninja tune is joel trains are fast, start running independent 16 peaches the teaches of peaches kitty-yo 17 pizzicato five the fifth release from matador matador 18 coco coco k 19 nasty on lester bangs stutter 20 black eyed peas bridging the gap interscope 21 frankiesparo my red scare constellation 22 sad rockets transition matador 23 ashley park town and country kindercore 24 chicks on speed the rerelease of the unreleases k 25 Vancouver nights Vancouver nights endearing 26 deathcab for cutie forbidden love barsuk 27 tristeza dream signals in full circles tiger style 28 sea and cake oui thrill jockey 29 shotmaker the complete discography troubleman 30 songs:ohia ghost tropic sec. Canadian 31 johnny cash american III: solitary man Columbia 32 corn sisters the other women mint 33 karate unsolved southern 34 kittycraft cat skills march 35 intima no lullaby for sleep zum what we listened to during this hectic month* the chills • lout • blonde redhead • v/a camp skin graft • mountain goats • amour violent • peaches • cex • the fucking champs • flossing in public • built to spill • body lovers • jesus and mary chain • smart went crazy • aubergine • us maple • the secret tapes • feathered bangs • photography • christ air • Chinese flu • the dink bums • nat- acha atlas • castration anxiety • calculator • ces lunettes sont brisees • bus schedule • curing machine • red pants hysteria • Qoc • electrojulie • thee headcoats • mavist • telephone • matmos • the teen girls • superface z • central processing unit • double oh stupid • the land and cookie which of these bands are real and which ones did we just make up in a fit of idiocy at I 1:26 pm? e-mail V <discorder@club.ams.ubc.ca> with the correct answers and you win a prize of some sort. JancemberShortVinyl black halos/tuuli Christmas split sftri various artists it's a team mint xmas vol. 1! mint abbe elevator baby b/w outer battery wabana riff randells s/t mint bum/pingu magic teeth presents- magic teeth paperbacks/projektor split endearing ramer mana hell and high water polyvinyl tristeza are we people tiger style anniversary/hot rod circuit split vagrant cex get your badass on 555 big john bates vibro psychotic nearly nude shut ups haul off and smack your ass junk peeps s/t sftri radio berlin heart of industry reassemblage to rococo rot smaller listening city slang frumpies frumpies forever kill rock stars international strike force treat yourself slampt salteens tomorrow b/w motor away endearing dear nora dreaming out loud magic marker milky wimpshak^ dialling tone ferric mordant JancemberlndieHomeJobs lollies panty boy cinch amarillo stars nicely nicely victory gin seana and splatter bends ; spinoffs tennessee twin ) sleepy Junes i uneven steps 2 cardinals j coupon 4 fanfare 5 bel riose f> jay a. beck 7 heatscores 3 squares elite i join 3 featherweight found myself at the supermarket sea hag such a scream el paso it's me, not yours tired travelogue 10.97 don't stalk my sister oh darkness everyday postcard from the depths of shame walk, don't run velcro shoes the heathens are happier the notion ophelia run santa run around the capital newsman north cdm$mm>m shows, gigs... FRIDAY DECEMBER 15 Radiogram. Buttless