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us distribution
Cowshead Chronic;
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Interview Hell
Diary of Jonnie Loaf Boy
Printed Matters
Between the Lines
Bassunes
Seven Inch
Under Review
Real Live Action
Shindig
^harts^
On the Di^t-x
December Datebook
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So Miko said to the others, "Why does one's nose get
chapped? and not say, one's cheek?" barb smiled, then
ran outside to build a snowperson. kenneth rolled his
eyes, then m^be himself a bagel with humous. kevin shuf-
"some fresh air." and tristan decided that
perhaps now would be a good time to buy himself some
nice, warm slacks. hey, all you loyal discorder readers -
For what it's worth, happy holidays ... Artwork by Adad,
who just had a show at the havana gallery.
O "DiSCORDER" 1996 by the Student Radio Society of
the University of British Columbia. All rights reserved.
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airhead
Dear Discorder/Barbara,
Hello from the dreary depths
of Winnipeg. I just picked up
your October issue of
DiSCORDER, and happened
to fall upon the 7 inch reviews
section, and noticed that our
(Elliot's) 7" was reviewed.
What a pleasant bit of journalism I discovered. I'm not
quite clear on the 'boy rock'
grouping you've developed,
but it seems that it would encompass everyone from Earth
Crisis to Weezer. Just what
the world needs ... vague
classification (oh yeah, Elliot
should be in Vancouver within
the next few days ... and our
fill-in drummer is a female.
Does that throw a wrench into
things??). At least you were
kinder than whoever reviewed our split 7" with
Banned From Atlantis
("cacophonic Bullshit
can't believe I wasted 15 minutes of my life on this" ... great
journalism there). Anyways,
thanks for the publicity (bad
publicity is still publicity, correct?); thank goodness your
big corporate ads still keeps
DiSCORDER free.
Love,
Ben Sigurdson
Elliot
Hello,
My name is Melanie Hawkins
and I have subscribed to the
DiSCORDER magazine. I am
very happy with it ... This is
just a note to tell the people
in charge that I have moved
... Please send the
DiSCORDER to this address! I!
Thanks so much, I love
you guys. I also have a 'zine
called Budgee. I will send
y'all some copies for your
reading pleasure. (They're
mostly about SLOAN, PLUTO,
CUB and my car, etc..)
OKAY thanks! 11
LOVE, Melanie OXOX
Dear Airhead,
The following statement
should be known to all fellow
cigarrette smokers:
I don't litter the earth with
my cigarrette butts/filters, not
even the pavement. I am conscious of all those fiber-glass
filters being thrown on the
ground, and find them a grotesque sight.
Please correct my spelk
ing, but send the message! I
save my butts in a metal tin
until I arrive at a garbage can
or ashtray. Just do it, too.
The Girl in Green
SCRATCH SALE DAY
ears huge extrav
V December 27.
ON SALE THIS MONTH:
SCREECHING WEASELoBtf_likeoDe9Mfordolion<). iM71P/c»jl4.'.CD
ROCKET FROM THE CRYPT= Side 0/Hie JirffJrffae on CD). $9.87CD
THE MUMMIES ftwumj On f ipfy Vol I [raw mi ear.'yj $9.87 IP
VILLAGE Of SAV00NGA Pk% Sdwft (Genu posf-rodr shicMM 14.920
CRASS0 Christ, Ike feoffee, (mercky, peece, ikopflifting). $4.38 CD
FLYING SAUCER ATTACH Solly free IIds? flrippy!). $10.96 CD
GUIDED BY VOICES o Sunfisfc Holy Breakfast {still Wf«l/J.....$7.90 ll'/O
HAYDENo Mori-ia, Careful fpopulorj $10.96 CD
FLOSSIE 4 THE UNICORNS sMM(mmtp*ppdinlM»khn>.L,MK V
LABRADFORD tt\\ fillei fioodiiti.). $14.92 CD
Tkis years huge extravagi
Friday, December 27. 15
EVERYTHING. Mark it on yoar calendar.
lanza will be on
to 90% off
Smaller sale on boxing day too!
INTRODUCING SCRATCH E-MAIL ORDER!
Let os know your E-mail address and
receive weekly catalogs an" * '
the newest releases before
friends! Save money! Shop
comforts of your computer chair! Send
-epcove.
4 december 1996
for ric..
c
- Cowshead Chronicles-
i do my best each month to bring you events in my life that may in some way
reflect, somehow, what may be going on in yours, we all harbour feelings of
resentment, hate, fear, love, loss, desperation and what do we do about it?
more often than not, nothing, we sit at home in the dark or lay in our beds and
hold it all inside, and for the most part that's ok. really, i do it. but, often i let it
ali out. and why not? people, for the most part, are thin skinned and — me
included — like to hear the truth, it puts it all in some sort of weird perspective,
people i like or even love know it, and those i have no time for or even hate,
although in that category there are few, know it as well, honesty, i have been
called too honest, i can take that, even if i have made a few people unhappy with
my candidness. last month i ran into some opposition regarding that month's
installment of cowshead and i'll take the heat even if i don't necessarily agree
with it. i was writing about my heart, a heart that is not unlike any of yours,
regardless of whether or not you are involved with someone, our hearts break
and get scarred whether we are in love or not. i have had mine broken and have
probably broken a few as well, so what am i trying to say? i don't really know, i
just know i have to say it. i feel a sense of desperation lately that i'm finding hard
to put into words, when i sit down to talk or write about it. Vancouver's taking its
toll on me. and it's not just me. others have complained to me that this "town"
just isn't big enough or has enough going on. and they're right, but don't get me
wrong, i love this "town." so many lives in this "town," for better or for worse,
are linked together, it's basically impossible, if you're at all connected, to meet
someone entirely new. someone outside "the circle," the core, try walking around
one day without running into at least one person you know, hard to do. sometimes this is a good thing, while other times it's really nice to be anonymous, i'm
whining, i know, but i have no other way of telling these things, i was on vacation
and by way of circumstance ended up spending two weeks as a tourist in my
own town, holy shit, i thought i was going to have to create some world class
disturbance to get something to do in the "city." two weeks of hoping something would happen, that there would be something to do. whatever, sorry, i'm a
little scattered this month, i'll be back to my heartbroken, desperate self next
month, hell, it'll be a new year and i'll have all new stories and complaints, and as
much as i hate the holidays and Christmas, have a great december and i hope
your new year is better than last.
gth ... local demo reviev.
Some Christmas shopping
ideas for you: COSMONAUT were a prog-
punk band that existed for a
brief period, playing a few local gigs before losing all terrestrial contact in 1995. That band
may now be spent rocket fuel,
but guitarist Crimson Finch soldiers on in the "prog-punk" (his
term) tradition, releasing a six-
song tape called Silver Bees by
simply taping over old Cosmonaut demos with his minimalist
experiments in solo guitar and
looped percussion. The first cut
is an avant-jazz guitar piece
that twists and writhes through
its six eerie minutes of chromatic semi-phrasings like a distant motor attempting to turn
over in the early dawn. That
and the apiaric, automaton-
generated, multi-tracked fuzz-
guitar rounds of the title cut are
the two most successful bits on
the tape, and are worthwhile
mind-body trips by ony measure.
The other tracks are more
dependent on studio effects and
are somewhat more brittle-
sounding and less fully realized
than the aforementioned two
cuts. Still, they're fine for set-
ting background atmospherics
at your next poetry reading/
amateur film screening, especially the barely audible
tonescapes on side two. The
tape cover, which appears to
be a soft-focussed snapshot of
the Finch himself in a Stetson
at the break of day, has a way
of foreshadowing the ethereal
contents of the tape and pulling you into this portrait of
a new experimental musician in town.
Mr. Finch has now put me
in a mood for ambience, and
thafs what I got when I plugged
in Free Gift(cento) from
RANDY PELLES, who is
clearly a serious and ambitious
composer in the New Music
vein. The J-card shows a fragment of sheet music framed by
the title and author name in the
same hand-lettering that Chris
Cutler used on all those weird
and wonderful Recommended
Records releases some years
back. The bit of music shown
is, by my estimation, an example of the sounds encountered
on the tape, with tiny crochet-
less notes sparsely dotting the
staves like antisocial blackbirds
on clusters of telephone wire.
Yup. Much of it has a sort of
academic mood that takes one
back to the days of
Frippertronics, if one is a phil-
istine rock-only listener like myself. Like Bob's post-Crimson
(King, not Finch) sine poems
(now sped up 50 k times and
used as the sound you get when
you accidentally call up someone's fax machine), Randy
Pelles' work is stark in its spare
use of texture and tone, even
though in some cases a full
string quartet has been employed. But to show he's not
such a snob after all, Randy
throws in some toy piano at the
end of each side. These 14
sound-statements are great for
mellowing down, especially
when you're feeling tired ond
old and all your roommates are
asleep and ifs just the wrong
time for that Anal Cunt CD
you really want to cut loose
with. Ifs also good for assessing the amount of grind that
your tape-player gears have,
and I've found that the whirring
ofthe machinery from my deck
mixes well with the scattered
notes on Free GiftfCento) in a
stochastically interactive way.
Employing violins in a different way are PUBLIC
HOUSE, who submit for approval an eight-song tape, fled
Flag. In the first tune, "Wall,"
the violin intrudes on the acoustic guitar/singer intro a trifle
distractingly, although this is
cleared up when the guitars get
plugged in around chorus time
and power chords become
some of the flying missiles
launched in a battle of the
stringed instruments, refereed
by Billy Bragg and judged
by a panel of Replacements drinking Guinness
while dressed in kilts.
However, any questions left
hanging by the lead-in track are
obviated by the next one, "Red
Flag." What a geml The
growled lyrics are whimsical
and rustic, being about the singer's unusual expectations of the
virtues and lifestyle of a cowboy, whilst the music lopes
along in a C&W-through-a-
Marshall, folkified stomp, complete with sobbing fiddle.
There's good ones after that
one, especially when that beat-
up Strad gets down to serious
bawling in the prettily sombre
and "People," but the giddiness
induced by the title track never
actually clears and one finds
oneself going through an endless rewind-play cycle like a
knick-knacking studio engineer.
There is probably no other
band in the world who could
do genuine justice to Kansas'
reviled nugget "Dust in the
Wind," and for that alone there
should be an official investigation of these guys in the interests of public safety (them and
the Geraldine Fibbers).
Guppy are a four-piece
rock group with former Nelson
resident Ben Millerd (anyone remember "Arrow Song?") on
guitar, and in trying to describe
their music I find myself returning to the prog-punk tag I
started off with when I shone
the VS spotlight on C. Finch.
No experiments here, unlike
S/Tver Bees, as the Cathcart
brothers and co. just want to
use their cranked-up guitars as
sledgehammer-cum-croquet
mallets to catapult you into an
azure orbit among billowing
clouds and burning airplanes.
An Artless EP, follow-up to a CD
they released a year back, has
only three songs, but I'd be surprised if it doesn't run close to
20 minutes in length.
In "Human Patent," the vocals soar with sus2 harmonies
and the mid-heavy rock music
behind it splatters against the
inner cranial wall and runs
down in viscous driplines.
"Cast o\ Grope," the last and
shortest cut (ifs under five minutes), agonizes through its tormented FM alterna-rock groove
until its unanticipated finale:
here the levels go up, up, up
until the tape, your deck, and
your otic apparatus itself
oversaturate, washing the song
over in a tide of fuzz. This itself
obrupth/ ends, and only a ca.
1 second fragment of conversation in a crowded environment is left, with all hopes of
deciphering its details being
rendered pointless by the harsh
onslaught of electro-acoustic
clipping that just desensitized your entire neuraxis. I
don't know why I fixate on
this small detail; I guess I'm
just bugged because I think
they should have come up
with a real ending. •
Yes, December is here,
and ifs hard not to think
of the looming threat of
the dreaded Christmas list. Fortunately, Vancouver Special has
received a nice bundle of local
CDs for almost every taste to
provide you with inspiration!
Happy shopping ... xoxjanis.
KNOCK-DOWN-GINGER
Taka Out
(Zulu)
In this second CD on Zulu, k-
d-g continues with its appealing quirky, brooding, sweet
and sour sound. The sweetness
is mainly in the (often complex)
harmonies and the pop hooks
tossed here and there as teasers; the sour comes in a lot of
the lyrics, the delivery of the
lead vocals, and the
unpredictability— hell, the difficulty of many of the songs.
Combining contradictory elements that shouldn't work together but do, knock-down-ginger is pretty hard to compare
to the girl-content bands we're
used to (with the possible exception of Jale).
The sound is just too unsettling, cute but cleverly complicated, beautiful but bitter. And
how often do you hear a band
fronted by three women who
are all great singers and play
their instruments with such
confidence and authority?
Recommended for your indie
pop/rock, girl-band or even
funky-leaning friends.
MCRACKINS
Back fo the Crack
(One Louder)
The zillionth (okay, 34th) release from the weirdly-attired
McRackins in their two and
a half years' existence, Back to
the Crack is 1 8 speedy,
fun-filled Ramones-in-
spired ditties.
Their labeWu-jour is based
in Newcastle-upon-Tyne and,
indeed, Bil, Phil, and Spot are
touring Europe even as I type,
destroying boundaries of class,
culture, and good taste in
makeup wherever they go. Will
this at last lead to world domination for the Vancouver(ish)
boys who have reputedly
starred in a Molson's Canadian
TV ad? With songs this goofy,
loud, and fast, lefs hope so.
Recommended for your punk
friends, as long as they have a
sense of humour!
ROSE CHRONICLES
Happily Ever After
(Nettwerk)
After some pretty substantial
lineup changes, virtuoso singer
Kristy Thirsk and guitarist Rich
Maranda are back with this
sophomore release. While
Kristy's vastly soaring and expressive soprano voice can't
help but remind you of people
like Kate Bush and Tori
Amos, old Rose Chronicles
fans need not be too alarmed
— this is still a band and not a
one-woman plan for MTV world
domination. And while the
singer does seem to be pushing her voice to daring extremes, she stays mercifully far
away from those Mariah
Carey-ish notes that onfy dogs
can hear. Flawless, of course,
so recommended for your
perfectionist friends. •
Tcinnie starr woven T (violet inch) • strain "these years'"
b/w "regret" 7" (heartfirst) • zumpano goin' through
changes (sub pop) • velour3 »/t (kaleidoscope) •
mysterons hot dog, pop and clown (indep.) • dbs if the
musk's hud enough (nefer) • rose chronicles happily ever
after (nettwerk) • knock down ginaer takeout (zulu)
stlegar in January
ed empire lovali
(nardwuar) • various smooth and wild vol J (blue Ya-
dick 'n' jane s/t (indep.) • near casfiegar in January ep
lovali. "
... . (WueL
ard)« juniper daily stride (indep.) • pipedream journey
' 'lie
(shrimper) ♦ evaporators united empire I
from... (indep.] • roswells »/t (tdr) ♦ veda hille spine
(indep.) • good horsey pink pages T (trakshun) • copyright 7" (trakshun) __
SEsm
5 Ej^gSSESE fCelebrateCkistmasi
%^ygivinglQnjCyourmoneyL
'An IndirPunk Masterpiece™ Pfeychomania has recreated 'London Galling with "Rebel Set
Whats going on up there in Canada anywaj?' larry rosen m stm^er mmm
'Bast Coast 170s gkmrrock and a dose of Ziggy Stardust with a Vancouver perspective
INDIE CP of the WEEK tom harrison ib* Pmvmea
Anyone_who doesnt hke this album, doesnt deserve to live nxmssA & &iu
PSYCHOMANIife
DEBUT 12-SONG CD
FORD HER cd
SEXWTffiMXDN CD
BELTER cd Who are you? (names, ages, instruments
played)
A-train: Emcee.
Fatbone: Emcee.
Junya: Dj/producer.
First off, what's the history of Vancouver
Rap? Who were the first rap groups? EQ,
Craig Krush, Earl the Pearl, Raggamuffin
Rascalz, Terror T, Show + Tel, Chaz-e-b?
Tell us wdiat you know about the V-town
"old skool."
Junya: EQ was the first to release, no question.
Hip-Hop has been underground here from jump,
and a whole generation has already walked whatever path there is, and passed it on to the next. I
Ihink They Can't Cope* came out in '89. Fuck,
who else? Terror T, BZ, Maximus, Earl the Pearl...
Craig Krush was here for a minute. Chaz-e-b,
Rascalz and C.I.A. have been around for a while.
All About Us, Show and Tell, El Manifesto back
when they were the Funkbastards. Nitwits, the list
goes on. Some groups survived, some didn't.
How important were the CiTR sponsored
"DJ Sound Warx?"
The first couple of years w
good ... I don't know. Ifs n<
like anyone I remember see
ing there went on to sell c
shit-load of
helped the formation of ihe j
nowadays,
doubt, but really, ifs more i
like a showcase of talent. '
"Okay, buddy, you got
five minutes." Winning don't mean
shit.
Sampled acoustic jazz bass lines vs. live
bass player. Explain.
I don't own a bass, and I'm not going to anytime
soon. Sampling can limit you sometimes, but anything that can be done with o bass can be done
with a sampler. Records have a dirtier sound, too.
I like lhaf shit better lhan crystal-clear beats.
Which Social Deviant has the cool record
collection? Whafs the best record in yer
collection?
Price-wise or sound?
Sound.
Um ... ihe one I always end up listening to is ihe
Meters' Cissy Strut. Relaxed and swing, you
know? I've got a lot of records, ihough. Tough call.
How come so few local rap acts like
Rascals, Ciper, BZ Jam, CIA, Teiror-T have
CDs out? Why? Is this Johnny Jefs fault?
[laughter] I didn't know Johnny
Jet was slill around. I ihink ifs
money. A lot of groups grind
lo o halt when their sound
doesn't come right away, but it
costs a lot of cash to get ihe shit
done right, and then released.
A lot of hip-hop crews learned
that shit. The more the better,
ihough. As long as ifs good!
Isn't getting wax for DJs
almost more important
than releasing a CD?
Yeah, in some ways. If the plan is
to release a video and single,
you're kickin' your own calls if you
don't. We had four or five years of backed-up
material that we couldn't sit on any longer. Thafs
why a CD came first. Shouts to DJ Wax, too. He's
a cool muthafucka.
What was it like playing the Surrey Inn
Pop Music Festival?
Remember in 48 Hours when Eddie Murphy goes
into the cowboy bar? Kinda like lhat.
Are RUN DMC finished?
Hell no! They'll come through again and again.
Just wait and see!
Who are your favourite Rappers, really,
like NAS or Rakim?
I've been listening too long to have a favourite rap
per. So much shit has come out, and every rapper
thafs developed has their own distinctions lhat I
like and don't like. A-Train and Fatbone are my
favourite rappers. Cess Scorpio, too: liquid and
different. Who! up, Cess?
Who shot 2PAC?
Who knows?
Should people pay attention to Toronto
rap such as Ghetto Concept, Socrates,
and Thrust?
Yeah, no doubt. The east-west shit shouldn't hap
pen. People should pay more attention to what
they got in their own backyard, though. Toronto
has always been the focus, and so many diques in
this city get no play because of it. I'm not into wall-
climbing.**
Live from Thunderbird
Radio Hell can be heard
Thursdays from 9-11 pm
only on CiTR 101.9 Fm.
Rita
Level
gnent)
»vel of Jazz - Ew Just
lin Ho
m
lth one album under her belt on Groove
Records (Mindin' the Shop under the name
Rita Ghent - no di) and another one in the
works, jazz composer, lyricist and vocalist
Rita di Ghent can finally say that her ship
has come in (or as she puts it, her "row-
boat"). Working out ofHogtown, she first
appeared in Vancouver as part of Music
West 1996. She was here again for a gig at
the Georgia St. Bar and Grill. After settling
down with a pot of Earl Gray tea, we finally
sat down on a comfortable hotel room sofa,
with tea cups in hand for an interview.
What made you decide to take this
(jazz] career on instead maybe being, I
don't know, a plumber or something?
I remember, when I was young, reading
a biography of Katherine Hepburn, and
Katherine Hepburn used to lie in bed,
eat her breakfast and open her mail. And
I sort of knew that whatever I did, I
wanted to be able to lie in my bed and
open my mail from bed in the morning,
so that kind of limits it a bit. And then
you sort of combine that with what
you're good at and I'd grown up around
music and always done music since I
was really small...
You have your BFA from York and
your MA from University of Toronto.
Why did you decide to do all that first
before you started everything off?
I think I was trying to go in another
direction because I am inclined towards
other things too. I'm sort of like half science and half arts, if I can describe my
brain that way. So, I really like being in
school, and I thought maybe I would like
to teach or something like that. And then
I saw my concentration waning as time
went on and by the time I got my MA, I
was barreling out the door because all I
could think about was music.
Your album [Mindin' the Shop] has a
mix between originals and standards.
Do you approach standards differently
from your own material?
Sure, because when you do your own
music there is nothing to compare it to.
Do you get scared when you do your
own material with a "will anyone like
it?" kind of mentality?
No. Because when I do my own music,
I'm sort of telling a story about my own
experience. And how can my experience be judged? It's just the way I'm
expressing myself.
Do you put more importance on the
words sometimes or more on the
melody?
In general, most of the importance
would be on the lyrics.
So you wouldn't mind having a
crappy melody as long as the words
convey what you want to say?
Well, can you qualify crappy melody?
Let's say, you had this song that you
were not sure about its melody, but
you really like the words.
I find that the melody kind of writes
itself. I want to qualify this, because
sometimes you set out to write a tune
like "Sarahnade," [which has] a complicated melody — more complicated
than some of the other things I write.
By and large, the music that I do is
pretty intuitive. It's not intellectual.
When I write the lyrics, often the
melody will just write itself.
You mentioned "Sarahnade."
Obviously Sarah Vaughan was a big
influence on you. Was she more influential than others?
I think everybody has their favourite
singer. It's hard to have a favourite in
jazz because everybody's so wonderful
for different reasons. I love Abbey. I
love Carmen. I love Betty. I love them
all. I love Ella. But Sarah just does it for
me big time. She combines an exquisite
sound with such an exquisite sense of
phrasing and musicianship.
A lot of singers and musicians don't
like to be classified as jazz because it's
too restrictive. Do you mind at all
that people refer to you as a jazz
singer or classify you as jazz?
If anything, I don't hke being restricted
to being called a singer. I'm really a lyricist, songwriter or composer — depending on whose idea it is — and vocalist. I
think to call myself a singer, maybe I'd
have to be somehow better. But in terms
of being categorized as jazz, that really
is the direction [of] my music. Some
people obviously don't think I'm jazz
enough. The Jazz Report, which is the
national jazz magazine, chose not to
review my CD. And when asked why,
they said, "Well, we're really a mainstream magazine."
What's your new project?
My new project is, for the lack of a better word, like acid jazz. It's not like acid
jazz, but that's what people sort of
understand. It's my own style of music
that I call "Sprawl." The project is called
The Birth of Sprawl. It uses drums, bass,
trumpet, voice, back-up vocals, piano
and possible saxophone as well. I don't
want to get into too much depth about it.
It borrows ideas from traditional jazz,
but expands upon them and puts the
ideas into contemporary jazz styles. It
uses hip hop notions and acid jazz
notions...
The full CD is going to be recorded
in the spring and come out in the summer ... I'm really looking forward to it.
Because then, I'll probably be doing a
lot more touring and a lot more festivals.
On to the next level...
When I was first offered the deal, I
was really on cloud nine and I was
thinking, "Oh yeah, baby, my ship has
come in." And then I thought, "Come on
now, Rita, don't get too full of yourself,
here. Maybe your ship hasn't come in.
Maybe your rowboat's come in." But
that's okay. Because as long as I can stay
afloat, I'm happy.**
Listen to Justin's jazz programme,
Justin's Time, on Thursdays 2-3pm
(on CiTR 101.9fM).
7 E^g20_ISffi TRANSAM
Who are you and what do you play?
Nathan: Bass and keyboards.
Sebastian: Drums and drum programming.
Joe: Guitars, keyboards.
You've had quite a few releases now, on Just as many
labels. Since your LP came out on Thrill Jockey — and the
new one Is pending — are you guys considering yourselves
a Thrill Jockey band?
Sebastian: Yeah, all of our LPs are going to be on Thrill
Jockey.
Does being on the illustrious Thrill Jockey record label fulfill all of your wildest Indle-rock dreams?
All: Urn ... no.
No? Really? What would?
Sebastian: Not having to worry about paying the rent.
Joe: That's not very indie-rock.
Sebastian: It's not?
Nathan: That's just a rock dream.
Joe: I suppose a better dream would be going out with a
member of Tuscadero.
Describe your music, If you're so Inclined.
Joe: Umm...
I realize It's a ham-handed question.
Joe: Umm ... it's like ...
I'll change that: do you think you fit a certain genre?
Sebastian: No, I mean when we started out, yes, we were
aiming at something, I guess.
Nathan: I think we kind of selectively borrow from a lot of
genres.
Sebastian: That's the trouble with most bands, I think. They
rip off only one style.
Are you guys good chefs? I'm trying to get recipes from
rock-stars.
Joe: Sebastian's a good chef.
Sebastian: I don't work from recipes. The only ingredient is
love.
How Is touring with the loudest band on Earth?
Joe: We're from a suburb close to Baltimore.
Guitarist for SIx-Flnger: Baltimore is a dump, I don't know
why anyone would go there.
Nathan: It's actually a lot like Providence. [Six-Finger
Satellite's home town]
SIx-Flnger: Oh, come on.
Sebastian: It's exactly the same kind of place, a working-
class port town.
SIx-Flnger: That's bullshit, at least we've got the Mafia.
How's the Canadian experience so far?
Joe: Very good, this is our first time in Vancouver.
So, ask yourselves two questions and answer them.
All: ... Umm ....
Come on, this Is your chance to get your views, opinions or
Information out to the Greater Vancouver public.
Sebastian: I don't know, buy our record, I guess.
radvertfslhfl thafs
built to last
322-3017 (exti)fori?i^>
Joe: MarvO-War are supposed to be the loudest band on Earth.
Nathan: I thought it was The Who.
Well, SIx-Flnger Satellite put on one of the loudest shows
I've ever seen when I saw them in Calgary.
Joe: They're great.
[Enter Six-Finger Satellite at this point who tell Trans Am to
get out of their dressing room. The guitarist sits down and
begins to tune his guitar.]
So, analog synths: cheese revival or genuine positive?
Joe: We actually use a lot of digital synths. For us, it's more
what we have: our June 60 was stolen, the Crumar we found
in the newspaper.
