Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-06-01

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 THAT  MSAZlNf   FKOm cur um.* ftR
billy   rtiABrir/
Hiatus ^ ^mrc ^ ^international
06 1 25
^  L'" x**' ''- ^H
06 127
06 1 28
06 1 29
06 I 22    Ex-Centric Sound System / Velvet
06 I 23    Cinematic Orchestra
DJ Serious
06 I 24   The New Deal / Q
DJ Ramasutra
06 I 26    Bullfrog featuring Kid Koala
06 I 30   Trilok Gurtu / Zony Mash / Sex Mob
06 ! 24   Cinematic Orchestra
Broken Sound Barrier featuring
Graham Haynes + Eyvind Kang
Kevin Breit "Sisters Euclid"
06 130
^telus- JAZZ HOTLINE 872-5200
The Vancouver Sun
^ du Maurier jazz fMfrTrW)
gay girls rock the party by elvira b p. 10
drums are an instrument, billy martin by sarka k p. 11
mirah sings songs, by adam handz p. 12
atlas strategic: wieners or wankers? by lyndsay s. p. 13
bleepin' nerds! autechre by robert robot p. 14
moka only is one tall dude by chris t. p. 15
good morning Vancouver p. 5
kill your boyfriend p. 5
dear airhead p. 5
culture shock p. 6
7" p. 6
Vancouver special p. 7
strut & fret p. 7
under review p. 16
real live action p. 20
on the dial p. 22
charts p. 24
kick around (comic) p. 23
fucking bullshit! p.25
datebook p. 26
moka only is a west coast hip hop
guy. chris taylor took the photo
and lori k worked the magic, she
rules, he rules, they both rule the
fuckin' school.
Lyndsay Sung
"what the hell did i get myself
into!!! je-sus chrisssttf!"
ad rep/acid kidd:
Maren Hancock
tennis champ and waterboy:
Lori Kiessling, Matt Searcy
hot eyeballs:
Christa Min
soup express:
Ann Goncalves
dickin' around:
Steve DiPasquale
Lori, Matt, Lyndsay
photography and illustrations:
Chris Taylor, Robert Robot,
Scott Malin
Super Min, Ann, Lori, Lyndsay,
Jason, Julie, Lucas, Chris, Rich,
special props:
Randy Iwata,
Brian Mayson carpool guy!
on the dial:
Bryce Dunn
Luke Meat
Matt Steffich
us distribution:
Lindsay Marsak
Linda Scholten
© "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
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DEADLINES: Copy deadline for the June issue is May 16th. Ad space is available until May 23rd
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e-mail to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017
ext 2. Fax us at 822.9364, e-mail us at: crrrrrxy@ams.ubc.ca. visit our web site at http://www.citr.ca or just
pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
printed in Canada
Events at a glance:
\YJUNE4- ^guerilla pres
s Blue Note signed, Parisian-based tru
—, Sophia Books, Black S —
guerilla & SOPHIA Bk,w->
mpet player Doors 9PM/$15/$12 ir
Boomtown, Bassix and Highlife
''   ' ified west coast hip-hop drops tl
pm/ $12 before 9pm - $15 after - no
J DUB @ inSICe • An Apex Production
awayl D
Club: [604] 683.6695
Fax: [604] 688.5953
3 E^g£g©as  dear airhead
Pear discorder.
He in Capozzi Park have wracked <
collective brains trying to recall the "unclassy"
comments your reviewer attributes to us in their
Jad Fair review. All that we have come up with is
that Max said "Op next, Human Rodeo!" and I (mark)
said "I think that's Adult Rodeo" in a dry tor
which those who know me recognize as a speech
impediment. In the earlier (unfashionable) part of the
set, for some reason I kept quoting the MCS's revolutionary
rabble rousing stage banter. Doctors tell us it was in
some ways a form of stage presence. They add that a few weeks
at Presley Memorial should have me jumping about like a
frog's leg demonstrating the galvanic response.
We have the greatest respect for Jad Pair and Adult Rodeo
and thank them for 'sharing' their rider with us. We have no
idea what we said on stage that your reviewer interpreted as
being against them. We are elderly and forgetful, but rarely
Love, Capozzi Park.
VANCOUVER!!! This is
what I say each morning (or late afternoon) when I
lower my head and exit the
hobbit hole that is my home.
Into the sunshine I go, with a
little saying titled "celebrate
life" held tightly in my fist,
thrown at sour faced, jaded
and/or cynical Vancouverites.
Hello everyone. My name is
Lyndsay Sung, aka Lyndsay
Shat and I welcome YOU to celebrate too. Right now you are
thinking, this has got to be a
joke. Nobody named Lyndsay
Shat can celebrate life! Not with
a ridiculous nickname such as
L.Shat! Sorry to break it to you.
Shat is in the house and life is
here to be celebrated. So how
can one celebrate? Lessee. Start
by giving a friendly nod or
smile to a complete stranger.
This is called "spreading the
magic." Some people truly
believe that I am a balding,
tweed blazer and jeans-wearing, 43 year old, happy good
times high school counsellor
stuck in a Chinese indie rock
chick's body. I say stupid shit
like "spread the magic," I perform modern dance and '80s
jazz dance moves anywhere
" le, and I'm all about hot
dogs, movies and smooching.
Okay. Also I would like to say
thank you for reading this magazine, currently we are looking
for people who are interested in
a roller skating party at
Stardust Rinks in Surrey. I got
to go there on numerous occasions as a child. It's a fun place.
So if anyone wants to put acid
in their eyeballs and hold hands
and backwards couple skate to
Def Leppard, drop me a line. I'll
do everything except the acid
part. Cause acid is so '91.1 hope
it doesn't make a comeback like
it's lame sharply dressed half
stepbrother cocaine did.
Talk to you soon,
Love Lyndsay
One of the great things
about being a comic
junkie is going to other
parts of the world and finding
comics, or having comics from
other parts of the world find
you. It's a universal language,
A recent find was the Israeli
comic Bipolar. Created by twin
brothers Tomer and Assaf
Hanuka, the comic came
together in a novel way.
Separated at a young age, the
bros have re-united to do
Bipolar. It's intriguing.to see the
two similar art styles even
though they grew up, independently and uninfluenced by
each other. Translated from
Hebrew, the first one was written and drawn by Tomer. Titled
"Time Strips," the piece is four
two-page snippets: the life of a
kidnapper; two kids Who love
comics; a painter and his cats;
and a solider. The story has no
form but is sweet in a sparse
way. It left a lot for the imagina-
tion.Tomer has a sketchy and
chunky style that is similar to
the unruliness of- Teddy
Kristianson's, the guy who does
House Of Secrets. Assaf's story,
"Kamikaze Pizza" was my
favorite of the three. Starting
with one man's funeral, we
learn what the afterlife is like
for people who commit suicide.
Seems like the afterlife is pretty
much like here—the bleakness
of real life with a twist: you're
dead. The writing was a bit
blase, which added a sort of
dark humor. Assaf's drawing
style is a lot cleaner and a bit
more realistic. I also like how
the main character of the story
was always in the peripherals
of the panel. It makes you feel
more involved in the story. I'm
looking forward to upcoming
When I'm in the comic
store sometimes people will
come in while on vacations
with their comics to sell.
Wishbone was one of  those.
Done by Adam Jamieson from
New Zealand, Wishbone is a
stylish package, from its two-
tone cover to its French, clean
line style. I say French, clean
line style as it's fairly reminiscent of Herge (Tintin). But
Jamieson adds his own flourish.
Everything about it reminds me
of autumn because he excels at
drawing falling leaves and
pieces of paper blowing in the
wind. I'm glad he had the foresight to bring his comic along
during his travels. It's a story
about a community, about love,
and trying to tell the future.
I just went to London, UK
and although everything there
was dead expensive I was
determined to find at least one
British indie comic. I did find
one I liked. The Book of Sleep
was done by Gabrielle Bell. The
first story was about how she
had a dream that she met Julie
Doucet (Dirty Plotte). Telling
because her style is a more simplistic, cuter version of Doucet's
with a dash of Dame Darcy. At
times she manages to excel past
the boundaries of her style. In
one story called "March of
Despair" there's a roundabout
chaos of black panels telling
more than one story. Wispy and
creepy, the stylized people bend
every which way. My favourite
story was "When I'm Old."
"When I'm old I'll experiment in
drug abuse and always share."
Rarely have I seen anyone do a
comic about being old in such a
positive light. Reading that
made me feel a bit better about
the whole aging thing and I
appreciated it. After finishing
this little gem I found across the
ocean, I noticed her contact
address was in San Francisco. It
still cracks me up.
When I went to San Diego I
hooked up with Jordan Crane
{Non) again and he pulled a
Robin. He took me to the
Highwater Books booth and
piled comic after comic after
comic on me. I bought quite a
few, but my favorite was M/7rw
Mjau. A Finnish comic written
and drawn by some guy named
Jason. I got issues #5 and 6.
They were all silent and mostly
about tall skinny animals or
crows. They had the same
goofy and clever way about
them as a Louis Trondheim
(Nimrod) character. The stories
are brief, usually one or two
pages and simple. A skeleton
rises from the grave, does some
stretches, notices it's raining
and grabs an umbrella from
the coffin, fini. Some of them
are cute. Like DV vs. TW —
that's Darth Vader versus Tom
Waits.  There  ;
utterly charming and enjoyable.
I just wish I spoke Finnish so I
could learn more about him.
Good news though, he's going
to be in the next issue of Non.
Turns out he's one of Crane's
favorites too.
Some were international '
and some weren't, some
required a bit of travel and
some came to me. The worst?
You're probably going to have
an impossible time trying to
find these. So here are some
addresses in case you liked
what you heard. Bipolar:
www.thanuka.com. Wishbone:
Adam Jamieson, PO Box 5722,
Wellesley St., Auckland, New
If you are the motivated and efficient
superstar we seek,
please forward your re
s wfggsrmm anthony monday:kuwaiti correspondent
Queeries and Conundrums of
the Pacified. Or How I Learned
To Love Electroshock Therapy
I guess there reaches a point
where the culture shock
stops shocking, and you get
used to the electric stinging.
And you almost enjoy the
sticky feel, like electroshock
therapy gone horribly awry.
Like those cases in the 1950s,
when, in an attempt to cure
homosexuality, they showed
Fifties Faggots buff, beefcake
muscle men and then gave
them an electronic shock, trying
to associate arousal from someone of the same sex with a
painful sensation, thereby curing the deviant desire. Except
the whole experiment—
strangely—backfired, and it
actually only bred a whole
bunch of men that couldn't get
off without electric shocks, and
a schwack-Ioad of Ward
Cleavers were found dead with
their cocks stuck in a wall socket with pictures of Mr. Universe
in  those skimpy square cut
bathing suits spread all around
them. Sadly for me, I don't even
have pictures of Mr. Universe,
and I can't remember what that
whole opening paragraph was
supposed to be illustrating. 1
guess it was trying to show how
one acclimatizes to culture and
the things around us, albeit in a
hugely metaphoric, roundabout
sort of way.
■ digress.
When I arrived here, I
noticed a pace of life so slow
that all afternoons were spent
not moving because it was too
hot. A place where goats lazily
chew the scrub outside my window, and even an autistic
budgie seems somehow hugely
exciting (Allah rest his crazy
nervous ways, and his cotton
socks too). A place so slow that,
coming from the fast paced
-orld, <
tively laid back (read: lethargic)
pace of Vancouver, it felt like I
was screeching into this country
at 4000 miles an hour and only
had my ass to use as a break.
And it was as if,   I screeched
into Kuwait, dust and sheep
and goats and old men smoking
the Hubbly-Bubbly pipe all
acted as friction—speed bumps
of sorts—to slow me down. But
I was travelling so fast I
dragged them along with me,
and we all ended in a heap at
the end of the runway, my ass a
sore red mess. Now I haven't
said THAT in a long time... that
was in bad taste, yes, I know,
but hey, this is MY column. Get
your own goddamn column
Anyways. I digress. Again.
And only now, the butt
scabs of such a culture shock are
healing, and the past eight
months have been a slowing
down to this pace. Now, I walk
comfortably with the goats and
sheep, and it isn't a novelty
anymore. Now, I smoke the
Hubbly-Bubbly pipe with the
old men and can order two
chicken shwarmas and a Pepsi
in Arabic. I don't even notice
the hideous injustices of the
workers, nor the status of
women.    Anti-Consumeristic
sentiment? Pah! I live in a country that produces 25 million
barrels of oil a day, each one
selling for approximately $40.
(You do the math.)
I don't even blink when I
see the bright yellow road-signs
that say in bold Arabic and
English: "Caution: SPEED
Leads to Prison or Death." I
now take it as an anti-speeding
warning rather than a Narcotics
Anonymous adage.
God. I have become so
fucking boring. I might as well
take up the computer cleaning
fluid and get down with
Destiny's Child like the rest of
the banally boring Top 40
droids who live here. I hear it's
the rage. Everyone else is doing
it, it would be punk rock not to
do it. Is living in Kuwait my
punk rock dream come true?
All I know is that I have
stopped dreaming of students
(well... not entirely) and instead
have "packing dreams."
(Which, were they to involve
students, could also be fun.
How would I feel if that rock-
hard 18-year-old I see in the
playground came up to me and
said "Hey, sir, are you packing?" Hmm... oh... right... the
column... sorry, another digression.)
Sexual references aside, I
have truly begun to dream of
packing (my suitcases). Of laying my life into a box and waking up in the wet coolness of
Vancouver. I have begun to
have fantasies of wading into
the cold Pacific, taking deep,
deep breaths, like I was giving
birth, the water only barely 10
degrees. I want to see the water
go from clear to muddy as the
dust washes off my skin, from
out between my wrinkles. I
want rain. I want constant
cloud cover. I want to wear a
Would you blame me? This
morning when I left my house
at 6:30 it was already 27
degrees. When I left school it
was almost 40, and I just don't
see that as hot anymore. I don't
notice the sweat on my back, or
the burns on my arms.
I guess I have just come to
a point where it's just not interesting or inspiring anymore,
and that maybe, just maybe, I
want a beer. I want a beer, without worrying about whether or
not I am going to get my hands
chopped off if people find out I
smuggled a single can of
Heineken into the country.
And I want to go to a public
bathroom knowing whether or
not I am going to have to spray
my ass clean with a hose-pipe
or wipe it. I really don't care,
nor do I feel like judging either
as a means of cleanliness or not,
but I do want to know. And I
want to walk past a fast food
joint and not see the rich fat
ladies stuffing their heavily
made up faces as if a McBurger
were haute cuisine, while their
maids try to control a four year
old that already understands
that she/he has more social status than the woman trying to
tell it to stop throwing fries.