Chaps, Dave. R Smith@Sugar Refinery (1115 Granville); Joani Bye@Yale (1300 Granville); St. Germain@Commodore (838 Granville); State of the Union@Colbat (917 Main); Deadcats@Brickyard (315 Carrol); Coal@Blinding Light (36 Powell); Mimosa@Purple Onion (Water); Jgosper/Lsim/Agriculture, Goulash, I Mudder Accordion, DJ Granny@Video In (1965 Main); Christmas Burlesque@W.I.S.E. Hall (1882 Adanac); The Widower@Blinding Light!!;The Butch Erotica Show@l-Spy (Seattle) SAT 16 George McFetridge w/ Bruce Neilson@Sugar Refinery; Joani Bye@Yale; Rich Hope@Anza; Strong LikeTractor@Brickyard; Oh Susanna@Cap College(N.Van); State of the Union@Colbalt; Prism@Commodore; Rainy City Gay Men's Chorus@Norman Rothstein Theatre (941 E. 41st); Honey Box@Pic Pub (620 W. Pender);Orchid Highway@Railway (579 Dunsmuir);Kate Hammet-Vaughn@Western Front (303 E.8th);DJ Hoschi@Sonar (66 Water); Butch Murphy and His Greasy Kings@SilvertoneTavern (2733 Commercial); Holylittlechristmaswitchcamp@W.I.S.E. Hall; The Widower@Blinding Light!!; Digital Underground@l-Spy (Seattle, two shows!) SUN 17 Unrefined@Sugar Refinery; Brickhouse@Yale;Vede Hille@VECC (l895Venebles); Download@Sonar; Sweet Papa Lowdown@Hot Jazz Club (2120 Main); Long John Baldry, Jerry Doucette, Gail Bowen@Commodore; Katadrone, Uzume Taiko Ensemble, SFU Pipe Band.Meringstone Pipe Band@Vogue; South of the 8order@Blinding Light!! MON I 8 Texas Flood@Yale; NewWaveaoke@Commodore; Saul Williams@l-Spy (Seattle) TUE 19 Skye Brooks@Sugar Refinery; Leslie Harris@Yale; Linda McCrae@Railway; Limelite@Wett Bar WED 20 Secret Three@Sugar Refinery; Dr. Z and The MD's@Yale;AI Simmons® Orpheum(Smithe and Seymour); Assertion, Unclean Wiener@Railway; Caricias Cubanas@Commodore; Absolution, Cornucopia@Colbalt; George Barret@Cafe Deux Soleils.The Rockin' Daddies@Brickyard;The Come Ons@The Pic THUR 21 Golden Wedding Band@Sugar Refinery;Vaqueros@Yale; Sarah Cheevers@Cafe Deux Soleils;Vicki@Marine Club; Russ BottenTrio@0'Douls FRI 22 Neosphere w/DJ Chris Harris@Sugar Refinery; Brickhouse@Yale; Carolyn Mark and Her Roomates@Railway; Bocephus Kins^DSilvertone; Riff Randells@Java J< Lowbro\ SAT 23 Blue Collar Bullei Bocepht SUN 24 The Beatles of Surr; MON 25 Chr TUE 26 Butch Murphy and" His greasy Kings! WED 27 King Jupiter! Jazi@Sug; Goatsblood@Brickyard; Building THUR 28 Ar Trio@0'Douls; Perpetual Drea) FRI 29 Neosphere@Sugar Refinery; SAT 30 Rasta Revival@W.I.S.E. D@l-Spy (Seattle) SUN 3 I Taylor James@Yale; Red Devils.Assertion, Mr. Plow@Cobalt; Molestics@Waldorf (1480 E. Hastings); 3ughouse Five, Spygirl@WI.S.E. Hall; Yokozuna@Brickyard; Crust Brothers@Crocodile (Seattle); Beans@Sugar Refinery MONDAY JANUARY I Sleep TUE 2 Matthew Good Band@Commodore WED 3 Marilyn Manson@Queen Elizabeth Theatre (Hamilton and Georgia); Matthew Good Band@Commodore FRI 5 Matthew Shipp Band@Vogue (Granville) SAT 6 Morning Maker.Templar and Sunlike.,":.