Sebastian: I think we need a DX-7 now. [80's glam rock synthesizer, band grimaces]
It seems that analogs have almost become a staple In a lot
of Indie bands now, especially In the Touch & Go subsidiaries.
Sebastian: They're all trying to copy us.
Guitarist for SIx-Flnger: They're all copying Six-Finger
Satellite.
Try describing your new album In relation to your previous
ones.
Sebastian: Easy Listening. We're trying to appeal to a more
female audience.
Describe your album In relation to a cheeseburger.
Joe: I don't know how to answer that question.
You're not supposed to! You're supposed to clear your
mind, It's a modem Tree-in-The-Forest question.
Sebastian: I can't do it, I guess I'm too logical.
Rne, how's DC for your type of musk.
Joe: Very nice, It's really easy to stand out because everybody is still doing punk rock.
Guitarist for SIx-Flnger: I thought you guys were from Maryland.
Nathan: I just want to tell people how much work this is.
SIx-Flnger: Hard work? What do you mean, how is a day in
the life of Trans-Am hard work?
Joe: (sarcastically) Getting up at six every morning to go
jogging.
Six-Finger: It's not an accusatory question, I'm just
wondering.
Nathan: Driving for 17 hours to a show, that's what I mean!
SIx-Flnger: That's not hard work, that's just having a moron
booking-agent.
Nathan: Getting into a club, having to deal with the bullshit
from the other fucking band, you don't think that's hard
work?!?
SIx-Flnger: I don't think that has anything to do with it.
Joe: I heard you guys got dumped on your last tour.
SIx-Flnger: Dumped? We weren't dumped, Jesus Lizard
couldn't keep up with us so we canceled the tour.
Sebastian: I heard they had broken limbs.
SIx-Flnger: Yeah, but so what?
I heard the show In Calgary was an event, with David Yow
[Jesus Lizard] slapping people on the head with hb penis.
SIx-Flnger: Well, that's not exactly true.
Nathan: He was just touching them with it.
SIx-Flnger: He gave me a hand-job on stage in Edmonton, in
front of 500 people.
Nathan: Really, we're you erect?
SIx-Flnger: Kind of.
Joe: You had a chubbie.
SIx-Flnger: He backed off when he saw how excited I was
getting, though. Guaranteed way to make sure you meet no
women at a show, have David Yow give you a hand-job.
Joe: Anything else you need to know after that?
No, I think I'm fresh out.*
8 december 1996 f/OtCArVMAf
, WHEN YOU GIVE,
©R00VI6 v
W-STORS \
pgfl fe @ 4J0W*,.
Ii Gflft te
THE PIT PUB WILL BE
OPEN AS USUAL UP
TO AND INCLUDING I
WEDNESDAY,
DECEMBER 1 8*1
DROP IN FOR A
"CUP Or CHRISTMAS
CHEER" & STAY FOR
ALL THE CANUCKS/
NHL ACTION!
DON'T FORGET
COMING
JANUARY 11th
FOOTBALL NIGHT
CHEAP WINGS
& CHEAP DRINKS
GREAT MUSIC
GREAT SPECIALS
PARTY NIGHT
BIG SCREEN SPORTS
THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BLVD. • 604-822-6511 from the diarv of Jonnie Loaf bov
november 1:
Something is wrong with DJ Dinette. For
the third week in a row she played nothing but disco covers of Bob Marley tunes.
I complained to the programming director, but nothing can be done. As long as
DJ Dinette satisfies CanCon regulations
and doesn't say anything offensive, she
can't be touched. But if forcing people to
listen to versions of "Buffalo Soldier" with
disco beats doesn't offend people, nothing will. I have pleaded with her, but she
will not listen to reason. She says that
Disco and Reggae are the Ying and Yang
of dance music. I told her that disco and
reggae are the oil and vinegar of dance
music, but she preferred her metaphor to
mine. No one with natty dreads ever wore
a lounge suit. No Rasta ever owned a glitter ball. You can't smoke a spliff if you're
wearing rhinestones. These are indisputable facts, but try telling them to DJ Dinette. How can I make her see the light?
november
1 2
Last night, Witchdoctor Highball fell asleep
in the control booth, and three hours of his
snoring was broadcast across Vancouver.
Lucky for us, there were no complaints; people assumed it was just another experimental piece. I thought it was one of John Cage's
works and found it quite provocative.
Witchdoctor Highball is a musical genius and
doesn't even know it. Nor does the janitor
who was unimpressed by the puddle of drool
on the console. I tried explaining to her that
drool is a small price to pay for great composition, but she was unmoved. I have since
hidden a microphone under Witchdoctor
Highball's bed and plan on recording his
snores on my four-track. Unfortunately, he
only seems to snore in the control booth,
and the only sounds I have been able to
record are some heavy breathing and his
radio alarm clock.
Meanwhile, DJ Dinette continues to milk
her disco reggae theme and I am beginning
to lose patience. This morning I wrote an
official letter of complaint to the CRTC and
faxed it to them with a CiTR cover sheet.
That should really throw them for a spin.
november 22:
Today was spent cleaning up after last night's
broadcast of Live from Thunderbird Radio
Hell. I have repeatedly told Nardwuar never
to let the Noiz Boiz on the show, but my
advice was not heeded, and now we are
paying for the consequences. The Boiz blew
three speakers to tatters, and shattered the
glass panel in B Control. Their lead singer
Neddy kept punching his hand through the
lounge wall, apparently to enhance the
rhythm section. Things got really out of hand
when Nardwuar asked the bass player to
refrain from using the sofa as a giant ashtray. Let me just say that poor Nardwuar
had to go to the doctor this morning for a
tetanus shot, just in case the drummer's
teeth were carrying germs. I am certain the
drummer has germs, the only question is:
what kind?
Apparently, the broadcast also caused
damage outside the station. Some students on campus are claiming that their
stereo speakers were blown during one of
the drum solos, and the police maintain
that an accident at 10th and Alma was
caused by excessive noise from a car radio
which was tuned to 101.9 fM. Nardwuar
is in deep shit, but he is too doped up on
pain killers to care. I can only hope that
he doesn't get sued.
november 29:
Still no word from the CRTC regarding my
complaint against DJ Dinette. She is now
playing punk covers of famous disco tunes
which is equally sacreligious. God does not
approve of leather-clad freaks in mohawks
singing "Dancing Queen." I suspect DJ Dinette is suffering from some kind of illness. How else can you explain her actions? I think her trouble started when she
dyed her hair mauve. I suggested to her
that her condition may be a result of toxic
chemicals in the dye. Perhaps she should
shave her head?
The only exciting development at the
station this week is that Fern and the rest
of the engineering department have been
inspired by the Noiz Boiz fiasco, and believe that they can adjust our broadcast
signal so that we can blow away the FOX.
They believe that by matching our frequency to the resonant frequency of the
FOX's antenna and by increasing and
modulating our broadcast amplitude,
they can send a signal wave which will
rip apart the FOX's antenna and blast
apart the entire CFOX station. So far, they
have only been able to produce mild
static on radios tuned to the FOX, but
they are certain of their imminent success. I told Fern that perhaps she has been
watching too much Star Trek, but she
promptly informed me that she only
watches MacGyver. Who am I to argue. I
can only wish her luck in her noble task.
the tear garden
rose chronicles
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10 december 1996 New Jersey's Bouncing Souls play
upbeat, catchy, good old-fashioned punk rock with plenty of sing
alongs. They recently turned in a
high-energy performance at the
SUMallroom with SNFU, Face to
Face and Automatic 7. We sat
down in the CiTR lounge to question Pete (guilar) and Shal (drums),
but they began interviewing us...
Pete: What do you guys do for fun?
DiSCORDER: This is our fun.
Pot*: Do you guys think that you'll sell out?
Why, aroyou guys planning on soiling out?
Pete I don't think so.
Shal: I don't know about planning on selling out.
The phrase "planning on selling out" is kind of like
the term, "Christ died for our sins." It just d<
Well, I was just reversing tho question to
you guys.
Poto: Well, usually that's a normal first question in
an interview. "So, when are you guys going to sell
out?" That and, "What are your influences?" I guess
it's just a big issue now lhat punk rock is more popular. It doesn't make anyone a sell out just because
they're popular.
Shal: There's a lot of people that consider Rancid
sell outs. They didn't really do anything. They just
made some decisions and followed them through
and became really popular.
So do you guys spend a lot of Hme on tour?
Poto: Yeah, we spent the spring touring for four
and a half months straight.
Did anything crazy happen to you guys
on tour that you would want to write a
song about?
Poto: Nothing too out of control. You meet a lot of
really strange people sometimes. We went to Europe and it was like a freak show. It was cool.
photo: Suki
What's important to you when you sit
down to write songs?
Shal: That we like it.
Any particular subject matter?
Poto: We Iry lo keep it on the light side because
who wants to go to a show where you have to hear
about all the horrible things lhat we have to live
wilh day by day.
So thon, what do you
think about political
bands?
»: Some of ihem are really
good. Some of ihem are just
babbling about crap. The
Clash was a totally political
band and ihey were awesome.
Shal: They never stuffed it down anyone's throat
really. As opposed to olher political bands.
Poto: There's a difference between r*
and preaching ihem.
How did tho new albums' imagery como
about? Are you guys into horror comix?
Poto: Not too much. It just kind of happened. Rob
the bass player, he drew il and a couple of our
friends did the colouring.
There seems to bo a BYO connection on
this tour, is that purely coincidental?
Shal: Except for Face to Face though.
Poto: This one show is with SNFU, they aren't on
tour wilh us ihough.
What is tho grossest thing you'v* over
Poto: That stuff in lhal place in Germany.
Shal: Oh, yeah! We were at ihis place in Germany and they had ihis ... What was it? Lima beans
and cabbage, sauerkraut and onions.
All mixed together?
Shal: It was this huge vat, like two and a half feel
deep. Itwas like a cauldron. They all sat down and
ate it too! We were on tour with Youth Brigade,
and the guitarist, he sits down, and he thought it
was like some kind of chicken c
ited about it, so he just mounds it o*
plate. And he just takes one bite of it ai
"Oh my god." And he thought it would be really
rude just to dump it bock in there so he had to eat
the whole thing.
Poto: Well, French people, they like lo cook with
mayonnaise o lot. We had this thing, it was like
noodles, peas ond mayonnaise.
Well I doubt that that was a traditional dish
anyways, thoy probably just threw a
whole bunch of shit together.
Shal: Well, I might have exaggerated a bit. There
might not have been onions
in it. But it was a beige colour type stew. It was like this
colour! [Points to couch in the
lounge af CiTR] And it had
the same slain in it! [Points
to the stain on the couch in
the lounge at CiTR]»
Did you have any apprehension about your affiliation with
Virgin Records?
No, because before they can do anything they have to check with us and
everything is first released on Plus8.We also feel stupid about phoning
people up and saying "Hey, I just recorded a new record, it's great, you
should buy it!" That's where Virgin comes in: they handle our promotions
and enables our music to reach more people. We are not concerned
about making hit records and Virgin understands our goals.
What is your latest release Transmissions Volume I about?
Transmissions has given us the opportunity to showcase the music of
Plus8 artists and others in the way I want them represented. Richie and
I don't make mixed tapes and rip off the artists. So making the CD is our
way of giving them the recognition they deserve.
TransmissionsVol. / is a 17 track CD of continuously
mixed music on P!us8/Virgin/intelliNET by John
Acquaviva. Eleven of the tracks are on either Plus8
or their spin off label Definitive, a house music label
created by John and Richie to showcase their love
of House music. Contributors include Richie
Hawtin/Plastikman/Fuse. Fred Gianelli and Ian
Pooley.The CD is a great compilation of House
music of the last two years, ranging from the
characteristic Detroit sound (minimal with 303) of
Plus8 to the happy, perhaps cheesy. House with
lyrics such as "Get House." A CD I would
recommend to all House afficionados and for the
rest of you, listen to it first, just to make sure.* NEW MUSIC PAINLESS PRICES!
FACE TO FACE
Face to Face
SUSANNA HOFFS
Susanna Hoffs
MINT CONDITION
Definition Of A Band
CAKE
Fashion Nugget
THE CARDIGANS
First Band On The Moon
ABOVE TITLES SPECIALLY PRICED UNTIL
DECEMBER 12th 1996 qolpxie< 500
-' -dcimon & naomi-
by pieter hoffman
/
out of the blue. I guess it's the old story: singer jumps ship."
When asked if there are any hard feelings, Naomi says with
a laugh, "Well, we don't talk to him."
Perhaps the most telling sign of the past relationship of
the trio is found in a quotation in the 48-page booklet
accompanying the box set. Divided into four parts, a part
for each member and for Kramer (producer and, in essence,
fourth hand), Naomi quotes Gertrude Stein: "Before the
flowers of friendship faded, friendship faded." Eventually
Wareham formed the group Luna, which is in many aspects
a continuation of Galaxie 500's sound. What do they think
of Wareham's latest band, Luna? Yang says, "It's not something we put on when we want to relax." Enough said.
During their Cambridge years the band played a few
local gigs and recorded a demo tape that, to their surprise,
received airplay on Harvard University's radio station. With
the intention of making an album with a more complete
sound, the band contacted Kramer. Owner and producer of
Noise New York, Kramer turned out to be key in creating
the proper atmosphere for the young band to prosper.
Drenched with reverb, their debut Today (1988), displayed a
fork in the road of conventional pop. On Kramer's method
"When we started, we had no pretensions of being big stars.
We never thought anyone would give a damn about our music. I don't
see the sense of saying we are going to be huge. It's like saying we are
t's rather strange interviewing members of a band that is but a fond memory.
The emphasis is on the past and entertaining thoughts of a regrouping are
remote at best Although Galaxie 500 dissolved in 1991 under less than amicable
circumstances, the members continued on
with their own projects — in very distinct
musical camps.
Forming at Cambridge in 1987, as a "college friends'
thing to do" the trio — Dean Wareham (guitar/vocals),
Damon Krukowski (drums) and Naomi Yang (bass/vocals) —
have had a strong influence on the music landscape of
today. While their impact never evolved into high sales
figures, the trio continues to have a strong cult following.
labels are a different story. When Rough Trade went under,
they acted like cowards and cads. And so did everyone else
involved. We were never paid for our records or anything
else. With Ryko it's different. They are a clever company."
Krukowski continues, "We had a bad experience, but I don't
think that it's so much a record company ripping off an
artist as it is mutual exploitation. A company will say, 'If you
do it this way, you'll make more money,' and the artist usually agrees. It all comes down to do that. The bands are
complicit. It's just that we never got ourselves involved in
that scene."
"When we started, we had no pretensions of being
big stars. We never thought anyone would give a damn
about our music. I don't see the sense of saying we are
going to be huge. It's like saying we are going to suck.
What's the point? Huge music is bad music. I can't think
of anyone on the radio right now that's good. If you
want to be huge, you want to be on MTV. It's like coming from another planet," Naomi explains. "We never
set out to be in a band in any sort of careerist way. We
simply were doing it for fun. We were going to university and had our studies. Galaxie 500 was more a
release. The only way to make a career out of it here in
Boston would have been to be in a metal band."
Damon adds, "We came from very privileged backgrounds and good educations. Everyone that wanted
to be 'successful' went to Wall Street. And that's where
they belong."
With the release of Box Set: 1987-1991 on Rykodisc.
Galaxie 500 have packaged their three studio albums along
with a fourth disc that sweeps up all the loose ends of singles and rarities that never made it onto their full-lengths.
Naomi was given free range to design the anthology and
accompanying booklet that features a veritable scrapbook
ofthe band. "Ryko was great, they allowed me to do whatever I wanted. All the mistakes are mine," she laughs.
Sprinkled throughout the anthology are various covers of
Yoko Ono, New Order, Jonathan Richman and their greatest
influence, the Velvet Underground.
Reached in Boston, Damon & Naomi readily answer the
questions, although a noticeable sense of bitterness remains
when asked about Galaxie 500's demise. About Wareham
leaving the band in 1991, Damon states matter of factly,
"Dean quit to sign a solo deal with another label just when
we were being courted by a few major labels. He just left
going to suck. What's the point? Huge music is bad music. I can't
think of anyone on the radio right now that's good. If you want to be
huge, you want to be on MTV. It's like coming from another planet."
of recording, Damon recalls, "We did everything on first
take. That's the way he likes to record." Asked if the group
was comfortable with that process, he continues, "I respect
that process a lot. Strange as it may seem, you take more
chances when you know that you'll only be doing it once.
It's just like performance. If you keep working and then
reworking the same thing it becomes rote and ultimately
boring radio music." Naomi interjects with a laugh, "Sort
of like Luna."
With the album On Fire (1989), Galaxie 500 had evolved
their sound. While still maintaining a lo-fi approach, the
music was more developed. Wareham's guitar was far more
prevalent as he stretched out and added spacey solos that
were perfectly suited to Yang and Krukowski's slow rhythmic backbone. Developing further as musicians, their final
disc, This Is Our Music (1990) hinted at what was to come: a
finely polished album, considering the band's style. Their
swansong possessed intricate arrangements along with
tasteful harmonies that clearly had the band in peak form.
Then the bottom fell out.
After signing with Rough Trade (UK) for the release of
Today, the band switched over to the label's US branch, at
the request of the record company, for accounting reasons.
After the release of their final album, Rough Trade (US)
went bankrupt, taking all of Galaxie 500's royalties and
rights to their albums with them. Krukowski attended an
auction in New York ofthe label's remaining assets (including their contracts) and bought back what was left of the
band's rights. "The music industry is an awful place and it
just showed us its ugliest side," he says with resignation.
"There are a lot of independent record companies out there
that I'm sympathetic to. There are a lot of people at Sub
Pop and Rykodisc that I trust and believe in, but the major
Both Krukowski and Yang are graduates of Cambridge
University: Krukowski in English literature, Yang in architecture and design. The pair has also dabbled in numerous
projects including a pair of albums as Damon & Naomi, the
most recent being the critically well received The Wondrous
World of Damon and Naomi, released on Sub Pop in 1995.
Years ago, the duo joined Wayne Rogers and Kate Biggar to
form the group Magic Hour, which recorded a string of
albums until the band broke up last spring. Yang emphasizes with a chuckle that "The break-up was very amicable.
We did three albums together but we just seemed to
exhaust ourselves, so we decided to call it quits. We're still
good friends."
To complete the picture, the duo also set up Exact
Change, a book publishing company founded pre-Galaxie
500 in 1985. "We come from bookish families," Damon says.
"When we were younger, the question people used to ask
us was why were we in a band, not why a book company."
Exact Change, out of Boston, mainly deals with reprints and
translations of writers who seem to get left behind in the
larger publishing houses. Yang redesigns the books while
Krukowski handles the re-editing.
Krukowski recently had a book of poetry published
through another publishing company based out of
Providence, Rhode Island. Asked about her literary aspirations, Yang just laughs. "No, I stick to the design area. I'm
too nonverbal."
While the duo is writing songs for their next album, there
is no set timetable to go into the studio. Yang concludes,
"We haven't got anything else on the burner. I think what
we have going is enough. In a sense, I'm glad the Galaxie
box set is behind us. It felt like we were cleaning house.
Tidying up all those rooms that needed a little dusting."*'
13 What is it about Elvis™ that has inspired
you to bring in this project?
Elvis™ is one of these strange mythical characters
who everyone wants to collect pictures of and the
National Enquirer always wants to resurrect him
from the dead. Also, and this is gonna start to
sound all academic, Elvis™ kind of represents, for
me, the Americanization of the whole i
try. People started going from "art music" to where
record executives and everyone else believed lhat
for the first lime, "Hey! You can actually make a lot
of money from this rock and roll thing." Elvis™ is
probably the first big rock and roll icon and now
everyone realizes lhat the object of making records
is not to put out their art — although if was different
in ihe '70s 'cause there were a lot of art rock bands
lhat could get away wilh stuff — but nowadays it's
like, forget it. People are only interested in how
many units you can sell. That's the American concept. It wasn't Elvis'™ fault, he was just the first victim of it. He was actually a very talented singer, a
very good looking guy. The whole planet just drove
him lo excess, pushed him over ihe edge. It's lhat
Shakespearean tragedy lhat I'm interested in.
There's this whole thing now where punk
rockers do these Abba covers and Brady
Bunch movies. Is it related to that?
Are you accusing me of jumping on the record
bandwagon? I never thought of it lhat way, but I
suppose it's true. [It's jusf] a way of making art
have more of an impact. So by the time you leave
an event you feel like you've been profoundly
affected by what happened to you in the last hour
and a half. You wan! to affect people on a very
gut-core level.
Your first tour ever was
with an Elvis™ impersonator. Do
you think that scarred you in some way?
Yeah, I've been seeking retribution
went on the road with an Elvis™ impersonal
who, at that time in his career, did very well i
Las Vegas. Then his voice went. He couldn't <
sound like himself, let alone like Elvis™. But he
got tours knowing full well that any gig he
ever get, he would never get asked back. He had
such an impressive promo kit at this point lhat he
could get gigs anywhere. So I'm 19 years old —
just out of high school — and this is my first professional gig. It was the most horrendous experience of my life. And meanwhile,
would run up to the stage and scream their heads
off, at this person who was pretending to be
e else. We would get invited to people's
houses, and the whole house would be this
Elvis™ shrine.
Why do you think Elvis™ Inspires so much
cheese?
He kind of turned into a self-parodying version of
himself towards the end of his career. People
really enjoy knocking down their idols. And
everyone has something to say about Elvis™. All
the contributors: there's like ten composers, three
singers ... forty different artists in this show.
Everyone has their own take on the Elvis™ thing.
Whether you're a huge fan of the guy, or you're
skeptical for the whole thing. I guess the
Loverboy Cantata ...
[laughs]... Doesn't have the same ring. Is
there a Jesus thing going on at all?
It takes place in St. Andrew's Wesley Church. St.
A&W, as some people coll it. There's ihis whole kind
of idolatry thing; people make idols, it's part of our
human nature — whether it's Sean Penn or Pavel Bure.
People who we can emulate and fantasize about. In
the 20lh century, pop culture has taken over from
where religious culture was in the past.«
THE CANTATA - THE LAST
TEMPTATION
SATURDAY, OCTOBER 26
ST. ANDREW'S WESLEY CHURCH
I heard ihe chatter. I saw the word "Elvis" blacked
out on all the posters. There was somelhing altogether unsettling about the Cantata (formerly known
as The Elvis ...) which was going lo happen.
Allegedly, at 4:30 before the previous
evening's show, John Korsrud and his Hard
Rubber collaborators had to strike the name of the
great one from the publicity material as well as
remove some slides from the audio-visual part of
the event. Word has it an army of lawyers at
Graceland heard about ihe show on lhat pesky
Internet (I thought the thing was supposed to work
against the forces of censorship). Quickly, they
put together a fax stating lhat it would be a no^o
to use graven images of the burger King, not wilh-
out paying some sort of tithe.
The whole thing mokes
me wonder: had there
been stringent copyright
laws for the last 2,000
years, the estate guard
dogs for one J. Christ
would have prevented Da
Vinci's "Last Supper,"
Bach's ""Jesu, Joy of
Man's Desiring," and possibly even Lloyd-
Webbers Jesus Christ
Superstar. (Maybe they
would have just wisely
ignored the last one.)
Nonetheless, the
Presley estate only put a
nmg,
ultimately unable to prevent what was a very fine
performance piece.
And funny. Joe
Keith ley (that's right ...
as in D.O.A.) showed up
as one of the featured
guests, dressed up in his
best Johnny Cash black.
He flailed and karate-
chopped his way through "Devil in Disguise,"
' Love," and others. At one point, he
collapsed in his own inferno of Existentialist
angst, to be revived only when two dancers
brought oul a baby doll mannequin.
For humour, Keilhley was equalled by Ian
Ross McDonald, who led a sermon on finding
your inner Elvis™. All this somehow got twisted
into some story about his American cousins who
attended Elvis'™ famous comeback special. These
girls end up in some cult passing out flowers in airports, and Ian Ross discovered that the part of him
which wants to be Elvis™ is also the part which
wants to be American. It makes sense to me. Just
don't ask for an explanation.
I was relieved at the thought thof Korsrud and
company didn't go strictly for laughs, although the
Elvis™ myth can't seem to help but get smirks from
people. Many of the Hard Rubber Orchestra's
pieces evolved from radically re-arranged Elvis™
classics: an operatic "Return to Sender," a
Klezmer-esque "Jailhouse Rock," and an oompa
"Viva Las Legos." Throw in big band, punk, modern classical, and lots of nods to Stravinsky,
Marilyn Monroe, Led Zeppelin and
Michael Jackson, and package it wilh slides
of twentieth century art, Dante-esque visions of
hell, and live camera work (to cover for those
missing slides of you-know-who). In olher words,
you get a musical "Ulysses" with the Big E as
Leopold Bloom.
Although a reasonably big and enthusiastic
crowd turned out, there was still plenty of room left
in the cathedral's pews. It's too bad, because "The
Cantata" deserved a lot more hype than it got.
Keep an eye peeled for more Hard Rubber performances in the future. Just don'l tell any lawyers.
Michael Chouinard
14 december 1996 %sg&P
"We [North Americans] represent
only five percent of the world's
population, yet we consume over
one-third of the world's natural
resources." (Allan MacDonald,
Marketing Manager of Planetary
Buy Nothing Day)
Allan MacDonald is a busy guy, running around the
quaint offices of The Media Foundation juggling faxes,
e-mails and phone calls from media outlets worldwide
regarding the current campaign of Buy Nothing Day — an
attempt to draw attention to what many groups and individuals beiieve is the primary environmental problem in our ailing
world: over consumption by people in the industrialised west.
It asks consumers to curb their spending on everything from
the morning coffee to that new VCR. Yes, a 24 hour restrain
on spending, in an effort to undermine the very principles of
our consumer culture which is based on advertising, buying
and selling.
Now in it's fifth year, Buy Nothing Day is the brainchild of
Vancouver artist/activist Ted Dave, who wants to remind the
public to give more thought to where their money goes and
how their money directly affects the environment. It has since
been picked up by The Media Foundation, a Vancouver based
non-profit organization founded by Kalle Lasn, who gave up
his job as a marketing consultant to form The Media
Foundation and, subsequently, Adbusters Quarterly Magazine.
In the past, the event was held on September 24, but has
since been moved to November 29 (the day after American
thanksgiving), since that is historically the biggest retail day
of the year in the United States and also the start of the traditional Christmas shopping season in North America. When
you look around us, do we really need all this stuff? If a product says "New and Improved," are we really going to notice
the difference? These are some of the questions that
MacDonald and his staff hope consumers wili try to answer
for themselves on November 29, "Because right now we
don't really have the answers either," he says.
