S££_E___ THAT MAGAZINE FROM CITR 101.9 FM A6 TRANS AM BOUNCING SOULS GALAXIE 500 ELVIS™ CANTATA II Rita Di Ghent TransAm Bouncing Souls John Acquaviva Galaxie 500/Damon & Naomi Elvis™ Cantata Buy Nothing Day Cub Jen Wood Michael Moore editrix miko hoHman art director ken paul ad rep kevin pendergraft production manager barb yamazaki graphic design/layout jules d, ken paul, suki smith, barb y production chris enq, erin hodge, jesse prouafoot, suki smith, tristan winch photography/illustrations barb, cobalt, andrew dennison, eileen gladue/ lori kiessling, suki, / kaitaylor contributors andrea, barbara petra a, james b, chris c\ lisa c-w, michael c, julie c\ reuben c, christina, bryce d, jason d, jules d. chris e, matt e, karen r, frank?, andrea a, gordon i, gth, lee h, pieter h, sydney h, thomas h, jono, anthony k, kellie k, namiko k, paul k, lloyd, gemma I, adam m, clinton m, janis bmc, siobahn mc, dj noah, nardwuar, jesse p, ken p, kevin p, brian r, June s, sara s, suki s, dave t, jim v, brian w, fern w program guide namiko kunimoto charts megan Im, barb y datebook [•yan ogg distribution matt steffich us distribution Cowshead Chronic; VancouvXSpecjai 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 1176 GRANVILLE ST, 608-GATE DECEMBER CALENDAR FRI. NOV 29th NOAHS GREAT RAINBOW ..SAT. NOV FR|. QEQ 6th COZY BONES 3Qth GREEN ROOM & SILICONE SOULS SAT. DEC 7th BUGHOUSE FIVE WITH GUESTS FROM PORTLAND, OR STARLIGHT TRIO m.^Wi FRI. SAT. DEC 13th. 14th MUSIC WASTE WINTER FESTIVAL 13TH: GREEN ROOM.SMACK, MAXI DADS, HELEN KELLER 14TH: ZOLTY CRACKER .COZY BONES, JAZZBERRY RAM, TERROR OF TINY TOWN, SPIRITUAL HEROINE SUN. MON. DEC 15th. 16th BLUES FOR CHRISTMAS BRAIN DAMAGE, THE TOASTERS. JOAIUIE BYE S THE HOMEWHECKER3. CLOUD NINE, POWDER BLUES. COLIN JAMES HANS STAMER BAND, LONG JOHN BALDPY, MUD BAY BLUES BAND, THE WORKSHOP. DOC FINGERS BAND, GAIL. BOWEN & STRAIGHT -UP.INCOGNITO, TIIWI HEARSEY BAND. JIM BYRNES. BLACK CAT BONE, WAILIN WALKER FRI, gOth COLORIFICS CD RELEASE PARTY FRI- S-A-T- 27th SSth THE REAL MCKENZIES megsie discorder on-line ben lai publisher linaa scholten 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. Circulation 17, 500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 USD; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make checks or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the January issue is December 6th. Ad space is available until December 13th and can be booked by calling Kevin at (604) 822-3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. From UK to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well om through all major cable systems in the Lower Mainland, except Show in While Rock. Cal the CiTR DJ Ene at 822-2487, our office at 822-3017 ext. 0, or our news and sports Sne. at 822-3017 ext. 2. Fax us at 822-9364, e-mail us at GTMUNIXG.UBC.CA, visit our web site al http://www.ams.ubc.ca/dlr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1Z1. Printed In Canada BAD SWING ■ith THE O.I. BLUl EVERY MONDAY XST ROUGHCUTS &SQ 2 AM) IMD/VYS ° g-lT"" BY ART BlEWGWA"l\lN IP'Sme OPEN STAGE FOR BANDS fDRUIYUSiE iPM) No flrp PERS eoV£ N IXCOttS'sTTc OPEN STAGE FOR ^'^ep.cSthLVan. Musicic EVERY WEDNESDAY PAPERBOYS rm WITH GUESTS VOLCANO THURSDAYS CUTTING EDGE NEW ROCK HOSTED BY GRAHAM SCOTT Nov 28th: Mystery Machine deariM 233-6138 SUB Blvd.,* Vancoweiv B.