- - @Pit Pub (UBC SUB) TUE 9 Blue Rodeo@Commodore WED 10 Blue Rodeo@Commodore; REEL CHO/CE@Blinding Light!! THUR I I BY08@Blinding Light!! FRI I 2 Ru/ns@Blinding Light!! SAT 13 Dave Douglas@Norman Rothstein Theatre; Neko Case and Her Boyriends@Richards On Richards (1036 Richards); Long John Baldry@Commodore; Benjamin Smoke@Blinding Light!!; Propagandhi,Sook-Yin Lee.The Need, Che:Chapter 127, Trixie's Undersea Adventure@VECC SUN 14 Benjamin Smoke@Blinding Light!! MON 15 McCoyTynerTrio@Rossinni's (162Water) TUE 16 Kate Hammett-Vaughan Sextet@Western Front; Benjamin Smoke@Blinding Light!! WED 17 Benjamin Smoke@Blinding Light!! THUR 18 Benjamin Smoke@Blinding Light!! FRI 19 R.L. Burnside@Richards; Fluffgirl Burlesque Night@W.I.S.E. Hall (1882 Adanac); Birthday Machine@Sugar Refinery; Nickelback@Commodore; Multiplex Grand Version 8.0@Blinding Light!! SAT 20 Hepner Brothers@Cellar (361 I W. Broadway); Life History of a Star:The Films of Jennifer Gentile@Blinding Light!! SUN 21 Eye of Newt with Thief of Boghdad@Blinding Light!! WED 24 Jean BeaudetTrio@Western Front; Kicked@Blinding Light!! THUR 25 Kicked@Blinding Light!! FRI 26 Keb' Mo'@Commodore;K;cked@Blinding Light!! SAT 27 Kicked@Blinding Light!! SUN 28 Kicked@Blinding Light!! MON 29 Tom Wax, DJ Zorastrajan Jakarta@Commodore;Anti-Pop Consortium@Sonar TUE 30 Kicked@Blinding Light!! citr presents Friday, December 15 Easy Big Fella w/ The Diablotones @ the Anza Club (#3 W. 8th) Sunday, December 31 Carribean New Year's Eve Dinner and Dance w/ The Headly Duo Steele Band, Elmo Super Sound and Mr. Basie Sound@The Hilton Hotel special events!! DEC 15 AND 16 STATE OF THE UNION: BENEFIT FOR MUMIA ABU^MAL. Racism and death are alive and well in Canada arid the US. Mumia see these bands at the Colbalt: Hippies rhan Error, Scarp, Shitlist.Trenchrats. >r, Beyond Reality, Candidt, DJ teady CRW; Come onsi jan 15-17 mccoytynertrio @ rossini's One of the greatest living legends in jazz, pianist McCoy Tyner is most famous for his membership in John Coltrane's Classic Quartet. If you have lots of money, go see him before he dies. Please. coming up TUESDAY, FEBRUARY 6 Linton Kwesi Johnson@Sonar SATURDAY, FEBRUARY I 0 Culture @ Commodore WEDNESDAY, FEBRUARY 14 Brad Mehldau@VECC all-ages DEC 16 Uncle Monster Space Circus w/ Cafe Insomnia, Hooligan, Smut-peddling Sam @ the Java Joint (10727 King George Highway) Fridays, Saturdays, and Tuesdays Swing Cats Ball@the Legion(2205 Commercial) DEC 22 Riff Randells@Java Joint DEC 23 Blue Collar Bullets@Java Joint JAN I I Choice Words Cabaret at Vancouver East CafTtVe featuring Inga Muscio, Farrell ing, Abby Wener, Fiona Tyler, the Hunt^aod Morgan Brayton, TL 'Mary Sue Bell, Vic, and istei/Spit's Ramblin' Roadshow. Hille, Live On Release and k-Yin Lee,The Need, Rae /enture and Che: theatre/dance/literary/art never-ending MONDAYS The Union (Brit Pop)@Puple Onion; Your Older Brother's Bedroom (Glam Rock)@Chameleon; Poo (DJs Czech and James Brown)@Wett Barr; Open Acoustic Night @The Pic; Soul Stream@Bar None TUESDAYS Pressure Drop (Reggae) ©Purple Onion; Jambalaya (funk/hiphop/etc.)