Working out of an office in Vancouver along with a small
army of volunteers — or "culture jammers," as the Media
Foundation affectionately calls them — Allan and his team are
full steam ahead with their campaign. Even after November
29, the office will still be abuzz, gearing up for other campaigns such as TV Turn Off Week, Obsession for Women (fighting Calvin Klein and the fashion industry beast) or Autosaurus
(the end of the auto age). Every three months, a new edition of
Adbusters hits the newsstands. Adbusters — a beautifully slick
and clever magazine available to the tune of 40,000 copies —
is the main focal point for the Media Foundation's message.
Readers can keep up to date on all the latest campaigns or
gain some insights from the challenging editorials to the "sub-
vertisements," which are reworked ads that take aim at evil
empires such as McDonald's, Marlborough, American Express
and many more. Through the subvertisements, Adbusters
uncovers the lies and corruption hidden within corporate
advertising. There are many people who will challenge the
Foundation's message, with the case that it goes against the
public's better interest. MacDonald's response: "I think they
would have to accept that at least we have the right to get
this message onto mainstream media ... we have every right to
get on the airwaves alongside product ads... the environmental problem is there and it's definitely taking its physical toll on
the planet and I don't think anyone can challenge that."
As this story was going to print. The Media Foundation was
successful in having its "uncommercial" promoting Buy
Nothing Day aired on CNN and the CBC. "The commercial
has to be the only one out there that asks people not to buy
anything at all," says MacDonald. However, the three largest
American networks — CBS, ABC and NBC — outright refused
the ad. "The Big Three" all said that the ad's message went
against network policies laid out to protect the better interests
of their advertisers (and the network, of course).
What does the Media Foundation hope people will learn
from Buy Nothing Day? Allan sums it up this way: "It's
representative of a much bigger picture ... our consumption is
out of control in the physical sense and in a more cultural
sense, in that today we buy to feel good, we buy to impress
each other, we buy a lot more than we need ... we hope that
people will think about the things that they buy, and whether
or not they really need them."
This Friday, November 29th, do the planet a favour —
participate ... by not participating!*
For further information, or to find out how you can help
the campaign, check out the following: Adbusters web site:
www.adbusters.org/adbusters/(includes a downloadable Buy
Nothing Day poster, subvertisements and back issues of
Adbusters). E-mail: adbusters@adbusters.org. Adbusters
Quarterly Magazine.
All graphics courtesey of The Media Foundation.
NOVEMBER 29
IS
13k
Just becodse Yoor Band Socks. Doesn't mean Yoor Merch. has too.
^SHMTS • HOODS • EMMKHOCRY • SWEATS • HATS • ORAPHKS DtSJON • ALBUMS
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Phone 669-7562 or fax 270-0026
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fketflfctk! AVAO
DiSCORDER: If "Cuddlecore '94" was the logo for your last
album, what is the logo for this one?
Robynn: That whole cuddlecore thing in particular on that record
was because Bill Baker from Mint always wanted to do a take-off
of D.O.A.'s record, Hardcore '84. It was a great opportunity for
him to do it even though at that point we had gone past the
cuddlecore thing, as far as we were concerned, and as far as
being connected with the whole cute, chubby thing ...
Lisa M: Speak for yourself!
Robynn: Well, we're still chubby, but that cute thing ...
Lisa G: The question is, what's the motto for this one?
Robynn: The motto for this one is "Hygiene '96," or "Floss '96."
Shouldn't it rhyme with '96?
Lisa G: "Don't use sticks in '96. Use pads"?
Lisa M: No, it's "Use sticks in '96."
Robynn: Says you!
Lisa M: I'm the only tampon user in this band.
Robynn: We like the wings.
Lisa M: I don't like anything that sticks to my underpants.
Robynn: We haven't quite progressed to the washable ones.
Those things scare me.
Lisa M: Can you imagine going on a month long tour with a bag
of those things? I go for sanitation ...
Robynn: Why can't they just get some kind of suction thing?
So are you tired of being called ...
Robynn: Yes. We're not actually tired of being called cute. Cute
is not a bad word, it's just when it gets connected to things that
are weak, incompetent, and inferior. I don't want people to think
that cute is a bad thing because it's not.
Lisa M: There's more to life than cute.
Is that a backlash to what you used to be, or what people
thought you used to be?
Lisa M: What they thought we used to be, definitely. And also
what they think that women are, in general. I mean, we get a lot
of generalized "women" kind of stuff just because we're three
women in a band. I mean, we read reviews of people like Pork,
they're a band of three women from Austin ... but you can read
a Pork review or a Tuscadero review ... and you could substitute
cub. It's like the reviews are almost always the same, because it's
to do with women, so they always mention how they look or
what they're wearing, rather than what the music is all about.
So would you call this a reactionary record?
Lisa M: No. It's just what we are doing right now at the moment.
People are always asking me if this is a calculated move to
change our sound, but no, it's just us being on the road and playing and getting better.
How do you think you've improved?
Lisa G: I do things more times, over and over, in the studio.
Lisa M: This time we did it differently. We used to always just
play the songs and then overdub little guitar parts or the vocals.
This time we totally separated it so we did the drums first and
concentrated on that for a few days and then guitar and bass,
and then vocals. And then we actually came back six weeks
later and added things, like the accordion and all that. We just
took more time and I think we're just getting used to the way we
work a little better.
Whafs the hardest part of being cub?
Lisa M: The hardest part of being in cub is always being identified
as being cub. People don't think we have names or lives or anything else. It's just this cub entity.
Whafs the best part of being cub?
Lisa G: The studio.
Lisa M: Probably, just getting to do things and meet people that
you never would.
Robynn: Improved confidence and experimentation.
Do you have any solo projects in the works?
Lisa G: Trufflehunt! It's going to be part art, dance, funk, and
techno ... but I think we're more of a studio band than a live
band. I will admit.
Lisa M: Two shows in four years.
Whafs the most common thing that people come up and ask
you about?
Lisa M: They say that listening to our records has made them
realize that anyone can do it.
Lisa G: And that's a compliment ... always talk to us, don't be
afraid!
Lisa M: Even now it's a surprise to me when people come up,
because you don't think of it as that sort of thing, that you are
someone that is part of someone's life that you don't even know.
The idea that people write to us and say
"Oh, I listened to your album all summer" or "For my first date, we
watched the cub videos" or whatever. You just don't think about
that. Even when you hear your
own stuff on the radio, it's
always very weird, like (hearing] someone else. It's always a
surprise when people come up
and say they like it or they hate it
or whatever.
What exactly is a box of hair?
Lisa M: It's a dirty, disgusting mattress.*
TELL EVERYONE
IT'S A RECORD STORE
FAX: 879-1968
^221 ABBOTT ST,
17 s^ustBas So you Ilk* it and you have torn*
now material coming out, recorded
Interview with Jen Wood
by Sydney Herwant
j"T"he infamous guitar-cello-beautiful harmonies duo Tattletaie
I is sadly no longer. Together, the Northwest grrrls Jen and:
I Madigan released several 7"s, a full-length CD, con-]
tributed to many compilations, toured, and played the ail-star
indie-rock/pop/punk festival in Olympia |Yo Yo A Go Go}in
1994. They never actually played Vancouver as a duo. Both1
times Tattletaie were billed to play here, Jen alone came up.
The first time, Madigan's mother had passed away; the sec-'
ond, it was rumoured Madigan was on the Donahue episode'
about lesbian couples (oohl scandalous...). Then, Tattletaie'
broke up. Now, Jen comes to Vancouver as a solo act, and
doesn't have to make excuses for why Madigan isn't accom-
Yeah, I have a 12-song cassette put out on my
record label, Satellite Records, and I'm working on an album with Tom Grimley at the
Valley Studios; it's probably going to be a 16
song CD/IP and that should be out in late
spring, early fall. I'm also doing a tour in
March with Lisa Dewey, so we'll be coming
through Vancouver.
Lisa Dewey, who played here
[tonight].
Yeah.
How did you [and Lisa] connect?
I met [her] through Jessica Rose who played
here also. We just started talking and we
decided to be a team. She runs Kitchen
Whore [sic?] records and I run Satellite
Records and I'm really into networking with
omen, helping them out and they help
me out. Basically, I've only known her for a
iple of months, but I've really enjoyed
spending time with her and her music is won-
•ful. I met her through a mutual friend.
doors of communication, reach out to people. And I hope people get affected and
communicate and recognize what I'm
doing, because I appreciate people's
thoughts and ideas and criticisms.
Well, when you speak of passion, I
was sitting there watching you with
the women I came with here tonight
and we were trying to describe what
was happening ... you have such an
amazing energy, ifs as though your
aortas have taken on new designs —
one going to your throat, one to your
fingers and the others?) to your audience. From my perspective, you're
doing a great job in the passion
department.
Thank you.
Can you describe what it was like
after moving away from Tattletaie?
Were you nervous going out on your
own? is this the first time you've done
this sort of thing on your own? Being
up on stage, it must be a completely
different experience.
Tf $ nothing new and \ think a lot of women are
frustrated with other women for their ignorance.
Women are starting to just close each other out
and I think there is a lot of anger and bitterness
towards other women."
ponying her. Jen has already released a cassette, No Morel
[Wading, and is awaiting the release of a new GO/IP,
Your first song tonight, "One Fist to
Fight," you said was about the inter-
iDiSCORDER's Sydney spoke with Jen after her set as part ofl f-9h«-*9 ,n *• women's movement.
Girifeast, an all-grrrl, three-day music-fest at the Columbia. ■ What'* y°°r point °f vUw °n ,h"
Sydney: I noticed you had several guitars up there tonight. Why did you
switch them around?
Jen: 1 switch guitars around because I play
different tunings. I like to invent my own tunings and play around with the sound of the
guitar, so 1 kind of need two — or actually
three — guitars to do all the different tunings.
Otherwise it would take all night ...
Like tonight! [laughs]
No way! You were great tonight. The
last couple of times you've been up in
this end of town, you've been solo,
but were supposed to be with
Tattletaie? No?
Tattletaie broke up.
(guh) So you did break up ...?
In June 95,1 used to be in a band called Tattletaie
then we broke up — the first time we played in
Vancouver we played for WAVAW [Women
Against Violence Against Women] and since then
I've been playing solo. It's a good thing.
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18 december 1996
your point of view
and why do you think this happens
so that we can't quite get our act
together to be united and fight the
issues at hand?
Well, 1 don't know, I can't really speak for
everyone else but from my perspective, it's
really deeply rooted; it's nothing new and I
think a lot of women are frustrated with other
women for their ignorance. Women are starting to just close each other out and I think
there is a lot of anger and bitterness towards
other women. 1 can't really pinpoint the problems right at this moment, but there are problems that need to be dealt with and it makes
me sad, just from personal experience. We
/ have just got to stop all this dilly-dallying
around and include everyone — we need to
let everyone be part of the scene and that's
not happening and ahh! I don't know, it's just
frustrating!
Yeah I know, I'm totally with you
there, it's this pyramid effect that
shows its face and it's so self-defeating ... Is there anything else you
wanted to mention in regards to your
new stuff?
Hmm, my new stuff, well [clink, I spill her
drink].
Yikes, sorry ...
Oh, that's OK. My new material right now
is at a real mixture point. I guess what I
feel good about, to highlight the good
points, is that I feel like I've incorporated a
lot of different styles. I don't feel like I'm
stuck in a niche anywhere. Basically, I
hope that my passion will just open the
Yeah, going out solo, I had a lot of mixed feelings. Being solo is being completely, 100% vulnerable but what 1 really was looking forward
to and what I really enjoy right now is that I
feel totally in control. There is no conflict with
other people in the bands, and I also can take
all the blame, or all the other, you know what
I mean? 1 take it all, from me. People can look
at me, talk to me, write about what I'm doing.
Being solo has been really awesome. It's a
struggle, but it's good to know that people are
being affected, people are hearing what I
have to say. Hopefully, I'd like to open up the
platform that I have now to a lot of other people. There are so many other people out there
who haven't been heard who I would like to
collaborate with; a lot of people who haven't
been exposed yet. Being solo has been great,
but to be honest, I'm ready to start a band.
How did it end with Tatfietale? Was it
good, bad, sad?
It was a big mixture of feelings. We just had a
lot of built up emotions. We had a really
strong love for each other and that can never
be taken away, and it didn't end on the greatest of terms but it didn't end on horrible terms.
We just needed to resolve some things. It was
OK, though; it's allowed us to do what we
want to do, go our own separate ways and
still totally respect each other.
Is there any possibility in the future of
you touring together in your own separate bands?
I'm not quite sure right now. We've just started
communicating again — we kind of had a lull
period. I really don't know, but that would be
awesome if that could happen because we
started out together doing music [and] it
would be a pretty nostalgic thing touring
together, doing our own separate thing...•
tiiiiiiiiiirinftUi^vt rdwuar
Michael Moore
[speaking as he exits a cab outside of the Georgian Court
Hotel]: Rise up. Get rid of
the name "British" in your
province. You are your
own province. You are
your own country. You
oughta get the Queen off
the money, get the
"British" out of the name.
Just, do, man, just like ...
come on ... you guys got
such a great country, as it
is. Just, like, get over it,
man. Just get over it. That
UK thing, man, the Brits,
they're, like, dragging
you down, man, they're
like a big albatross, a big
stone around your neck.
Nardwuar: Could we ask you
some quesHons, Michael?
Would that be okay?
Yeah, yeah, sure, okay.
Vancouver is home of The
Vancouver Film Schooll
Oh, the great Vancouver Film School,
and the famous alumni are ...?
Kevin Smith, the guy who did
Clarks. He was only there
three months, but they take
credit for him.
Yeah, that's right, [laughs]
So, Michael Moore, -who are
you?
I'm Kevin Smith.
How's Superman's cousin,
Michael Moore?
Superman's cousin? Who was that?
From Roger and Me, the guy
that got shot.
Oh, the poor guy that got shot. Oh,
he's alive. He's alive. He recovered.
He was in a mental institution for a
while, but he's okay now.
How does it feel to be back in
Canada? Canada, home of '60s
thinking and David Gilmore,
the CBC?
[laughs] Is he still alive?
David Gilmore?
Yeah.
'Sixties thinking. You're getting
'60s thinking. You know what
I'm referring to there, eh,
Michael Moore?
No, I'm talking about David Gilmore.
Is he still with us?
Yes, he's still functioning.
He's still functioning [laughs]. How do
they keep him alive? Is there, like, some
secret drug or some kind of thing that
the undertaker uses to prop him up?
Taxpayer's money?
Oh, taxpayer's money, oh, that's it.
You '60s thinker, youi
Ohl That's what the CBC guy said to
me, right?
In an interview.
That's right. The head of the ... who
was that guy, anyways?
Alex Frame, or something like
that.
Yeah, he kept pounding on me. He
goes "Aah, you're still in the '60s. You
got '60s thinking," you know. And I'm
going, "Sixties thinking, I was like three
in the '60s." [laughs]
How are you doing, Michael
Moore, how are you doing?
I'm tired.
Now, are you like, blacklisted?
Am I black?
'Cause I'm afraid that you're
like, blacklisted. You're going to
be like Orson Welles. You know
Orson Welles did ...
What happened to him?
Citizen Kane. And Michael
Moore did ...
Ahh...
Roger and Me ... Orson Welles
fought William Randolph
Hearst, Michael Moore fought...
Well, you keep answering the questions.
Roger Smithl Are you okay,
though? Are you gonna be
okay? Are you going to be
blacklisted? Is your life paralleling his?
Ahh, well, I don't think so. I've been
very fortunate you know. First I got
Roger and Me out there, then TV
Nation, two summers of TV Nation.
We won the Emmy award, and now
my book just went on the best-seller list,
Downsize Thisl
Canadian Bacon, didn't they
kind of screw you on that?
Because that was a great film.
Did it even get an official US
release? Like Orson Welles, he
was kinda screwed. Are you
like Orson Welles? Canadian
Bacon, could that have been an
Orson Welles film?
No, I don't think so. They did this
market research with Canadian
Bacon, the US company, and their
test results told them that people didn't
want to go laugh at a film with a guy
who had died. Namely, John Candy.
So, because of that, and because
they felt that Americans would think
that the film was too anti-American,
they did not give it the proper distribution in America.
How much influence do these
movie executives have? Did
they force you to hire Karen
"MTV" Duffy? What was she
doing on there, what was she
doing on 7V Nation ?
What are you? You know, this is a
prime example of people who drink
too much coffee here in this part of the
country. You know ...
Karen "MTV" Duffy, why was
she there? Louis Thoreaux, he
was way better.
How, how, how many hours a day do
you spend at Starbucks, sir? You've got
to calm down.
Karen "MTV" Duffy, whafs the
explanation behind her?
What do you mean, "what's the explanation behind her?" Look at her,
dammit. You know, she's great. What
are you talking about?
20 december 1996 miI
oore
How can you single people out? Isn't
it kind of scary to single these executives out? I understand you're
going to be picketing outside of
Nike. Isn't it dangerous? I mean
you're targeting these people, these
people killed Kennedy, Michael
Moore. Aren't you a bit worried?
[laughs] Okay, I'm convinced now, it's not
coffee, it's crack. The guy is on crack. What
was the question, I forgot the question.
The question here was: Roger Smith
was a bad guy. Roger was a bad
guy. Does that make Bill Gates a
good guy, because he's hiring lots of
people? Bill Gates, the computer age,
is he a good guy, Michael Moore?
Bill Gates is the anti-Christ.
But he's hiring people.
No, he's the anti-Christ. The anti-Christ will
always come, it says it in the Bible, in
Revelations, chapter 6, verse 3.
But, but...
No, no, listen. I'm giving you a Bible lesson,
dammit, listen to me. You know, Bill Gates,
he's come here to hire a lot of people, and to
shift the technology into a situation where he
will rule the world. He will rule the world. Do
you understand?
Roger and Me. Don't you think that it
was better than Canadian Bacon?
Was Roger and Me better than
Canadian Bacon, Michael Moore?
Roger and Me was better in Canadian than
itwas in English.
Are they forcing you to comedy?
You're writing sitcoms now. Are they
trying to dull you? You know, like
Matt Groaning, he did Life in Hell
and it became The Simpsons. Are
you going to end up that way?
Please don't do it, Michael
Moore. Don't give up ...
You don't like The Simpsons?
No, it's been mellowed out
since Life in Hell. Remember?
Matt Groaning did Life in Hell
and now he's off to ...
Oh, man, Life in Hell sucked, man.
Life in Hell sucked, you couldn't even
read the damn thing.
Are they trying to mellow you
out? By doing TV Nation and
now you're doing Canadian
Bacon, now you're writing sitcoms. Like, please don't give
up, Michael Moore. They're
pushing you into that home ...
I won't let you down, I promise, I
promise, I promise, I promise. [Hugs
Nardwuar] I won't let you down. I
won't do it!
Did you know that Mark
Farner of Grand Funk Railroad
has a dog named after him?
Mark Farner is, like, supporting the Michigan
Militia right now. It's pretty scary stuff.
And finally, Michael Moore, -we'd
like to thank you, here in Vancouver,
British Columbia, Canada. You've
inspired people. Like TV Nation. TV
Nation had the thing about the car
alarms, where you played the car
alarms outside of the guy's house.
Yeah, that was cool.
And people in Vancouver, while the
Molson Indy was happening in
Vancouver, played Indy sounds out-
Roger & Me
side of the Mayor's house, to tell him
how bad it was with the noise.
Oh [laughs], really? Oww, that's so cool.
Thank you so much for the inspiring ...
The inspiration [laughs].
Thank you so much for inspiring
people.
And now, I must go meet the Magnificent
Ambersons, thank you.
Thank you, so much, Michael Moore,
now going to a Fox broadcast. Keep
on rocking in a free world, and ...
Fox are milking you now, they better
take your show, is your show going
to be on — just quickly — yes or no?
The show will be on, oh yeah.
TV Nation is gonna be on.
Yes, TV Nation will be on.
So Fox has picked it up.
Noooo, the BBC have put up the money for
a whole new season.
Are we going to be seeing it on the
Fox?
You're going to see it here on CTV.
Why won't we see it on the Fox?
You're doing that press conference
for them.
Are you an American or a Canadian?
They're manipulating you.
Are you an American or a Canadian?
They're manipulating you.
What are you? An American or Canadian?
I love both nations.
Which are you?
I'm an anti-fascist.
What are you? An American or Canadian?
I'm an anti-fascist. I am a Canadian,
born July 5, 1968.
Okay, dammit. Now, why would you care if
it's on Fox, if I just told you it's going to be on
CTV? What do you care if it's on Fox?
You are going to a press conference
to milk Fox. Why are you milking
Fox, when they are not gonna air
TV Nation?
I'm going to a party that's put on by
Random House, dammit, the publisher of my
book right now.
But, you're actually going to do a live
satellite feed with the Fox network.
Oh, no, it's a special tonight on the election, in America, that's going all out across
the country.
I just think that Michael Moore
should boycott Fox; unless they
show TV Nation, you should not do
any TV, you should not handle the
regular media.
[silence] Okay.
Well, thank you very much, Michael
Moore. Keep on rocking in the free
world and doot doola doot doo ...
Okay, doot doot.*
Photos by Eileen Gladue and Kai Taylor
21 g^gisEaB So you and your friends
are wasting an
evening watching Star
Trek re-runs and twisting ferrets' legs. You turn to the cute
redhead next to you and casually mention that Data must
accept the violation of Bell's
Theorem but you're not sure,
'cuz the EPR Paradox is pretty
darn convincing. She is totally
blown away by the breadth
of your knowledge and
agrees to marry you in Vegas
on Saturday night. Your life
is complete and you live happily ever after. OK, this is
highly unlikely, but if you
check out Quantum
Theory For Beginners (JP
MCEVOY & OSCAR
ZARATE/lcon Books]
you'll soon realize that the
way the universe actually
works is even more unlikely
so you never know. This is the
book for people who want to
find out why Schrodinger's
cat got a book deal without
having to ruin the resale value
of their first year physics text
by actually opening it. It's a
cross between Coles Notes
and the weekday funnies;
wacky yet informative, intellectual yet unpretentious. An
excellent source of quantum-
size intellectual non sequiturs.
Perfect for putting off small
talk schlockers during the holiday party season.
Imagine a world where
doing your own thing doesn't
just get you disapproving
looks from elderly boomers in
the vicinity; imagine they
could arrest you and interrogate you as well. IVA
PEKARKOVA's Truck
Stop Rainbows (Vintage)
shows us this world in stunning detail through the eyes
of Fialka, guerrilla photographer and ardent hitchhiker.
This is a road novel dominated not by the routes that
actually appear in the book,
but by the thousands of kilo
metres of road that Fialka
cannot travel, the roads
beyond the fences and
border guards. Instead she
searches for these roads
through pure single moments
of freedom. Ironically, she
finds these moments not in the
luxury and decadence proffered her by drivers from the
West, but in the nameless
arms of Czech truckers, in the
pollution-mutated flowers of
the wasted Czech hills, and
most of all, tucked away in
the very grayness that dominates her beloved Prague.
Her sharp eyes find rainbows
in the eccentricities of her
fellow travellers and in the
ridiculousness of her oppressors. Fialka is a stand-out in
the line of heroes that face life
with an amused smile and a
quick jerk of the knee.
If you "feel that [you] have
been wandering through this
combustible wasteland without a Rand McNally road
CARDS
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COMICS
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"World Contact Day" 13.49 cd
I The Emptys
"Meatlockerfannoise" 12.99 cdJ
I Good Horsey "Kazue" 12.99 cd
& "Emperor Nick" 4.25 7"
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THE BEST OF INDEPENDENT
COMIC PUBLISHING & ZINES
GALORE FROM NEAR AND FAR
It's in the cards
ABOUT UPCOMING GAMING TOURNAMENTS
atlas since high school" then
Voices of the Xiled (ed.
MICHAEL WALKER &
JOHN HULME/
Doubleday] will
provide a sympathetic voice, if not
any directions. The
stories in this twenty-
something anthology are filled with
the road signs of a
destination-challenged generation:
one way, no u-turns,
no exit, choose correct lane. Though
the book is mostly
inhabited by people you know, the
editors have been
successful in their
goal not to publish
another "anthem of
a generation."
The stories are
by and about the
twenty-something
generation but they are predominantly about people —
everyday people who took
the wrong off-ramp or got
slightly off course and now
the world is shouting "you're
going the wrong way!" but
barely is there an accessible
exit in sight. It might have
been appropriate if all the stories had been previously unpublished (most of them have
appeared elsewhere], but the
quality of the stories make it
hard to complain. Unless you
"do nothing but watch ESPN
and drink clear beer 'til [you]
shrivel up and die," you'll find
Voices ofthe Xiled a comforting solace after an evening
of explaining to your parent's
friends "what you're doing
with yourself these days."
Have you ever looked at
the zine rack in your favourite bookstore and simply
thought, why? Why a zine
about Fat Gids, why a zine
about inconspicuous consumption? (What is inconspicuous consumption?)
Or what? What is an
i "Outpunk," what is
"Meat Hook," what does
a "Crap Hound" do?
The answers to these
and even more bizarre
questions are in V.
VALE's Zinesl Vol. I.
This is the latest title from
RE/Search publications, the same people
that brought reference
books on super-masochism and bodily fluids
to your coffee table. In
Zinesl you are given not
only the why and the
what, but most importantly, the how (as in
how to get it if you really want it).
With a four-page
zine directory, the-
impossible-to-get zine
you saw in Jim Somebody's
van after the show in Seattle
is now a postcard away. For
the uninitiated, Zinesl is a
good introduction to this
strange world and if you're a
veteran ziner yourself it is an
invaluable aid for getting in
touch with your revolutionary
compatriots. Live long, thrift
often and read a zine with
every meal.*
^^ShefBc^
FRIDAY, DECEMBER 6th @ 7pm
Friday the 13™ Beatnik Christmas
FRIDAY, DECEMBER 13th @ 8pm
BLACK SHEEP BOOKS INC. IS CONVENIENTLY LOCATED HALF A BLOCK EAST OF 4TH AND MacDONALD.
; FOR MORE INFORMATION AND EVENT CONFIRMATION
. CALL: 732-5087 ■*•»*> ALL EVENTS ARE FREE!
22 december 1996 between
litfe*
byancTrea & christind,
_bi*ffift«i
'_3Aapnt
This is my second month writing this column. Upon writing it, I came to the realization thot it is so difficult to find
zines to review in Vancouver. As
a result, I am starting up o distro,
so if you would like information
or have anything you feel should
be carried, please write me care
of DiSCORDER. Love, Christina.