I want to be able to walk
down a street, any street; I want
to get on a bus, I want the overly sickening courtesy of wait-
rons, and I want an automatic
culture that allows me to get
money and spend money on
every street corner. I want street
corners, not the dusty dirt
roads. Is it so bad to want the
Western world? Am I selling
out to globalization if I say I
want to visit a dollar pizza
store? Am I heinously and
hideously euro-centric if I say
that I want to go to a nightclub
and have casual sex offered to
Is travel responsible for all
sadness? For the overthrow of a
million cultures? I guess I am a
post-modern imperialist: the
culture I don't want has dominated me. I find myself curiously attracted to electric plug
sockets, and I just count the
days until I can leave, not be
laid down low and slow by the
goats and sheep and ever-pre-
Thirty-three more days.
Then I get to whine about my
own culture.
I am writing this column only
because 1 am sick of hauling
my stash of records around
in my backpack all day everyday as I search for a new home
and a little bit of the good times.
This special batch of records differs from most of the ones I deal
with, in that I laid down the
cold hard cash (or credit, which
was it?) for some of these, a
choice I have been regretting on
more than a few...
Don't get me wrong. Ain't
nothing troublesome about supporting your favorite artists,
and perhaps a few unknowns
every now and again. But to go
into the purchase blindly, recklessly even... well that's another story. And then there's old
weaknesses, the ones you know
are going to suck so bad but
you just can't say no. I'm sure
you all have a few very unloved
records in your collections, still
shivering in shrink-wrap, serving only to complete a whole. I
work in a record store. I've seen
you all trying to hawk off your
lion's share of jungle poo once
you realize the life of a collector
is really no life to live. I'm
beginning to learn my lesson at
a fresh young age. I can handle
6 JUNE 2001
living without some of this
crap. I shouldn't want to imply
that all is junk but instead will
direct my distaste and useless
poo-pooing in the direction it is
due. I guess that means it's time
to take Manda Rin down.
I spent many a year being a
freaky bis fan. If you insert
"too" in front of "many" in that
last sentence, it'll look like
something any one of my
friends has said to me at some
point in time. I need to stop
insisting that they're wrong. Bis
has become a stinky shell of the
joy it once was, a group of rambunctious teenies with attitude
and bad drum machines. Now
the band thinks it's cool (a
vision undeterred by Grand
Royal giving the band the boot),
and we're stuck with, brace
yourself, side-projects! Now, to
tell the truth, I might get kinda
giddy if the boys handed me
new works of musical sub-
genius, but what I gots this time
around is a little platter dished
out by miss Manda Rin and her
ker Ryan, he of Discount, some
unremarkable band. Together,
as THE KITCHEN (how lame
is that?), they make remarkable
music, if only because it
pits. Bad sound quality
even take the whole blame,
as the beats and lyr
are stank-ass as well.
True,   1   will  not
pawn off my bis
before   n
though,     I
suspect     a
will help m.
dispose of it
all in a prompt,
painless manner
upon my
Oh, if you still
this, contact Damaged
Goods, home of many better   projects.   (PO   Box   671,
London, UK, E17 9GH)
Other unremarkables?
HOLY MOLAR sounds like
fun, and I suppose it might be
for the spazzoids among us.
This iiber-joke band, hosting
members of The Locust,
Crimson Curse, Swing Kids,
and more of that GSL west-
coast crew, purports to be per
forming live at a penitentiary,
and offers up a brash noise
assault to the ficticious inmates.
Considering the between-song
banter is all that's at speed for
human ears to decipher, I can't
tell you much, other than these
guys think they're shit-hot
funny. And the cover art's cool,
with a rooster and a tooth in
following in the no-wave sj
tradition, the band's song titles
are all really long and make no
sense in a clever sort of way.
(Three.One.G. PO Box 178262
San Diego, CA, 92177)
Something actually on the
GSL label did me better, a little
record called Feverish from a
band called  THE PATTERN.
Slapping it down on the
turntable, I marveled for a full
three minutes at the singer's
remarkable ability to steal Chris
from the Peechees' voice. Then
I looked at the cover art. Well, at
least he's keeping busy. This
don't sound nothing like the
Peechees, it's kinda funny rock
style, but I'll call it nearer to
quality. (Write to the band - PO
Box 12691, Berkeley, CA ,94712)
Running out of space and
forgetting to cover the good
tuff has become my way, a
sad statement on my better
ability to dis than praise.
Well, brace yourselves for
;ome bonafide praise-
worthies! HEART
Portland band that gently does you right on
the 921 three-song single. These sweet soft
dirges will gently
impress upon you the fact
that girls know what's up.
a local label, too!
(Scaredycat Records, PO Box
21543, 1850 Commercial Dr.,
Vancouver, V5N 5T5)
LES SEXAREENOS continue to kick it fine-style for all
those who want to rock in a
dancin' way. I couldn't care less
what band these dudes used to
be in, I just want to grab their
"Can You Do The Nose
Mustache?" single, and the
other new one that Bryce has
but doesn't share, and shake it
up! Yeah! Anyone gonna lend
me a tambourine? How 'bout
one of those shaky chicken
eggs? (Telstar, PO Box 1123,
Hoboken, NJ, 07030)
RED MONKEY'S got singles down pat, the newest being
a split with local punks SUBMISSION HOLD. Never the
hugest Submission Hold fan,
I'd call myself converted after
listening to their contribution,
"Motherfuckers and Beans"—
flutes and banshee vocals
belong to punk music! Red
Monkey's "Subculture" is
another political cyclone, and
I'm ever ready for more. (Radio
One, PO Box 1729,
Collingwood, Victoria, 3066
A few final noteables...
Killed By Absurdity Vol. I is a
stupid record compiled by the
dude from the Cimmeron
Weekend zine, a record filled
with stupid songs by stupid
people. Among these "found"
tracks, possibly better off left
festering, you'll find a cute kid
singing about Mexican food
and a very terrible cover of
Toto's "Africa" as sung by a
very big choir. Dang. (Failed
Pilot Productions, PO Box
820912, Memphis, TN 38182)
Last one, I promise, is a
and E*VAX, two hot sweet
glitchers. I don't know a thing
about either, besides the fact
that everything released by
both rules. True. Very true. This
split is no exception. (Audio
Dregs, PO Box 40572, Portland,
OR, 97240-0572) FELIX CULPA
Thursday, May 10
Studio 16
1he   only   possible
■ resistance to a cui-
JL ture of banality is
quality," says playwright
Howard Barker. Both his play
and this production radiate
quality, so I'm still wondering
why the tiny theatre space was
barely half full on the closing
weekend. Granted, Barker's
work isn't as well known here
as in his native UK, but come
on, people. Word of mouth
alone should have had packed
houses going from a few days
into the run.
In Und, Barker constructs an
artificial world so tightly sprung
that everything zings. I willingly crawled into it and found
myself making my own rather
fragmented sense of things.
There were a few highly enigmatic bits of script, which kept
circling me without becoming
any clearer, but they hypnotized
rather than irritated.
Set designer Kate King's
vision of this world is a flat-out
work of art. The title character is
pinions to her parlor by her own
massive skirt, the hem of which
is caught up and attached to the
ceiling. (What's with this image
of females hamstrung by their
pretty dresses? There was a
photo series at Artropolis 2001
featuring a woman in a strapless
ball gown whose folds were
caught up with puppet wires.)
Linda Quibell plays Und
like a thin-skinned Dorothy
Parker trapped all alone in some
hellish Algonquin Club of the
mind. In some passages, she
comes across like a Jane Austen
heroine who's been dabbling in
Dada. There are other ways she
could have done it, but I still
embraced the choices she made.
Her performance is as elegantly
The ambient humming is a beautiful
nightmare and the sound effects slice
through you like an icy-cold knife.
A hanging tea tray swings like a
metronome as she makes
increasingly elaborate rationalizations for a gentleman caller's
lateness. King also has teapots,
tulips and writing implements
buzzing down from the ceiling
on slanted poles.
Patrick Pennefather's
soundscore is as deliberate as
the visual design yet feels totally organic—as if it were the
play's breath. The ambient humming is a beautiful nightmare
and the sound effects slice
through you like an icy-cold
mad as the script.
Heaven (and of course,
Parker) only knows why the
woman is named Und. It's the
German word for "and," so perhaps comments on the fact that
at least half of her immaculately
witty s
ished because she keeps interrupting herself.
When the anticipated caller
finally rings her bell, Und
decides to engage in a war of
will and refuses to let him in.
Knocking and ringing become
banging and clanging until he
sends her a note with the single,
accusatory word: Jew. Still she
witters on about his soldierly
nobility and finesse even as he
begins setting fire to her house
and lobbing bricks through her
windows. If this is indeed her
guy, he's obviously a Nazi thug
and it becomes comically clear
that a less "intelligent" woman
would never have become
involved with him in the first
place. Things can go under
one's head as well as over—and
Und is definitely imprisoned in
hers. In this sense, it doesn't
really matter which of the
events and people in her world
are real. The complex mechanics
of her self-deception seem to be
the point here, and they are all
the more horrifying because in
less exaggerate ways, they're
There is also a suggestion
that Und has been waiting to
self-destaict all along. When she
realizes that the caller is going to
kill her, she goes willingly to let
him in. And I sensed a shiver of
pleasure in her capitulation; as
if the whole thing was a fulfillment of an erotic fantasy—kind
of like "dating down" but with
really high stakes.
As I riffed away on these
ideas, I knew that none of them
led to a consistent interpretation
but it didn't seem to matter.
Even fragments can be
immensely satisfying when
they're dangling from something this fine.
DiSCORDER searches
high and low for
volunteer web
hey! you there! are you one of those kinds of
people who sits in front of your computer all
day and eats chips and drinks soda, plays
Magic and masturbates? if so, stop reading
this ad right now! we don't want your kind
anywhere NEAR us! but hey, the rest of you:
DiSCORDER is looking for a volunteer
web coordinator, that's right, someone to
do a monthly update of our online mag and
keep it looking all sharp and, well, up to
date, if you're sitting around, bored, drinking soda and playing Magic... like I said,
don't bother, but if you are into independent
music and culture, have a sense of humor
and are a computer genius (who also ISN'T a
gamer) then call lyndsay at 822 3017 ext.3
and maybe we can hang out together and
check out Games Workshops. QUIT IT! I said
CD-EP/12"   Out May 22nd 2001
Fat Wreok Chorda P.O. Box 193690 San Pranclaco, CA 9»119
•nrww.mxpx.ecxa  •
' 280-4 .  I
■■■ : vu    :       ■ ■ : for    Vendetta    is
composed of two smart, wacky
ladies from Providence, Rhode Island. Both do their
take on melodic experimental rock that is both engaging and energizing. The following conversation took place in Bellingluim where V for Vendetta
rocked the house.
V For Vendetta is
queer math rock
DiSCORDER: So how would you musically describe V for Vendetta?
Michelle: We fight about this all the time.
Cara: Go ahead, you say your version first.
Michelle: Well, I like to say feminist math rock, queer math rock. We're queer, we're feminist,
and we write about that stuff and we're definitely math rock, but we also hate that "math rock"
term because it's got a lot of baggage. I want to claim it for queers and ladies.
Cara: I agree with the description, in principle, but then I just get bent out of shape over categorizing music. I think it's nicer if you go to a show, and the bill is really diverse and people listen to different kinds of things, rather than only showing up hearing one kind of thing and not
being open-minded to hearing something else.  It's like a necessary evil, I guess. People sort of
want to have an idea of what they're in for, but at the same time, it can be a little limiting.
Sometimes it would be nice to just be in a rock band.
Michelle: Or a band.
Cara: Or just a band.
Michelle: We also have such different songs. We have really quiet songs and then we have really
"rock" songs, and they're both experiments in tempo and time signature changes.
So how did you both start playing together as V for Vendetta?
Michelle: 1 was in a bar and I was really drunk and I was wondering if Tara Jane O'Neil, who is in
Rodan, Sonora Pine, and Retsin, was gay and 1 was like, "Is Tara Jane O'Neil a dyke?" The guy I wa:
talking to said, "You should talk to Cara," and I was like, "Who's Cara? Does she know Tara Jan
O'Neil?" Cara didn't, but she was a dyke.
Appearing Live at:
AUTHE PIC 620 W.Pender
IIP   Friday June 15th
lilW/DrexilsEye and
V* Strong Like Tractor
Cara: So we had that in common.
What instruments do both of you play?
Cara: Well, I started playing piano when I
was really little and I did that for a long time.
Then I switched to cello when I was really
young. I went to college for cello and then I
didn't really like classical music because I felt
like it wasn't culturally relevant or culturally
radical or involved.  It just seemed like this
sort of weird "high art" sort of thing that I
personally couldn't deal with.  So I started
playing guitar and drums and stuff.  I had
played guitar in high school, but I started to
become more interested in writing my own
songs and not playing someone else's.
Michelle: I played piano and clarinet in
school then I started playing guitar.
So how were you inspired by the V for
Vendetta comic novel?
Michelle: I was a comic geek in high school
and it was the first comic I read and 1 always
really liked it.  I loved the artwork, I think.
In some ways it's a little cheesy, but being in
ninth grade...
Cara: [slurred fanboy voice) It's cool and I
thought it would be cool to name my band
Michelle: Cara was into comics, too, even
though she hadn't read Vfor Vendetta until
relatively recently.
I       Cara: She lent it to me and I had it for a year,
and I hated the artwork so much that I
couldn't even bring myself to read it.
Michelle: I thought it was really cool that
there's lesbian characters in the novel. You
never know the gender of code name "V." I
thought that was really interesting.
So being that you both seem to coordinate
playing a lot of different instruments, how
do you work playing live?
Michelle: It used to be a nightmare. But
now, we do half the set we'll do drums and
guitar with Cara playing drums.  I'll play
guitar and sing. Then we'll do half a set
when we both play guitar and sing. We used
to tour with a bass player who played the
parts that we wrote, but he hates touring and
it's easier being just the two of us.
Cara: We have songs that are guitar and bass,
but we don't bother to play them for an audience at this point. We try to keep it as simple
as possible right now. I think we're considering maybe having a third band member again
because we have samples and stuff.  It's too
hard for me to try to do them and play daims
or for Michelle to play guitar and trigger the
samples, so we're trying to think of something,
but at the same time we really like it, just the
two of us.
So you've gone on several mini East Coast
tours and you're coming up the West Coast.
You seem to be on the road a lot.  What has
the response been from all your touring?
Cara: Really good.
Michelle: This tour has been awesome.