£. V6TJZJ 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 _M_fl_H___i- >■">■_ P DcMTifm'-A Jsi • •1 U %.... ~M c ■. ii 1 WfU- www.nettwerk.com i Show your student I.D. and get 10% off Rose Chronicles Happily Ever After, Grassy Knoll Positive, tu- t«^- n--,*,.., r- d- /i- a / di;„j 77,- n~;~nuj r>„../ n;.,;,v- Tilt *'t HA'R*GaVdEN V:0 y ^ and Download The Eyes ot Stanley Pain and Sidewinder EP. Offer ends Dec. 15,1996 [: '-". *E RELENTLES: WIN ONE OF 5 NETTWERK download LONG SLEEVE T-SHIKTS Come to Zulu on Saturday, STORE HOURS 1 /fl November 30th and be one Montowedio:3o-7;oo u#k . it r . ,nn i Thurs and Fri 10:30-9:00 # ii ' fl* of the first 100 people to Saturday 9:30_6:30 f '9 receive a Nettweilt Rooclie bag! Sunday 12=00-6=00 | T?zccWD& 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 Don't be a shmuck call today Phone 669-7562 or fax 270-0026 pager 252-5648 (between 6am - 6 pm) l5 ®Jg£3Sl3SB featuring: 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. FREE PIERCINGS With a jewellry purchase you receive a free piercing by Canada's most experienced piercers MACK'S LEATHERS 1043 GRANVILLE STREET 688-6225 THE EXPERIENCED PIERCERS 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 MUSIC COMICS 3934 MAIN @ 23 RD VANCOUVER! 875-9858 Christmas Schmistmas... [ Blues Explosion "Now I Got Worry" 11.49 lp I Evaporators "United Empire Loyalists" 8.99 lp & cd Tortoise "Millions Now Living Will Never Die ..." 12.50 lp | Groovy Ghoulies "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" I Wesley Willis "Greatest Hits" 13.99 cd I Zumpano "Goin' Through Changes" 14.50 cd | Cub "Box of Hair" 13.49 cd I COMICS...DC, MARVEL &|call for info on 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. VJUaCTMM lOAU'SHHINDEGEOaaO UXtahml ttJ-n-jAI—nrto 24Joao Donab 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 ' Dao/Suidoy -.jIMcW&cdus Hof__ylWinlHcWWIdi.YouhE^r Rastam an/Repatriation 54-46/Congo Man Chant No Hav Prod-no (No Problm) I Tri»d/Raslaman A Com* Ca«M./LrfsG*l*On Hom b WW. Th Ha»d k/ftc9* TV. ifa) Raw Bot Yam/Som.day W.'ll Mm( Agar Soul of Min. florD»Maraaaija/ I Want You (Sh.'s So Hwvy) [Orig.Vwvl Giant Stap 12" 2 P.cpl.G.t Ready (Paul Jackson Jr.) Blu. Note 50 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 ai-KiwVfaUnlin 32.CSodi.S«uUda 33.TbnyR.my J5M. Th. Brick Vroll I Shot Th. Sheriff (On. low Tribute) A.C. Esp.ciol/Vrt-l-i Th. Rid. African Bird/Superstition .Naqrocan Alrican Bird/Superstition 3oDby Hutdwnon/Th. Roots Montara (Th* Rmix PtomcI) \_l__ c- c 1.1__ __ ro rV__ 37.V_.ri. Simpson M.bro- Vibration 39-NuYbricanSoul/Gw.Bi 40-B»r_ Hammond 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 «l_tdki 52.1h. N.F.L Horns Prowd 53.T_PWk.-Wa. So-Ord,. VWYfe-lADfln-nAI Fools Ulc.M. (Ray CW) Broker's Kmdv 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 And H* Cakd Kms_f A M-Mngw Atomic Donc.Wik WxxWUkW Th. W^t* Girlrn«id's Boyfrimd Keep It h Th. Family Rub II FUr. Rub » TUr»/From A S ta Sow.*-*. (Hot) Why Should I Car. SumrnvMadiwsslMawMix) D~So_il2'M<l « D-fScAlUK) 43 Blu. Note 53 Hush Enl. 5 Afro IomAU Manwa (Subway Mix) WWh**tADfr«_ADoyMa-J» t Your GiH Only Kh«w (R«nix) _mmy Boy 12*33 lofoc. 