KIDS WITH GOGGLIS #5
(28 pp, quarter size)
In this zine Adam, writes about
his self image. This is a refreshing change as it is rarely a sub-
jectboys choose to write about.
Adam explores his feelings
towards his body and the fact
that it does not fit the "ideal* of
what a boy should look like. This
is the beginning of a reconstruction project of his self worth both
regarding his body image and
general self esteem; Adam rejects
the messages of abusive friends
and begins to reclaim his value
as on amazing person. This zine
is a departure both from Adam's
previous zine work and from the
usual materiol covered by males
in zine land. Definitely one of the
biggest risks i have seen taken in
a zine lately. Send $1 to Adam
Miller, 44419 Wenlworlh Ave.
S., Minneapolis, MN, 55409.
GLAZE AND RAVE #2
(12 pp, full size)
I picked up this comic zine at a
clothing store and was immediately impressed by the art in it:
the drawings are very stylishly
done, utilizing the black and
white formula to accentuate the
artist's style, rather than os a
budget-induced holdback. This
storyline basically involves two
kids calling up evil spirits, an
Underworld CD, and Bone Thugs
and Harmony jokes ... Definitely
one of the most amusing comics I
have read. Send $ 1 to The Cult
of Black Nail Polish, Box 125,
101-1184 Denman St., Vancouver, BC, V6G 2M9.
I WILL ALWAYS BE A GIRL
(24 pp, quarter size)
This zine comes from a founder
of one of the most kick-ass dislros
around, lhat of course being the
almighty Brat Girl Distro. Katie
discusses her femininity and life.
The zine pieces together like a
collage of Katie's views with an
effortless flow from one idea to
the next. She explores the thought
lines
of others feeling threatened by
her straightforward attitude
towards her sexuality and the language she uses due to the conditioning of the female gender role;
women are taught to be soft
spoken and chaste. Her thoughts
about self mutilation were also
very powerful and somewhat disturbing. This zine empowered
me, which is what more zines
should do. Send $1 to Brat GiH,
14119 Meyersville Houston, TX,
77049.
THE AMAZING EMO BOY...
WITH FISTS OF STEEL
(24 pp, half legal size)
This zine definitely hos an original approach. The author writes
about his life, opinions and personal experiences through the
medium of short story, which is a
refreshing change. It is not a
format I have ever before thought
of using within zine work, but it
is very effectively done. In ...Emo
boy... the author writes about
infidelity within his family, class
structure within suburban neighbourhoods and self realization in
an open ond honest manner. The
approach is from a rational,
intellectual point of view and
tends to focus heavily on ideas
rather lhan just emotions, which
is a good fcing. I rarely find zines
to be written from an obviously
intellectual approach. The layout
is exceptional and shows a lot of
care. Emo boy uses Spiderman
graphics and the entire zine is
integrated so lhat it has the look
of a comic book (read: ihis is not
just nice clip art, this is a complete cut and paste masterpiece).
Send $1.50 to Emo Boy, 1955
138th St., Surrey, BC,V4A9M2.
DANGERFOX *5
(52 pp, half size)
Written by a hardcore kid dealing wilh mostly scene and music
politics, there ore interviews wilh
Birthrite, Barcode and Portraits of
the Past. He talks about ihe power
of breaking down the boys' dub
atmosphere. What impressed me
the most about this zine were the
writings by the contributors ond
the author about their relationships with their siblings and the
abusive and competitiveness and
anger lhat exists. All in all, this is
a good zine, allhough I wish it
hodn't made the hardcore s
out to be so important or intelligent 'cause it totally always isn't.
Send $2 US to Julian Danger,
310 Lexington St., San Francisco,
CA,94110.
SIMBA#11
(52 pp, half size)
If you wanna read a zine by a
girl whose ego is bigger than
mine (huge) and likes to talk
about boys and all ihe hearts she
breaks and all the action she gets,
along with interviews with a
bunch of stupid bands, one of
which is on Victory Records, ihen
this zine is for you. I couldn't read
it after a while cuz itwas so pretentious. Send some $$ to Vique
Martin, 68 MaiHand Ave., Manchester, M21 7WH, England.
BEDTIME STORIES FOR
TRIVIAL TEENS #6
(36 pp, half size)
BSFTT #6 is a unique zine filled
wilh Andrea Lambert's short stories. Concentration is a must —
this zine is no lightweight you can
chew up and spit out. These are
stories about youth revolutions
gone wrong in the search of
power and control. There is this
feeling of surrealism in Andrea's
writing; when I read
her stories I get the
i feeling lha I I
get from my
dreams and nightmares: an emptiness
and sadness and
loss of control. Send
$1 US to Andrea
Lambert, #759
Reed College, 3203
SE Woodstock
Blvd., Portland, OR,
97202-8199, USA.
THE STORY OF 0
(28 pp, half size)
Out of all of this
nlh's zines, this is
the most giving and
honest and powerful. The author starts
that the author endured in her
presence. She goes into details
about her eating disorder and the
effects that her friendship wi*h her
had on her self esteem, her
ability to trust and her mental
health. The author also talks
about the dassism, racism, and
sizism lhat she is learning to overcome. She also writes about her
fear of men and her rejection of
relationships, yet at ihe same lime
her dependence on ihem. This is
an amazing zine lhat you don't
see very often. A zine about
opening up all aspects of her history in order to start the first steps
in healing. Send $2 to Box 15,
199 W. Hastings, Vancouver,
BC,V6B1H4.*»
l^fannsmm^f*
lA.Dv. Tropical Fi*
17.Ray8arr.lto
lg.Cullur.
19.Rod-i.yMannsfi.ld
20iossa Nostra
21 .Holland Turn-Proj«:l
22 .Us McCain
23.Ang.la Bofiil
TOP 103 +THREE
NEW WORLD AFRICAN MUSIC
THIS MONTH SINGLES CHART LAST MONTH
l.OMNWMMGC CA1UN' RCA '
2.DANH.0 PEREZ HOT BEAN
3.ISUY MtOS. HOmNGBACX THE YEARS/TEARS ISLAND
4.RA-M0NDMY-S SONBMTWFUAlLIEnB/UMMNSTOLCIVE HOKYDAKJNG ._
5.THE QUET BOYS/C HND5 EVBYWOY LOVES IHE SUN8*NE (OtD'S COCt MIX) TUN Ali 12" 32
6.HARVEY MASON
7.0*10 SEA
•.ANTHONYS.
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25.Groan CdUcliv*
26 .Ali 011'*. Vifoodson
27.PhomzWl*ilted
FIRE PON ROME
MT MOTHER, MY ENEMY
MAO Mi WANNA HOUB/A SAI AND A SWE
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Grapevyn./Anytim. Anywhere Moiazz 64
28.Ray Chew TheseThm. V*>rds Hush Enl. 9
29.R. Ffranch/J. R«Jd/G. Puba Cry No Mom Gr^mUm 12' (UK) 18
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32.CSodi.S«uUda
33.TbnyR.my
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I Shot Th. Sheriff (On. low Tribute)
A.C. Esp.ciol/Vrt-l-i Th. Rid.
African Bird/Superstition
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3oDby Hutdwnon/Th. Roots Montara (Th* Rmix PtomcI)
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39-NuYbricanSoul/Gw.Bi
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41.Horac.Silw
42.GaryBartz
43_>(__Bond
44.Gw«*McCro.
45.l«on Haywood
46.d.mII.FranUyn
47D.ua Soul
4».lbni Braxton
49 -Wald Daonyon
50.Caribb-wn Jazz Project
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52.1h. N.F.L Horns Prowd
53.T_PWk.-Wa. So-Ord,. VWYfe-lADfln-nAI
Fools Ulc.M. (Ray CW)
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You Can Do II Baby (Maw Mrx_) Giant St.
IVroulii'tDoThat/VWsion '(■_)-» 7" |
Th. Hpp«t C_ In HdywodAody From Jri»_in«b(jrg hipulsel
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Why Should I Car.
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D~So_il2'M<l «
D-fScAlUK) 43
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Hush Enl. 5
Afro
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WWh**tADfr«_ADoyMa-J»
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_mmy Boy 12*33
lofoc. 97
GRP 12"
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RMM
Sundays 7-9Pn
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5.3 ?\\ (cable
DECEMBER 1996
EL TOPO EL PEEX
1. FRIENDS EH UGH PtACES VARIOUS ARTISTS EXPANSION (UK)
2. SAMPUR 14 VARIOUS ARTISTS GREENSLEEVES
3. IfTS OH IT ON RODNEY MANNSFIELD EXPANISON (UK)
4. PEACE BEYOND PASSION ME'SHELL NDEGEOCEUO MAVERICK/REPRISE
5. RHODE TOP SLIDE FIVE feat. JACKO PEAKE UBIQUITY
MOLE DEE OLDEES
AW PEPPER WINTER MOON
JOSE FEUOANO FEUZ NAV1DAD
JIMMY McGRIFT WINTER WITH McGRIFF #1+2
CHARLES MOWN PLEASE COME HOME FOR CHRISTMAS
NAJ "KING" COLE THE CHRISTMAS SONG
; COME HOME FOR CHRISTMAS ft
G (MERRY CHRISTMAS TO YOU) j*.
23 ®££g2ili°£__ bassliries
o
by dj noah (dJnoah@cyberstore.ca)
It was Saturday, October
26»h. A light rain was fall
ing earthward as I left
downtown Vancouver and
headed east in search of the
Spooky Hallowe'en party. It
was 3am when my friends
and I arrived at the Norco
warehouse next to the BCTV
studios. Inside we found two
musical environments with
around 3 000 people inside.
The bass was bum pin', the
ravers were jumpin', and
the temperature was
risin'l I have never
been to a party that
was as hot and
muggy as this one.
Sweat was dripping off costume-
clad bodies everywhere, and it even
seemed like it was
raining inside, even
though it had
stopped outside.
Overall, Spooky was a
very well attended party
in an ideal space, put on by
one of the best promoters
(Unite) in Vancouver. Watch
for more from Unite in '97.
Under review this week ...
ZZINO's "Accelerate" (Reload Records) is a smoking
Belgian trance track that
pounds along at 138bpm.
What is really noteworthy is
that there is a complete lack
of keyboards or other sounds.
Instead, this all-percussion
monster uses the overwhelming lure of the beat to hold
your mind captive and enslave your body.
Slowly but surely, the
big labels are picking up on
underground material that
deserves better distribution
than an independent label
can give. The WIPEOUTXL
compilation on Virgin
Records is a prime example.
On this CD you will find
some of the greatest artists
of our time. FSOL, Underworld, The
Chemical Brothers,
Fluke, The Prodigy,
Photek, and more,
can all be found on
this must for your collection. This CD is actually the soundtrack to
a new video game
called Wipeout XL,
which is currently available at the Sony
Playstation and will be out on
CD-ROM for PCs in March
'97. Slow minds will fear it.
Next up is the much anticipated compilation of Vancouver artists, WELCOME
TO LOTUS LAND. This is the
second release on Map
Records, founded my Robert
Shea some few months ago.
It features new and exclusive
tracb from Mere Mortals,
Landhip, MC2 and Erra,
Cap'm Stargazer,
BMHH
fATJ \xA5_ir 1*1^-tLAJft-' _nir ^{Mir^ W>_-:
, *j£//-7;~yj_r_.
,L£i_^\Ai_L-lu*£3
lnfn'nrirf"r^iri1ininnfi'i
24 december 1996
Newman passed away in
1995). As with all of their
material, I purchased this single without listening to it, and
I was not disappointed. This
EP seems like a mix of
Church of Extacy, Tricky
Disco, Technohead, and
"Kardiophunk" is the prime
cut on this four-song platter.
About two minutes in is where
an infectious keyboard
groove plants its hooks in and
Dreamlogic,
and Pilgrims
of the Mind
Scheduled to
in stores
this CD will give \
international rec- >
ognition to the best
that Vancouver has to
offer.
"Kardiophunk & Tl
Seventh Wave" is the latest
single from GTO, who is
just Michael Wells (Lee
needle collapses from
exhaustion.
Another anthem in the
making is FLUKE's "Atom
Bomb" (Virgin). The 2x12"
pack has five different mixes
that each have their own
merits. "Baby got an Atom
Bomb/A motherfuckin'
Atom Bomb/Twenty-two
megatons/You never seen
so much fun/Baby got a
poison gas/Baby a
heartattacks/Baby got a
pain on tap/Gimme some
of that." With beats that
equal the power and intensity of the lyrics, Atom
Bomb is a weapon that will
blow up any sound system!
Lastly, a touch of
Techsteppin' for ya.
We all love those
*-x smooth, ambient,
\ jazzy tracks, but
\ NU SKOOL
FLAVA (Various
Artists/SOUR
USA) is strictly for
the Jump-up Mas-
i, strictly to get
this party started
/ right! This 12 cut
/ CD combines
/ Cyber-Hip Hop
jams with nuclear
breakbeats, wicked
textures, and subsonic
basslines that will move
than your woofer.
Until next month, keep the
peace ...» Something old, some
thing new, something
borrowed, and something blue start off my list of
seven inch treasures for the
festive, albeit chilly, month of
December.
THE MAKE-UP is the
latest incarnation of the purportedly immortal Nation of
Ulysses. I charge the Moke-
Up with the duty of being the
"old" because the three songs.
on Substance Abuse sound
like they would make arvapt:
soundtrack for an early
Woody Allen film. Sixties
garage rock? Soul? PoiN
modern movie score? The
Make-Updoes all
of the above. „,' ,.'..','
Singer Ian
Svenonius —
who sounds more
and more like
James Brown
with each passing year — is
completely full of
shit, but that's
never stopped
me from plastering my bedroom
walls with his
picture. He's just
so sassy. (Time
Bomb, Shimuzu-
cho bldg. 2F-2-
542, Japan)
Speaking of sass, the
EMILY'S SASSY LIME girls
have a new 7" out on Kill
Rock Stars. "Some Deaths
Take Forever" is far from
perfect. The vocals are flat
and uninspired, the songs go
nowhere, and the record as
a whole is too short. However, the guitar on "Dippity
Do-Nut" is super fly, and
"Breaking Into Yer House" is
the type of scattershot punk
rock instrumental that has the
potential to make my day. ESL
are amateurs, that's for sure,
but I doubt that I could do
much better myself. The fact
that they make records while
I whine certainly says something to that extent. (Kill Rock
Stars, 120 NE State #418,
Olympia, WA, 98501)
I borrowed my friend's
BIS record because although
I have heard lots of great
things about this Brit band,
I've never had the money or
energy to pick up any of their
7"s. After hearing Bis vs. the
d.i.y. corps I'm starting to
wonder if I should take the
plunge and buy one just for
the heck of it. For those of you
who aren't hip with the teen-
c nation, Bis makes electric
disco pop with a big dose of
saccharine. If I didn't know
any better, I'd thini; Manda
Rtn, 8isr cute singer and
keyboardist, was five rather
thoneighteen; "Burn The Suit*
sow-ids like Elastica pfaying
.Sesame Street. The chorus io* :
"This is Fake D.I.Y." goes:
"Ray gun, ray gun, We got a:
MAKE UP
ray gun ana is so gieeruuy
twee that it makes me want
to suck Jolly Ranchers™ and
rollerskate all around the
neighbourhood. Bis vs. the
d.i.y corps is an infinitely
catchy and danceable pop
record, fake d.i.y. or not.
(Teen-C Recordings, no
address, but there's a
barcode!)
THE BLUE-TONES play
their blues rock convincingly
and well. "Marblehead" and
'The Simple Things" are both
solid tracks, the latter perhaps
slightly more Top 40-modern-
rock-ish than the former.
(Paradox Records,PO Box
4124,27Mountain Blvd., Suite
8, Warren, NJ, 070600124)
From the island paradise
of Duncan, BC, comes
JASTA 11. The two songs on
their homemade Flying Circus
7" are good examples of
instrumental garage, complete with excellent organ
playing. (Jasta 11, 5261
Eagle Heights Road, Duncan,
BC, V9L 4T8)
THE BONADUCES and
BUCKO, two bands from the
soon-to-be-frozen wastes of
Winnipeg, have come together and made a split 7"
released by Fresh Bread
Records. Both bands play two
songs each of tight, fast,
melodic punk rock. The
iBonaduces claim in their liner
notes that "Planet Claire" was
inspired by Prince's
"Botdance," but for some
reason J don't believe them.
A fun and energetic record
from two fun and energetic
bands. (Fresh
\ Bread Records,
»»-«■*- POBox 3, Winnipeg, MB, R3M
3S3)
J^*^m *• If I can find a
S>^A quiet manual
^^^^k % typewriter, I may
^^^^^V^ very well follow
^^%^% through with my
^^\ \ | threats of remov-
^All ) ing computers
from my life. Due
to computer difficulties, my column for this
month has been
"shortened." A
'M M A combination of
fWM fatigue, laziness,
ffA ond pure spite
JrJr has prevented
me rrom rewriting all that was
lost. I will, however, provide a
short list of some other worthwhile releases for this month.
Inexplicably attired locals
THE MCRACKINS play "It's
Raining:" catchy, fast punk
rock. (One Louder, PO Box
1NW, Newcastle-upon-Tyne,
NE99 1NW, UK)
THE AUTUMN HAVES
"You Didn't Say A Word
b/w Magic Red Raincoat" is
pleasant '60s-style melodic
rock with really great vocals
and flute. (Grimsey, PO Box
541, Stillwater, MN,
55082)
"Revolver," on side A of
LETTUCE PREY's 7", has
great acoustic guitar and
Simon & Garfunkelly vocals.
"Flintlock," on the other side,
is an instrumental tune that
made me tap my feet.
(Yakuza, PO Box 26039,
Wilmington, DE, 19899-
6039)*
It's the story you never heard
from a band that found,
then lost, its voice.
With tracks recorded in hotel rooms, on an answering
machine, in a cabin in the woods, and back home in
Indiana, NIGO is much more than an album. It's a
permanent reminder of the spirit of Blind Melon,
as well as a final gift to their fans.
Available on Capitol enhanced CDs. Produced &. mixed by Mike
Napolitano &. Blind Melon
LETTERS FROM A PORCUPINE, is an uncompi
eighty-three minute film which weaves photos, in
videos and live performances into an honest and
ultimately touching story.
j more for your mwicy
O&Osound
25 im&umsz MCA CONCERTS CANADA
nfinite?adncssToiir %
Wednesday Jan. 8
Live at General Motors Place
Tickets for Aug. 12 show honoured for new date.
V_fi -i Ti 'iM
TICKETS STILL AVAILABLE!
43*. OrcaBay
o
(Q
CO
CD
mrs.torrance
tit
rn
featuring three
exclusive tracks
that will not
appear on the
upcoming
album
i'm the bird.
To order please send $10 cheque payable to:
Third LegBox 81, 689 Queen St. West, Toronto M6J 1E6
www.inforamp.net/~entercom/mt/torrance.html BANCO DE GAIA
Live at Glastonbury
(Planet Dog)
Live albums for techno albums
work for several reasons. First
off, the live, hollow echo effect lends a more organic
dubby feeling, almost like a
worn vinyl record. Second, a
live show means that the artist improvises a bit and you
can hear the spontaneity. If it
wasn't for that, then what's to
stop the artist from walking
out on stage, pressing PLAY
on a CD player, kicking back
and picking his nose through
the show? Exactly.
Banco de Gaia (Toby
Marks) prides himself in taking an ethnic approach to his
music, and it shows, but then
he also openly admits he
can't play any real instrument
and just samples everything.
But damn, his songs are fine
here, particularly the live versions of "Heliopolis," which
is better than the original on
the Maya LP, and "Kincajou,"
a more exciting mix surpassing the original on the Last
Train to Lhasa LP. Basically, if
you've never heard Banco de
Gaia and you want to start,
this album is a better intro
than his studio work.
Christian
BUTTER 08
Buffer
(Grand Royal)
Dairyland's new slogan struck
me as an uncreatiye cheap
rip-off, but at last it has found
it's place: "Only Butter is Butter." Tasty and groovy, this
wax melts nice on anything.
What more can be said about
the band formed from two of
the most edible and slathered-
over groups (Blues Explosion's Russel Simins and
Cibo Matto s Yuka and
Miho) gracing the scene?
Butter is a totally creative
project, from it's innovative
sound to its unconventional
packaging. Get fat. You
can never get too much of
a good thing.
Namiko
JOHN CALE
Walking on Locusts
(Hannibal)
John Cale and Lou Reed
comprise one of those musi
cal pairings that together produce consistently excellent
music, but apart are hit and
miss. Each has produced
some great solo tracks, but
also some pretty mediocre
stuff. Cale's new album,
Walking on Locusts, is enjoyable, but inconsistent.
Walking on Locusts re-
minds me of Leonard
Cohen's The Future. Both
were produced by accomplished musicians late in their
careers. Neither can be said
to be musically adventurous.
However, because Cohen's
lyricism has always been the
strongest component of his
songwriting; his recent work
hasn't suffered terribly from its
lack of musical experimentation. Cale, on the other hand,
has always been primarily a
composer and a musician,
and his most recent albums
are diminished by its reliance
on standard pop melodies
and arrangements. And for a
musician of Cale's experience
and ability to employ a "rain/
Spain/plain" rhyme — hell,
that's inexcusable.
The performances on this
album are actually quite
good. Among the musicians
gathered by Cale from this
project are David Byrne,
Maureen Tucker, the Soldier String Quartet, and
the magnificent steel guitarist
B.J. Cole. Both "Dancing
Undercover" and "Circus"
contain accomplished string
performances, and the steel
guitar work in "Set Me Free"
is as lovely as any I've ever
encountered. Also, Cale's languid voice is as pleasurable
to listen to as ever. Given this
worthy collection of talent, it
is truly a shame that Cale
didn't provide them, and himself, with more to work with.
Walking on Locusts is not
a bad album. Most of its
songs are good. Some are
within a hair's breadth of
being excellent. Alas, none
actually quite ever make it.
Adam Monahan
CATERPILLAR
Macdorium Chlorium
Chloe
(Compulsiv)
What a quirky little album. I
quite enjoyed trying to figure
out what was going on during my first listen. The vocals
are a bit soft, but if you can
get at them, you'll like them
just fine. I'm guessing that this
band is from somewhere
close to, or in, Philadelphia.
Other than that, there wasn't
much info to be found. Foiled
again by pathetic liner notes.
Caterpillar are full of neat
musical ideas. This album is
quite diverse, showing how
well this band can play
around with ear-pleasing concepts. Some of their songs
come off as supremely serious, whereas others, such as
"merely mouth tree monger"
are just, well, cute. A personal
favourite is "Capitols," in
which the singer manages to
painlessly educate the masses
on the subject of capitals of
the United States.
Caterpillar don't provide
you with all that much to
think about. If you just want
to enjoy some good guitar
bits and silliness, Caterpillar
it is. I do believe that this
crawly-critter band is fast on
its way to becoming pretty
lovely and good. Anyone for
a cheezy butterfly reference?
Julie Colero
LESCLAYPOOLANDTHE
HOLY MACKERELS
High Ball with the Devil
(Interscope/MCA)
I once fell into a muddy pool.
A giant catfish pulled me out
with a rod and hook and beat
me over the head with some
really gooey bass and an
eerie voice that lit up the night
and sent gooey ducks up my
spine. It was in a strange
land. If you like Primus on
sedatives, you'll like the Holy
Mackerels. This CD gets ten
boisterous Woo Woo's.
Matt Elton
CUMAX GOLDEN TWINS
Imperial Household Orchestra
(Scratch)
The Climax Golden
Twins sound like Javanese
court Gamelan music on a
lot of this new CD. But only
superficially. Their third
disc-shaped release follows
the same route of cultural
appropriation as their
other releases, and with the
same intelligence and success. Where so many groups
steal "World Music" sounds
to fill out their banality, the
Climax Golden Twins are all
about the vacuous. I mean,
this is barely music, and thank
god. On the CD, an Indonesian sound will precede something like a Pantera demo
tape, and then go off into field
recordings.
These incongruities are
fun and make for a loopy
listen, but they also address
the fact that North American music mythology isn't
founded on cultural history -
- as it is in places — but on
the fluctuating roster of musical artists with one-word
names. The way North American music is caged with pop
terms like Punk, Ambient,
New Country, and especially
the ignorant, smug term
"World Music," makes the
Climax Golden Twins impossible to categorize. Not that
they're better than pop music,
it's just that the Climax
Golden Twins are more than
tour t-shirts and embarrassing
self-idolatry. They're actually
trying to do something other
than fill out your CD library.
And the packaging! It alone
should make you want this
CD. It's so pretty!
Lee Henderson
THE EVAPORATORS
United Empire Loyalists
(Nardwuar)
There hardly seems any point
in reviewing this record. JUST
GO BUY IT!! You're a fool if
you don't. Of course the music is good, paying homage
to the obscure and forgotten
roots of Canadian garage.
Of course the sleeve art is
good, folding out into a full
colour poster of the band on
one side and the most comprehensive bio and picture
montage that could possibly
be created on the other. And
of course it's cheap. The CD
version is included free with
the record, which, as
Nardwuar states on the inside, you can order for a
(measly) $ 12 from him if your
local store is gouging. Go ...
go now!
Womble
LISA GERMANO
Excerpts from a Love Circus
(4AD)
A Twin Peaks of an album,
complete with sinister, lingering guitar. It can sound like
Belly but is much better, and
weirder. Germano's intriguing, quirky lyrics ond dark
voice have an ironic humour
not often achieved by indie
angst-meisters.
Her tongue leaves her
cheek at the most disturbing
points, like in "Forget It It's a
Mystery." This explores every
possible combination of the
words bve, hate, me, you: 'I
hate you cause I love, I love
you cause I hate me.' "There's
more kitties in the world than
just Miamo-Tutti" (who is she,
who also sings on the album??)
seems a romanticisization of a
drunken cat fight, with a joyous,
booming chorus of'Lies, Liar.'
A sophisticated album
that justifies its genre in a
world of increasingly intelligent techno, progressive
house, thoughtful jungle, contemplative dub ...
James Bainbridge
HANSON BROTHERS
Sudden Death
(Essential Noise/Virgin)
The Canucks have proven that
as a team, they are no longer
the pride of BC; the only
hockey squad with any
strength, teamwork and aged
endurance is The Hansons.
Defense: even if you only
like wimpy indie-rock there is
still stuff here to appreciate,
like good humour and talent.
Advantage: you can learn
all about hockey cuz they give
a'hundred'n'ten percent.
Offens(ive): Virgin distribution. Advantage: maybe
more people will listen to this
great album.