@Chameleon;PhatTuesday@The Brickyard; Spoken Word@Bukowski's; Mike Allen Trio@The Cellar;Audio-visual performances©DV8; Brian St. Clair and Czech@Luv-a-Fair WEDNESDAYS CITR PRESENTS The Funktion (funk)@Chameleon; Chocolate (R&B)@Purple Onion; DJ John E@Wett Bar; Rec Room@The Pic; $ 1.49 Day@The Brickyard THURSDAYS ElectroLush@Lava Lounge; DJ Czech@Wett Bar; Lampin' w/ MC QB and DJ Vinyl Ritchie@Chameleon; Scotch and Soul w/ DJ Clarence@The Pic; DJ Night@The Brickyard FRIDAYS Resurrection (dance)@Purple Onion; Silhouette (house)@Chameleon; Flamenco Rojo@The Cafe Montemartre; Sumalao@Latin Quarter SATURDAYS Platinum (dance)@Purple Onion; Freedom (house)@Wett Bar;Jazidup w? DJ Doctor J@Chameleon; DJ Jeremy Warren@Luv-A-Fair; Flamenco@Keno Cafe; Dana D@Sonar SUNDAYS Sancturary (goth)@Purple Onion; Nice w/ DJs Leanne and Dickey Doo w/ Cotton in the house@Chameleon; DJ Metal Martin@The Brickyard SUBMISSIONS TO DATEBOOK ARE FREE! to have your event listed, fax all the relevant info (who, here, when) to 822.9364, attention "datebook." deadline for the February issue is January 30th! 30 cL~ce/vvJ>£A- woo EDITOR hard working music-lovers with lots of spare time and patience are encouraged to apply for this demanding but fun and rewarding position. you should have: good people skills; excellent written english: some computer experience, though we will train (we use word and quark on macs); and most importantly, a passionate relationship with independent and local music. this position starts in april/may 2001, with training beginning in february. this is a volunteer position with a small honorarium. please call barbara at 822.3017 ext. 3 or linda at 822.1242 or email «-discorder@club.ams.ubc.ca* for more information. J^L 1 j+ ■■ ■ k m m- ■ m- jm. rn^rn 801 W. Georgia St, Vancouver. BC * 1 LnAIVItLbUll For info call: [604| 669.0806 " , , . Nightly from 8:30pm Fridays from 5pm bar downtown Mon Your Older Brother's Bedroom DJs Sexboy & Flash spin Tue Wed Jambalaya The Funk presented byC FWUH presents an Vancouver's f Thr Hon Lampin' TR 101.9 fm remier DJ Vinyl Ritchie spins Faves. In assoc w/ The Body Perve. Alternative dress encouraged. $5, doors 9pm Fri Silhouette DJsJHilbandMikeMcQuaig jazz ft hip-hop with DJs Lush and Nat Blaise, Science & Agee. finest funk fa $5, doors 9pm. acid jazz ft si $5, doors 9pr Sat Sun Jazidup Nice Live local and international Sexalkious h X mix the ft drum n'bass w/ local ves with vocal diva/MCs Kia & QB. ck soul. $5, doors 9pm. >use music mix the lush classic acts on rotation with DJ DrJ from DJs Lea we and Hosted bizness. Visuals by Urban, jazzin'up your house, by the House $6, doors 9pm. Cover $7, doors 9pm. $5, doors 9pr Closed for the holidays Dec. 24.25,26th SPECIAL EVENTS: 12/27 - Audio Whore (A nolze) ® The Funktion of Venus. *ivc chameleonlounge.com 12/31 - New Year's Eve De w/ DJ's Leanne, Dickey Da bauchery Ball @ Nice - Tbt on sale now! o, Eddy Toon I host Cotton [House of Ven totstnel £g? www 2001: A ZULU ODYSSEY THE NASTY ON jgh" THIEVERY tour gems from its ultr ssions Honchos Eric e you to their table for topics include Jobim's CORPORATION return wit chic Mirror Conspiracy! Hilton and Rob Garza in\ blissed-out bossa beats, the scor sophisticated Italian thillers. and that magic made by Astrud Gilberto way down by the surf in Brazil1 If your motto is Last Night A Cocktail Saved My Life", then we suggest a round on the THIEVERY CORPORATION! CDEP 9.98 KID 606 GQOnTheEQcD et-pants main guy in the young electronic ne makes more cute broken beats that bug st people but keep us happy! Nerds that we are own all the vinyl that these tracks are gathered n. but its nice to have them all in