97 GRP 12" dsUp RMM Sundays 7-9Pn CJV8 I470AM 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- I o*ci I.*m4 *•*•»'**■* fj.vl wW* fleJt always *KU , Sk_ *,_4 -eJk, ,,-c_ «.,, <U.,^ v. I l*.'«l «*. U, 4\ yUfy, ()»,«* f. i*v« * C£<«--*- -thv-st. ^sfigwU-, !-"««■? I w«h u iM-Th-cUva f^ofU^ ed JV« full £w>. tv«r _-.j9|#&e far**.!) w**£jlSr''****"s $««■*** r° f\ *S^*-*W| wk*« 1 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 Vr^ \,f< confess.o*. U, L-_a Tw,'« a CV^ll, o* +U.J cjt,u wk0 ,*, V ■*.«."«) fv«nu Mt (j*-? WaJ wk_, pu>pli ai^ $ V,, fU^'' \/. b-wkiFbaH {.."Ar, y* aj*J^l*f* fk «Kr Aa^ ^r.'tr-Jt fan, Ufa Kfetibftg eW- \ kU CW wA • W9t jrMa <el<**W o*** 1*. **Mm. hope Htff (,( was look-'n' &J* £»r KI«f»Ji»n«. w*VcS. h-t-i-^ 1 wCK#Wr ii U<. rt*>,i^i>tr-r »,_. **< <'«jo»iaHT wpul ft-fHfJJ 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, CRUST, POP PUNK and POWER VIOLENCE. Attention 'zine geeks! We've got lots of punk personal and political zines. We've got mini comics too fucko. to the back of Vert 19 W. toadway Vancouver, U. ($04) %71-im 33 n^feiaEiia Real live! Atornos bowlin* in akshun her tiny face, a tight, red-collared, preppy shirt, and great black boots stiffening her to the stage. Cindy's set seemed to be fraught with technical frazzles. She didn't seem pleased with her guitar, which apparently she is still trying to tame. No matter. She was a Sacramento girl who asked, "Who won the fight?" (not Tyson!) but when she sang her voice was gorgeous — breath fluttering near the mic. One of my favourite songs on Untitled, "Holland," is sung with Bill Callahan of Smog, but was left off the set list, which was unfortunate but probably for the best, since Callahan was not a part of the tour. I have heard people accredit the style of Cindy's songs to Callahan because of their close relationship, but I think that does her an injustice. Her songs are also gloomily introspective, but she sings from a girl's eye view — and unlike the Smog songs, hers are injected with a tiny drop of hope. If I attempt to make florid my memory of the Palace show, I'll only end up sickening myself. Palace is boiled down to Will Oldham, child- prophet from Matewan, and the words he speaks. His band is never consistently made up of the same in- :$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? % * YOUTHCO'S P OUTREACH PROGRAM (POP. IS RUN BY YOUNG PEOPLE | LIVING WITH HIV I OR YOUNG PEOPLE LIVING WITH HIV. 11* YOU WOULD LIKE TO KNOW MORE ABOUT IT THEN CALL US ON OUR PRIVATE & ANNONYMOUS PAGER 650-2649 because we're ail in this together. hell, we might even go bowling! Yes! Send me DiSCORDER! And the CiTR Sticker button Name Street .. . City . | _, __ £ehd cheque or l money order to: | Sabs c/o CiTR Rnet!|2%6138SUBBlvds . Vancouver, BC ~ I V6T1Z1 Province _ Postal^ $15 Canada • US$15 USA • $24 Foreign - vy 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
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1996-12-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1996-12-01 |
Extent | 40 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1996_12 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 50bcab2a-2bec-4b22-9079-78f532eff56f |
DOI | 10.14288/1.0050253 |
AggregatedSourceRepository | CONTENTdm |
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