Sudden Death is totally
fun and good. It's kind of a
meeting of the minds of
Nomeansno and Hansons,
revealing developments since
the recording of some of the
older Hansons' recordings -
- the common ancestry of the
two bands comes through in
the great bass sound. It's the
best of stupid-smart music,
pure puck-rock.
Namiko
JALE
So Wound
(Sub Pop)
With a few listens you can
almost smell the dandelions
that flood the inside jacket —
it feels like summer music (but
not a b Brian Adams or
anything). It's pop in a general lack of angst kind of way.
There's more sound here than
there was with the Closed EP
and earlier stuff; So Wound
is comparatively accessible
and catchy. The first half of
the album is fast and driven:
"Ali," the first track, is a great
one to start off with, and it
just gets better with "Tumble"
MILLER BLOCK
16/24 track recording
27 [i^gsaSiffi and "Blue." From there on in,
it starts to drag. Call me
crazy, but a few of the tracks
sound a lot like Velocity
Girl. This is an ambivalent
review for a good album that
couldn't inspire great depths
of love or hate.
Namiko
JUGHEAD'S REVENGE
Image is Everything
(Nitro)
This is a decent album, but
nothing to get excited about.
With a few exceptions, most
of the songs are metal-influenced punk. There weren't
any cheesy solos or anything,
but there was a little bit of
metal behind everything.
I really didn't enjoy the
vocals at all. Maybe this is
the singer's natural voice, but
I don't think he needs to sound
like a child of Satan to get
his message across. I did like
the songs like "Tearing Down
the World" and "Forever"
where he sang instead of
grunted.
These guys bitch a lot. I
can form my own negative opinions and judgement myself,
thank you very much. I don't
need a bunch of assholes telling me how to think.
My last gripe has nothing
to do with the music but with
the liner notes. They don't
thank any bands! Did you
guys get where you are all
on your own? I don't think
so. Give some credit where
credit is due.
Dave Tolnai
KMFDM
Rules
(Wax Trax)
KMFDM can be all right in
their electronic moments.
However, Rules is dominated
by an industrial slide guitar
and the most cliched lyrics
I've heard in a long time, like:
"Apocalypse now, walls of
flame/Billowing smoke,
who's to blame." Only for
real cheesers.
James Bainbridge
THE MYSTERONS
Hof Dog, Pop 'n' Clown
(Independent)
This indie production mixes instruments, vocal outbursts,
and noise with a mischievous
wink that is certain to entertain even the most jaded. The
Mysterons deliver on their
intentions announced in their
first song, "Bombshell," to
send us 'To a place where
people are so far out they
have wings.' The 20 odd
tunes vary in range and
tempo, from the frenetic "Rip-
cord," to the dirge-like "Veil
28 december 1996
of Death," all the way to the
corny, atmospheric "Freak,"
which is enriched with evil
clown laughter.
On one track, a sci-fi
voice informs us that The
Mysterons are "sworn enemies of earth, possessing the
ability to recreate an exact
likeness of an object or person, but first they must destroy,"
but in reality, with names like
SchatzieBonseslide, Mr. Fist,
Gang Howdy and
Corndog, The Mysterons
create fun-filled havoc that
will have you shakin' your
ass in no time flat.
kpen
NATIONAL HEALTH
Missing Pieces
(East Side Digital)
Image: Children wildly smashing metal garbage lids together in a discordant joyous
celebration of sound. Consist-
ing mainly of officially
unreleased tracks taken from
demos and radio sessions,
David Stewart has smashed
together a barrage of some
rather mixed up humourous,
semi-enjoyable 1975-1979
recordings by members of
National Health
"Bouree" and "Clocks
and Clouds" is gorgeous, the
latter featuring the voice of
Amanda Parsons, with Phil
Miller and Steve Hillage on
guitars. "Starlight on Seaweed," by David Stewart and
Barbara Gaskin, is somewhat
broodingly interesting. This
album provides a rather
smoggy looking-gbss into the
origins of the chaos theory
and loopy ideas. A must-have
for any National Health,
Steve Hillage fan/people
who desire to round out their
collection. I think that I'd
rather listen to more recent
electronic efforts, like
Hillage's System 7.
Karen F.
NEW BOMB TURKS
Scared Straight
(Epitaph)
In a recent newsletter I got
from N.B.T.'s camp, Eric
Davidson and co. defended
themselves from all the unbelievers out there about why
they left Crypt Records for
Epitaph and other related
issues regarding their new LP.
But believe this, rockers, this
swill kicks! Sure, there are
some subtle differences to
note, like the production (courtesy of Don Depew of Cobra
Verde) and some (dare I say)
poppier vocal treatment of
songs like "Jeers of a Clown"
and "Telephone Numbrrr,"
but for the most part, this
rekkid charges outta the gate
like a fiery thoroughbred
and never looks back.
"Hammerless Nail," "Cultural
Elite Sign-up Sheet" and
"Look Alive Jive" all get cues
from Rocket from the
Crypt, "Professional
Againster" displays some seriously furious ivory ticklin',
and "Wrest Your Hands"
gives props to Exile on Mail
Street period blues-rock.
What this all amounts to is
one helluva LP, something the
New Bomb Turks humbly believe you will dig.
Bryce Dunn
SAM PHILLIPS
Omnipop (Ifs Only A
Flesh Wound, Lamhchop)
(Virgin)
While Sam Phillips has
been toiling for years in the
pop swamp, her music has
never been of the able variety. Phillips' music may adopt
a "pop" tag, but with that
baggage she adds a cerebral
quality that puts her a few
lengths ahead of the pack.
Her voice — not unlike
Marianne Faithful's —
roams over Omnipop with
jaded cynicism and weariness that perfectly compliments its subject matter.
Phillips centers her dismay on
how we have all become
commodities and, for that
matter, how the planet is one
gluttonous marketplace. Offsetting the buy and die attitude, Phillips (with the aid of
producer/husband, T-Bone
Burnett) slightly opens the
curtain to allow shafts of light
to bathe the album in nimble
hooks and melodies.
Stylistically, Omnipop is a
spinning roulette wheel generously sampling a garden of
sounds. Without a weed in
sight, Phillips dabbles with
burlesque on "Plastic Is Forever," follows the path of the
Talking Heads with "Zero
Zero Zero," and plants a carnival feel on "Animals on
Wheels." While the music
swirls, the lyrics bite. On
"Power World," she cloaks
humanity in less than flattering garb; "Look at how
they've washed your brain/
down the info TV drain/
you're back before you ever
came/ to find out what you
need."
Omnipop guides us
through a voyage bent on
accumulating money and
power devoid of human spirituality. Phillips hit the mark
dead on. If the world functioned on nerve endings,
Omnipop would be the knife
twisting at the roots.
Pieter Hofmann
PHONO-COMB
Fresh Gasoline
(Quarters tick)
This is soundtrack music,
expertly played. Expatriate
cowboys rippling in heat
waves cross the arid hills of
Southern Italy, guided by the
expert hand of Sergio Leone.
Frankie Avalon and
Annette Funicello, having
dyed their hair and pierced
their bits, are doing the twist
among discarded needles on
Laguna Beach. The scene
changes: endless vistas of
strip malls — is it Southern
California? Tampa Bay?
Missisauga? Are they any different? Suddenly it is decidedly urban. A tuxedoed man,
unmistakably English, is pursued by stock villains, dangerous-looking and bejewelled
with middle-class visions of
exoticism. An explosion, and
we're back to Frankie and
Annette, just sitting on the
dunes and smoking up and
watching the warships float in
the distance. Lee Marvin rides
by, six-shooter gleaming from
his holster still warm. He
comes across a young
woman speaking furtively into
a large radio transmitter ...
we follow the signal across
continents, across oceans,
land in a surreal Calcutta
disco. Look carefully: isn't that
Brian Eno in the corner sitting with the Ramones?
What the hell are they doing
here? Better off to not ask.
Just accept and float on. Credits roll, accompanied by a
simple song of nostalgia and
irony. The soundtrack to a Luis
Bunnuel film: you don't have
to understand it to like it.
Adam Monahan
THE QUEERS
Don't Back Down
(Lookoutl)
One-lined, repetitive choruses. Unnecessary profanity.
Thirty-five year old musicians.
What more could you ask
for? Most of it is damn mel-
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low and reminds me of something the Beach Boys would
play. This took a while to get
used to and I'm still not sure I
like it. The remaining few
songs were a lot faster and
were really cool. You also get
a really mellow song with a
girl singer (Lisa Marr of cub).
Thankfully, it's the last song on
the disc and you can use it to
help you fall asleep.
Dove Tolnai
RED AUNTS
Saltbox
(Epitaph)
Given the designer hairstylist
attitude of the cover [90210
meets Elastica meets white
riot grrrl snarl) it's no wonder
the Red Aunts have
achieved glorious Roseanne
fame. And I have to admit that
hearing the Red Aunts
pledged to during the fun-
filled comic strip shitcom does
not fill me with desire to
pledge to them myself. The
songs are traditional aunts in
there shortness: the twenty-
two minutes of yells and girl
rawk ends off with fourteen
songs, just like "#1 chicken."
But unlike the last album, there
is a lot more control and a lot
less blood, even if track four
claims to be "All Red Inside."
Saltbox is an experiment, to
see if the Red Aunts can sing.
We are the unfortunate
guinea pigs. When the tried
and true formulas of screams
and fast stuff is retained on "I
Can't Do Anything Right" and
a few others, the album is all
right. Just take it with a grain
of you know what.
Namiko
ROME
Rome
(Thrill Jockey)
Rome is the sounds of giant
ventilator shafts similar to
those Bruce Willis was crawling through in Die Hard.
They're post-Kraftwerk
radio frequency modulator-
manipulators, and they're
circles of interconnected grey
wires. Rome was built on the
same collections of '70s
space music that Tortoise
digs up, and since the world
has come to find place for
such groups, we can enjoy
soundscrapers such as "Deepest Laws," a short whirl with
as much white in it as noise;
or "She's a Black Belt," a robot Kung-Fu soundtrack
piece. Is it good? Are you
going to dig it? Do we have
a vocabulary for determining
the quality factor of a thing
like Rome? No. But if you like
Mouse on Mars when
they're really weird, Mkrostoria when they're a
bit more persistent, or DJ
Spooky when he isn't just
beats, then Rome is a good
stone to jump to.
lee Henderson
SEBADOH
Harmacy
(Sub Pop)
This new release by
Sebadoh is an accessible
and dynamic romp into the
familiar soundscapes of college pop-rock. Lo-fi pioneer
Lou Barlow and his friends
confidently demonstrate their
musical and songwriting
prowess.
The majority of the tracks
in Harmacy, to say the least,
are catchy, but avoid being
overly simplistic — no two-
chord wonders here. Most of
the songs are tightly orchestrated, with no particular
instrument dominating the
others. Guitars solos are short
and the chords sound crisp
throughout; the bassist
seldomly indulges in extraneous fills and the drums keep
everything steady without
being boring.
In short, it's an effective
approach for their brand of
music. Lyrically, the songs are
about the stuff of relationships, which is certainly nothing new. Nonetheless, Barlow
manages to avoid the plodding cliches to give the songs
an honest quality. The most
refreshing thing about
Harmacy is its took of inbreed-
ing: no two songs sound
alike. The album also seems
to deviate from the usual
norm of having three good
songs at the start, followed
by eight tracks of garbage.
There are gems sprinkled
throughout this CD.
The few gripes that I have
are these: the horrendous
track, "Smell a Rat." Oh well,
I guess you can't expect much
from the last track of an album. There is also another
throwaway song but I've forgotten its name. Also, three
instrumental tracks is a bit
much: the album is long
enough as it is. Otherwise,
Sebadoh's Harmacy provides
damn fine listener gratification.
Clinton Ma
SID DIED FOR SQUID
Anatomically Incorrect
(Independent)
SDFS is undoubtedly the best
band to come out of Kitimat
since the equally amusingly
named Frank Soda. They
blast out mid-tempo pop punk
laden with all the short, sharp
hooks that make this genre so
well loved. Variety is provided
by a couple of faster, straight-
ahead — though still catchy
— songs and of course the
eternally necessary, country-
punk tune.
Alcan-funded scientists
have proven that repeated
listenings to this CD cannot be
linked to an increased incidence of cancer in the pop-
punk population, so you have
no excuse not to indulge.
Grab a copy from the usual
stores and celebrate the fact
that you don't live in northern
BC (the obtuse should note
that these songs satirise the ignorance prevalent in the
North, rather than indulge in it).
Uncle Al
SNFU
Fyulaba
(Epitaph)
Welcome to SNFU's seventh
album, produced by David
Ogilvie (yes, of Skinny
Puppy fame.) I never would
have thunk that after seeing
them play in 1986, which
was my first punk rock show,
that they would still be
around. Yes, they still play
hard, the humour is still
there, and so are the hits.
The album starts off with a
real standout called
"Stepstranger," which uses a
good quote from the movie
Rivers' Edge. Bif Naked can
be heard singing backing
vocals on "You Make Me
Thick," a great little ditty dealing with the fashion industry
and it's obsession with staying thin: "Head in a toilet
bowl, two fingers down my
throat." Oh, and check out
these other song titles: "Better Than Eddie Vedder," "My
Pathetic Past" and "Michelle
Pfeiffer's Diaper."
So, okay, everything in
the past that has made SNFU
songs great is still here, but I
think that is exactly where this
album stands, just like their
last two albums since their
"reunion." No real surprises
or advancements, ifs just the
great SNFU sound as you and I
know them. A few hits, a few
misses, but yes, they still deliver.
Longhaul
SWINGIN' UTTERS
A Juvenile Product of the
Working Class
(Fat Wreck Chords)
Fat Wreck Chords. Heard
one, heard 'em all. Right? Not
no more. They're expanding, so it seems. First they
had the British Snuff/
Guns'n'Wankers, then
German Wixo, after which
came Japanese Hi-Standard and Australian Frenzal
Rhomb. Now they have the
Swingin' Utters, who
aren't foreign (they're from
San Francisco) but the singer
sounds like he's British or
something like that. Anyway,
they aren't Lagwagon,
Strung Out or any of the
other typical So-Cal Fat
Wreck bands, which isn't a
bad thing). They're a kick-ass
Nor-Cal band that'll have you
runnin' around your room
knockin' shit over while listening to their subtly different,
really cool brand of pseudo,
old-school punk.
Dave Tolnai
THE VANDALS
The Quickening
(Nitro)
This disc rips. Unlike many,
many punk albums, it's creative, melodic (but not poppy)
and has some really cool lyrics.
You can even understand the
singer on most songs. Wow.
Only one song really annoyed me: "Hungry For You"
had some of the most obnoxious guitar and vocals I've
ever heard. Everything else
was pretty cool, though.
There's even a song to cheer
you up if your dog just died.
Dave Tolnai
VARIOUS ARTISTS
The AM Ska-nadian Cub II
(Stomp)
There have been loads of ska
compilations coming through
CiTR lately, and this is a great
allCanadian compilation, the
second at that, too! If you
have been getting the urge to
get some ska into your life, I
recommend this over a "Liquid Lunch" or any time you
want "A Little Stimulation!"
Great for impressing all the
Kingpins, let them know that
you know "Gangster Politics!"
This CD is a real Pressure
Cooker, even the Ripcordz
approve! But please, don't
take my word for it, run out
and buy it, and make sure
you say hi to Dr.
Skankworthy and The
Planet Smashers for me.
Longhaul
VARIOUS ARTISTS
Astral Meditation
(Milan Music)
This CD offers fifteen instrumental tunes, compiled primarily from different films. Featuring Michael Stearns'
"Mantras Organics" from
Baraka, Bill Conti's "David
and Lia/The Bank" from Year
of the Gun and Rachel
Portman's title track to the
film Sirens, the music is gentle and subdued, suitable for
background music as one
drifts off, staring into the sky.
Alas, this music will provide more enjoyment to those
seeking rather cotton-candylike, "New Age" offerings.
Michael Stearns' piece is the
only "darker" track that
reaches further into one's
mitochondria. I recommend
seeking out the soundtrack
from Baraka and /or Bandit
Queen before purchasing
this album.
Karen F.
VARIOUS ARTISTS
HANG 10: Volume One
(Shredder)
This fun 10" collects surf-inspired tracks from around the
world in a celebration of summer. Three local groups are
represented here. Mark
Brodie and the Beaver
Patrol provide a rather pedestrian cover of "Slaughter
on Tenth Avenue," Cub cover
the Beach Boys' "Surfer
Girl," and The McRackins
do their thing to the Young
Canadians' "Hawaii." But
for me, the standout tracks are
from out of town bands. The
Tornadoes (who knows
which group is using that
name now) do a great version
of A.L Webber's "Phantom
of the Opera." And two great
gems come from across the
seas: from FunFunAttitude
we get the garagey "Teenage
Summer" and Helen Love
of London, England gives us
"Riding Hi." (a ballad reminiscent of Mary Lou Lord!) The
sleeve art is pretty cool, too.
Womble
VARIOUS ARTISTS
Jabberjaw ... Pure
Sweet Hell
(Mammoth)
Well, if you're looking for
somewhere to donate twenty
bucks, this CD goes to the
grand cause of a punk club
in L.A. So just in case you
don't feel like Lupus is a noble enough place to put your
pay cheque, you can buy this
handsome CD instead! And
what an array of indie hopefuls appear on this good
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cause oriented release.
Among the list of awful tracks
on this compilation are the
Fitz of Depression,
Everclear (gag), Red
Kross, and the Laughing
Hyenas, who all do their
best to scream in your ear like
babies. Brainiac's song
"Go!" is so deplorably average it gives me the trots, and
Steel Pole Bath Tub show
up as Cheap Trick, but it
isn't funny. The stars shine
near the end when Low's
song "I Started A Joke" makes
this CD almost worth another
look ... almost. And the
Coctails end with "Gripper
Bite," a nice song for the
Coctail Nation. This is seriously the most pathetic CD to
come out in a long time.
Shmucks buy this CD, I hear,
lee Henderson
VARIOUS ARTISTS
Rocket Fuel
(Middle Earth)
When a CD compilation is
brought to you by a lone
emaciated, lanky, self-righteous Brit with a bad dye-job,
maybe it IS worth a listen after all. And anyway, anyone
who calls himself "Slinky
Merlinky" and is NOT from
the set of Shaft has got to be
the type who dopes up and
is damn proud of it. And
proud this poor wretch should
be, for Rocket Fuel is LIGHT
years ahead of anyone else
in the UK underground scene,
far ahead of the Trance Europe Express crowd at any
rate, and that's saying something. He takes a bunch of
nobodies, the scum of the
earth, the fringes of the Brit
music scene and gives them
their 15 minutes. You got
some "established" blokes
like Scorn, DJ Food and
Funky Porcini muxing it up
with no-names like Environmental Science, Bob
Holroyd, and Pressure
Drop, and they look amateurish by comparison, even without remixes by Loop Guru,
Meat Beat, Sabres, and
the Chemical Bros. These
are the names of the future,
even, admittedly, according
to the esteemed Mr. Merlinky
himself, they are "Nothing but
doped by farts who, if they
got a blood swop with Keith
Richards, would be a step
in the right direction." Takes
one to know one.
Christian
VARIOUS ARTISTS
Transmission Vol. 1
(Plus8/Virgin)
This compilation is brought to
you by the same guy who
29 EJ^gSLESffi made up that music montage
R U Receiving for television
play, John Acquaviva It's
a mix more reflective of his
tastes than R U Receiving ever
was (which in case you don't
know, featured some of the
most famous or most notorious underground bands out
there). In other words, if you
don't dig the Detroit sound,
this ain't for you. If you yourself think that Juan Atkins
and Derrick May are the
gods of techno and the Brit
and German invasions are
travesties, you'll love this. As
to those who don't know what
the Detroit sound is, anyone
out there remember Inner
City's Paradise Remixed?
Take away the vocals and
there you go. That album
was done by Kevin
Saunderson, one of the big
boys of that city.
It's very reminiscent of
Mike Bank's Underground
Resistence, done in basements and bedrooms. And
there are no big names here,
except for Pkistikman (Richie
Hawtin, who's the other partner
in Plus 8) and LFO I like this
myself, and I don't regard myself as a techno purist at all, but
it helps if you do.
Christian
VARIOUS ARTISTS
Truck Songs
(Dave's Records of Guelph)
The railroad was a nascent
Canada's umbilical cord,
connecting our country a mari
usque ad mare. Canada
aged as the start of the internal combustion engine rose.
Today the highways are the
circulatory system of this sluggish Northern beastie, and to
extend a forced metaphor to
a painful extreme, trucks are
its ADP and ATP. It is to these
air-braked behemoths and
their apocryphal world of CB
radios and amphetamines
that Dave's Records of
Guelph has dedicated its new
double CD. Thirty brand-
spankin' new songs by 30
Canadian artists. And, by
god, it's a durn good album.
CD one is a diverse collection of 15 rock and pop
tunes, running the gamut from
People From Earth's
Bowie esque "Kamikaze
Babies" to Tannis
Slimmon's "These Wheels,"
which has an unmistakable
Indigo Girls feel, shared by
Gnomads' "Stuck There."
"666 Got 18 Wheels", as
performed by Hickory
Allstars, is what Weens 12
Golden Country Hits should
have been. The Rheostatics
contribute a sparse, acoustic
30 december 1996
"Secret Red Canoe," but the
real gem on this disc is Black
Cabbage's anarchic "F-
150," a moral tale interwoven with melodious violin and
accordion.
CD two is much more traditional, leaning more towards folk, roots and country, and it is this disc which
really shines. Hoofbeats'
"Long Hard Kiss" is a sentimental crash course in Canadian highway geography
from Lethbridge to Toronto,
and "Tyranosaurus Truck" by
the Banjo Mechanics is a
masterpiece of the plucker's
art. Pat Temple, Jeff Bird
and the Nouveau Hicks
throw in some jazz for good
measure, and Hank Davis'
"Please Don't Steal My Truck"
would do Stompin' Tom
Connors proud.
Truck Songs is one of
those great compilation albums that manages to pro
vide a heterogeneous collection of tunes organised
around a single unifying
theme. It represents the great
Canadian ideal of unity
within diversity. I think Stan
Rogers would have loved it.
Adam Monahan
VARIOUS ARTISTS
WipeoutXL
(Virgin/EMI)
First off, W/peoufXi is a CD
ROM game found on the
Sony Playstation. Yep, this is
the FIRST soundtrack for a
mere video game! And in
case you've never played
Wipeout, it's a racing game
done on sleek hovercraft
shooting and racing each
other in mythical race courses
like Korodera and Arridos. It's
a faster-than-eye-can follow
Virtua game and the graphics are wildly fantastic. It's
also extraordinarily difficult
with one of the slowest learn-
| MIKE MILLS
\ A Visual Sampler (Posters)
(Mo'Wax)
Mr. Mike Mills is a man of many talents. He
has done work as a graphic artist for the likes of
Sonic Youth, Cibo Matto, the Beastie Boys,
X-giri, Omette Coleman and the Jon Spencer Blues Explosion (and I'm sure the list goes
on and on). And he plays bass
for Butter 08!
Mike Mills is also a man of
astute business sense; hence we
have A Visual Sampler. A Visual
I Sampler is the visual equivalent
I of a record: art packaged and
I marketed in auditory terms. This
: self-proclaimed "record" ushers
: in, as Mike Diamond prc-
I claims on the back jacket, "a
I new era in nonverbal communication ." But what exactly is it? In
j place of vinyl, Mike Mills serves
the buyer nine pieces of "interior
decoration:" one full size poster,
six 12x12 posters, one sheet of
stickers, four postcards and six
business cards. A Visual Sampler
is an ingenious amalgamation of
art, business and self promotion.
Both the idea and the actuality
of A Visual Sampler work.
I love the idea of taking the
notion of "art" and reducing it
to something utilitarian, and for
the everyday. Mike Mills' record
operates according to the same
principles governing the Russian
avant-gardes or Andy Warhol.
It works within and derives from
popular culture. To me, it plays
upon the notion of "Death to Art.'
That is, art for the everybody;
rejection of notions that art
can only exist in certain
spheres (i.e. museums, galleries) and be appreciated and understood by certain people
(i.e. the elite and the educated). Mike Mills
brings forth art for mass consumption; just
as one would go to the local record shop to
buy some music, one can also pick up some
instant art. Buy it — then put it up on the
living room wall. Instant interior decoration.
In aesthetic terms, A Visual
Sampler reflects its proletariat
ethos. Mike Mills' art is very
graphic. A mixture of photographs, collage, and pen and
ink drawings, they range "from
the typographic to the abstract
from the avant-garde to the traditional." His images are precise, simple, and look machine/
computer derived. There is a particular emphasis on biomorphic
forms. His art work is very ambiguous, yet its graphic nature
and packaging covertly work to
subvert and deconstruct the status quo. The main poster is of a
stereo system reduced to its most
elemental forms. It is rendered
in basic geometric terms: circle,
line, square. The colour is also
reduced to muted hues of primary and secondary colour.
The former skateboarder's
work will be hitting the road; exhibitions will be held in New
York, London, Tokyo and Sydney. So grab the opportunity to
see it, should the occasion arise.
Better yet, grab this "record"
and file it under interior decoration as Mills instructs. For both
visophiles and art haters. Oh
yeah, and he's not the guy from
R.E.M. Even Better.
Miss LaLa Twin Stars
1
ing curves out there. And then
there's the music ...
This soundtrack (I still can't
believe it) features Future
Sounds Of London, Orbital, Underworld,
Prodigy, Fluke, Chemical
Bros, and Leftfield — the
big names! Some tracks, like
Fluke's "Atom Bomb" and
Prodigy's now classic
"Firestarter" are appropriate
for, well, it's still JUST a video
game. Some are more appropriate for an ambient CD, like
Orbital's "Petrol," but I guess
those tracks are played when
you are humiliated by the game
itself and they're the closest
thing they have to a dirge.
Why didn't they have CDs
like this for pong?
Christian
VARIOUS ARTISTS
Foxfire
(Nettwerk)
It seems that every film released lately carries a soundtrack with the current crop of
"new" and "hip" bands. The
problem of deciding whether
the movie is supporting the
music or not has become almost indistinguishable; tie-ins
have become such corporate
moneymakers.