Cara: Coming up to the West Coast for the first
time, there has been some shows where it definitely feels like we're starting over in terms of
holding someone's attention.  Oui
definitely weird.   I think that sometimes
don't go over so well in a party environment, or
things like that. You have to want to take the
time to listen to it and follow where things go in
order for it to be interesting. If you don't do that
then it just sounds like a bunch of sort of
noodling around, or whatever.  It was hard, at
first.  But the more we toured and the more we
played for people, I think the more that they
responded to it. I think that the ideas behind it
can maybe come off as pretentious, but I think when you
see us live and we're such total dorks, it makes it not pretentious. Our whole personalities and motivation is to
communicate with people and bring people new ideas
and get new ideas from people. I love it when people
send us zines, or things that they do. We've gotten a couple of really nice notes like, "I like what you do and I
wanted to send you what I do." That's great. So I think
that live you see that more than you would necessarily on
a record, which is why we have so many liner notes
because I think it's just important to talk at people, and I
hope that they're listening.
Michelle: I also feel as a performer or artist, it's your
responsibility. I feel that there's this whole big thing, now,
where it's just, "People don't get my art, that's their problem." I think that if you're an artist or performer that it's
your responsibility to get out what you want to get out
and if you want to get out issues of identity politics, or
whatever, then that's our responsibility to make it possible...
Cara: .. .not necessarily to only make music accessible but
make ourselves as people accessible to talk to.
What types of bands and music are you both into right
Michelle: Yes, King Crimson, Rush, all 70s prog rock
Cara: Which she listened to since high school. She was in
a Rush cover band.
No way.
Michelle: We did Led Zeppelin, too.
Cara: Which totally rules. What has been in the car a lot?
Michelle: The Need.
Cara: Well, The Need, of course.
They can be defined as prog sometimes, though, too.
Cara: I feel that they're just great in that proggy way, that
still totally rocks. It speaks to people in an unpretentious
manner, but they're completely skilled.
Michelle: And we listen to that Chicago stuff.
Cara: Yeah, we listen to that Chicago crap all the time.
Michelle: Sonny Williamson is something that I've been
getting into.  He was a jazz drummer.  He died really
early, but he was a total prodigy. I wish I could do some
of the stuff he could do. He plays with John McLauchlan
too. I listen to a lot of goofy electronica and hip hop. I
try not to listen to stuff that is too much like what I like to
So what do you both do besides play music?
Michelle: We're starting this non-profit, women-run and
operated community art space in Providence. Six of us
live upstairs. It was a library, convent, and an old
church. Downstairs, we have two galleries and a performance space. It'6 in this blighted community in
Providence, and we hope to get people who don't have
money or access for these kinds of facilities to be able to
come in and use the equipment.
What's it called?
Michelle: The Hive Archive. 1 also wait tables. About
80 hours a week.  '"
Us punk rock waitresses have to unite, I'm there.
Cara: I book shows for other bands.
Michelle: Sometimes I go to school.
So how can interested listeners get a hold of any of
Michelle: We're going to have an album out in the fall.
Hopefully that will be widely available because nothing
else is, but there's a Mr. Lady's Records comp that just
came out, and we have a song on that. That's widely
are Cara: They're going to carry our CD EP now, which
we're almost out of.
Michelle: We also have an MP3 up on our site.
Thanks for your time I really appreciate it. Hopefully
V for Vendetta will continue rocking on and freaking
out everywhere.
Michelle and Cara: Thank you!
Vfor Vendetta's CD EP In The End Pretend You Hear Me
is currently available through www.heartcorerecords.com.
Check out vforvendettarocks.org for more information. Billy Martin ofMedeski, Martin and Wood is a drummer, artist, DJ, label
guru and programmer. We know him well by his cliaracterislic sound, style
and driving force drumming for MMW. His passion for drumming has
elevated him to higher levels in the art of percussion and with his new
record label, Amulet Records, Billy hopes to expose people to music they
would not normally hear. He's also exploring the Dj and programming
world and making amazing contributions. As a drummer myself, I was
fully enthusiastic lo interview Billy Martin about all of his endeavors.
DiSCORDER: Can you describe your record label, Amulet
Records? How did it come about and what is its purpose?
Billy Martin: It started because I wanted to put out this CD. I
worked on the album Percussion Duets with G. Calvin Weston,
another drummer, who I played with in The Lounge Lizards. We
had this amazing chemistry, and so I decided to do a session with
him and record it. I shopped it around to a couple of people but then
got discouraged, so I decided to put it out myself. Originally, the
label's purpose was to get the CD out, but then I realized I wanted to
keep doing things like that. I was thinking, selfishly, more of the projects that I want to do-like more compositional stuff, expanding on
percussion, do my own stuff, incorporate my style and also get other
percussionists involved. The label is my outlet for dedicating to the
art of percussion. I feel like, culturally, the Western world and the US
in particular, percussion is still in its infancy in Certain respects
compared to Africa or Indonesia. I really believe that Amulet
Records is going to be a good thing to get some really interesting
and different percussion music out to people.
Who are some percussionists you've worked with and want to
work with?
I want to do a compilation of street drummers from around the
world. I already have a record's worth, of music that I heard in the
New York City subways. Bob Moses is also on the label, who's a
great drummer, composer, and visual artist. I've released a couple of
his records, something that he did in 1970 called Bittersuite in the
Ozone. Actually, Billy Hart plays drums on it and Bob plays percussion. Anyway, I'm releasing it on CD now as a reissue. Another
record I released is called Love Everlasting that Bob did with
guitarist, Tisziji Munoz, which was a jazz-based project. There's also
Pitamaha, an album my friend and great recording engineer, David
Baker did. He went to Bali and recorded different Gamelan groups
all over the island, including an all-female Gamelan group. It's a
beautiful record and truly special. It's traditional yet current and
I feel like people need to hear more of that kind of stuff. So there's
that kind of tradition of music that I put out also. I have other
records I want to release, but I have to do it one at a time. It's a very
small budget. I also want to release a solo CD and I'm almost
finished with the composition of the material. It's mainly a percussion ensemble thing with other solo and improvised pieces.
I understand that you have put out something on vinyl?
I just released Illy B Eats Volume I: Groove, Bang and Jive Around. Illy
B is an alias of mine and I sign my artwork with it. The record is my
first of hopefully several breakbeat records, which are drum records
that DJs use when they mix or play a party or make music.
You used to have a DJ in MMW. How did that inspire you to make
your own beats?
DJ Logic, who toured and recorded with MMW, is a great hip hop DJ
from the Bronx. He does everything: he scratches, plays spoken
word, and blends different styles of music. When we were touring,
he would always tell me, you've got all these beats, you should put
a breakbeat record out. And I was like, what's a breakbeat record? So
finally I got around to it, and I'm glad I did because this is just the
beginning. I realized by doing this how many beats I have, how
many variations and rhythms that I can play. I'm really excited
about getting that kind of stuff out. What's special about this one is
that this first volume is called Groove, Bang and jive Around, which is
a title of a book of a friend of mine, who wrote this crazy, psychedelic, pornographic book about visions he had in New Orleans. Steve
Cannon used to be a Black Panther and now lives in New York,
editing his magazine called Gathering of the Tribes. Anyway, I'm
going to have guests later who are going to use these beats and
we're going to release a double CD. One CD will be just the drum
beats and the other one will be special guests playing and collaborating with me on writing tunes and lyrics. I'm going to have DJ
Logic do a mix, Kid Koala, Iggy Pop, Guru maybe. I've worked with
a lot of people, so I'm going to ask some of these people if they want
to do something. I'm also inviting people to send in tapes with what
they do with my beats. I love the idea of interacting and collaborating with someone that I've never played with. That's what's so
unique and exciting about this record. It's for DJs to use and for
musicians to play along with and make music with and use if they
How did you record all the beats? Is it all drum set? Did you use
a lot of effects?
A little bit of both. I played a bunch of beats live.The producer,
Scotty Hard, is a friend of mine and has produced MMW records,
Wu Tang, Prince Paul, and other hip hop artists. He wanted me to
play along with a drum machine, so the only thing we had in the
studio was this old 1960s drum/beat box that had tango, chacha,
and other old-fashioned corny beats. But I just used them as a pulse
to keep a steady pulse. I just played along and it was like having
another percussionist there, but I played against it in a different way
than you would hear normally. I'd play drums live and then add
some percussion, like a gogo bell or guiro. It was mixed really
dub-style Jamaican or totally tripped out, distorted hard-core
sounding. That added another dimension to the sound of the drums,
so some of it sounds electronic because of the nature of how he
processed the sounds. I'm excited to see what happens.
What do you think about programmed beats versus live, organic
It's all good, if it grooves, programmed or not. MMW had a remix
release which followed the first record we did for Blue Note a few
years ago with DJ Logic. Guru, Cibo Matto, and Bill Laswell all did
a mix, which sounded great. As far as how I play, you'll hear that my
sound on MMW records is very organic and unique. I don't use
generic sounds. I choose the tones of the drums and percussion in
particular. I have some African shit I've found on the street that I
find has a really good sound. I'm into those kind of organic sound,
but at the same time, programming from drum machines can be a
very cool thing. I got into it in the '80s, I still have my emulator drum
machine, the SP12, but I never use it cause I don't have the time. It's
a lot easier for me to start hitting things than plugging stuff in. But
I'm all for drum machines. Some of my most favorite grooving
music that makes me want to fucking dance so hard is like hip hop
shit with a drum machine. But it's got to be done right.
Do you have any unorthodox techniques that you use that have
helped create your sound? Who and what are your major influ-
There are lots of influences and they are not all musical, but they
come out musically. As far as the sound goes, physically, I like older
jazz kits because I think they are more melodic than the deader,
heavy rock drum sets that they're making now. I'm also coming
from a West African approach to drumming, which is music.
Drumming is music and I approach it that way. I'm not just a rhythmic part, it's music, it's compositional what I do, it's melodic, harmonic and polyrhythmic. I've learned a lot of this from African
music from Ghana, West Africa, Nigeria, and Zaire. I learned a lot of
Brazilian samba stuff in some batucada groups I played with in New
York City for a couple of years. I started getting hired as a percussionist a lot, which made me learn a lot about percussion. I'm working on a book right now, Riddim, about all the different claves and
Billy Martin
music of African origin. I basically tie in all these rhythms tha
come from certain parts of Africa and have gone straight to
from Zaire and Angola. I've compiled all these rhythms togel
different sections and I write it out differently. I use a series
and dots that I slowly develop from there. I also listened to cl.
music growing up and played rock and roll. 1 was listening to
Zappa, The Police, Led Zeppelin, Aerosmith, Elton John, The /
Brothers, Stravinsky, and Tchaikovsky. I like it all.
You're also a great artist. What drives your visual art?
The same thing that drives my drumming. Everything I do is i
vised, which lets me be as creative as possible. My drawings a
improvised. When I start to draw, 1 like to see what happens,
where my hand goes, and then I'll start adding colours and lin
it turns into something. Sometimes it works, sometimes it di
check out Billy Martin's a
■ ords.com. And check oi
up to at www.mimv.net.
11 EjKgSSUMB mirah, oh that olympia font
interviewed and photographed by adam handz
■itor Mirah Yom
fOlympia, WA.
naple syrup on her family far
Describe your music in 10 words.
It's very personal and stubborn; it makes its own choices.
How did you get started in music?
I have gotten to listen to amazing great music ever since I was born,
thanks to my parents who kept the turntable always well supplied.
Ami I've been singing practically since I was born, too. We all like to
sing in my family. I never knew I could write a song, though, 'til 1
was in this class in college. I had an assignment to write a song, so I
was like, "Okay, I don't really know how to play the guitar yet, but
that couldn't matter too much ..." I was just being a good student,
you know. But it worked out pretty well and I've been writing songs
Do you want to talk about your involvement with The
Oh God, people had better watch out for Phil's new album, it is
totally the best one ever. It's probably not going to be out for several months, but oh my God, just you wait. Tilings changed a lot for
me when I became friends with Phil. He really inspired me in all
these different ways. Co-producing projects with Phil got me more
He makes amazing, beautiful tilings all the time and he doesn't ever
stop. He's very thorough. Phil was creating big huge sound things
and I was able to be inspired to make big things too.
What was your experience performing in the rock opera, The
Transfused [written by The Need and Nomy Lamm] like?
I'd say that being involved with The Transfused was like building a
massive and impressive cathedral. Oh! The toil and the sweat and
the triumph! It was hard. It was incredible. I've been involved in a
lot of group projects in Olympia, but The Transfused really brought it
all together. It was like we were all applying everything we had
learned in life so far to this gigantic collective art project. I feel really strongly about the piece itself. It dealt with anti-corporate themes
and, in the case of our production, it was mostly queers and trannies
that were on the stage and behind the scenes. There were no gender
specifications for any of the characters. Who writes theatre pieces
like that? Only a rare and precious few. Anybody, in whatever way
they are a freak, could have been any of the roles in the play and
that is radical, that is amazing.
Who do you consider your influences and contemporaries?
My involvement with The Microphones has made the most tangible
impact on me. My initial experiments with recording, some of which
are on You Think It's Like This But Really It's Like That were made with
Phil in mind. Influences? I am influenced by the people around me,
people who I love. I write about them. I see them working and making tilings and 1 respond by working and making things.
What is a typical day in your life?
I'm not making maple syn
ig on a strange road to a str
angers, I might be found wa,
e but instead getting lost in
me to wash dishes while lis
i in Per
r dri-
w for
town to play a strange siu
ing around trying to be produc-
1 conversations and then going
ng to Bruce Springsteen really
What's you favorite song of all time?
"Heaven Is 10 Zillion Light Years Away" by Stevie Wonder is the
first one that comes to mind. I have a lot of favorite songs.
Name the three most recent books that you have read.
A Peoples History of the United Stales bv I loward Zinn, Gender Outlaw
by Kate Bornstein, and Walership I \nc>: bv Richard Adams.
mates of state make great dates
By Lindsay Marsak
We actually live in San Francisco, so we can only talk about that, per
se. We really enjoy the amenities of this city and are excited about all
of the diverse people working on cool things. There's really a sense
of a supportive community which only encourages one to work
How do you explain your job to relatives who have no idea what
you do?
Well, considering we went to college to be trained to do the jobs we
do during the day, it's really pretty easy. By the same token, we've
been playing music now for so long that it doesn't come as a surprise to our families that we continue to develop this "work" as
What goals do you have as artists? Did you study music in school?
To continue to play music that suits us and to progress as musicians.
Kori studied music briefly in college, and we've both been playing
since childhood.
