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
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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
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STREET
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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
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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.
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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
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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
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■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
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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
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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
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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-
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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-
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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
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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«<«<)
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) Dec 1, 2000
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