As with any soundtrack,
the temptation of the powers
that be to throw in a few
prominent names with a variety of nuts and bolts, usually
renders the sampler hit and
miss affair. Foxfire, on the
other hand, gathers lesser
known bands: the most notable being the Cramps,
Shampoo and L7. Not surprisingly, most of the bands
featured are from the Nettwerk stable. Opening with
the Wild Strawberries,
Foxfire kicks info gear with a
consistent mix of bands and
styles: pop, pop-punk, neo-
psychedelia. Generally feisty,
Foxfire tips the energy metre
with L7's "Shirley," a tribute
to drag racer Shirley "Cha
Cha" Muldowney. "What's a
beautiful girl like you doing
in a place like this? Winning."
Shampoo provide the deli-
ciously, disposable UK hit,
"Trouble" while Throwing
Muses' Kristen Hersh
supplies the elegiac string
version of "Me And My
Charms." Throw in Mystery
Machine, Candlebox,
Luscious Jackson, and a
handful of other deserving
bands and what you receive
for a small piece of your
paycheck is a smart collection that is generally a
notch above the typical
soundtrack genre.
Pieter Hofmann realliveaction
BARDO POND
FORKTONGUE
Sunday, September 29
Starfish Room
The openers trotted out a sound
somewhere between the
Buzzcocks and the Police
[earfy Police, man), if you can
believe that. Pure pop (in the
very best sense).
Bardo Pond (some kind
of reference to Tibetan Buddhism, I think) came in support
of their most recent effort,
Amanita (which apparently is
a reference to some rare
'shroom or something, dude).
I'm not generally a Gouldian
when it comes to the live experience vs. recorded experience
debate; however, there can be
certain advantages to the world
of recordings. Chiefly: sometimes the personalities/attitudes/postures can get in the
way of one's enjoyment of a
show. Bardo Pond, a band that
has a certain lyrical beauty to
its guitar noise/drone/majesty,
comes across as hopelessly
"college (art) rock" in the flesh.
This is a shame because their
guitars/flute/bass/drums wall
of sound is impressive, bringing to mind Mercury Rev,
Stereolab and Th' Faith
Healers, while definitely opening up new territory. Ms.
Sollenberger, as chief vocalist
and flautist and the band's only
woman, apparently helps to
keep the band in focus. The
band's only song without her
was an undeniable failure,
coming across as pure art
guitar wank.
many
THE MELVINS
Wednesday, October 9
Town Pump
The Melvins took the stage for
their first set (of three) in odd
fashion. Mark D. was looking
fine in a lavender crushed-
velvet Stetson and red-toed
cowboy boots and King Buzzo
was looking dishevelled as
usual with his mushroom cloud
hair. Mark D. and Buzzo
traded instruments with Mark
singing a moving rendition of
"Back Door Man." The music
was slow and loud, and threatened to rearrange my internal organs throughout the
entire 45 minutes.
King Buzzo and Mr. D
wound up with their respective
instruments for the second set
and began to pound out a wall
of feedback and grinding
rhythms that would have made
any mother proud. A decent
mosh pit began to form at this
point, and it made getting near
the front of the stage much more
exciting. Buzzo looked magnificent during "Sky Pup" with his
hair swaying to and fro as he
swayed sensuously on the
stage. At the end of the second
set, the drummer, Dale,
picked up a guitar and did an
impromptu solo with drum,
guitar, and vocals.
The third set was by far the
best of the night, as they played
a variety of songs from various
albums, ending the night with
"Lysol." The best songs of the
night were probably "Night
Goat," "Lysol," "AtThe Stake,"
and "June Bug." If you haven't
seen the living heir to the
King, or heard the nausea-
inducing sounds of The
Melvins, you might as well
be living in a cave.
Rex Mucosa
BOB WISEMAN
SELINA MARTIN
Friday, October 11
Railway Club
It is my considered opinion that
Bob Wiseman is one of
Canada's most under-appreciated musicians. His shows
consistently leave me awestruck by both his compositional
ability and his musicianship.
And they're a hell of a lot of
fun; he genuinely seems to love
performing.
His recent show at the Railway Club opened with an
excellent set by Toronto's
Selina Martin. She reminded
me somewhat of a combination
of Carmaig De Forest and
Ani DiFranco, with a voice
as sweet as that of Mary
Margaret O'Hara. Her
music is ofthe proud punk-folk
tradition; the songs are sometimes sweet, sometimes acerbic, often funny, and consistently good. She started off on
solo electric guitar, as the set
progressed was joined by Liz
Tear on bass and Dave (I hope
I got his name right) Lee on
drums. Oddly, the crowd
wasn't too receptive. This was
odd because her songs are
well-written and well-performed, and she has a remarkable stage presence and a
wonderfully expressive face.
Ah well. Pearls before swine.
At least the crowd shut up
and paid attention when li'l
Bobby Wiseman took the stage
with his new band. The
Binder Specialists are comprised of Selina Martin, Liz
Tear, Dave Lee, and Dave
Hoyle on sax. Their set started
off with some of Mr. Wiseman's
finest characteristic percussive
piano playing — "Ko-Pow-Pow-
Pow," from Beware of Bob.
Wiseman is a latter-day Glenn
Gould, bobbing and humming
in front of his keyboard, entranced. And entrancing. The
show included songs spanning
Wiseman's repertoire — including fantastic versions of "Blind
Horse," from Sings Wrench
Tuttle, and "White Dress" off of
City of Wood. Although the
songs were all Wiseman's,
each band member contributed
equally to the performance. The
rapport between the musicians
was a wonderful thing to
watch, and resulted in a great
show — two nice and long sets,
a skilful combination of music
serious and slow with music
celebratory and exuberant.
Adam Monahan
REEL BIG FISH
LET'S GO BOWLING
CHERRY POPPIN' DADDIES
Monday, October 21
Pit Pub, UBC
Let's Go Bowling performed
second that night and even
though they seemed a little off
their game, it was absolutely
the loudest, tightest 2tone I'd
heard live since 1857. They
only have a three-piece horn
section but no one can hold a
proverbial candle to them ... the
t-bone solos were gold-speck-
led, warm milk and wine, don't
you know. The singer looked
like Rob Schneider on the new
and crappy Saturday Night
Live, but he sang Wagnerian
arias over an easy skankin'
beat and you wondered if he
was the reincarnation of
Dietrich Fischer-Dieskau
They played "Route 69," arguably the best ska instrumental
in existence [with the exception
of Madness' "One Step Beyond"]. I looked up and saw
all the chequered, rude angels of the Lord Joh Ras
Tafari descending and the
celestial trumpets and violins. Wow, to say the least.
Reel Big Fish played almost all the tunes from their latest longplayer Turn the Radio
Off. They included that most
famous of heavy-metal ska
tunes, "Skatanic," previously
released on the Misfits of Ska
compilation. I was bellowing
along with the catchy, tongue-
in-cheek chorus of "Fuck you
bitch, I love you, I'm not crazy,"
and moshing epileptically like
a Grade 8 kid listening ta And
Justice For All. Their horn section is 100% brass: no saxophones, but a pair of trumpets
and trombones. This plays to
their advantage, since the combined tone is very punchy and
quick — no vibrato, just pure
brass blast supreme. When
they hit that instrumental
"241," I was blown away. It
was beyond phenomenal.
Not only that, but they also
covered a Duran Duran tune
... high quality.
Unfortunately, there was a
third band on the bill. The
bands decided at the last
minute to let Cherry Poppin'
Daddies play last. Mistake.
They were topless-singer, trendy
swing-ska, bad-fifties-cover
cheesiness. They hod tons of
energy but I had none since I
had been skanking furiously to
the first two acts.
I said to me, "Gosh, there
should be so many more ska
shows here and if onfy people
knew what it was ... how can
you listen to the horns of love
and Jamaica without dancing?"
Frank?
}£*:$ Go itowljiii?
photo by Jason DaSilva
MARGARET ATWOOD
MARILYN SIMONDS
Wednesday, October 23
Arts Club Mainstage
Seeing two such interesting and
eloquent women on the same
stage at the same time was
almost too much for this
bibliophile to handle.
Marilyn Simonds and
Margaret Atwood were a
natural pairing, as they have
both written books (which could
be called creative nonfiction) in
which the Kingston Penitentiary
plays a large role. Simonds'
The Convict Lover is based on
letters she found in her attic,
which were part of a correspondence between a teenage
girl and a convict in the nearby
penitentiary in the 1920s.
Atwood's latest, Alias Grace,
tells the story of Grace Marks,
a servant who was accused of
killing her employer, Thomas
Kinnear, and his "mistress,"
another servant. A male servant was also charged for the
crime and was hanged. Grace
was sentenced to prison and
later was in an insane asylum.
Atwood and Simonds
allowed themselves to use conjecture, not invention, for their
stories. Simonds only had the
convict's letters to go by and
Atwood had newspaper accounts of the murder and trial.
Interestingly, after having met
relatives of the teenage girl,
Simonds was amazed to find
that her description of the
girl is very similar to her
photographs.
Since it was hard to find
hard facts about Grace Marks,
Atwood used her knowledge of
the nineteenth century to reconstruct the life of a servant. It was
also difficult to get a clean picture of Grace Marks because
public opinion was so divided
on her. Atwood rightfully
pointed out that opinion was
more divided on female than
male perpetrators; in addition
to the did-she-or-didn't-she?
question, the instigator versus
victim debate also arises. This
is the age-old Madonna vs.
whore stereotype.
One member of the audience asked
Atwood about
the idea that the
middle class
didn't usually
commit murder;
that it was acceptable that
Grace Marks -
had murdered
Thomas
Kinnear.
Atwood, of
course, disagreed with that,
saying "Look at the Menendez
Brothers. In Dame Agatha
Christie's books, the butler
never does it!"
June Scudeler
SIX FINGER SATELLITE
TRANSAM
Wednesday, October 23
Starfish Room
TransAm is one of the most
diverse three-member bands
you will ever see. During their
50-minute instrumental set they
flowed from fully electronic music (the guitarists played keyboards and the drummer programmed a drum machine) to
full-on "rock" in the traditional
drum, bass and guitar formula
tion. The coolest thing about
TransAm's sound is the construction of their songs. The "rock"
songs were built on repetition
and subtle progression (yes,
loud and subtle!) and performed with sly rock parody
which included stadium-rock
poses. The electronic stuff
was constructed in the same
way: always leading to an
amazing climax.
I don't think most of the
crowd was really expecting
TransAm. Between songs I
could always hear someone
screaming, "These guys are
really cool!" My favourite sections of their set were combinations of the electronic and
"organic" (or as organic as an
electric guitar can be) sounds.
For example, they would start
off with ambient noise leading
into a drum machine programme, then one of the guys
on keyboard would go to guitar or bass. The songs would
progress in this way from instrument to instrument and the
sound moved from phase to
phase with incredible fluidity.
TransAm, no doubt, are extremely talented musicians.
Oh yeah, Six Finger Satellite played too. I can't seem
to remember what they sound
like; all that I recall is them
screaming and spitting. I don't
think they were in on TransAm's
ironic rock humour.
pm
SPARKMARKER
BLUETIP
KEROSENE 454
BOX CUTTER
Saturday, October 26
Crosstown Traffic
Box Cutter. Box Cutter, Box
Cutter, Box Cutter. I find myself
at a loss, they were really good
at what they did, super tight
and well-versed musicians ...
also, extremely marketable and
good-looking ... and, well,
when I'm looking for another
l-Mother-Rusty-in-Chains
band, I'll call you.
Kerosene 454, however,
blew me away. Another very
attractive band over all, (in fact,
to put not too fine a point on it,
it was a night of pretty boys).
Shifting tempos, atonal and
catchy guitars alike, and
enough chutzpah to drag out
dissonant riffs for seemingly
endless songs. An absolutely
wonderful set.
I expected Blue tip to be
the highlight of the evening,
and they could well have been,
were it not for their set placement after Kerosene. These
guys epitomize the new
Dischord sound. Punk rock with
the showmanship and stylings
31 E^iuSISE of the Nation Of
Ulysses. They played
admirably and put on
a high energy rock
show, but I found myself
put off by what seemed
to be thinly-veiled cockiness. This could be due
entirely to the fact that
the lead singer was the
prettiest boy of them all
and seemed to know it.
Sparkmarker —
what could I possibly
say that everyone in this
city hasn't heard before?
You've all read
Sparkmarker reviews,
and hell, they're probably playing somewhere
in the city as we speak,
JL Stuart
bob mould Puei:m
II**!. EIT?L _ ._ Ph^o by Andrew
Monday, October 28 Dennison
Town Pump
The opener, Mark Eitzel, took
the stage with his acoustic G-
string and began screaming
away (I mean that almost literally!). His raspy voice became
instantly annoying and I was
glad when he left the stage after half an hour.
Bob Mould made the
crowd wait for him for a good
45 minutes until he finally came
out with his 12-string guitar in
hand, and sot himself down on
a chair. I was under the impression that he had a bassist touring with him, but to my surprise,
he was alone. His set included
a good mixture of songs from
Husker Du, Sugar, and his
own solo albums. For me, the
highlight of the show was when
Mould plugged in a
Stratocaster for the encore and
played a couple songs. The
fleshy, electric sound of those
tunes provided a good change
from the tinny noise of the
acoustic ones.
I never had a chance to see
Mould's bands before they
broke up, and rumour has it that
both of them were amazing to
watch live. Mould solo did not
disappoint my expectations
and I could easily describe his
show as amazing, too.
Chris Corday
SCARYOKE
Friday, November 1
Starfish Room
Six hours before the show I
was in the bathroom, busily
snipping off six inches of
hair; desperately trying to
recreate Joey Ramones
bangs.
Eight hours after that I was
being whipped on stage by
a vinyl underwear-clad
dominatrix, while crooning
"Oh Bondage Up Yours."
Fate works in interesting
ways. The post-Halloween
spectacular was entitled
Scaryoke, and the event that
everyone was turning up for
32 december 1996
Was Punkaoke. Yes, it was
exactly what you think it was:
a punk rock band full of yesterday's all-stars (ex-members of
Death Sentence, Slow,
Tankhog and others) using
volunteers from the audience
to intone the hits from decades past.
The philosophy behind the
show (aside from some good,
drunken fun) was that punk rock
was founded on the concept
that anyone could do it. You
didn't have to have talent. In
some cases, talent was actually
a detriment. That also happened to be the concept behind
karaoke. And somewhere in
promoter Jason Grant's brain
was an idea born, and concepts merged.
The evening passed in
somewhat of a blur: Klaus
Nomi (aka Ford Pier) belting
out "Holiday In Cambodia" like
an anarcho-ten-year-old that
had just eaten a crate of Pixy
Stix; he's a fellow with far too
many muscles, threatening the
audience to remember Glenn
Danzig ... Bribing my inebriated roommate with another
pint to sing "Anarchy In the
U.K." ... and some guy getting
tossed down the front stairs.
Yeah, some people got
up on stage and couldn't
sing, but that's kinda punk,
right? And yeah, some
people got up on stage and
didn't even know how the
song went, but that's kinda
punk, too. In my opinion,
as long as you got up there
and had the spirit of the
song enthusiastically embraced in your heart, you
were doing okay.
Which brings me to the
high point of my evening: being dominated live on stage by
a Miss Gerry Jen, ofthe band
Shakey 5. I couldn't really
sing, I didn't really know the
words, and she onfy had some
makeshift, on-the-spot bondage
tools, but together we put on
quite a show.
And when you get right
down to it, isn't that what punk
rock is all about?
Mr. Chris
VANCOUVER MEETING
Friday, November 1
Glass Slipper
How do you put into words
Improvisational Jazz? By its
very nature, it is transitory and
spontaneous. Some people
view it as a very intellectual
exercise, which cannot be further from the truth. It is emotion
flowing freely with mathematical precision. It is digging
sounds out of instruments and
placing them in front of the
audience like temporarily
found gems. And the lucky few
who caught the opening performances of the Time Flies Festival's "Vancouver Meeting"
were treated to some world
class music.
The Time Flies Festival was
structured as a three day event
showcasing various combinations of nine performers: Jaap
Blonk, a sound poet; Dave
Douglas, on trumpet; Lisle
Ellis, on bass; Laurence
Och, on tenor sax; Donald
Robinson, on drums; Georg
Graewe, on piano; Frank
Gratkowski, on sax; local
cello player Peggy Lee; and
Francois Houle on clarinet.
It was a very intimate concert and the playing was loose
and free. The connection between the crowd and the performers was such that at one
point a coin was dropped in
tune with the music and I wasn't
sure if itwas someone from the
crowd or one of the offstage
performers.
Jaap Blonk is an unearthly,
almost shamanistic performer
who does not so much sing
notes as dredge them up. At
one point, he seemed to separate the harmonics in his voice
much like the Tuvans do, and
sing two notes at once. Other
highlights were provided when
Houle, Douglas, and Robinson
showed that instruments don't
have to be played conventionally— Douglas pulled out keys
from his trumpet to loud pops
and blew across new openings
to enact the wind in a very
Japanese sound. And Lee, Och,
and Ellis created what I can
only describe as space-station
music; the cello played high
and quick — sounding like
lasers — and Lawrence Och
and Lisle Ellis at times
sounded like the opening
and closing of airlocks.
The last set featured all nine
performers on stage, who
wound down the evening in a
decreasing monotone. It closed
the door on an evening that allowed so many wonderful
sounds to escape.
Paul Kundarewich
SLEATER-KINNEY
INCREDIBLE FORCE OF
JUNIOR
TIGER
MOCKET
Friday, November 1
The Crocodile, Seattle
After having spent five hours
in the Crocodile's
cafe section taking
advantage of their
one dollar bottomless coffee, I was
fully buzzed for
Mocket, a threesome from Olympia.
Their set was an incredible mix of pop,|
loops and punk energy. The bassist also
played keyboard in
some of the songs,
giving the set sonic
variance. Each song
was a rocket of frenzied climaxes, and
the set itself increased
sity from start to finish. The guitar player was incredible to
watch. His stage presence was
electric as he danced and
played, breaking strings on
seemingly every song. He and
the girl bassist both sang, which
gave them an even greater
range of sound. Their short set
made me want to jump and flip
on a big orange trampoline. -
The next band was Tiger.
The only positive aspects of this
band's appearance were their
tour van (an old-style, bright red
ambulance) and the Journey
cover ("Any Way You Want It")
that they did in the middle of
their set. Their flat sound was
of the bore-pop variety and the
vocals, at times, reminded me
of REM in a bad way.
After Tiger's set I had natural feedback in my right ear
and deafness in my left, so I listened to Incredible Force of
Junior from the cafe room. The
drumming and bass were funky
but the guitar player was lacking in diversity He seemed con*:
tent to play
(yawn) strum
rock. His voice
was equally as
stimulating. I think
Incredible Force
of Junior has more
potential than Tiger, but they're
not quite there yet.
The last band;
up was Portland/
Olympia ' &
Sleater-
Kinney, who put
on an amazing
show and played
a solid set. Although they are heavier sounding than Mocket, they construct
their songs in the same super-
climactic manner. Corin Tucker's vocals surged and receded,
built up and broke down, combining with Carrie Brownstein's
incredible guitar playing to
form an intense, aural experi
ence. It didn't take much listening for me to realize the talent
Sleater-Kinney has to offer, but
apart from this they are great
to watch. Carrie's guitar style
is like nothing I have seen before -k.os if the music wasn't
enough — and watching her
j\focket
photo by Lori Kiessling
interv cover the stage with a torrent
ofstelloT dance moves gave me
goose-bumps My only problem
with Sleater-Kinney's sound is
the drumming, which came off
a bit flat compared to Carrie
and Corin's dynamic guitar
skill. I had onfy heard Sleater-
Kinney's (somewhat limited)
studio material in the past, and
I admit I was tentative about
seeing them live, but now I have
only one suggestion: experience the music.
jim
DOWN BY LAW
FIELD DAY
SPARKMARKER
Sunday, November 3
Town Pump
Sparkmarker opened the
evening with a set of all new
songs. These guys are Vancouver's answer to New York
bands (the kind that we like:
SOIA, Orange Juice,
Quicksand). Look for a
new Sparkmarker album in
February '97.
Calgary's Field Day didn't
opening up with tunes from the
latest release, All Scratched
Upl, which isn't their strongest to date, but is still a fun
mosh of an album. They covered numerous songs from
their previous release
Punkrockacademyfightsong
and even covered a
Dag Nasty (singer
Dave Smalley's gig
prior to Down By
Law) tune. Talking to
the band after the
show, they said that
Canada always
proves ta be their best
tour dates because
the shows are always
packed and everyone's really friendly!
Canada, eh!
Steve & Mike
LUNACHICKS
SWINGIN' UTTERS
THE DOLE
Tuesday, November 5
Town Pump
Openers The Dole made a
pathetic attempt to play old-
school punk rock. They were all
attitude, no talent. I would have
laughed openly if I hadn't been
fearing for my life. There were
some big dudes there who
seemed to be enjoying themselves. Two or three people
even went and hung out in front
of the stage. Near the end of
their set, they admitted that it
was their first show ever and
that there wouldn't be another
one for a while as their drummer was going to Europe.
Thank God.
Finally they got the hell off
the stage and the Swingin'
Utters were up. I was really,
really looking forward to hearing them play. They probably
would have lived up to my self-
imposed hype had the singer
not been a drunken bum. He
was screaming, not singing. It
was horrible. He butchered
Sleater-KWiey
photo by Lori Kiess
wow us but they seemed to
have their far-sand, hell, we're
just two people.
Down By Law came on
stage to a packed floor of fans;
life. They totally surprised
me when they
ripped into
their first sc
They were
pretty good
musicians and
whipped off
some pretty
Then the singer
spoke up. Her voice wasn't bad
or anything, she was just really
loud and obnoxious. I have no
idea what she was singing
ling
good shi about, but she made me feel
like my male pride was being
shoved up my ass. She could
have been singing about
puppy dogs and ice cream
for all I know.
Dave Tolnai
GILUAN WELCH
DARDEN SMITH and BOO
HEWERDNEY
Wednesday, November 6
Starfish Room
I entered the Starfish Room expecting the indie-rock crowd (or
something thereabouts) out to
see Gillian Welch on November 6th. To my surprise, the blue
denim, honest-folk crowd of
30/40 somethings was out in
good numbers. It was the kinda
show where they throw down
tobies and chairs where the
dance floor used to be. Considering the opening act of
Darden Smith and Boo
Hewerdney, I guess I
shouldn't have been surprised.
A never-ending schtick
about how they never sell
enough country-folk records
and how they haven't made it
in the country music business
was interspersed with fairly
watered-down country folk
tunes. Some mention must be
given to the percussionist who
stood up the whole set and
tried to look cutting-edge, occasionally dingling his triangle and using odd little percussion instruments. It hinged
on cutesy.
When Gillian Welch took
to the stage, I moved to the
front. It was pretty clear from
the start that Welch's musical
vision is one of historical purism and tradition. She stuck to
her schtick about everyone
dyin' in bluegrass songs and
learning old-time songs from
mandolin players drunk in
the back of her truck. Hell,
she even had that Little House
on the Prairie look down pat.
Welch has got a great voice
and talent for writing traditional
numbers, but I found myself
a little disappointed that she
didn't seem too eager to update the old idioms. She
mentioned at least a few
times that she and David
Rowlings were singing songs
sure to bring the crowd into
a deep funk — songs of
death, despair, heaven and
coal mining — but on the
contrary, itwas a pretty cheerful night's entertainment.
What struck me most about
Gillian Welch's set was her accompanist, David Rowlings.
The crowd was wowed by his
agile pickin' and the jazz-country styling he added to Welch's
tunes. With one mic on his vintage steel string he produced
an equally vintage tone
while managing to throw in
some new.
I'd say the crowd left feeling pretty happy and satisfied.
If you're into checking out new
C&W artists that don't subscribe to the current C&W bullshit sound, you should probably
check Gillian Welch out.
Gordon B. Isnor
THE SPECIALS
SCHLEPROCK
Thursday, November 7
Richards on Richards
So I didn't even really want to
go and see the show, okay? All
of my friends that were going
to see the show bailed on me, I
had just finished a night of
school and itwas pouring rain.
I was not in the best mood, but
having spent twenty dollars on
a ticket, I decided to go.
The joint was packed and I
was alone, and kind of bored.
After about ten minutes of fruitlessly looking for the washroom
and finding onfy the ladies' (I
am quite positive that the men's
doesn't exist) the band took the
stage. "Cool," thought I,
"Schleprock. I wonder what
they sound like." I still don't
know, because, having not
looked at my ticket closely
enough, I showed up two
hours late, just in time for the
headlining act.
"Whoopee!" I exclaimed,
and all thoughts of porcelain-
speckled rooms and boredom
and Generation-X-styled angst
exited my mind. Like a mad
fashion victim compelled by the magic of
the red shoes, I was
made to dance. And
dance. And dance.
Some of my friends
told me that the bond
wasn't all original members. I didn't notice.
Some of my friends told
me that they weren't
going because they
didn't like Richards on
Richards. I didn't carej
All I did care about wo*
the fact that they
played almost all of
the material from their
first album, a smattering
of their new stuff, and a
bunch of cool covers
ranging from Bob
Marley ("Simmer
down, already!"] to fhC Wcddlfli?
The Selector (The .
pressure's gonna drop PfCjJCtjt*
°" My legs burned for photo by Barb Yamozaki
three days afterward
THE WEDDING PRESENT
DAYTONA
Thursday, November 7
Town Pump
I had previously known
Daytona by media rep onfy,
but I was not disappointed by
their humming set. For some
reason, vocalist/acoustic guitarist Jenny Lundgren reminded
me of Chrissy Hynde, but
maybe it was just the hair ...
They had a certain confidence
that spoke of time on the road.
This is a band that is determined to go places, and I won't
be a bit surprised if they get
their wish.
This was the first time I had
seen the Weddoes and I was
peaking with excitement. To my
delight they regaled us with
nearly all the songs from their
latest disc, Saturnalia, laced
with tunes from Watusi, their
previous full-length release.
They also went through some
songs I failed to recognize, no
doubt from their 11-year back
catalogue. The lead-man from
Leeds, David Gedge, along
with his three cohorts, took us
on a breathless ride through all
the states of the Wedding
Present Universe. Driving melodic hooks, lyrical poignancy
and emotionally raw delivery
were all wrapped up in pop
sensibilities that left nearly everyone on the crowded floor
left the stage, a lingering wall
of feedback swelled and wailed
on for a minute or two, as if
pre-emptively cancelling out
any clamour for an encore.
There was something refreshingly honest about this hermetic
manner of delivery, simply doing the thing outright, saying
what needs to be said and getting the hell out.
Cobalt
GAS HUFFER
TRICKBABIES
HIP HOP MECHANIX
Friday, November 8
Starfish Room
The three man crew known as
Hip Hop Mechanix were in
full effect this Friday evening,
even though they were totally
out of their element at a rock
'n' roll show. The crowd seemed
to echo this unusual choice for
an opening act by apathetically
applauding after each
throwdown. But HHM still had
the skillz to pay tha billz, as they
say. Word up.