If you could play a show with anyone tomorrow, who would it
Tf State are a coup
ng out in Oakla
d, Califomii
>y the iirl-bo
monies, a big old
-lease Mv Solo Prr
perfect pop. They
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■atise their nai
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DiSCORDER: How did you start your band? Why? When?
We started this band in December 1997. We met, fell in love, and
started this other guitar-oriented band together in May. By
December we began playing around with the organ and drum configuration and found that we liked how it developed. This was in
Lawrence, KS. We moved to San Francisco in 1998.
How do you define success?
Happiness plus progress, without interfering with someone else's
move towards the same thing.
Why are you based in Oakland? How did you end up there? Why
does Oakland have such a thriving art scene?
n the Neko
A fantasy bill for us currently would be opening oi
Case, Nick Cave bill.
How does your creative process work? The words first or the
We get to the practice space and hash things out. We write together always, and a lot of the times, one of us will begin something and
the other will finish it. We always write the music first and then the
lyrics and sometimes lyrics come concurrently.
How has your work been influenced by your relationship? How
has your relationship been influenced by your work?
They are so one in the same that it's hard to separate the two. It has
made both relationships more open.
What kinds of equipment do you use?
One Musicman amp head split between a Kustom (2X15) bass cabinet and a 4X12 Marshall three-quarter size guitar amp.  Yamaha
Electone YC-45d organ.   1960s Gretsch round-badge kit. Voices.
Do you have any advice for aspiring musicians?
Not really. If a person really aspires to be a musician, they need no
You shouldn't hate Atlas Strategic because of this interview. You should
enjoy their music and ignore their personalities. Upon seeing Atlas
Strategic play live a number of times, I must say tliat, live, they rule. There
is a certain nutbar energy in which the lead singer shits out of his skinny-
ass, knee-jerking aura that just can't be ignored. The other members
attempt to capture their own mystiques (Example: organ player. Asshole
chic has never been cool, and never will be. Ti uing 1/1 mr asshole chic darn-
dest to be the most anti-PC stinker in the room luill always make you the
biggest, stupidest asshole clue stinker, that includes ESPECIALLY using
the "n" word. Idiot). They don't quite cut it, but that's okay. Hot oil on
naked bodies and inspired sermons can be fun. The music of Atlas
Strategic? Gospel-rocking, slutty monkey-dancing blues, all bleeding
through a very stoned and very drunk filter. Wurlitzer organ, saxophone
and ivurrbling guitar combined with the scratched-out, freak-out vocals
make Atlas Strategic... well, Atlas Strategicky. They just released an album
on Vancouver's Global Symphonic Label titled Rapture, Ye Minions. Here
is an interview with Victoria, B.C.'s Atlas Strategic.
Thank you for choosing ATLAS STRATEGIC for
DiSCORDER. Having received your questions via "E-mail," on
what you humans so adorably refer to as "computer," we read and
processed them, all the while appreciative and mindful of your
punctuality, a quality sorely lacking in the more artistically inclined
of your primitive species. Let us say "right off the bat" that I would
rather thrust my head into the howling fetid maw of Cromulous
BEASTS than tell you what the most unappealing combination of
food we can think of is. We do not apologize. We understand that
fluffy nebulous "tid bits" are fun and meant to impart a feeling of
closeness and comfort, as if to say "Here are some real people playing real people's music," a concept that is at the very nucleus of
PUNK ROCK, or whatever you hairless monkeys are calling it these
days. Concerning Haikus, we could not resist as they embody the
"Japanese" aesthetic of beauty, grace, and economy; concepts even
the workdroids who toil in the hydrocarbon mines of Alpha Seti
Eight admire (or at least we find pleasure in feeling that they do
knowing full well that they lack even the most base level of sentience).
DiSCORDER: Who are your members and what are their roles?
Dan: Vocals, guitar, and procurement of warm living host bodies.
Atlas: Organ, obnoxious "asshole chic" behavior, middle aged womanizer and cougar taxidermy.
Explain your music in a haiku. (Or any old way if you want.)
sounds for the wet fraus,
Schnell! Schnell! Schnell! Schnell! mein Leibtchen.
Rapture mein Deutchland!
If one film could express the music of Atlas Strategic, which film
would that be and why?
(Three way tie) The Patriot(pre apocalypse), Meet joe Black (Brad Pitt's
unquenchable lust for peanut butter A.K.A. present apocalypse), The
Postman (post apocalypse).
Who would you call your musical contemporaries... blahblahblah.
Hawksley Workman: poet, troubadour, and sore loser.
What local (Victoria or Vancouver) bands rip your ass apart?
Songhees, Coast Salish, and Cowichan why? Five hundred plus
years of genocide.
What's the deal with the organ player's obnoxious "asshole chic"
Atlas: As 1 pulled my El Dorado into my meat garage, a thought
struck me: "Why, with my heavy hand towards GOD, shall 1 be persecuted by my fellow minions?" As a young altar boy, dug deep in
the panhandle or as we called it, "the Ol' Dirty," I questioned my
own existence and my place at Jesus' buffet. My convictions weak
and my will wavering, a long road to ruin lay spread out before me
like the line to get government cheese. 1 was a soft, impressionable
lackey, with my butt in the air to receive the regular lashings
reserved for they downtrodden, meek serfs like myself. With the
cruel deep southern sun burning a devil into my eyes, I became
blinded, but more than that, I became strong. I realized that it was
time to become a man and leave the pleasures of the flesh behind,
beat a new path, and form my new congregation of power and
might: it was ATLAS STRATEGIC, and I saw that it was good. Now
guided by a mystical, self-serving force, I must step on the necks of
the helpless and hopeless while all the time hypnotizing the non-
believers with my SOILENT GREEN GRASS. Through a cloud of
smoke, I will appear more powerful than the heat of the earth's
crust. So fear not my visage rouge, and the electric verbage that is
being licked off my tongue. This is your chance, my minions, to ride
the golden chariot of ATLAS STRATEGIC up to the heavens, waving
to the Greek gods as you speed by. The chrome horse bought at
Ghetto Purchase has room for all mankind. So peel back my layers
and know me as the root of all goodness. Do not be afraid, for I am
here to protect you!
When I say "spreadin' the magic" you think...
Brooklyn: One ring to keep them, one ring to bind them, one ring to
hold them, and in darkness find them.
Dan: Kill the head, and the body will die.
Steve: Free condoms at the needle exchange.
Atlas: Taking a warm cup of milk from the breast of the blessed
Virgin Mary... and sharing it "wit' my bitches."
photo credit:
THE EVAPORATORS "Honk the Horn" 7" 4 songs plus
an interview schnippet: Nardwuar Vs.
(a Nardwuar/Mint co-release!)
TENNESSEE TWIN "These Thoughts Are Occupied" 7"
debut release by Allison from Bratmobile's twin sister
Cindy's country project
mini RECORD/
PO BOH 3613 VAfKOUVGR BC V6B 3V6 Centuries ago, there was a very special breed of
man known as a Troubador. In a world where people
were mostly locked to their land, where art was not
understood by the masses, where commercialism, though
limited, was important for bare survival, the Troubador
stood apart. He moved on and about his own space. His
world was measured on his musical output and flow on a daily
basis. He continually sang, composed, practiced, made or
repaired his instruments. He did this not only for the pleasure
and satisfaction of others but more importantly, for his own self.
Centuries later I sat down and talked to a present day Troubadour
in his East Vancouver toft. His name is Moka Only, one of the West
Coast's most prolific hip hop artists. Originally a founder of the
Swollen Members crew, he recently released his first full length solo
album Lime Green, on Vancouver's Battleaxe Records.
often. Make a buzz for yourself before you go the other route.
It's not that difficult, it's just a time consuming thing, it's a
patient thing. Patience is the biggest thing. You have to learn
patience. Talking about other people. And if you're not happy
I'll just laugh at you. I'm happy.
Why do you think you've achieved success so far?
Luck, is number one. Number two, I think what I do is truly
different. I come with a different perspective, an outcast perspective. I've always been kind of a loner, which has made me
look at things from a whole different dynamic. Those two
things, combined with a few other things like hard work, consistently working and not giving up. I'm not going to accept
not being successful. That's garbage. Anybody can do what
they truly want to do if they choose to keep at it, and that's for
real, that's not just a saying you hear your mother say. That's
n   t
r   v
e   w
n   d
have the so-called
worry about it. By any me
record shit on blank tape;
Jt directly to my face, but I've
mt to anything. But I proved
: to up and coming producers or
illy don't know how to respond
'ou fresh? [laughs] My^advice
ni're really, truly feeling it
people, but y
put stuff out in a big way, I'd say doi
v put i
t. If v
•II that on the
body. Doit. Sell it,
make people know that you're confident in your own self. Big it
up, while being a realist, though. If the shits not tight don't lie
and say it is. Don't worry about trying to send your demos
around cause that shit don't work, it just gets ignored far too
14 june 2001
o   g
a   p   h
b   y
DiSCORDER: So you've done three videos, you've got major distribution with Caroline, you've dropped on 15 albums, toured Australia, and
you're bound for Brazil and Japan. Are you content with what you've
Moka Only: Yeah, I'm happy. Sometimes I might take it for granted, but then
I might catch myself in a solemn moment at home going, "Wow, look where
I live, I'm living okay now, and rap has done all this, hip hop brought me
into this, I'm happy." I wouldn't be disappointed if this was as far as it got, but
I know in my heart I could make it pop even more. I'm not talking about some
world domination, I'm just talking about more people hearing what I'm doing,
know what I mean? As an artist, that's your goal. A lot of kids who claim
underground are kidding themselves when they say you gotta keep it real,
small and stuff. What are you doing it for? Don't you want people to hear your
stuff? I mean, we're opening up portals for people.
How important is it for you to find a formula that works, while trying not to
sound repetitive?
There will always be people out there who will criticize you for finding a niche.
I think I've found mine, but I remember myself saying that all I got to do is elevate it. I haven't changed since the first tapes, except I've gotten more polished
and I've found things that work better for me. I've learned the type of techniques
it takes to get people's attention.
What would be your least favorite aspect of hip hop?
Dang... I don't really have a least favorite... I have a most favorite, but I'd say it
would be people who don't really put a lot of feeling into it. The ones who rap
just to rap, I kind of question their motives.
So other than music, what type of influences do you have? What influences
you, and what do you draw muses from?
Other than music? Honestly though, I used to be a very quiet and shy person
when I was younger. I was kind of like an outcast, in elementary and high school.
I wasn't up in your face. And the fact that I've changed from that is an inspiration
in itself. I feel like I can conquer anything. Family, friends, homies... if you ain't
alone in this world, I'm sure you have some inspiration, know what I'm saying?
Obviously music too.
So you've been quoted: "Moka Only helped to pave the way in the sense that
he established a lot of hip hop listeners in Victoria and pumped up the scene."
What are your thoughts on that?
Absolutely, man. It was me, Sound Advice, Prevail, I feel we were doing something that people weren't doing. We were the ones who really made freestyling
a big thing there. Nowadays everybody freestyles, but I think that if it wasn't for
what we did in BC it might not be where it's at right now. We really put a lot of
work into it. Me and Prevail used to go around and do shows everywhere, rapping for change, trying to get some change for some cheap burgers, you know?
Doing shows on the ferry, or on the transit bus. Standing on the street rapping
for money, there was always something going on. We didn't have a lot of written material or recorded songs; all we had was our spontaneity and our
Did anyone ever tell you when you were starting out that what you were
doing was a waste of time, or that you wouldn't achieve anything?
Yeah, I hate to say this, but that was the vibe I got from my parents when I
first got into it. But that's understandable. That whole thing about being an
artist in any genre, parents have their first concerns about it. But this was do
or die, I swear. Ever since I was born I knew I wanted to be a
mean, I've heard countless, countless t
heard it, people saying I wasn't going
them all wrong. I'm doing this for m
times I'll write about it.
So what kind of advice would you gi
hip hop acts?
You know I've been asked that, but I r
to that one man. It depends on... are yo
honestly is, if your heart's really in it, and
and you're getting a positive respon;
r live that has rubbed off o
universal law right there.
Who have you seen onstage
you or inspired you?
My boys Mystic Journeymen, for one. They really pack their
energy and they've got a unique product. They come from
years of hard work, doing it themselves. They have sort of a
spiritual thing, with kind of like a cult following. I appreciate
that, it reminds me of some Grateful Dead type shit, know
what I'm saying? Two, Public Enemy, they were just gods to
me! And then I see Chuck D turn around and put one of my
records on his top 10 favorite list on his website, I mean that
just thrilled the hell out of me man! People like that inspire me.
A lot of my friends too that are musicians, they inspire me.
Why do you choose to sing in Vancouver? Or Canada for
that matter?
Canada? It's where I grew up. I'm rooted to this place. This is
ie of the crap I have to deal with. It's home.
It's West Coast, I love it. I've tried my hand in some different
places, I lived in San Diego, California, it was great. I've lived
in Ontario, but I just feel connected to here. Connected to the
ocean, the mild climate. It's great, and it's a growing city. It
can still go so many places, it's not like New York or Los
Angeles where people have been set in stone for a long time
about what it is. It's like an experimentation, living here. It
feels like fresh ground here. Even though hip hop has been
here for a long time, it feels fresh, like it's up to us to shape it
and mold it. It's exciting, the whole Pacific Northwest. Not
even just Vancouver. Victoria, Seattle, Portland. This whole
feeling that we all have together.
What's next? What's going to be the biggest challenge for
you next in your career?
Balancing different projects, trying to strike a balance, trying
chris        taylor
not to saturate and maintain consistency without boring my
listening fans. The most challenging thing though would be
staying "me." 'Cause being in a public spotlight can really
alter your perception of reality, so that's one of the demons
I'm fighting with right now. Staying me, staying happy.
Would you like to be remembered as a pioneer in the BC
hip hop scene?
To be honest people don't generally remember the pioneers.
It's a come and go thing. I just want to be known as a quality
craftsman, really. Somebody who anybody could feel. I'm not
making this for any one audience, I don't want to be pigeonholed. I hate to say this, but it's about universal music, universal law and life. I mean, it's nice to be recognized for the
efforts you put in as far as paving the way, it's all good, but I
just want to be known as a quality craftsman and I just want
to be consistent.