one place QQ "|g.JJg CDEP Hot rockin' is nigh, Vancouver Finally the debut release by these gravel-throated, power- chording bad boys. Here are six tracks that are sure to endear the band to the black hair and leather crowd and beyond. Excellent front cover illustration of that legendary rock scribe who would surely love them as much as we do. Devil-horn salutes all 'round! CDEP 8.98 JOHNZORN Filmworks IX: Trembling Before G-D cd Like a bullet in the Brooklyn night, the beat bounces through the cobbled streets reverberating in the shadows below red brick apartments. This is not be-bop — this is sinister jazz. Cool. Ghost-dog cool Pariah jazz Hexed breaths, up through the reeds of the outcast sound, born to pierce the safety of silence. Read on. Continuing our spotlight on JOHN ZORN and Masada, we present ZORN's first soundtrack work in over three years! Joined by clarinetist Chris Speed and Jamie Salt on organ, these filmworks are the sounds of ings you'l CD 16.98 AMOR, BELHOM, BURNS, CONVERTINO TeteATetecoyiP rounded label. Let's break this down Consistency is the sum ot the parts: knowledge, the eye tor talent, and a will to break out from the standardized torm — while evolving the set*. Rawkus Records is recognizeable for hip-hop consistency Rounding out a stellar year with this fine instalment in their Lyricist Lounge series, Rawkus pulls up for the perfect year end coda: Featured tracks include Mos Def & Ghostface Killah. Q-ttp and Words Kool G Rap. Dilated Peoples. Big L, Pharoahe Monch with Nate Dogg, plus others What comes next? CD 16.98 BOARDS OF CANADA In a Beautiful Place out in the Country CDEP/12" The cold wind blows in and pinches my cheeks; everything outside looks so clear THE BOARDS OF CANADA hang onto the grooves from their last record but now cloak them with keyboards that draw from Brian Eno's ambient series Simple, haunting melodies have never been so beautiful. CDEP 10.98 12" 10.98 Slating at an Inch of Pemo in a skinny blue glass, I realised the ' French cabaret scene fad destroyed my liver. In the cafe, the band turns up by midnight — ready to hash out the remnants of a daydream, a deep log of reverie They took spooked out — too many hours with Gitanes in their mouths and a Gide paperback. Back in America they are known as Calexico: here, they've modified their Giant Sand-esque tumbieweea sounds into a more jazz-cat loungey eltxtr. The room fills with liquorice root suave sounds, teady to ferment every last inch of your virgin body. I pour a little water in my glass and let the liquor cloud up. "Paris, you got my liver — but you left my CD 19.98 IP 16.98 MOUSE ON MARS Instrumental; cd While polishing my glasses on my cardigan, I became greatly intrigued by the sounds ol the stereo. "What are these cuttmg- edge minimal sounds?" I asked ' myself. Upon investigation. I was pleased to discover that the tracks weie formulated and lovingly crafted hy none other than Jan St. Werner and Andi Toma — MOUSE OH MARS! The smart and intellectually stimulating sounds of this relaxed outing peaked my Interest, and so I emptied my alrready meagrely-filled pockets to purchase these sound pieces. Didn't I feel like a foot (however well-educated I may be) when 