New York City's
Trickbabies soon rectified the
situation as all ears and eyes
were directed toward
frontwoman Lynne Von, a cross
between Divine and Poison Ivy
of the Cramps, but with a set
o' pipes that could knock anyone on their ass in seconds flat.
Showcasing tunes from their recently released Go-Kart Records
CD, A Fool and His Money Will
Be Partying, the Trickbabies
took elements of SOT's rock V
roll and sleazy lounge music
to add a little spice to the
now curious and growing au-
dience. Thanks to Gas
Huffer for bringing us this
impressive surprise all the way
from New Yawk, where sleaze
is still in full effect.
And speaking of the main
Wveni, Gas Huffer busted tha
mad flava ... oh sorry, I mean
ripped it up, with their opener,
"Shoe Factory," from Janitors of
Tomorrow. And by the beginning strains of "Hotcakes,"
things began to get a little crazy
up front. The rest of the set was
primarily culled from their Inhuman Ordeal of Secret Agent
and I didn't even notice at the
time. I got tired, I kept going. It
was my duty. I had more fun at
that show than at almost any
other gig in my life. They
haven't sold out to the MAN,
they're still going stronger
than ever. The ska torch is
burning bright, and you
over there — yeah you,
Rudeboy — if you're not
too scared, grab a hold of
it and start to move your
feet. I dare you.
Mr. Chris
G.H. disc, withjunesJike "63
Hours," "Mosquito Stomp,"
and "Smile No More," about
which vocalist Matt Wright exclaimed, "This is a song about
Joe's [the drummer] pain!" as
he hopped up and down like a
demented chipmunk. "Hey, do
you guys surf up here?" queried guitarist Tom Price, as the
band launched into "Crooked
Bird" from One Inch Masters.
Well, Tom, does body surfing
count? Cuz thafs what those
crazy kids were doing all
through the night. Hot, sweaty
and shirtless, Gas Huffer
wrapped it up with an encore
of "Double-o Bum," reached
way back for "Firebug" and
capped the evening with a stunning rendition of the Rezillos
"Bad Guy Reaction." Not a
bad reaction in the house, I
would say. Just a great show.
Bryce Dunn
THE INBREDS
THE LOCAL RABBITS
CITROEN
Saturday, November 9
Starfish Room
For as much as I love The
Inbreds, I wasn't excited to
see them tonight. First, they
played here only a month ago,
opening for Sloan — and because of who they were opening for, I was underwhelmed (if
that's the word). Second, the
Local Rabbits put on a fantastic live show, ond I was looking forward to seeing them
again. Third, Citroen were
opening, and I was keen to
check them out too. One part
Blaise Pascal, two parts
Petrolia, one port Kid
Champion, this local scene
"super-group" were just that.
The songs were rich with
Pavement-derived structures
and melodies, the percussion
was full of machine gun drum
fills, and pretense was nonexistent. It was just a bunch of
people playing a bunch of neat
music in a low-key manner, and
I really enjoyed watching it happen.
Later — much, much later,
the Local Rabbits arrived onstage. From Montreal, this
band has onfy toured as far as
Vancouver on one other occasion. Much like their label-
mates the Superfriendz, this
is a band whose live show is
so full of energy that their songs
come across as vibrant and
strong when, recorded, they
seem dull and weak. They
come to "rock" us, and make
no illusions about doing that.
At their best they come across
with the drive of a group like
The Band (especially when
their arrangements include a
Fender Rhodes keyboard), or
with raving-up introductions like
the ones the Superfriendz are
prone to play. Maybe their onfy
downside is that when they start
on a shtick — like falsetto vocals singing over disco grooves
— they keep doing it over and
over. Regardless of their shtick,
I liked 'em a lot.
I could barely stay awake
as the Inbreds came on-stage
to an otherwise extremely excited crowd. It's too bad I didn't
have energy left to enjoy it,
because I know how good they
can be. Launching into one of
several immediately catchy
songs from their new CD, the
Inbreds caused a rush of people towards the stage. In retrospect, now I just wish I could
have been a part of it for a
while longer.
Brian Wieser
PALACE
CINDY DALL
Saturday, November 9
Moe's, Seattle
Cindy Dall was nothing I
imagined her to look like. On
my cover of Untitled, she's a
prpm queen on the floor, but
this time she was a boffo '80s
chick with hair too heavy for
bouncing, swaying, or swooning. Gedge's own face was
often strained with urgency
beneath his blunt mop of jet
black hair, and his strumming
hand was just as often a blur
over his guitar, complemented
by bassist Jayne Lockey's sweet
backing vocals.
Seemingly disinterested in
traditional gig form, the Wedding Present buzzed through
the entire performance in one
solid block, clocking in at almost exactly one hour. As they
Come check out our selection of PUNIC EMO, &RINP,
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We've got mini comics too fucko.
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33 n^feiaEiia Real live!
Atornos bowlin* in
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her tiny face, a tight, red-collared, preppy shirt, and great
black boots stiffening her to the
stage. Cindy's set seemed to be
fraught with technical frazzles.
She didn't seem pleased with
her guitar, which apparently
she is still trying to tame. No
matter. She was a Sacramento
girl who asked, "Who won
the fight?" (not Tyson!) but
when she sang her voice was
gorgeous — breath fluttering
near the mic. One of my favourite songs on Untitled, "Holland," is sung with Bill Callahan
of Smog, but was left off the
set list, which was unfortunate
but probably for the best,
since Callahan was not a part
of the tour. I have heard people accredit the style of
Cindy's songs to Callahan
because of their close relationship, but I think that does
her an injustice. Her songs are
also gloomily introspective, but
she sings from a girl's eye view
— and unlike the Smog songs,
hers are injected with a tiny
drop of hope.
If I attempt to make florid
my memory of the Palace
show, I'll only end up sickening myself. Palace is boiled
down to Will Oldham, child-
prophet from Matewan, and
the words he speaks. His band
is never consistently
made up of the same in-
:$p_uals, which makes
for a toss-up, quality-
Sljipe. Somehow,
trough, these unnamed
igtiys who made up Palace that night picked
fip all the songs perfectly. The musical ability of the band was slun-
ning; songs which
sounded recited on disc
breathed life. Will
preached from Arise
Therefore with his hand
cupped out toward us,
entreating us to listen to
his revelation. He sang
obout being chased by
"blacks," thinking how
cbol it would be to be black
■for once and not white Kentucky trash. Songs which were
rocking bar-pleasers on disc
Were certainly slowed down;
each word was spoken clearly
and the weight of each word
was felt.
The absence of drums in
both sets brought the audience
closer to the performer; instead
of being confronted with a
metronomic shield of predictable beats, we were made to
listen to the words and feel the
body of the song moving freely.
The crowd was made up of
heartbroken drunks, one of
which toppled over in front of
me with her plastic beer cup in
her hand and was hoisted
away. We tromped out of the
place weepers and dazed, the
crackly voice of the South hurting us long afterwards.
Sarah Stacy
GIRLFEAST!
PUNCTURE
REVULVA
MIZMO
DIRTY HARRIETS
JEN WOOD
Saturday, November 9
Columbia Hotel
Girlfeast was a three-evening
bonanza at the Columbia Hotel to raise funds for the Downtown Vancouver Women's Centre, featuring local acts such as
Puncture, Revulva, Shindig
competitors Hissy Fit, special
guests from south of the border
Jen Wood and Jessica Rose,
and a host of other musical talents. Good music, good cause,
good golly — what a turnout!
The evening started out with
the melodic and entrancing
acoustic set of Jen Wood, who
unfortunately had to compete
with the wrestle mania flashing
from the corner and the intermittent moans of its fans during
her first few songs. However,
as the crowd began to filter in,
the chords of Jen prevailed and
soon all attention was held by
the woman on stage with her
political, feisty, poetic lyrics
coming through a sweet and
powerful set of lungs. This was
by far the most memorable
musical act of the evening,
which I will indicate is a result
of an acoustic bias (it was so
nice it gave me goose pimples
— shh). It onfy goes to show
that you don't have to be electric to get a loud and powerful
message across.
Following Jen Wood was
the Dirty Harriets, a local
Vancouver ensemble who contrasted the previous set by
thrashing the audience with
their grrrl rock and punk antics.
Speaking of antics, Mizmo,
who were next, displayed a
wide array of personality in
their stage presence, from Betty;
Page to Donna Spelling gone j
bad. These guys weren't as
hard-edged as The Dirty)
Harriets and had a much more
melodic thing happening.
Each act got a chunky
timeslot up on stage, which is
a really nice way of orchestrating the show; no one hogging
and everyone getting a chance
to show their stuff. However, at
some point in the night I have
to get some beauty rest, and
the feasting was coming to an
end for this here girl. As far as
I could gather as I was departing, a large crowd had gathered to the stage to see Revulva
starting up, but I don't know
how they were. I also missed
Puncture but will see them on
Friday at Rock for Choice, so I
don't feel bad ... sorry!
Sydney Herman!
movie nights.
pop:
rtana-0uf,i/Mfc/i //icwej, eat/w/zcvr/i
one on one peer suport.
ify/>a/://.rfuM///j0metme /_> Aave a ceffie a/id?te/% uttt/i
free dinner! * *>
^ 3 day retreat
fee o/ywrtusiity fy^tfcutofe&ie aYy aMdffreaf/x domefeej/i air
sounds interesting? %
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LIVING WITH HIV I OR YOUNG PEOPLE
LIVING WITH HIV. 11* YOU WOULD LIKE TO
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54 december 1996
memm THE SHELLYCOATS
LOGIC CONSPIRACY
TONEBURSTS (EAST)
Tuesday, October 22
The Shellycoats opened (tie night, and you could
tell they were a bit nervous. Trie iead singer
seemed tense; she never realty said anything to
the crowd, and as a whole the band probably just
needed to relax. The band was pretty tight,
however, and the rhythm section worked together
really well. Most of iheir songs were your standard
three-four-chord, jangly-guitar kind of songs. The
guitar player never took a solo in their whole set;
there was definitely room to stretch out. The singer
let loose wilh a couple of screams in an Alanis
Morissette kind of way, yet it seemed forced and
out of place considering the overall group sound.
For me, the Shellycoats lacked lhat harder edge,
that punch, necessary to make it convincing. I'd
like lo see ihem experiment more wilh their sound
and mix things up; ihere's already too many bands
out there that play their particular brand of music.
Next was Logic Conspiracy, the bond that
had the best stage presence and, as it turns out,
the band lhat won. Most of iheir stuff was pretty
straight-ahead rock with a few nice twists and
some nice group dynamics. They had a violin player and I liked some of the things ihey did wilh that.
Maybe ihey could do even more. A buddy of mine
that came with me to ihe show said that out of the
three bands, this would be the one he would have
most liked to see at a party. This was probably a
fair comment.
The Tone-bursts ended the show and played
what amounted to be a competent, if not a bit short
set. Another band where nerves may have taken
over. They never seemed like ihey really got into it.
They seemed really subdued wilh too much dead
air between songs. Maybe on another night.
Kevin Lee
MILLION YEAR PICNIC
THE SADDLESORES
I KILLED MY CAT
Tuesday, October 29
Vancouver's music scene is, contrary to popular
belief, small. It is a good size, but not so large that
it has enough people to create many genuinely
new ideas in sound. On many nights, like this one.
Shindig succeeds in displaying re-invention rather
than innovation, but nonetheless, it was on evening
of ear-friendly, entertaining music.
Not only is re-invention found in bands' influences, but also in band personnel. Million Year
Picnic (a three-piece sometimes reminiscent of the
Police in their more ethereal Synchronicity days,
and sometimes just blatantly Britf>op) is a re-incarnation of another band. With two members who
performed in a Shindig final only ihree years ago
— Delve — their influences extend to themselves.
If you liked that group, you're bound to enjoy MYP.
I did, and I enjoyed this band very much too. In a
nutshell: soothing, sitting-down-to, lislening-to music
for your pop-starved ears.
As eventual winners, the Saddlesores did
pretty much everything you would expect a
Shindig band to do and have what it needs to win:
a tight act, a good show, a bit of shtick and a lot
of power. Wilh their cowboy hats and guitars combined, the band couldn't encourage me to pay
dose attention to the music, especially as their set
wore on, but I could tell lhat their nec-rockabilly
was performed very well.
My favourite band of the evening wasn't quite
a band as much as an electric guitarist with accompanying drummer (bolh of whom also performed
on the same Shindig stage with Delve a few years
ago). I Killed My Cat didn't come across as the
name might suggest — some light-hearted goth
perhaps? — but instead, as a loose and free coupling of percussion and music heavily inspired by
Elevator to Hell and Moonsocket. The group
had more than enough energy and effort to combine with their music lo compensate for any lack of
shtick or true innovation, and in the end, I guess
that's what I always look for in O band.
Brian Wieser
BATES MOTEL
CORN ON THE COB
PIGS IN SPACE
Tuesday, November 5
I struggled wilh how I could write this politely, but my
advice to the first band, Bates Motel, would be to
try for CFOX's Demolisten instead. There's nothing
wrong with rock music as a genre — I appreciate it
when it has a creative approach. However, this four-
piece band seamlessly incorporated so many rock
cliches that if ihey onfy took it a step further, you'd
think ihey were re-enacting Spinal Tap. From ihe
shirtless drummer wilh his ever-twirling slicks to the
Gibson Flying V, so much of their appear
screamed "rock." The music cinched it, wilh sounds
reminiscent of Queensryche at best and Spinal
Tap at worst. Had I not watched Bates Motel, I
wouldn't have believed that bands like this still exist.
Corn on the Cob were a relief to my *
when they began. A guitar and bass instrumental
duo, the band played loosely-structured improvisations lhat weren't easily classifiable. While they
were enjoyable to listen to, Corn on the Cob tempered any points for creativity wilh a total lack of
stage presence: they had no ability to grab the
crowd's attention wilh their quiet, unconventional
sound, and most in attendance tuned ihem out with
conversation.
Finally, Pigs in Space played. It's unusual to
see even one band playing non-rock/pop
in Shindig, but on this night we had Iwo: the subdued Corn on the Cob and the contrastingly
noisy Pigs in Space. Also a duo (plus a
dancer/extra body), they played loud, abrasive
noises with well-constructed bass/guitar/drum
machine/noise arrangements highlighted by their
visual projections. These were not songs as much
as series of sounds that were so aggravating and
so irritating lhat I wished I could shut my ears. At
the same time, I kept wanting to watch to see
what they were going to do next. By any criteria, I think that's enough to declare a winner. The
judges agreed.
Brian Wieser
MalcWks
Ifway Club
HEY! SHINDIG CONTINUES NOVEMBER 26 AT THE RAILWAY CLUB GET READY
FOR THE FINALS! TO BE HELD AT THE STARFISH ROOM DECEMBER 7. GET DOWN!
greenh^jse pREasoNSOLW music w-*t ,r SmiJ
THE CONTROL ROOM
FIR STREET [MMi: fij£ffi£
STUDIOS £l,umLL
35 E^gSSHSB ■ece_ter'q6 LONG VINYL
■ecei.e.'q6 SHORT VINYL
december'qs INDIE HOME JOBS
1 evaporators united empire... nardwuar
2 huevos rancheros get outta dodge mint
3 phono-comb fresh gasoline quarterstick
4 jon spencer... now I got... matador
5 dbs if the music's... nefer
6 zumpano goin' through... sub pop
7 hanson brothers sudden... essential noise
8 stand gt apocalypse cow! lance rock
9 they might be giants factory showroom elektra
10 the subhumans pissed off... essential noise
11 orarwhekii^ajcifest moonlight... headhunter
12 the inbreds it's sydney... pf/tag
13 elvezl g.i. ay, ay! blues big pop
14 various artists wipeout xl astralwerks
15 mazzy star among my swan capitol
16 six finger satellite paranormalized sub pop
17 the nomads the cold hard... lance rock
18 various artists crash course... undercover
19 snfu fyulaba epitaph
20 screeching weasel bark like a dog fat
21 duotang smash the ships... mint
22 marilyn manson antichrist... interscope
23 banco de gaia live at glastonbiuy planet dog
24 various artists in defense... Caroline
25 luscious jackson fever in... grand royal
26 the mysterons hot dog... independent
27 money mark mark's keboard... ffrr
28 the secret stars s/t shrimper
29 trigger happy i'll shut up... sonic unyon
30 butter 08 butter grand royal
31 railroad jerk the third rail matador
32 various artists more of our... squirtgun
33 skeleton key s/t motel
34 spiderbait i gotta know polydor
35 the chubbies play me sympathy
1 near castlegar in January shrimper
2 sparkmarker sawed-off... sub pop
3 the new grand ham-, b/w banner., squirtgun
4 electric frankenstein action high intensive scare
5 the ray-ons my side... scooch pooch
6 buffalo daughter the legend... chibari
7 shebrews/ninian h. split grimsey
8 dirtnap your shirt honey bear
9 poopiehead big red... peek-a-boo
10 orange glass meet the robot sappy
11 satan's pilgrims the rise and fall... k
12 the hormones
13 junior varsity
14 damien jurado
15 the havocs
16 elliot
17 the dictators
18 magnapop
19 the puritans
20 mecca normal
21 double nelson
22 teen titans
23 764-hero
24 edison
25 dogs on a rope
26 purple knight
castaway btoall fcindsa-empty
peek-a-boo
sub pop
uncool
fresh bread
go!.
trampoline
hit songs...
1995
I am right mercury
fire all your... usasidel
let me stand... ship & anchor
paris in april k
bivouak roomtone
more songs... peek-a-boo
high school poetry up
he player tyw the ride kinetic
rope rage whisper
crocodile... sub pop
27 starlight conspiracy big beautiful... catapult
28 secret agent no winners... mum 'n' dad
29 silver scooter biting my nails peek-a-boo
30 submission hold garlic for... independent
31 lousy kewl sappy
32 the snow queen travesty befalls... smilex
33 atomic boy i wanna destroy hipnotic
34 the detroit cobras ain't it... scooch pooch
35 neil hamburger interview drag city
1 celestial magenta
2 hissy fit
3 wandering lucy
4 the stupes
5 submission hold
6 the July fourth toilet
7 the molestics
8 mizmo
9 gaze
10 kinnie Starr's bk lounge
11 jp5
12 the inklings
13 jackass
14 pipebomb
15 the wingnuts
16 squeeky
17 violet
18 plumtree
19 petrolia
20 free radicals
21 wave
22 the bloody chicletts
23 johnny millenium
24 veronica
25 jeremy greenhouse
26 the hayseeders
27 destroyer
28 10 ft. henry
29 evan symons
30 universal lounge act
31 something ska
32 gladyss patches
33 technicians of the sacred
34 michele wong
35 1000 stamps
salad days
s.h.e.
baby eyes
devilina
ed anger
free as a bird
now's the time
tarantino cringe
jellybeans
devil's claw
fuzzyhead pills
slurpee
reality bites.
ivanhoe
hate my job
ten twenty-three
(I step on all the) cracks
in the sink
sweet industry
got to do something
for days
on & on
speed
der criminal
ginger goodwin
wildwood grow
karen is in rome
oh oh
ties
supercar
mr. roustabout
laminate
restless spirit
hop
poster child
ub
thbar
reakfast w.th .the
owns1 TO LJKed cd;
f are new Cno orde
r)
MONDAYS 8:
30AM 11:00AM
1 1 grassy knoll
positive nettwerk 1
2 nearly god
s/t island
3 einsturzende neiib.
endeneu mute
4 various artists
the crime... emi
5 mark snow
truth & the light... warner
6 les baxter
the exotic moods... emi
7 jon hassell & farafina the flash... intuition
8 nfa khan & m -took
night song realworld
9j.t. quartet
mission impossible acidjazz
|l0 various artists
California skaquake 2 moon|
hum
M^rW brat chart Up V
HI
WEDNESDAYS
9:00PM
0:00PM
1 1 colin lucas
soca party... coral sounds
2 b tee & the dragonaires swing engine
vp
3 king africa
mama yo quiero
bmg
4 phantom
s/t
hibiscus
5fugees
no woman no cry
sony
6 henry Jimenez...
cintura, cintura
emi
7 maxi priest
that girl
virgin
8 beenie man
reggae gold "96
vp
9 tounka & friends
sign off
arac
|l0 rolling tones
stampede
amc |
Pt.eX YOUft HCAO
TOP 10
Canadian Lunch
top 10
THURSDAYS
3:00PM 5:00PM
I labhinanda
s/t desperate fight
2acheborn
the demon love 7" defiance
3 breach
old songs... burning heart
4capone
what we've shared heartfirst
5 elision
thoughts navigator
6h20
s/t blackout!
7 ignite
past our means revelation
8 lebensref orm
licht-luft-leben 7" per koro
9 redemption 87
s/t new age
llOveil
the burden... frontline |
top kabillion music stuffs
the discorder crew listened to during no-sleep
week, bossy miko tried to inflict her musical tastes
on everyone, but once in a while the others got to
put something in the ol' player ...
VERY EARLY IN THE MORN'-VERY EARLY IN THE MORN'
36 december 1996
1 oh susanna shame independent
2 the inbreds it's sydney or the bush pf
3 duotang smash the ships... mint
4 superfriendz play the game... 10" murder
5 velour3 velourS kaleidoscope
6 anything and everything by perfume tree!
7 propaghandi/i spy split G7
8 snfu fyulaba epitaph
9 huevos ran. get outta dodge mint
110 sparkmarker sawed-off but silent sub pop |
[lisa germano, rex, duotang, ginger baker/bill
frisell/charlie haden, team dresch, sleater-kinney,
zumpano, funki porcini, loud & queer, noise addict,
pierrot premier, v/a • pop fiction, v/a • a storm of
drones, 99, jon spencer blues explosion, mazzy
star, v/a • hardcore holiday, texas is the reason,
luscious jackson, swingin' utters, chia pet, john
mclaughlin, tuscadero, sukpatch, pastels, railroad jerk,
rachel's, near castlegar, evaporators, veda hille, cbc
Iradio, & CiTR 101.9 fM dammit! SUNDAYS
ARE YOU SERIOUS? MUSK 8:00AM-
12.00PM All of time is measured by its
art. This show presents ihe most recent
new music from around ihe nwrid. Ears open.
IHE ROCKERS SHOW 12:00-3:OOPM
Reggae inna all styles and fashion.
RADIO BLUE WARSAW 5O0-6O0PM Join
kirn & helen for another month of travels.
Bring Confetti!
QUEER FM 6:00-8:OOPM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened to by
everyone, lots of human interest
features, background on current
issues and greal music from musicians
of all sexual preferences and gender
identities.
GEETANJAU 9;00-10:OOPM Geelanjali
features a wide range of music from
India, including classical music, bolh
Hindustani andCarnatic, popular music from Indian movies from the
1930's lo the 1990'*, Semi-classical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, etc.
RADIO FREAMBUCA 10:00PM-12:00AM
Join host Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed to make you think
twice. Bring your tape deck and two C-
90s. Originally broadcast on KFJC (bs
Alios, California).
N THE GRIP OF NCOHKENCY 12:00-
4:00AM Drop yer gear and stay up late.
Naked rodiofor naked people. Get bent.
low Dave.
MONDAYS
BREAKFAST WITH THE BROWNS 8:15-
11.O0AM Your favourite brown-sters,
James and Peter, offer a savoury blend
of the familiar and exotic in a blend of
aural delights! Tune in and enjoy each
weekly brown plate special.
THE STUPID RADIO SHOW 11:00 AM-
1-00 PM With your hosts the Gourd of
Ignorance. What will we play today?
Rog will put it away.
MEKANHCA1 BUFFOONERY 1O0-3O0PM
Two shows became one) An hour of
Mekanikal Object Noize (industrial/
nois/lechno) and an hour of Skintight
Buffoonery (lounge, jazz, britpop)
June scudelef6mindlink.bc.ca.
THE MEAT-EATING VEGAN 3O0-4O0PM
I endeavour to feature dead air, verbal
flatulence (only when I speak), a work of
music by a Iwentielh-cenhity composer
— can you say minimalist? — and
whatever else appeals lo me. Fog and
dyke positive. Mail in your requests,
because I am not a human-answering
machine. Got a quarter then call someone
who cares.
POLYPHONIC al. 7O0-9O0PM listen for
all Canadian, mostly independent tunes.
THE JAZZ SHOW 9:00PM-12:00AM
Vancouver's longest running prime time
jazz program. Hosted by the ever suave
Gavin Walter. Features at 11.
Dk 2 The Cannonbdl Adderly Quintet
Dec 9 'Here's Jala" the piano giant's first
record.
Dec 16 "Shades of Blue" Trumpet great
Clark Terry (who is visiting UBC next
year)
Dac23MilesDavisandhi'sAll Stars, recorded
Christmas Eve in 1954.
Dec 30 Pianist Randy Weston's Sextet live at
Monteray '66
DRUM'S" SPACE ALTERNATING 12*00-
2O0PM Jazz, breaks & the silence in
between 0 160bprn.
TUESDAYS
RADIO FREE WOMEN 3O0-5O0PM It's
not a free cunlry, and we're
demanding acuntability! Wake Up
with our collective showl Interviews,
issues, and music.
IQRA 5:30400PM News, issues, and
concerns facing Muslims throughout the
wodd.
THE UNHEARD MUSK 7:009:00PM
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:OOPM Get on
board Vancouver's only tropical fiesta
express wilh your loco hosts Rolando,
Romy, and Paulo as they shake it and
wiggle it to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hot
it'll give you a Ian! {{RADIO
SABROSAH
NAKED RADIO ah. 10O0PM-12O0AM
From Thelonious Monk to Meridith Monk
... we'll play it. Genre busting, cutting
edge jazz and other experimental
sounds, plus informative label/artist
features. Join Mike and Sean.
AURAL TENTACLES 12O0AM- VERY LATE
Warning: This show is moody and unpredictable. It encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
WEDNESDAYS
LOVE SUCKS 12O0PM-2O0PM If you
can't make sense of il, and that bothers
you, go somewhere else.
THE MARY TYLER MOORE SHOW 200-
3O0PM 'better a brat than a beauty
queen"
MOTORDADDY 3O0-5O0PM "Let those
who ride decide!"
ESOTERIK alt. 6:00-7:30PM Ambient/
electronic/industrial/ethnic/
experimental music for those of us who
know about the illithids.