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On this, her fourth album, (or
fifth if you count last year's disappointing remix album) Atlas
totally reminds me of Kate
Bush. She doesn't really sound
like her, but she just sort of
evokes her. Highly dramatic
with a hint of self-mocking,
Atlas's music is sensual, rhythmic, surprising, and provoca-
Electronica fans may be
familiar with Atlas through her
work as a vocalist and dancer
with Transglobal Underground,
yet it is her solo offerings where
her talent really grabs hold of
you. I am an unabashed fan of
Atlas, and almost ejaculated
with joy when I saw that her
new CD contained a cover of
one of my favorite songs ever
written, Screamin' Jay
Hawkins' "I Put a Spell on
You." (Ayeshtemi also contains
another song stamped with
Nina Simone's signature style,
Jacque Brel's "Ne Me Quitte
Pas.") The lurching, stomping
intro to "I Put a Spell On You"
reaches right down into your
uterus and is then punctuated
by some supreme scratching
which gives way to dramatic
arabic strings and Atlas's
straightforward, passionate
vocal delivery of the only
English lyrics on the album. The
rest of the record is just as fucking good. I shit you not.
Recorded in Cairo (currently
Atlas's chosen home), Ayeshtemi
finds her further at ease in consolidating North African Arabic
musical styles with Western
electronica, resulting in a seamless union where nothing
sounds mismatched or out of
New Union...Old Glory
If the people at Lookout! are
hoping that these guys can live
up to the Richmond, Virginia
legacy that Avail has left them
with, I'm sorry to burst their
cash-hungry bubble. If New
Union... were about 25 years
old I might get excited, but even
that's doubtful because it's just
too damn bland. Clean-as-a-
whistle production combined
with predictable "fight song"
type melodies does not an interesting punk rock record make.
Only one track really stuck in
my mind, "Nowhere
Generation," until I realized
that the chorus was totally plagiarized from Sham 69's "Hey
Little Rich Boy." Which came
out about, well, 25 years ago.
Ann Beretta, if you're
going to make a three-chord
punk rock album circa 1977, try
to follow these rules: have
"dirty" production, have a
vocalist who doesn't sound
cheesy, and please avoid cliched
song titles like "Glory Bound"
or "New Day," not to mention
"Nowhere Generation." Ever
notice how Bad Religion's
downfall seems to have coincided quite nicely with the increase
in their production budget? If
Ann Beretta would only re-
record this in somebody's rec
room the folks at Lookout!
would be a lot better off.
we offer technical training in video, audio and
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we also have a 2000 sq. ft. studio available for
rental for production purposes, screenings and
audio and music events, for more information
contact Tricia Middleton at 872.8337
hours of operation:
11 am to 6 pm
Monday to Saturday
Bardo Pond has all the key
ingredients needed for putting
out a painfully stoner-rock
album: drug inspired epic space
jam songs with heavily distorted guitars and wah-wah pedal.
Thankfully, Bardo Pond are
one of the few bands that can
actually justify the existence of
this genre. Perhaps it is because
they are all art school graduates
and not gamers getting stoned
in their parents' basement, soloing over top of Manowar on
Steve Vai signature seven string
guitars. The first track on Dilate
starts off with a quiet, simple
guitar line which is followed by
creaky and sad violin, underwater sounds and drums, and
builds up to a heavily distorted
but dreamy crescendo. It makes
me think that this is what might
happen to Low if they lost their
Mormon edge and got stoned
and gritty. The rest of the album
has the same amazing drug
induced dreaminess, without
sounding repetitious. Jam rock?
Yes. Wanking? No. Except for
the stoner-grunge song, "lb." If
you're down with rockin' the
bong, puttin' on some coloured
lights and having a solo glitter
and gold jam, Dilate is good
Li/ Richard
Oh Holy Fools
(Saddle Creek)
I kick myself in the dink four
times for missing Bright Eyes
when they came to town. I was
at home jamming on a special
mucous releasing session with
my nose, puffy as all hell and
grumpy too with a giant
headache. I could have gone
anyway. I could've snotted all
over Conor Oberst and made
him cry for making me cry over
his beautiful music. Oh Holy
Fools is a split CD featuring old
Bright Eyes and Son,
Ambulance, giving you a taste
of what makes people cry these
Bright Eyes is one of those
bands that makes you ache with
about a thousand different emotions, thoughts and other goofy-
sounding words. First you're
punched in yer soft little gut by
the inherent good times poppi-
ness of it all. Next you realize
that the lyrics are about the saddest things you've ever heard.
Then comes misery, loneliness
and love lost, stroked by the
down trodding melody and
drama of the arrangements. By
the end of the listen you're just
about bawling on the goddamn
floor. Special note: some might
feel annoyed by the vocals on
Bright Eyes. Some clowns
might think that this guy's
doing some sorta indie rock
impassioned emo croon and he
should shut up. Those who
■  know better know that this guy
is solid gold.  Keep singing,
I young one. Please don't forget
that Son, Ambulance also rips
new a-hole on this album too,
with twinkling tones of Belle
and Sebastian and that feeling
of walking along the streets on
a pretty summer day with the
breeze blowing through your
goddamn hair and you stop,
admiring the bustle and culture
of the city, and you think to
yourself, "Man, life is reeeaaall
Lyndsay S
Puzzle Piece 2
Montreal's Bullfrog continues
their trend setting CD3 series
(EPs recorded on 3 CD) with
this second CD in as many
years. The CD3 is sort of a
7" single for CD lovers.
Recently, unconventional North
American bands such as
Bullfrog have spurred on a
resurgence in the format.
Whereas Bullfrog—a funk
fusion/acid jazz collective featuring Kid Koala on the
decks—leaned more toward a
slow groove '70s sound,
inspired by the likes of Barry
White and Isaac Hayes (but
slightly dander) on the first
CD3 (which is not really titled,
much like this one, but has a
picture of just one puzzle piece
on its cover, as opposed to two
on this one - hence we'll call
that CD3 Puzzle Piece 1), this CD
moves on to the '80s soul, hip
hop and pop influences while
still giving a nod to the influences on the previous EP.
Where Puzzle Piece 1 is an EP is
chill out to, being in a dancing,
or at least head-bobbing, mood
will help you appreciate Puzzle
Piece 2.
As for the actual songs,
Bullfrog spread their collective
wings this time out and explore
a wider range of sounds, utilizing the Kid's acrobatic but
understated record cutting,
Mark's cool as ice guitar
groove, Peter's big fat bass
bumps, Massimo's tight and
accurate drum timekeeping,
and Joanna's sweet and lush
conga beats to their utmost
potential. Add new member
MC BluRum 13 and his nimble
rhymes on the second, and best,
track, "Reverse Psychology,"
and you have a potent and exotic musical concoction that could
only come from the province of
Second Rekoning
(Kill Rock Stars)
stains on my stubby little acne
fingers. I smell like cold sperm,
limp wang and body odour. I lie
on my bed with my hands
behind my greasy haired pony-
tail. I listen to C Average. It
speaks to me. Metal riffs,
Dungeons & Dragons wank
material and eminent head
banging rock. This is Hesher
Country. Acid is a skid drug.
And I got no place to go but
This instrumental band is something to look out for. For those
of you who love the lush
sounds of Tristeza but wished
they were a bit more aggressive
in their sound, you may find
kindred spirits in the ranks of
With an equal blend of
keyboard and guitar tricks, they
successfully create songs with
simple arrangements but with
emotional depth. Unlike the
temptation of some instrumental acts, they don't indulge in
ridiculously long passages of
repetition, but they discipline
themselves, keeping their songs
usually under five minutes with
one or two reaching the six
minute mark. Their guitar
sounds are clean, and they have
a good sense of what it takes to
make a song move. With that
said, some of their other songs
creep along unhurried and
calm. Once again, Matador does
a good thing by signing this
Samuel Kim
Forget Everything You Know
(Ache Records)
DBS, spawn of Danzig, it is
time you return to the depths
from which you sprang. Truly,
your time among us mortals
was brief but not without much
pain and pleasure. Misguiding
the minions of North Van and
otherwheres, you came to us
with matching t-shirts and bad
punk-rock attitudes and infected the youth with many new
DBS, you have plagued me
since your very beginning - I
saw you create mayhem on the
Slam City Jam stage so many
years back, and your goddamned "Snowball" song
remains etched in my brain,
springing forth on odd occa-
Your final recording, this
magnificent EP, marks an end to
something great in our scene,
and your devilish efforts will be
remembered by many as the
soundtrack to growing up punk
in Vancouver.
Julie C
Streethawk: A Seduction
This album comes in the wake
of Dan Bejar (AKA, for all
intents and purposes,
Destroyer) quitting his part-
time job in The New
Pornographers. Presumably, he
was repelled by the wide critical notoriety and moderate
commercial success achieved by
the Vancouver supergroup's
superb album, Mass Romantic.
Bejar, it appears, is something of
a militant anti-careerist and this kind of involvement in the
music business causes offence
to his delicate soul's artistic
purity. So, if you thought
Destroyer's last album (Thief)
was an impassioned poison-pen
letter to an industry that could,
and probably would, make Dan
a star, just imagine the outpouring of bile that constitutes
Streethawk. Perhaps surprisingly, given the album's acerbically
anti-commercial lyrical content,
this is Destroyer's most focused
and polished collection of
music to date. Bejar started off
his "career" as a mercurial lo-fi
noodler, gradually refining his
craft and putting together a
band, eventually arriving at a
style firmly rooted in the sound
of Eno/Cale art school glam.
But, while Streethawk is essentially '70s rock with unusually
bitter lyrics, the whole thing
adds up to (if you'll excuse the
unusually pertinent cliche)
much more than the sum of its
parts. Bejar's obtrusively literate couplets, unique nasal
delivery and imaginative song
structures are the catalysts that
allow this remarkable gestalt
reaction to take place. That is to
say this guv's got serious talent.
Let's just hope he allows his
excellent new album to get the
widespread hearing it deserves.
Sam Macklin
Tlie Old Noise
I'm not sure if mere words can
justify how enjoyable this
album is. In a day and age
where honesty is hard to find,
Jerk With A Bomb come to the
rescue. One thing that makes
this album so great is how
closely it resembles their live
show. They choose to eschew all
of the fancy studio effects to
make this record, which contributes to the label of "minimalist" or "stripped down." Yet
to attach a label to this local
two-piece outfit would retract
from the beautiful lyrics, the
weeping guitar riffs, and the
solid song arrangement.
The Old Noise switches
between cry-in-your-beer tunes
like "Dead Moon" to the hand-
clapping jig of "Somethin'
Else," a song that has often
inspired live audiences to grab
a partner and cut a rug. I guess
it would be wrong to write a
review without mentioning that
these guys go by the monikers
of One Easy Skag and The Silo,
and that One Easy Skag plays
guitar and sings while The Silo
plays drums and keyboards at
the same time. It also wouldn't
hurt to mention that The Silo
looks like the cute little elf who
wants to be a dentist from the
television classic Rudolph The
Red Nosed Reindeer.
Heatlier Termite
Domestic Appliances
(Medik 01)
Mr. Marshall has been rocking
it for several years as one of
Toronto's pioneering techno
and house DJs, and lately he
has been turning to production,
with several excellent releases
on various labels including
Dumb Unit. Vancouver's Mr.
Gardner brings his downtempo
groove to his own Medik
records project to mesh with
Marshall's oddball minimalism
in a well chilled-out CD. The
tracks rarely tension-out or
drive into a dancefloor beat.
Instead, a welcome flood of
space and drawn-out sounds
warm up. The sounds are more
open and less tight than
German chilled downtempo-
techno and not as peculiar as
Boards of Canada—but there
are still various oddities including samples of the Vancouver
weatherphone, recycled past
gems such as a synth arpeggio
that, coincidentally enough, can
be found on an older Delirium
track and trademark Marshall
synth sounds (you will know
what I mean if you have heard
Marshall's "The Calling"). A
real sense of melody and
rhythm work splendidly, culminating with the sublime track
four. Track five picks up the
pace and is hopefully destined
for a vinyl release—no doubt
Algorithm is drooling over this
material. Overall this is a functional collaboration that I am
sure will turn over many different nooks and crannies, enlarging not only Toronto's minimal
techno scene but Vancouver's
growing community as well.
A Chance To Cut Is A Chance To
My family began to receive The
Learning Channel [TLC] when I
was in high school. TLC had a
variety of informative programs, but the only one that I
watched with any regularity
was The Operation. Every week
a new surgery was filmed and
narrated for the audience's
amusement. Nothing, to my
gore-thirsty delight, remained
untouched, be it open heart,
brain, or knee surgery.
I've since mellowed and,
for the most part, avoid TLC's
grisly spectacles. But Matmos's
new LP, A Chance To Cut Is A
Cluince To Cure, has me reveling
in the perverse glee of my
youth. On their fourth album,
the San Francisco duo of Drew
Daniel and MC Schmidt give us
the sound of medical technology-
Having finagled their way
into operating rooms, Matnios
samples the sound of liposuction, nose jobs, and laser eye
surgery, crafting it into very
original, albeit occasionally
squirm-inducing, music.
By far, the "ickiest" song is
"California Rhinoplasty." With
the sound of noses being broken providing the beats and the
background hum courtesy of
the sound of flesh being cauterized, the experience can be a little much. Yet one has to smile
and the inventiveness and
audacity of such an undertaking.
Another standout track is
"For Felix (and all the rats),"
which samples the sound of rats
in cages. The result is a stark
and symphonic piece with a climax full of such fury that, when
listening to on headphones late
at night, it's easy to see why
Orwell's Winston Smith chose
to confess rather than suffer a
face full of these creatures.
Though at first glance
something of a novelty item,
Matmos's new release is an
incredible and original album.
And, provided I don't have to
visit a hospital anytime soon, an
enjoyable album too.
Duncan H. McHugh
The Recline
(Blue Thumb Records/ Verve/
For Metalwood's fourth studio
album they departed from the
DIY approach and signed with
Verve. So what about the pros
and cons of being in the majors?
Well, Verve gave them the
dough to get jazz guitar god
John Scofield, as well as Mino
Cinelu (past percussionist with
Miles Davis and Weather
Report), and NYC superstar DJ
Logic. In the latest issue of
Muzik Etc., Metalwood admits
that there were some strings
attached to the major cash.
Verve wanted a groove album
that  would   "appeal   to  the
But don't you worry, The
Recline doesn't sound like a
Phish album, ie. full of flacid
white "funk" which does nothing to propel the ass in any
direction at all. No way. The
Recline is still a jazz album, and
Metalwood is still a jazz band
with all the elements in the
right place. Although tracks like
"New Pants" almost pander to
an aimless jam band sound, the
horn quickly soars in to bring
the shit back to a jazz, albeit
slightly parental, vibe. In the
liner notes for the The Recline,
bassist Chris Tarry acknowledges that there "are more
tunes on this album. A lot of the
material on the first three
albums was improvised. Here,
we've tried to capture that
spontaneous vibe but with
more thoroughly written
tunes." I don't know about DJ
Logic scratching on some of the
tracks. Often it doesn't blend
into the music at all, the sound
is too clean and high, staying on
the same tonal range for the
duration of his contribution and
frankly sounds like an afterthought, something thrown in
to make Metalwood appeal to
the kiddies or something. Logic
would do well to check out Kid
Koala's work and hear how
turntablism can embody a jazz
esthetic and sound. The Recline
will do well with the hippies,
but Metalwoodheads and jazz
lovers will not be disappointed
La Prochaine Fois
Riz Maslen, aka Neotropic, has
gained quite a reputation for
herself via a series of releases on
which she has achieved a style
of electronic music that is gritty,
militant and compelling.