1 got home and realized that "Instrumentais" is a re-release, and I alfeady owned it on EP! (919.98 i Zulu Records 1972 W 4th Ave Vancouver. BC tel 738.3232 www.zulurecords.cor STORE HOURS is knowing th THEGENTLI WAVES ASwansong for You cd These pages have long sung the praises of Bell and Sebastian, and now, like sparr there is a full world beyond the nest, they must take flight. Sorrow-laden songs like these enchant the Norwegian Woods and provide the perfect fodder for winter walks with a Walkman beneath your faux-fur lined parka. Isobel Campbell finds time away from her duties as cellist and vocalist for Belle and Sebastian to branch out as a chanteuse a la Nico, Sandy Shaw and Dusty Springfield! A nice winter/ listen1 CD 19.98 MAGNETOPHONE I Sometimes I Need to be Reminded of How Much You Love Me cd In London, apartments are rather cramped But then again, how much square footage does one need to make some noise in the culture industry? Minimal. Instead, marry talent with technology and one finds making musjeadesktop possibility. London's latest indie-electrtfpop upstarts MAGNETOPHONE understand limitations, as well as their possibility to transform them into favourable aesthetics. Their sound is lush, organic and dieamy — imagine My Bloody Valentine playing water polo with Third Eye Foundation in a pool of Cafla Lilies. This image would be expensive to realize, so keep it as mental magic CD 16.98 MONOLAKE Gravity cd Gravity works on you at a rate of 9.8 metres per second. If yoofefl out a window, this is the rate you'd fall at Depending on how high the window is. you'd see youi whole life flash before you in a about one second Berlin based post-minimal techno purists MONOLAKE well know that seconds can seem like an eternity. Their sound designs are typified by slow evolutions of shifting timbre and beat. Listening to their discs can easily cause ones heart rate to lower. Close your eyes and you may drift away, but don't worry... Gravity will bring to back to earth. CD 19.98 RALPH This is for The Night People the iate night streets. Who's out at this hour? Shimmy up to your lonely shadow and get with the beat of RALPH'S latest '60s jazz-poetry soundtrack. Bongo' seduce boxcars, boxcars, boxcars as the exotic evening slowly twists towards daylight. Experience... honey, that , can't be bought!! ] CD 14.98 all prices is effect until January 31,2001 ravin BONUS: RECEIVE 10% ANY OF THESE TITLES 'TIL JANUARY 31,2001 BRADY JULIE Thief BEANS- Tired Snow FOR CARNATION- S/T SIGUR ROS- Agaetis Byrjun DO MAKE SAY THINK- Goodbye Enemy Airship the Landlord is Dead MICROSTORIA- Model 3 Step 2 ALVA NOTO- Prototypes IDA- Will You Find Me CHRISTINE Sssound of Mmmusic DOVES- Lost Souls CINNAMON- Vertigo Various- GENIUS OF BERTRAND BURGALAT LADYTRON- Commodore Rock SAINT ETIENNE- Sound of Water BROADCAST- The Noise Made by People BAXENDALE- You Will Haw Your Revenge LOUIS PHIUPPE- A Kiss in the Funhouse TOSCA- Suzuki GRANT Sophtware Slump The Noise Made by People BELLRAYS - Grand Fury TRANS AM-Red Line GIANT SAND - Chore of Enchantment Various CAROLINE NOW (BEACH BOYS TRIBUTE) BEACHWOOD SPARKS-S/T JANNINE DELTRON 3030- S/T MF DOOM - Doomsday HAIKU DE'TAT UGLY DUCKLING - Journey to Anywhere BAHAMADIA - BB Queen REFLECTION ETERNAL - Train of Thought Various- UNBOUND PROJECT DILATED PEOPLES - The Platform COMMON - Like Water For Chocolate JASON ROYAL TRUX-Pound For Pound THE DELTA 72- 0 THE S/T Honeymoon's Over PRIMAL SCREAM- Exterminator BLONDE REDHEAD- Melody of Certain Damaged Lemons THE BLOOD BROTHERS- This Adultery Is Ripe ELEVATOR- A Taste Of Complete Perspective THE BRIAN JONESTOWN MASSACRE- Zero JOSH FAUST- The Wumme Years 1970-1973 box HALL OF FAME- s/t BLUE PINE- s/t BOREDOMS- Vision Creation Sun SUN CITY GIRLS- Carnival Folklore Resurrection Series JACKIE 0-Motherfuckers-Fig. 3 DRAGS- Set Right Fit to Blow Clean up VIBRACATHEDRAL- Orchestral Versatile Arabchord Chart PRAM- Museum of Imagery Animals HOCKENKEIT- Omuth Haholab / 400 Boys Thief JEANS TEAM-Ding Dong PEACHES- Teaches of Peaches KID 606- Down with the Scene CHICKS ON SPEED- Will Save Us All! BLONDE REDHEAD- Melody of Certain Damaged Lemons SMOG- Dongs of Sevotion S- The Great Eastern la Loved Bedhead C.O.C.O.- S/T MIKO SLEATER-KINNEY- All Hands on the Bad One BLONDE REDHEAD- Melody of Certain Damaged Lemons VERSUS- Hurrah CAT POWER-The Covers Record IDA- Will You Find Me LOUD- Taikoelectric THE MOUNTAIN GOATS- The Coroner's Gambit THE BEANS- Tired Snow YO LA TENGO- And Then Nothing Turned Itself Inside Out LOW & SPRINGHEEL JACK- Bombscare EP NIC S- Agaetis Byrjun DESTROYER-Thief THE CLIENTELE- A Fading Summer JfMI TENOR- Out Of Nowhere ROTHKO- 40 Years to Find A Voice EINSTURZENDE NEUBAUTEN- Silence Is Sexy B. FLEISCHMANN- Pop Loops For Breakfast BEANS- Tired Snow ARCHER PREWITT- Gerroa Songs GORKY'S ZYGOTIC MYNCI- The Blue Trees SAM THE FALL- The Unutterable THE THIRD EYE FOUNDATION- Little Lost Soul SOLE- Bottle of Humans NEW PORNOGRAPHERS- Mass Romantic INFESTICONS Gun Hill Road OVAL- Oval Process ANTI-POP CONSORTIUM- Tragic Epilogue CHRIS T-T- Panic Attack in Sainsbury's CHICKS ON SPEED- The Re-release of the Unreleases JOAN OF ARC- The Gap SHERRY DO MAKE SAY THINK- Goodbye Enemy Airship the Landlord is Dead TIED AND TICKLED TRIO EA1 t EA2 MOUSE ON MARS- Instrumentais TWILIGHT CIRCUS DUB SOUND SYSTEM- Dub Voyage THE BEANS- Tired Snow JOHN ZORN- Big Gundown (reissue) BLONDE REDHEAD- Melody of Certain Damaged Lemons PEGGY LEE BAND S/T POLE-3 STEVE DESTROYER- Thief DEARS- End of A Hollywood Bedtime Story NEW PORNOGRAPHERS- Mass Romantic WILL OLDHAM/RIAN MURPHY- All Most Heaven DELTRON 3030- S/T HOLLY GOUGHTLY- God Don't Like It THE CAUSEY WAY-Testimony GODSPEED YOU BLACK EMPEROR- Raise Your Skinny Fists... THE NEED- The Need Is Dead JURASSIC 5- Quality Control ZULU'S CHRISTMAS HOURS Monday Dec. 18tt—Saturday Dec. 23" open 'til (ton Sunday Dec. 24' 12noon-6p Tuesday Dec. 2Btt BOXING DAY DanHlp 5>Wi. W69 TVeU <kA /k««ue tyioujt. Stuuv: 50 /IntitU ny 20 opc«<«<)
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-12-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2000-12-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2000_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 | f15bb723-f86a-47e9-8a45-b8cccc7d89f8 |
DOI | 10.14288/1.0050252 |
AggregatedSourceRepository | CONTENTdm |
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0050252/manifest