SOLID STATE alt. 6:00 to 7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
AND SOMETIMES WHY 7:30-9O0PMveda
hille, 99 rex, zumpano, raehel's... these
are a few of our fave-oh-wril things, la la
la!
TROPICAL DAIQUIRI 9:00-10:00PM Zouk,
Soukous, Samba, Salsa. Yes! Even Soca.
EnioylhisTropical Daiquiri with El Doctor
del Rilmo.
STRAKHTOUTTAJALLUNDHAR 10O0PM-
!2O0AMLetDJ'sJindwaandBindwa
immerse you in radioactive Bhungra!
"Chakkh de phutay." Listen to ai our
favorite Punjabi tunes - remixes and
originals. Brraaaah!
THURSDAYS
FILIBUSTER 10O0 TO 11:30AM ALT Bad
hill blood, spy music and an accordion
fetish. Caution: high in fibre!
MUSK FOR ROBOTS 1000 TO 11:30AM
The Robotic Revolution is coming, be
prepared*, vote robot. Psychotronic
excitement w/ female automan Fem-bot.
CANADIAN LUNCH 11:30-lO0PM The
all-Canadian soundtrack for your
midday snack!
STEVE & MIKE 1O0-2.O0PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby.
JUSTIN'S TIME 2.003:00PM For some
cool jazz by some swingin' singers and
boppin' players, tune in and don't miss
out on some happy times!
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks, nothing politically correct.
We don't get paid so you're damn right
we have fun with it. Hosted by Chris B.
ON AR WITH GREASED HAR 7-30-9O0PM
Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO HELL
9O0-11O0PM Local muzak from 9.
Uvebandzfrom 10. Dec5: Psychomania
Dec 12: Signal 30
DISTORTED aRCUriRY 1O0-4O0AM DJ
Morgan le Fay brings you the latest info
and tunes in the realm of electro/
industrial & synthcore. Hard beats
toinvigorate your late night angst.
FRIDAYS
VENUS FLYTRAP'S LOVE DEN 8:30-
10:00AM Join Greg in the love den
for a cocktail. We'll hear retro stuff,
groovy jazz, and thicker stuff too. See
you here... and bring some ice. XOXX
TELESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live with physical
& mental challenges.
SKA-PS SCENE-IK DRIVE! 11:00AM-
I2O0PM Featuring the death-defying
sounds of ska — old and new — with
your hostess Julie and Scotty.
LUCKY SCRATCH 100 TO 2O0 PM Swing
on the gallows pole and git yer dose of
blues in the afternoon. Hosts Anna and
Andy
UTTLE TWIN STARS 200-3:30 PM Kiki liki
NARDWUAR THE HUMAN SERVIETTE
PRESENTS... 3:3O-4:O0PM Have a
good brunch!
NATION 2 NATION ah. 6:00-9O0PM
Underground sound system-style
mastermix radio.
AFRICAN RHYTHMS ah. 6O0-9O0PM
David "Love" Jones brings you the best
new and old Jazz, soul, latin, samba,
bos sa & African Music around the world.
FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio Free
America Series.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
SUN
are you
serious
music?
ROCKERS
SHOW
WIRELESS/
PILL IN
Breakfast
with the
Browns
THE
STUPID
RADIO SHOW
MEKANIKAL
BUFFOONERY
Meat-Eating
TUE
third time's
the charm
SAT
BLOOD ON
THE SADDLE
ICHRONOMETER
PolyfiUer
RADIO
FREE
WOMEN
DIGITAL
ALARM
motor
dAddy
musical
interludes
CANADIAN
LUNCH
justin's time
Venus Flytrap's
Love Den
THE
|SATURDAY
EDGE
K N E P T U N E ' S_j_;i___CT5_l
ROOM/»»«««!■. -■
LUCKY SCRATCH
QUEER
FM
Get the Jay
ONE STEP
BEYOND:
RADIO FREE
AMERICA
IM THE
GRIP OF
INCOHERENCY
FUmins
Caterpillar
polyphonic/
hip hop habit
THE
JAZZ
SHOW
HUMAN
ANIMAL/
DROM'N'SPACE
Awara House
UNHEARD
MUSIC
RITMO LATINO
NAKED
RADIO/
witchdocotor
highball
AURAL
TENTACLES
and BometixneB
why
tropical daicjiiri
strfl outta
jalhmdar
P1PEDREAMS/
OPEN
SEASON/
RADIO FREE
BABYLON
FLEX YOUR
HEAD
mam
Out For
Kicks
POWER
CHORD
AFRICAN
SHOW/
THE LUST DESK
LIVE FROM
THUNDERBIRD
RADIO HELL
FILLIN/
Jumping
DISTORTED
CIRCUITRY
nation to
nation /
African
fehyth*s
HOME
BASS
Limp Sink
Lucid Soul
THE
SHOW
SOMETHING
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of tlie flavour of homebass.
UMP SINK 12-00-2-30AM Hosted by the
G42 players. "The show that doesn't
hale you.' wilh your friendly pals Friar
Fritter Abfackeln and Postman Pat.
Alternating with Dr. Killdare
Contachlimpsink6broken.ranch.org
LUCID SOU 2:3O-4:00AM Dr. Killdare
plunders even further into the wee hour
doing what hecan to keep security guards
and 7-11 clerks awake. Waywayway
deep dance stuff and other hallucinating
fucked-up-ness.
SATURDAYS
THE SATURDAY EDGE 8:00AM- 12:00PM
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Keporfat 11:30 AM. 8-9 AM: African/
World roots. 9-12 noon: Celtic music
and performances.
POWERCHORD 12:OO-3:0OPM
Vancouver's only true metal show; local
demo tapes, imports and olher rarities.
Gerald Rattlehead and Metal Ron do the
damage.
THE SHOW 6*O0-8:00PM Strictly Hip
Hop — Strictly Undergound — Strictly
Vinyl With your hosts Mr. Checka, Flip
Out & J Swing on the 1 & 2's.
UVE AT THE HI-HAT llrOOPM-1:00AM
"live! — shows and bands —
odmission $6.00 — Performers ore
subject to change."
Hear ye!
/e need new DJs
For original a
nportant sho
Join us in the
Come to rm 233 in
the UBC Student
Union Building.
Training Provided
■*- -our CiTR
lership!!
WHorvt
-_fi_c
HOW
Arts Kiley Frirhen
Board Chair Harry Hertscheg
Business Mgr. any takers?
Current Affairs Michael Gurmy
Demos/Cassettes Dal* Sawyer
Engineer Richard Anderson
Entertainment Chris Allison
Mobile Sound Ken Orchard
Music Megan Mallett
President Ryan Ogg
Production Stoonan McCracken
Programming Namiko Kunimoto
Promotions any takers?
Secretary Heather Herman!
Sports Slavko Bucifal
Station Manager Linda Scholten
Student Engineer Fern Webb
Traffic Sarah Stacy
Vice President Justin Ho
Volunteer Coordinator John Ruskin
57 Et£gSl©____ december
datebook
FRI 22 Skydiggers/Longpigs - Town Pump..Jazzberry
Ram/Shademakers - Starfish...Cozy Bones/Slik -
Picadilly...Tippy-A-GoGo - Popeyes...Bones of the Forest- Edison Electric...Women and Children [asf launch
- Women in Print...Hootie & the Blowfish/Speech/
54*40 - GM Place...
SAT 23 Tony Wilson Septet - Glass Slipper
benefit...Automatic Slim - Route 66...The Grift/Noah -
Popeyes...Bones of the Forest - Edison...Skydiggers/
Longpigs - Town Pump...Emptys-Van. Press Club...Phish
- Pacific Coliseum Concert Bowl...
SUN 24 Alma Libre - Town Pump...Bones of the Forest
- Edison...The Story of the Last Chrysanthemums/The
Life of Oharu - Pacific Cinematheque...
MON 25 Godflesh/Vision of Disorder - Starfish...Grrrls
with Guitars - Railway...Dream Warriors - Richard's on
Richard's...
TUE 26 CiTR PRESENTS SHINDIG: Saddlesores/
Pigs in Space/Logic Conspiracy- Railway...Daphne
Marlatt book launch - Women in Print...
WED 27 Papillomas/Blisterene/Space Kid -
Starfish...Nutanas/Rykers Island - Route 66...
THU 28 Kickapoo Joy Juice/DJ Renee - Starfish...Big
Cookie - Purple Onion
FRI 29 Maxi Dadd - Starfish...Linda Perry & Phil Cody
-Town Pump...BUY NOTHING! you can do itl do it
by not doing anything...
SAT 30 Evaporators/Peechees/Behead the Prophet/
Submission Hold/Terror T - St. James (All agesl)... Forgotten Rebels/Psychomania - Starfish...Boxcutter/1000
Stamps - Route 66...Buster Keaton short films w/ Live
Jazz - Glass Slipper...Roswells - Railway...Renee Rodin's
book launch for Bread and Salt - Van. Press
Club...Mollies Revenge/10 ft. Henry-Town Pump...
SUN 1 Bruno Hubert Trio - Glass Slipper...Evening of
Jazz & Blues -Arts Club Backstage Lounge...Alpha Yaya
Diallo -Town Pump...Body Count (Ice-T's in da housel) -
Rage...
MON 2 stay home, make some music instead...
TUE 3 Culture Laboratory - Glass Slipper...
WED 4 Ocean Colour Scene - Town Pump...
Electrosonics/Tonebursts/Kaneva - Starfish...
THU 5 Bedouins/Underdog - Starfish...Shademakers -
Popeyes...Mother of Pearl - Glass Slipper...Clumsy Lovers - Railway...
FRI 6 Soul Coughing/Eels-Starfish...Musart'96: Roger
Baird & Museart - Glass Slipper...Cozy Bones -
Gate...Global Hi-Fi Perspectives CD release -
Railway...Groovy Ghoulies in-store - Lucky's (5pm)...
SAT 7 CiTR PRESENTS SHINDIG FINALS! -
Starfish...Soundgarden/Rocket from the Crypt/Pond
- PNE Forum...Musart '96: Improvisor's Forum - Glass
Slipper...Spirit Merchants - Railway...Ratdog -
Vogue...Bughouse Five - Gate...
SUN 8 Musart '96: Ralph Eppel Quintet - Glass Slipper...
MON 9 Emptys - Picadilly... The Princess Yang Kwei
Fei & Miss Oyu - Pacific Cinematheque...
TUE 10 Cory Sobol Group - Glass Slipper...
WED 11 Jonathan Richman - St. James Hall...The Roots
- Richard's on Richard's...Gypsalero - Glass Slipper...
THU 12 Yellow Dog Contract/Funkyard/TGOO -
Starfish...Ray Condo & His Ricochets - Railway...
38 december 1996
FRI 13 Matthew Shipp/William Parker - Glass Slipper...Kinnie Starr/Nefro - Starfish...Ray Condo -
Railway...Ginger - Town Pump...Music Waste Winter
Festival: Green Room/Smack/Maxi Dad's/Helen Keller
- Gate...The Emptys in-store - Lucky's (5pm)...
SAT 14 Coal - Railway...Ngoma - Starfish...Molly's
Reach - Route 66...Driving Blind - Pit Pub (UBC)...Hugh
Fraser Quintet - Glass Slipper...Music Waste: Zolty
Cracker/Cozy Bones/Jazzberry Ram/Terror of Tiny
Town/Spiritual Heroine - Gate...
SUN 15 Joe Bjornsen Quintet feat. Francois Houle -
Glass Slipper...Charlie Hunter Quartet - Richard's on
Richard's...
MON 16 Deftones/Downset - Starfish...Crucified Lovers & Women of the Night- Pacific Cinematheque...
THU 19 Henry Boudin Quintet - Glass
Slipper...Bughouse Five - Railway...Food Bank Benefit
featuring Rooter - Starfish...
FRI 20 Colorifics CD release party - Gate...Kevin
Elaschuk Quintet - Glass Slipper...Bughouse Five - Railway...Noah's Great Rainbow - Starfish...
SAT 21 Chuck Israels/Miles Black Group - Glass Slipper...
MON 23 Grrrls with Guitars - Railway...
TUE 24 don't you have any last minute shopping to do?
WED 25 happy happy blah blah blah...
THU 26 stay homel relax...
FRI 27 Abstract Rude/Tribe Unique - Starfish...Brad
Turner Quartet - Glass Slipper...
SAT 28 Smokin' Frogs/Social Deviantz- Starfish...
SUN 29 Sean Drabitt Quartet - Glass Slipper...
TUES 31 Salsa Brava - Glass Slipper...Uzume Taiko -
Vancouver East Cultural Centre...People Playing Music -
Gate...Jazzberry Ram - Starfish...
eveiythjflfcT np^ tn ]aiow
about
everywnerey
flS-Ba to go
SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE
YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO
(WHO, WHERE, WHEN) TO 822.9364,
ATTENTION "DATEBOOK." DEADLINE FOR
THE JANUARY ISSUE IS DECEMBER 15TH!
ipQ jCOIO
Anza Club 3 W. 8th (Mount Pleosant) 8767128
Arts Club Backstage Lounge 1585 Johnston St. [Granville Is)
Arts Hotline 684.2787
Bossix 217 W. Hastings (at Cambie) 689.7734
Backstoge Lounge 1585 Johnston (Granville Island) 687.1354
Block Sheep Books 2742 W. 4th (at MocDonald) 732.5087
Cafe Deux Soleils 2096 Commercial (the Drive) 254.1195
Cafe Vieux Montreal 317 E. Broodwoy (Mount Pleosont) 873.13 31
Caprice Theatre 965 Gronville (Gronville Mall) 683.6099
Coastal Jazz & Blues Society Hotline (info) 682.0706
Celebrities 1022 Davie (al Burrard) 689.3180
CN Imox Theatre 999 Canada Ploce 682.4629
Columbia Hotel 303 Columbio (at Cordova) 683.3757
Commodore Lanes 838 Granville [Granville Mall) 681.1531
Cordova Cofe 307 Cordovo (Gastown) 683.5637
Crosstown Traffic 316 W. Hastings (downlown) 669.7573
Denman Place Cinemo 1030 Denman (West End) 683.2201
DV8 515 Davie (downtown) 682.4388
Edison Eleclric 916 Commerciol (the Drive) 255.4162
Fireholl Arts Centre 80 E. Cordovo (al Main) 689.0926
Food Not Bombs Vancouver 872.6719
Frederic Wood Theatre (UBQ 822.2678
Gorage Pub 2889 E. Hoslinas (downtown) 822.9364
The Gate 1176 Granville (downtown) 688.8701
Glass Slipper 2714 Prince Edward (Mount Pleasant) 877.0066
Graceland 1250 Richards (downtown) 688.2648
The Grind Gollery 4124 Main (Ml. Pleosont) 322.6057
Hastings Community Centre 2096 E. Hostings (near PNE) 255.2606
Helen Pitt Gallery 882 Homer St. (downtown) 681.6740
Hemp B.C. 324 W. Hastings (downlown) 681.4620
Hollywood Theatre 3123 W Broodwoy (Kitsilano) 738.3211
Hotjazz Society 2120 Moin (Mt. Pleasont) 873.4131
Jericho Arts Centre 1600 Discovery (Pi. Grey) 224.8007
La Quena 1111 Commercial (the Drive) 251.6626
The Lotus Club 455 Abbott (Gostown) 685.7777
Lucky's 3934 Main 875.9858
Luv-A-Foir 1275 Seymour [downtown) 685.3288
Malcolm Lowry Room 4125 E. Hastings (N. Burnaby) 685.0143
Mars 1320 Richards (downtown) 230.MARS
Maximum Blues Pub 1176 Granville (downtown) 688.8701
Niagara Hotel Pub 435 W. Pender (downtown) 688.7574
Odyssey Imports 534 Seymour (downtown) 669.6644
Old American Pub 928 Main (downtown) 682.3291
Orpheum Theatre Smilhe & Seymour (downtown) 665.3050
Pacific Cinemotheque 1131 Howe (downtown) 688.3456
Paradise 27 Church (New West) 525.0371
Paradise Cinema 919 Granville (Granville Mall) 681.1732
Park Theatre 3440 Cambie (South Vancouver) 876.2747
Picadilly Pub 620 W. Pender (at Seymour) 682.3221
Pil Pub basement, Student Union Building (UBC) 822.6273
Plaza Theatre 881 Granville (Granville Mall) 685.7050
Raffels Lounge 1221 Granville (downtown) 473.1593
The Rage 750 Pocific Blvd. South [Ploza of Notions) 685.5585
Railway Club 579 Dunsmuir (ot Seymour) 681.1625
Richard's On Richords 1036 Richords (downtown) 687.6794
Ridge Cinema 3131 Arbutus (at 16th Ave.) 738.6311
Route 66 207 W. Hastings (Gaslown)
Russian Hall 600 Campbell (Chinatown) 874.6200
Scratch Records 109 W.Cordova (Gastown) 687.6355
Southhill Candy Shop 4198 Main (at 26th) 876 7463
Starfish Room 1055 Homer (downtown) 682.4171
Starlight Cinema 935 Denman (West End) 689.0096
Station Street Arts Centre 930 Station (off Main) 688.3312
Theatre E 254 E. Hastings (Chinatown) 681.8915
The Tower 339 W. Hastings (downtown)
Town Pump 66 Water (Gostown) 683.6695
Track Records 552 Seymour (downtown) 682.7976
Twilight Zone 7 Alexander (Gastown) 682.8550
UBC CINEMA (located in the SUB) 822.3697
UBC Grad Centre Gale 4 (UBC) 822.0999
Vancouver East Cultural Centre 1895Venobles (al Victoria) 254.9578
Vancouver Little Theatre 3102 Moin (Mt. Pleasant) 876.4165
Voncouver Press Club 2215 Granville (S. Granville) 738.7015
Vancouver New Music Society (info) 606.6440
Varsity Theatre 4375 W. 10th (Point Grey) 222.2235
Vert 2412 Main (Mt Pleasant) 872.2999
Video In Studios 1965 Moin (Mt. Pleasont) 872.8337
Vogue Theatre 918 Gronville (Granville Moll) 257.6205
Washout Records 29 W. Broodwoy (back of Vert) 872.2999
Waterfront Theatre 1405 Anderson (Granville Is.) 685.6217
Western Front 303 E. 8th Ave (ot Main) 876.9343
Whip Gallery 209 E. 6th Ave (ot Main) 874.4687
W.I.S.E. Half 1882 Adonoc (the Drive) 254.5858
Women In Print 3566 W. 4th (Kitsilono) 732.4128
Yale Blues Pub 1300 Gronville (downtown) 681.9253
Zulu Records 1869 W. 4th (Kitsilono) 738.3232 ceanvERSE
cnncERTS
PRESENTS
WmmmfZeEmmEm^m
IMM^UJ^^.Iil.HMJJ^JUJ^
COUGHING
; ■M I I I ■ I I ■ I I I I I I I I ■ I
&eJ&4u,
THE STARFISH ROOM
DOORS 9:00 P.M. • SHOW 10:30 P.M.
An Evening With
Vapor/Warner Recording Artist
Jonathan
Richman
Wednesday December 11
St. James Hall
3214W. lOtH
Tickets at Track, Scratch, Black Swan & Highlife Record Stores
All Ticketmaster Outlets or Charge By Phone 280-4444 1869 W 4th Ave.
Vancouver, BC
V6J1M4
tel 738.3232
____/
This December at Zulu...
Go The Ho
STORE HOURS
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
■(Christmas Hours I
(OPEN 'TIL 9PM
DEC 16-23
J CHURCH
The Drama Of
Alienation cd/lp
Having logged up lots of miles
ond fans within the US West
Coast punk scene, J CHURCH
shift into top gear with their
latest scootin' full length The Drama of
Alienation. Noted for their dangy guitars and brittle bite, J CHURCH swill a sophisticated and abrasive
mix por excellence! Lights, Camera, The Drama of
Alienation!
16*8 CD l^LP
GUITAR WOLF
Missle Meco/LP
Heat-seeking, stove-top, twangy tunes abound on this
Matador sponsored six-string blow-out! Wow, not since
link Wray has the guitar howled in such a smooth
manner. Ihis big cat's high-octane hooks connot be
coged, corralled or cajoled. Look out sucker, I meon
l^CD lO^LP
DJ SHADOW
Endtroducing cd
HAYDEN
Moving Careful CD/io-iach
In the days of lore, the multi-talented virtuoso artists
performed before courts of Kings ond Queens, yet luckily now their brilliance is ours! Thus with trumpets and
fanfore, we give you HAYDEN - one of Canada's premier indie-songsmiths, a jock of all tunes wilh a knock
for the heartfelt chords. Having practically written the
Coles Notes on the subject, Moving Careful is one
fine case study in '90s love, despair and soda pop-
rockin' good times! Hey, you can get everything you
wont ot HAYDEN's restaurant!
•^CD 8** 10-inch
TRICKY
Pre-Millenium
Tension cd
TRICKY s all over that spooky, |
urban sexuality angle. He gets
into the recesses, the deep subconscious stuff. But the tension
comes from us- the listener, TRICKY justtt
provided. His is a remarkable collage, putting together
what suits him - disparate, unconventional, dark,
engaging. With his 'crooning' and off-kilter beots,
TRICKY has established a sound that parallels the
dynamic urges of o century coming to o new juncture.
TRICKY documents, come listen.
l^CD
Hip-hop historian, a musicol archivist, ond
very crafty with a sampler.
From introspective sound-
scapes to heavy beats, DJ
SHADOW mixes up a fine
disc. While DJ SHADOW pushes limits, defining
his own sound, he respectfully maintains a connection
to the history of music making he is helping to develop. Quintessential!*/ modern, this history is his medium - his source moterial. Check out the good work.
l^CD
VICCHESNDTT
About To Choke CD cassette
Straight to your door from West of Rome, ol'
VIC CHESNUTT delivers his fifth long player- and
major label debut. This follow-up to '95 s brilliant Is
the Actor Happy will leove you drunk from Vic's
trademark combination of blistering ballads and
acoustic anthems.
16^ CD IO58 Cassette
PRODIGY
BREATHE CD-EP
How can techno giants PRODIGY help teach us to
breathe...what is their secret? Big, infectious, loud,
driving beots. Remember Firestarter, move your
feet and the rest will follow...or is it oss.either way,
,it still.
ALAN VEGA, ALEX
CHUTON, BEN VAUGHN
Hi
Hues co
What do you get when you put
three talented and influential
musicians in one studio for two
days? The answer lies in the 12
raw, ramblin' explorations found on this record. VEGA
(Suicide woils while CHUTON (Big Star) ond
VAUGHN alternate between drums, guitar, synth and
piano. Stir and enjoy this rare treat.
l-^CD
RHEOSTATICS
The Blue
Hysteria cd
The perfect maple syrup for
your Sunday flapjacks, Toronto's
RHEOSTATICS are well
steeped in Canadiana, and
equally well versed in harmonious musicianship, f ha
Blue Hysteria wont disappoint, evoking that
RHEOSTATICS elegance and grace in tune with our
rich landscape and diverse cultural tapestry. Classy
guys nourishing the musical mosaic, the Canadian hall
of fame just gat bigger... hello Gould, Cohen.
We're the....
14^ CD
F.S.O.L. [Future Sound
of London)
Bead Cities
with Bonus Book Ltd
CO or Regular
Version CD
Adventurous, obstruct beat
filled ambience and more.
F.S.O.L never pen themselves in. The only 'stipulations'
they dedicatedly respect are constant exploration and
play (hey, are ihese modern conventions?). And
F.S.O.L s sound impresses you, then check out the limited edition 196-page BIG PICTURE BOOK of weird, futuristic images - with computer manipulations galore. Cool,
creepy...cooler.
2498 Ltd CD with Bonus Book
1698 CD Regular Version
60IDED0Y VOICES
Sun Fish Holy Breakfast co-ep
As this is a new month it must be time for another
GUIDED BY VOICES release - thank goodness,
sweet goodness. This time around Robert, Tobin ond
friends have laid down an EP good enough to eat. Time to
wake up and greet the day with a big platter of Sun
Fish Holy Breakfast, with hot coffee and a side of
toast with jom. Bill please...
9^ CD-EP
9™ CD-EP
Prices in effect until December 31,1996
^v ft VviS^M ^^Qo me m°le Damn Ho«*J
'-i- t^—"y ril
r
Zu\m
Cfjristmas
Corner
'COS IT'S 'ROUND
THE CORNER, MAN!
Spike the punch and the juke-box too! Check out
this unique Yule Tide pell mell, perfect for any
traditional or non-traditional X-Mas hootenanny!
Deck the Halls with these and more-
Coclail Christmas - a swingin' good time
Various -Just Say Noel (featuring Beck, Sonic
Youth etc)
Vince Guaraldi A Charlie Brown Christmas
Various - Hardcore Holiday w/Dirty Three,
Killdozer, Engine Kid.
Various - New Wave Christmas w/David Bowie,
Throwing Muses, They Might be Giants
Various - O Come All Ye Faithful: Rock For
Choice w/Henry Rollins, Dance Hall Crashers,
Luscious Jackson..
Various - A Bachelor Pad Christmas w/ Ella
Fitzgerald, Spike Jones, Mel Torme
Esquivel - The Esquivel Christmas Record
Various - Yule Strutting: A Blue Note
James Brown - Funky Christmas
November &
December's
Delectables -
Other New Releases at Zulu!
Squarepusher - Feet Me Weird Things CD/2LP
Smashing Pumpkins - 33 CD-EP Pts. 1&2
Garbage -Milk CD-EP Pts.1&2
Designer (featuring Casey Rice/Tortoise) - Vandal 12-inch
Various - Dubnology Vol. 3 CD/2LP
Various -Reactivate 11 CD/LP
Nurse With Wound - Who Can I Turn to Stereo CD
Seefeel - CW-WMf CD/LP
PJ Harvey - That Was My VW/CD-EP/12-inch
Various - Twang: A Tribute to the Shadows CD
Ghostface Killer- Ironman CD/LP
Pet Shop Boys -Single CD-EP Pts. 1&2
Various- The Smiths is Dead CO
Lightning Seeds - Dizzy Heights CD
Babybird-yj/yfleauWu/CD
Photek - The Hidden Camera CD-EP/2x12-inch
Teengenerate - Savage CD
Dance Hall Crashers - The Old Record 1989-1992 CD
The Stand GT - Apocalypse Cow CD
Rocket From The Crypt - Slate ol the Art NOW CD1
OUT NOW ON THE ZULU LABEL! AVAILABLE AT STORES EVERYWHERE!
*- ^ Wigs And Guns cd
i The awaited follow-up to Lavinia's Tongue is now out! Since moving to Toronto, Sook-Yin's been quite busy composing and
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 1996-12-01
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