Needless to say expectations for
her new album are high among
those who know her music. Le
Prochaine Fois is Maslen's most
ambitious work to date and
sees her collaborating with The
Verve's guitarist and a string
arranger who has scored Manic
Street Preachers songs. Wait a
second... did I just say "Manic
Street Preachers"??? Yes readers,
you read right and—as you
may just be figuring out—Le
Prochaine Fois is a perfectly
dreadful piece of empty, pretentious middlebrow crap. Clearly
disenchanted with bleeping
away at music industry's margins, Maslen has decided to go
for the prize—the Mercury
Music Prize, that is. After the
atrocious new Mugwai (sic)
album, this is 2001's second
most desperate attempt to win
Britain's embarrassing "Booker
Prize for music." Why a musician whose track record is so
solid should wish to debase
herself in this way is beyond
me. I sat through Le Prochaine
Fois's soupy new age muzak a
couple of times and even
watched the accompanying
Quicktime film of cliched nonsense, just willing it to get better. It didn't. Consequently, one
has to conclude that only really
committed Mike Oldfield fans
should come within a mile of
this dishearteningly banal epic.
Sam Macklin
The Brindleford Follies
It's a perfect spring evening—
still light out at 7 PM, yet still
too cold for the neighborhood
kids to go screeching into the
lane to play. Not only that, but
I've got the perfect soundtrack
to accompany this gentle
evening. But whodathunk it
would be provided by
Novillero, a band whose primary singer (Rod Slaughter of
Duotang fame) has a voice that
I can tolerate for limited
amounts of time? In any case,
The Brindleford Follies,
Novillero's debut record, is the
kind of simple yet hook-laden
pop record that seems to have
been recorded for nights like
this. It's present but not intrusively so. True, the horns and
the keyboards and the non-Rod
vocal bits might lose their
flavour by summer, but by then,
any music I put on automatically gets drowned out by the
sounds the lane attracts on a hot
summer night. Still, summer's
at least a good month away—
I've got plenty of time to enjoy
the spring fling that is The
Brindleford Follies.
Cat Moore
hello there, thank you for reading
. if you
we're off to Ottawa for this year's
National Campus and Community
Radio Conference! if you want us to
bring your local recordings (cassette, CO, LP,
whatever) to pass out to radio bigwigs across
the country, drop them off to CiTR by June 15,
2001. not too many though, you little monkeys,
we have to carry this shit ya know!
The Starfish Room
1055 Homer Street
C±TR adv. tix® Serai
loi.y  fM    Zulu, Highlife, Noi
Door 9:00pm/Show 10:30pm
Plus Guests
The Starfish Room
1055 Homer Street
CiTR   , Ad*T*?Sck,atch
like to continue, simply flip the page
with your lit fingers, if you have no
fingers, please ask someone who has
fingers to help you out. note: fingers
are not necessarily needed for this
Adv. Tix @ Scr.
. Zulu, Highlife, S
Door 6:00pm/Show
17 E2£^SSEE5if  continued
Love Letter to Halifax
(No Records/Cinnamon Toast
A rotating group of like-minded and self-described anarchists
makes up this group formally
known as The Piggy Calypso
Orchestra of the Maritimes.
Along with the newly-truncated name, Piggy has also gone
for a major sound retooling.
None of the sweet pans and
pseudo-reggae rhythms and
structure of the previous CD
(the amazing 1999 classic Don't
Stop the Calypso also found on
Cinnamon Toast/No), two
tapes and numerous 7 "s here.
Instead, one finds distorted guitars, understated and noodly
keyboards, harmonic ska-
meets-swing   horn   arrange-
faux-orchestral strings, brass
and woodwinds joining to create a diverse collection of songs
from the '70s-influenced college
rock of the album's opening
title track instrumental to the
cheesy hokum swing of
"Murder at the Pop Explosion."
The problem with being a
band that is a music collective,
in the truest sense of the word,
is that the resulting musical
consistency sometimes tends to
be a bit evasive. I'll be blunt, I
miss the polished, sunny calypso sounds of Piggy's previously-mentioned first two tapes
and last CD. However, the
band's unabashed eclecticism
and warts-and-all delivery
leaves one willing to forgive the
fact that the band forsakes its
musical roots. In fact, Piggy
comes off as a high-school band
possessed—a sound which
endears the listener from the
word "go."
But above all, Piggy's message is what impresses—it
almost always has. Mixed in
with the irreverence of such
instrumentais as "Sunglasses on
Spring Garden Road" and
"North End Ska Rumble" are
some hard-hitting commentaries such as the self explanatory "Homeless Song" and the
anarchist goad of
"Troublemaking in the City."
Heavy stuff set to a bouncy
soundtrack, Piggy proves that,
yes, there is a way to be shit-disturbers and still have fun.
Acre Thrills
(Drag City)
Pepper Sands
Welcome to...Pepper Sands
Strangely enough, it was almost
a year ago that I reviewed a
Pepper Sands EP, also called
Welcome to Pepper Sands, in this
very space. In spite of appearances, it's a different EP this
time around, with seven songs
instead of four and an enhanced
track devoted to the video for
the hit "So Fine." As before, this
is a fine entry from one of
Vancouver's best pop bands.
The singer/bassplayer, who
calls herself only Citizen A, has
a smooth low voice that's capable of soaring, and most of the
time the vocals are doubled,
making for a modern, slightly
ABBA-flavoured but slightly
sneery effect. There's roller-rink
style organ in parts of "Ballad of
Joe," something that sounds like
a huge hollow-body guitar
break in "All the Best," and
loads of cool breathy harmonies
in "Make No Mistake."
"Forever Wonder" is downright
bouncy, "Tyrant" switches over
to dreamy rock towards the
end, and of course you already
know about "So Fine." Best of
all, the last time I visited their
website, Pepper Sands were
offering free CDs to anyone
who asked.
Graham Brown
Good 'n Broke
(Stomp Records)
Graham Brown was a founding
member of Jr. Gone Wild,
Brilliant Orange, and
Happyman, which means he's
been writing and playing post-
punk alt-country songs for well
over 15 years. No wonder, then,
that he has such a confident,
distinctive sound. The first 10
seconds of this CD deliver one
of the biggest, brightest, most
ringingly beautiful guitar riffs
you'll ever hear, and that's electric guitar, in spite of his usual
roots designation. The twang is
there nonetheless, in Graham's
pleasing nasal voice, and the
slide guitar, fiddle, and even
mandolin that pops up here and
there through the tracks. There
are also bluegrass influences
("We'll Be Alright"), 1970s Tom
Petty moments ("Masterpiece"),
and "Already Done," that first
track, reminds me just a little of
Dave Edmunds. There's even
train-whistle harmonica, organ,
and bluesy stuff, but Graham's
unerring ear for pop hooks and
bold guitar lines holds everything together.
When Years Were Bee Stings
(Hub City Records)
Anyone who's heard the
Papillomas has to agree that
they are the coolest thing about
Nanaimo. That's too faint a
compliment, of course. They'd
be the coolest thing about many
a larger city too, playing super-
energetic boy indie pop-rock
and gleefully singing lines like
"You are not a nervous eyelid."
The woo-hoos and cheesy space
movie sounds only add to the
fun on this EP.
trevor fielding
*    vong@BMBB is nuno!
Sundays, 9am -12pm
Record played most often on your show:
Trigger Happy, I'll Shut Up When You Fuck Off
Record you would save in a fire:
Propagandhi, How to Clean Everything
Book you would save in a fire:
Irvine Welsh, Filth
Record that should burn in hell:
Metallica, The Black Album
Worst band you like:
Cradle of Filth
Last record you bought:
Propagandhi, Today's Empires Tomorrow's Ashes
First record you bought:
Death Sentence, Not a Pretty Sight
Musician you'd like to marry:
Trey Parker
Favourite show on CiTR;
The Morning After Show
Strangest phone call ever received while o
Someone who thought Guttermouth's tongi
hors de cheek, •
nans kloss
hsms kloss' mmery hour
Wednesdays, 12am-3am
Record played most often on you:
Louder Than Bombs, The Smiths
Record you would save in a fire:
Opposition, Intimacy
Record that should burn in hell:
The one I don't own
Worst band you like:
My own, Garage in Leeds
Last record you bought
Don't like word last
First record you bought:
I don't have it anymore
Musician you'd like to marry:
Favourite show on CiTR:
...in alphabetical order...
Strangest phone call ever received while
When people call and say they like the she
te*™«\ Artery
L-.b*&£-t- Atoms'
fel- Joly e\
683- "2.Q&M
19 is meanderings
one might expect from a
terminal stoner—raised
eyebrows and elicited
uncomfortable titterings
Tuesday, April 24
Commodore Ballroom
ingly wit
ished i
improv to the music, with solos
not being too long and tedious,
while Navarre wisely emphasized beats to keep the crowd
dancing. The level of musicianship was high, but the musicians could have refrained from
St. Germain.
After being yelled at for
daring to advance towards the
Will Call ticket window before
one of the bouncers was good
and ready (1 asked you to stay
here, ma'am!), I finally made it
inside. The Commodore was
packed with everyone from
well-dressed internet types to
denizens of the Drive.
Regardless of income bracket,
most people started dancing
when St. Germain took the
stage. Ludovic Navarre, the
self-styled "conductor" of the
band, stayed well in the background behind his mixing desk
and let the musicians take the
spotlight. Presumably, these
were the musicians featured on
St Germain's latest CD, Tourist,
and included a keyboardist,
trumpeter, saxophonist, percussionist, and drummer. The live
musicians added a feeling of
gesturing U
s their fellow
ling applause
for them. The well- satisfied
audience certainly didn't need
any prompting, especially as St.
Germain's most popular song,
"Rose Rouge," was played
twice, to the ecstasy of all present. It was disheartening after
such an invigorating show to be
again barked at by a bouncer,
who was concerned that we stay
on the correct side of the cordon
on the way out.
June Scudeler
Saturday, April 26
Starfish Room
As far as new Canadian artists
go, Hawksley Workman has
the single best stage presence
going. He grabbed the audience's attention from the outset
with a cabaret-style entrance—
complete   with   faux   feather
*.- 20rr> - &u*4laUt
JU: X-fcu, - U^A^^l^-H*
£**: U**+e+~ - &*t+ f/«K~*£
boa—and his smoky set-opener
"All of Us Kids," a little-known
tune off his debut, presumably
as an ode of sorts to the faithful
fans who had been awaiting
Workman's Vancouver debut
long before "Striptease" got airplay on certain popular radio
and music video stations.
Hawksley had me squealing with delight not unlike a little schoolgirl when he and his
backing band, the Wolves,
unleashed "the hit"—I was surprised he played his single so
early in the set and not near the
end or as an encore, as is tradition (I needed no further proof
he is a trend-bucker who is to
be admired)—followed by my
favourite tune off the first
album, the chugging pop
anthem "No Sissies," and my
fave off the new one, the reggae-influenced "Your Beauty
Must Be Rubbing off," as his
fourth, fifth, and sixth songs,
respectively. I nearly urinated
myself in my throes of ecstasy.
All the while, Hawksley made
love to most of the women
AND many of the men in the
mosh pit. His in-between song
banter—the type of pseudo-
intellectual       stream-of-con-
with the audience
made, they were wonderful interludes to the
overdriven exuberance
that would resume
every time the delicious
wolf would shrug at the
non-reaction to his nonsensical babblings and
launch the band into yet
another swaggering
guitar-driven song or
Hawksley   proved '	
himself the consummate showman, conjuring up the spirits of
Freddy Mercury, Ziggy
Stardust-era Bowie, that character Joel Gray played in that
movie Cabaret, and Bertolt
Brecht. His flamboyant antics,
which included stripping off
layers of clothing, twirling
around his boa and writhing on
the stage floor, whipped up an
energy level among the nearly
sold-out house, which I have
not beheld in the Starfish in
quite some time—it was good
to see after attending so many
weekday shows at the 'Fish
where the attendance has only
been 20 to 50 unenergetic, shoegazing folks, tops. The venue,
like maiiy others in this city,
works best when it is packed
and sweaty, and Hawksley got
it packed and sweaty in no
The throng of faithful sang
out loud to almost every song
which Hawksley played—
especially on the slower,
anthemic tunes like "Safe and
Sound" and "Tarantulove" off
the debut release, and "You Me
and the Weather" and "Lethal
and Young" (all songs which
prove Workman-the-songwriter
has tapped into that rarely-
sourced youthful hope which
few performers these days
understand exists)—except for
some of the older ones and the
couple of yet to be released
songs he performed.
Workman played a set that
lasted nearly two hours and
included not one, not two, but
three encores—something else
that I've rarely seen a performer
do in this city. It just goes to
prove that if local concert audiences are given something to be
excited about, they will recompense that energy back to the
performer many times over; it
creates a circle of energy, which
spirals in intensity and leaves
one with a concert memory for
the ages...
I missed Eleni Mendell's
set because I had to hoof it to
the Skytrain from home and
from the Skytrain to the club
because of this stupid strike—
but it's not likely I would have
remembered much of her set
because it would have been
overshadowed by the majesty
which was the Hawksley
Workman Traveling Freakshow.
Friday, April 27
The Cobalt
I guess you never really know
what to expect at The Cobalt.
The last time The Building
Press played here they were
labeled The Eurythmics. I
would have gone with A Minor
Forest or June of 44, but either
way, I can see how it wouldn't
go over at the house of crust. So
I was surprised this time
around when I actually heard
mention of an encore. Granted,
these kids from Seattle shut
down the hecklers with one of
the best sets I've seen in sometime: high energy, loud, often
ma thy. A weird and rare combination. Kittens For Christian
played a great set and
Autopussy did not. I'm not sure
the locals cared one way or the
other, but I thought K.F.C were
really good. For those like
myself needing direct comparison, I would go with The Ex.
Loud, frantic rock. Leaving, I
really felt like I'd seen a great
show. Thank you Cobalt.
Chris Clifford
Saturday, April 29
The   Commodore   Ballroom
Nice for a change to be able to
see all the bands' performances
from the same spot instead of
gradually being forced back by
!   Of
•  the
course of the night (not that
there wasn't a fair share of them
during Rocket's set... more on
that later). Boston's The
Explosion lived up to their
name and had a small faithful
chanting along to their punk 'n'
roll. Good stage banter too—on
a smaller stage they'd probably
be lethal. The INC rolled out
with a new look, the smooth
moves of singer Dennis Lyxzen
(this guy has studied the art of
dancing, friends!), and a couple
of new tunes from a forthcoming album, but something wasn't right. I couldn't put my
finger on it at first, but later I
figured it was the crowd: all the
between-song banter was lost
on a majority of them, and the
energy fizzled at points where it
should have been boiling. Still,
When San Diego's finest hit
the stage, it was body rockin'
time! A little time off does won
2 Of
that was in newly-acquired skin
basher Ruby Mars—just as
heavy hitting as previous
drummer Atom, and solid to
boot. Secondly, RFTC was genuinely glad to be back, and it
showed in the presence of
Speedo, as he grinned from ear
to ear with every wrenching
guitar note, and even though he
is the leader of the group, he let
his comrades have equal billing
and shared plenty of stage to
showcase their talents.
However, Speedo was not so
accommodating to those who
felt that stage diving was also a
talent that needed to be shared
with the rest of us, and he was
quick to belittle their meager
attempts—save that shite for
the Korn concert, kiddies. And
lastly, the songs, yes the songs:
the vast repertoire was mined,
and although nothing was
played from Hot Charity (shame
shame double shame), they
pulled a fast one with "Don't
Darlene" and "If The Bird
Could Fly," and mixed with the
new stuff from Group Sounds, I
was pleased as punch.
Bryce Dunn
May 4, Starfish Room
Ah, Suicidal. That takes me
back. The writeup in my Grade
10 annual mentioned Suicidal.
Please don't look it up, though.
Suicidal has only two members in it from the glory years,
which is to say the 1980s, but
that's okay: one of them is Mike
Muir. Obviously. The other one
is Mike Muir Jr., Mike Clark. If that's who that was. We weren't
I only caught the last two
songs of Wretch's set. They
sounded just fine. I have heard
this band before and they are
some good shit. Even Rude was
terrible. Well, I suppose not terrible, but they were from L.A.,
sounded a lot like Papa Roach,
did rap-metal, and made monkey noises like that Korn guy.
They were not good.
Suicidal are crowd-pleasers.
They know what people wanna
hear, so they wanna play it.
They opened with "You Can't
Bring Me Down," and it was a
good 20 minutes before they
played a song from later than
1990. Tons of songs from the
first album, plus "War Inside
My Head," "Possessed to
Skate," "Send Me Your Money,"
and more gems, while playing
maybe three new songs in total.
Mike rambled on in between
songs about staying positive,
and thinking for yourself, and
that kind of thing. He sort of
danced around his point a little.
They wound up with "Pledge
Your Allegiance," a perfect
choice. That was why I came to
this show, to yell "S! T!" and
"Suicidal!" at top volume,
mindlessly. I was surprised at
how  many words I  remem-
The encore included "Join
the Army," which now seems to
be called "Join the New Army."
Yech. What was wrong with the
old one? I remember Rocky
George and Rob Trujillo as
much as I do Mikey. I guess
that's why I didn't know any of
the new songs. Nonetheless,
this was a blast.
Trevor Fielding
Sunday, May 6
The Penthouse
were huddled up like salty sardines on this particular Sunday
for one very special reason:
NAKED LADIES. On one night
of the year, it's a women's only
(and pretty gay all around)
night at the Penthouse, where
amateur, non-typical women,
and seasoned professionals peel
off their duds to raise money for
the Downtown Eastside
Women's Centre. As I stood on
an overturned milk crate, craning my neck for a better view, I
noticed the beauty of being a
lesbian. The young, the queer,
and the hip were choo-choo
training and neck-licking just as
hard as the old, the white
jeaned, and the mulleted, and
everybody was shouting and
hollering like drunk truckers at
Hooters. The show's (wo)man-
date was to give the ladies pride
about their bodies and sexuality, to show everyone a gay old
time and to do some quality
fundraising as well. The show
indeed was quite sexy with
plenty of scenarios, including a
particularly dramatic SM num
ber in which a "master"
pierced, pinned, branded, and
poked his/her slaves. There
were good-times acts as well,
such as the hot-for-teacher
number, starring a butch in a little schoolgirl plaid skirt with
white knee socks, getting off on
the wooden ruler wailing her
tender, bare ass.
The hottest act was surely
when the super-amateur contest began, and one amazing
woman in particular jumped up
on stage and started tearing off
her white t-shirt and jeans,
dancing and grinding on the
poles, showing off her womanly
curves while obviously very
proud of being a "bigger" girl.
She deservedly won the contest
too. This brings me to one irk I
had with this good-times show:
there was a certain lack of size,
age, and color in the show. The
majority of the women were
young, thin and/or buff white
girls, which didn't do too much
to challenge the idealized body.
Following the strip show, ladies
were invited to get down and
"get funky" up on stage for a
dance party. Man, do I love to
watch the lesbians dance. The
Melissa Etheridge mullets
swaying in the wind mixed up
with the hipster girls in slouchy
jeans, ties, and black glasses, all
shaking their thang to "Mambo
Number Five." It's a sweet sight
to behold, I tell ya.
Coco Hairpie
Slam City Jam
Sunday, May 6
PNE Coliseum
God, did this suck. Imagine seeing your current favorite hip
hop group, whose work you
fervently admire and who have
basically redeemed hip hop
from it's Eminem-crusted catastrophe, in the worst possible
venue, with the worst possible
sightlines and the worst possible sound, and I'm sure your
sympathy will be aroused. Why
the fuck couldn't J5 have
played a club later that night?
Due to Slam City Jam's ramps
set up all over the floor of the
Pacific Coliseum, non VIPs
couldn't go on the floor (I could
not weasel my way down
there—God, don't those fuckers
know who I am? Christ!), and
the stage was set up at one end
of the fucking dome, so we had
to crowd up along the sides of
the risers, craning our heads in
the full-on fluorescent lighting
to hear, through a horrible PA
system, a brilliant live performance from the MCs and two
DJs that make up Jurassic 5.
Because I left my glasses at
Small's in NYC and can't afford
new ones, I couldn't really
make out my future husband
Chali 2na's visage, only his
lanky 6-foot-something lusty
frame. After a while, my plaintive wails for "Tunafish,
tunafish" got on the nerves of
my companion, our normally
sunny editor, so after a few
songs I resigned myself to making the best of it, and danced as
well as I could, banging my
knees against the shitty stadium
seats. Grrr...
Thursday, May 10
Richards On Richards
OK. I missed seeing Dinosuar
Jr. live throughout their heyday
in the late '80s and early '90s, so
I was quite happy to go see J. in
the intimate setting of Dick's. So
what if his latest album is
entirely forgettable, so what if
Without A Sound was the beginning of the end? So what if the
Trouser Press Guide to Rock
thinks that he's a shitty guitar
player? When I was 16, I
thought J was fucking hot, all
that grungy long hair, growly,
whiny voice, all that shit.
"Bug" got me through grade 10.
"Where You Been?" single
handedly carried me through
the worst breakup of my life.
And the live show circa 2001?
What a letdown. I mean, I had
heard that he sucked live, but I
still spent the whole concert in
the throes of a mid-20s crisis.
Am I that old, already? Maybe
(hopefully) it was the lighting,
but my Indie poster boy's long,
stringy hair looked gray—I kid
you not. Gray. And he had a
total paunch, like a fat belly,
accentuated by his small, flabby
arms. His eyes were totally red
and bleary (Luke Meat had
warned me that J always seems
to be in the throes of the a glue-
sniffing binge whenever he's
seen him live). The music? Well,
Mike Watt kicked ass, and J.
swerved in and out of some
semi-inspired playing and
singing. The most inspiring
moment took place during his
wonderful rendition of the
Cure's "Just Like Heaven" (I so
remember listening to that track
over and over again on my
walkman, taking the bus to
high school). The rest was kind
of pathetic though. He did the
same "crowd sings the one line
thing" during "Freak Scene"
that is depicted in the video The
Year that Punk Broke, he didn't
say anything to the crowd (like
"Hi! I'm fat and washed-up and
no longer sexy), and I think I
would have been way more
devastated if I hadn't been so
fucking high. "So what else is
new? J,  you  were  the  only
Even More Bittercunt
Saturday, May 12
The Penthouse
My very first New Music West
attendance was well worth the
teeth-gritting! As much as I
want less than nothing to do
with our city's sad-sack attempt
at a rip-roarin' music festival
which on this night featured
two out-of-towners and a slew
of local bands just shitty
enough to receive light/medium CFOX airplay, I will admit
that this show had a few shining moments. Case in point:
Flu. Oh wait, no. Flu was a
laughable trio of made-up
Goths from somewhere mid-
Canadianas with glowing guitar skills and knee-bends that
spelled r-a-p-r-o-c-k-h-y-b-r-i-d.
Dope. This marks the beginning
of my addiction to the beer-tapping video game hidden at the
back of the room. Conn and Co.
were on next, and they were
fresher than fruit, doper than
pot. In creepy outfits you'd be
embarrassed to see your grandma in, this quartet rocked it
good. Conn's violinist won my
esteem by providing us with
bum-shakes and half-height
rock kicks, only hindered due to
her five-months-and-counting
bun in the oven. Rad.
I'm sorry to say that 1 spent
the DotHT and Saddlesores
sets conversing with friends
and blistering my hand on the
tapping game. I think I did pretty well. I held all the top scores
except the highest, and that one
was just too far ahead to even
dream of snatching from that
tri-initialed devil. Besides, Thor
kicked it into action, and he's
very attention-demanding. Thor
is a local legend, famous for bad
rock schlock in the '80s. He's
decided to get back on the dog
that rides him to fame and put
together a new band, and, better still, a new album! And he
sells hoodies! Walking like an
action-figure, singing like a
marionette, Thor ravaged
through some classics and some
not-so classics, wowing the
crowd with strong-man stunts
and bad props. He made excellent use of the Penthouse's
interactive stage set-up, and his
diva, some one-named broad,
didn't let the poles grow cold.
Highly entertaining.
And so NMW deserves a
half-props, a smidgen of props,
for bringing Mr. Conn back to
us, and for giving good old
Thor a gig. And I deserve props
for being able to do anything
the next day with my bruised
and  battered  gaming  hand!
Julie Colero
Saturday, May 12
Ms. T's Cabaret
The best music, for me, is really just the sublimated, default
pastime of those who are too
skinny to be able to follow
their true calling: heavyweight
boxing. Unbeknownst to the
weaklings themselves, they
team up in threes in order to
meet the weight requirement,
to feel like they measure up
against the gargantuan brutes
with the shiny trunks. Their
goal is simple, and the same: to
pummel you with a series of
blows until you fall down.
Sheer power may do it, but the
best do it with (say it like
Bugs) "stragety." Bugs knows
that the set-up is everything.
It's the finessed mindfuck that
does it. Catch 'em off guard.
Give 'em the syncopated
rhythms until they spin like a
drunken dreidel, and then,
BANG! with a bowling ball
across the jaw.
This Weights and
Measures kid is in damn good
shape. Hell, he's in excellent
shape. His timing is impeccable. Combinations and
rhythms that stagger. He set
me up alright, got in some
good shots, too, and although
I needed a lot of water and got
a nasty cut over my right eye, I
didn't hit the mat: he never let
me come to him. Don't get me
wrong, this kid's a heavy hitter. But he just kept comin' at
me, and when we hit the
eighth round, I just waited it
out. I didn't have no room to
This gig was part of New
Music West. I didn't see any of
the other bands there that
night—pre and post bout, I
was drinkin' in a living room
on wheels and listening to the
Weights  and  Measures CD.
Steve DiPo
May 17, Starfish Room
The Living End are apparently
huge in their native Australia,
and apparently it was pretty rare
to see them play to 200 people. I
was just happy not to have seen
them open for somebody like
Blink or MxPx. Nasty On were
real good. Low-key, but kick-ass.
It was awesome watching him
fight his drum kit the whole time,
and totally win. Fucking amazing
Tsunami Bomb were okay.
Fairly nondescript pop punk with
a girl singer. She was a fine singer,
though. Sort of like Cinder Block
but not so strong. They said
Canada was a great city. They
said they were from the Bay area.
We figured they were from
Thunder Bay.
The funny thing was, even
while they begged stragglers to
approach the stage, "The Living
End" was every other word.
Maybe they got a commission
every time. Living End this,
Living End that, thanks to the
Living End, Living End, wooooo!
So it seems that this "Living
End" I'd heard so much about
was actually the headlining band.
Part punk, part rockabilly, but
mostly just rock, in all its cheesy
glory. Some fast songs, some slow
and super catchy, with huge flaming guitar soloes imbedded in
each. Great big checkered
standup bass, sounded great.
They played my favorite,
"English Army," saying it was an
oldie that all the Australians there
might like. There were a lot of
Australians there, many down
from Whistler. Everyone knew all
the words, sang at the top of their
lungs, bounced like mad and had
a great time. I liked The Living
End but didn't love them: though
the guitarist is undoubtedly
amazing, I get squirmy when a
song gets up over five minutes,
full of Hendrix at Woodstock
noodling in the middle. Like I say,
this band's level of cheese is at the
arena rock plateau. The strobe
light was a nice touch, though.
Trevor Fielding
Contest! Free Shit!
Enter to win a copy of the new
Punk 0 Rama volume 6 cd,
VOL 6                                                              2001
featuring   23   Epitaph   bands
including unreleased tracks from
Pennywise,     Pulley,     N0FX,
—wJ\ J^"
Millencolin and Decendents. Just
email      discorder@yahoo.com
S^^feS    fcfi3fp
before June 25 and tell us why
; -JftSS^. JL.:/>Jf
you're punker than fuck.
cTy ^pttoph
21 u^gismss, SUNDAY
9:00AM-12:00PM   All of
time is measured by its art.
This show presents the most
around the world. Ears open.
May 13: Guest composer
Jocelyn Morlock
May 27: Special guest Peter
12:00-3:00PM Reggae
inna all styles and fashion.
3:00-5:00PM Reakowshit-
caught-in-yer-boots   country.
alt. 5:00-6:00PM British
pop music from all decades.
SAINT TROPEZ alt. 5:00-
6:00PM   International  pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER FM 6:00-8:00PM
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
10:00PM Hello India combines with Geetanjali to
create... Hello Geetanjali!
Geetanjali features a wide
range of music from India,
including classical music, both
Hindustani and Carnatic, pop-
Ghazals, Bhajans, and also
Quawwalis, etc.
12:00AM Strictly Hip-Hop
- Strictly Underground -
Strictly Vinyl. With your hosts
Mr. Rumble, Seanski,
ind J
the 1 & 2's.
12:00-2:00AM Time to
wind down? Lay back in the
chill-out room. Trance, house,
and special guest DJs with
hosts Decter and Nasty.
FILL-IN 2:00-6:00AM
8:00AM Spanish rock, ska,
techno, and alternative
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delights! Tune in and enjoy
each weekly brown plate special. Instrumental, trance,
lounge, and ambience.
RAPIDLY alt. 11:00-
GIRLFOOD alt. 11:00-
3:00PM Underground pop
for the minuses with the occasional interview with your host
DJ Hancunt is in training for
Olympic party athletics —soon
to be a gold medalist in drinking, drug taking, and reckless
BLACK NOIZE alt. 3:00-
DJ Nat X still sez: "Fuck You,
My Man!"
EVIL    VS.    GOOD    4:00-
5:00PM   Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM Join the sports dept.
for their coverage or the T-Birds
and   some  other  goofiness,
FILL-IN   alt.   6:30-7:30PM
BY THE WAY 7:30-9:00PM
I don't know what I'm up to
anymore. I play lots of odd
German electronix, some 7"s,
and a demo here and there.
Go figure.
12:00AM Vancouver's
longest running prime time
jazz program. Hosted by the
ever-suave Gavin Walker.
Features at 1 1.
12:00-3:00AM Hosted by
Trevor. It's punk rock, baby!
Gone from the charts but not
from our hearts—thank fucking
Arthur and "The Lovely Andrea"
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Open your
ears and prepare for a shock!
A harmless note may make
you a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most
dangerous criminal! <3rdx-
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM-1:00PM
2:00PM Music and poetry for
C.P.R. 2:00-3:30PM
buh bump...buh bump...this is the
sound your heart makes when
you listen to science talk and
techno...buh bump...
PROM QUEEN 3:30-4:30PM
4:30 (Last Tuesday of each
10,000    VOICES        5:00-
l^3 f
I 12™
PARTS     £
dL^J t
| No j
SKA-T'S      L
| Rts j
io <
soulsistah radiol:
| Rts
10,000 VOICES (Tk)
ON AIR        LI
| 12*"
LIVE FROM...    "-
io j
Cf= conscious and funky • Ch=
• Hk= Hans Kloss • Jz= jazz • Lm= live music
children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/induslrial • Hc= hardcore • Hh= hip hop
1 Lo= lounge • Ml= melal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world 6:00PM Poetry, spoken
word, preformances, etc.
8:00PM Hardcore and punk
rock since 1989.
ANNABOUBOULA (formerly Radio Ellenikathiko)
8:00-9:00PM Greek radio
WORLD   9:00-10:00PM
DEN      alt.      10:00PM-
12:00 AM
alt. 10:00PM-12:00 AM
Phat platter, slim chatter.
6:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
7:00 AM
7:00-9:00AM Bringing
you an entertaining and eclectic mix of new and old music
live from the Jungle Room with
your irreverent hosts Jack
Velvet and Nick The Greek.
R&B, disco, techno, soundtracks, Americana, Latin jazz,
news, and gossip. A real gem!
10:00AM Japanese music
and talk.
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruc-
tion.  Recommended for the
THE°SHAKE   1:00-2:00PM
The manatee is my spirit animal. Me da I'agita.
3:00PM Zines are dead!
Long live the zine show! Bleek
presents the underground
press with articles from zines
from around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
6:30PM Socio-political, envi-
ronmentally-activist news and
spoken word with some music
June 6-13: Sam Graci-The Food
Connection Parts 1 &2
June    20:     Harvard     Design
June 27: A feature on water and
a preview of the "Water For
People & Nature Conference."
Ritchie Hawtin Ticket
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things. (First
Wednesday of every month.)
9:00PM Indie, new wave,
punk, noise, and other.
FOLK OASIS 9:00-10:30PM
Roots music for folkies and
non-folkies... bluegrass, singer-
songwriters, worldbeat, alt.
country and more. Not a
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindwa
a flipped u
Bhungra! "Chakkh de phutay."
HOUR      12:00-3:00AM
Mix of most depressing,
unheard and unlistenable
melodies, tunes and voices.
FILL-IN 6:30-8:00AM
8:00- 10:00AM
SHOW  10:00-11:30AM
Two hours of non-stop children's entertainment including songs, stories, poems,
inteviews, and special guests
with your host Christina.
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
SHOW 2:00-3:00PM
Comix comix comix. Oh yeah,
and some music with Robin.
3:00-5:00PM On Hiatus!
Will the ladies return? Stay
LEGALLY HIP alt. 5:00-
alt. 5:00-6:00PM Viva la
Velorution! DJ Helmet Hair
and Chainbreaker Jane give
you all the bike news and
you need and even cruise
around while doing it!
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.
HAIR 7:30-9:00PM The
best in roots rock 'n' roll and
rhythm and blues from 1942-
1962 with your snappily-
attired host Gary Olsen.
RADIO     HELL 9:00-
11:00PM Local muzak from
9.  Live bandz from   10-11.
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real rock V roll debris.
Email requests to
12:00-2:00PM DJ Splice,
A.V. Shack, and Promo bring
Full-on, ' 'funktihed, sample
heavy beat-lain trip, focusing
on anything with breakbeats.
3:30-5:00PM Please keep
on rawkin' in the free world
and have a good breakfast.
Rock on, Nardwuar and
Cleopatra   Von   Flufflestein.
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa, and African
music from around the world.
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
HEAD 12:00-2:00AM
FILL-IN 2:00-6:00AM
FILL-IN 6:00-8:00AM
8:00AM-12:00PM   Studio
guests, new releases, British
comedy sketches, folk music
calendar,   and   ticket   giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
Vancouver's only true metal
show; local demo tapes,
imports and other rarities.
Gerald Rattlehead, Dwain,
and Metal Ron do the damage.
CODE BLUE 3:00-5:00PM
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy, and
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes s
kick aroundLnezooi
ScdVV V\3r\«v
nth degree.(Welcome back
PIPEDREAMS alt. 10:00-
THE RED EYE alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out—Guy
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
listen to citr online!
23 bm&smm June Long Vinyl
June ShortVinyl
Indie Home Jobs
1  destroyer
2 v/a
snow robots vol 1
3 vote robot
in meorm na
4 nick cave...
no more shall we...
5 the metic
6 ken nordine
a transparent...
7 arling+cameron
sound shopping    emperor norton
8 dj smash
blue note
9 tricky woo
les sables...
sonic unyon
10 black halos
the violent years
11  kinski
be gentle with...
12 hawksley workman
the delicious wolves
13 michie mee
don't wanna
14 rocket from the...
group sounds
15 sadies
tremendous efforts
16 tipsy
17 mark farina
mushroom jazz
18 wagon christ
19 henry rollins
a rollins...
20 gibu
isolation drills
21 the deadcats
22 us maple
acre thrills
drag city
23 new pornographers
mass romantic
24 the radio
music to hop trains to
25 v/a
the sound of om
26 anti flag
underground...    fat wreck chords
27 download
28 senor coconut
en gran baile        emperor norton
29 cinematic orchestra
30 the causey way
causey vs...   alternative tentacles
31  talvin singh
32 st.etienne
sub pop
33 retsin
cabin in thewoods
carrot top
34 nebula
sub pop
35 people like us
a fistful of knockers
■■ do not use this map
r,W&rv I
; \        I /
I >    ■
1 electric frankenstein
the perfect crime
sub pop
something something
pong ping
2 emphysema rings
3 the evaporators
legendary heros
honk the horn
radio penny
rheem ruud family
les jardiniers
emerald city
song song
moon patrol
four song demo
4 badly drawn boy
once around...
twisted nerve
5 lost sounds
tenessee twin
oh darkness
6 cecillia..
mon engin cfenfer
heat scores
run santa run
rock and roll
Victorian pork
i just wanna beer
8 dianogah
river rats
baby yer a troll
9 frumpies forever
don't want to go home
gray's anatomy
no chocolate for tyson
10 new town animals
lose that girl
triple word score
too far gone
11 the killingtons
mr plow
12 jello biafra
13 tullirtravoltas
the green wedge
bad apple
squares elite
nicely nicely
life is rough
around the capital
it's me not yours
14 bigjohnbates
vibro psychotic
nearly nude
jump start
15 zen guerilla
sleepy jones
16 trickywoo
ten tons
uneven steps
postcards from...
17 land
ice storm
pop bus
panty boy
18 the marble index
love talking to boys
19 automaton
galleon rey
20 riff randells
who says girls can't rock
The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short
vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by our djs during the previous
month (ie, "June" charts reflect airplay over May). Weekly charts can be received via e-mail. Send mail
to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"« fucking
00   bullshit
If you're going to lie
down, you have to take
your clothes off. Or at
least be in the process if
someone else is taking
them off for you. Or for
them. Whatever. As long as
you have no pants on by
the time you're on your
back. Wearing no pants is
key. If you have pants on,
you're going to get up.
You're going to get up
because you have to take
the pants off at some point.
So before you lie down,
pick a record—make sure
it's not shitty 'cause that
means you'll have to get up
and change it, so pick
something good, something you like—take the
pants off and lie down.
We're aiming for the perfect position.
I have this No Napping
rule. Wait, first I should tell
you I'm insane. Everything
I do is motivated by complete insanity. So no naps. If
you take a nap, you have to
get up. That's like having
two mornings. And who
the fuck has time to sleep in
the middle of the day when
it's bright out and you close
your eyes and all you see is
orange because you can't
shut your eyes tight
enough to block out the
God damned light. So I'm
saying don't lie down if it
means you have to get up.
And don't listen to good
music when you have to do
something else. Don't listen
to a great record and watch
television at the same time.
Don't talk on the phone for
Christ's sake. And don't
stop the record. Don't interrupt. That's fucking rude.
And don't fall asleep. It's
late, you're lying down, but
Don't fuck. Well if you
think the fucking's going to
be better than the record
then you should fuck. If
you're not sure, horse
around for a bit and if you
can still hear the music, it
sounds like the record's
going to be better. If you
forget the record's even
playing, fuck. Unless you
think you're going to have
to leave afterwards, if you
think you're going to have
to get up.
Anyway, the position's
more effective when you're
by yourself. It works best
for pathetic losers.
Personally, I like the floor, I
like lying on the floor.
There's more room. If the
choice is between the couch
and the floor I have to go
with the floor. I have a bed,
but only 'cause people
would think I was insane if
I slept on the floor. But I
already told you I'm insane
and I could probably get
away with telling people I
slept on the floor because
it's, like, Chinese to sleep
on the floor.
But I'll move to the bed
'cause that's where normal
people lie down. So turn up
the music. Make sure you
can hear it. Lie on your
back. Remember, no pants.
Don't lie on your side.
Don't lie against your ear.
You might as well screw
the balance in the stereo.
Hell, fuck stereo all together. Why don't you listen to
something in mono for
fuck's sake. Don't curl up
in the fetal position and
start crying like a pussy.
Don't feel sorry for yourself, just be sorry for everything you said, everything
you did, hope you'll never
be a stupid fuck again.
Stare at the light bulb.
Listen. After awhile it starts
to hurt. Mostly your eyes.
So turn around if you want.
Press your face into the pillow. Make sure it hurts a little, squash your nose, hold
your breath, so you don't
fall asleep. I'm not one for a
pillow. Puffy ones, especially. If the pillow wraps
around your head like a
pair of ear muffs give it a
huck. If you can't hear
everything, throw it in the
fucking garbage.
Listen. Ignore the phone
when it starts ringing. Ten
times out of ten it'll be
someone stupid. Or at least
not the person you were
thinking about. It doesn't
work that way. Who the
fuck are you kidding.
what we listened to
(like you care)
us maple acre thrills, lucinda williams essence, camp
skin graft comp. air 10,000 the legend, low + dirty three
in the fishtank. television marquee moon, joel rl phelps
blackbird, the beans crane wars, ladytron 604. fleet-
wood mac rumors!!!!! jerk with a bomb fne old noise.
zz top eliminator, the replacements pleased to meet me.
the ex dizzy spells, paul lytton and ken vandermark
english suites. Jurassic five quality control, the mountain
goats the coroner's gambit, tony wilson sextet the lowest note, rites of spring rites of spring, phleg camp, citr
listening fuckin' marathon! yeeeessssss!
tinder sticks
can our love..
Ten years into a career so prolific
and diverse, the release of Can Our
Love... see the Tindersticks making a
scintillating, soul based music. Can
Our Love... is the sound of a band that
survived a period of uncertainty and
came out the other end feeling surefooted and inspired.
"While there's  little consolation for
those picking bits of broken heart out
of the carpet,   one thing to bear in
mind is happiness will never have such
a magnificent and strangely glamorous
soundtrack as that created by
Tindersticks.    Misery might actually
sound like sobbing and endless
silence,  but  in the hands of these
six men from Nottingham,   it's all
strings and elegance" - NME
25 E#?§£aEgffi FRI JUNE 1
golden wedding band@sugar refinery; forgotten
rebels, new town animals@starfish.
in frequency, co-op radio benefit@sugar refinery;
doa, snfu, dayglo abortions, exit this side, dog eat
dogma, the sweaters, facepuller,
huskavarna@commodore; tortoise, nobukazu take-
mura @thevogue; hi-test,shineola@the pic.
planet smashers, peacocks, subb@the pic.
school days@anza club; sean macdonald@sugar
homophile art meet: queer sex shorts@blinding
light!! new wave dance party® ms.t's only one dollar!
cinerama@starfish; mogwai, bardo
pond@richard's; bronze, joel@sugar refinery;
nofx, swingin' utters, rise against@commodore.
mac dawg@sugar refinery; calexico@starfish; fantastic plastic machine@sonar.
kaizen@sugar refinery; eruption, alcohollica@com-
modore; red house painters, radiogram@starfish.
bottleneck@sugar refinery; punk-o-rama (all ages)
w/guttermouth, us bombs, union 13, the devi-
ates@graceland (seattle.); spitfires, the girls@the
SUN 10
summerlad@sugar refinery (early show); dido,
travis@gm place; aceyalone@sonar, guttermouth,
us bombs@grandview legion; bob log III, immortal
lee county killers@the  pic.
MON 11
the papillomas, the cinch, operation makeout@ms.
t's; human hi lite reel@sugar refinery.
naomi    sider@sugar    refinery;    coal,    angie
inglis@marine club.
FRI 15
mike zachernuk, dave sikula@sugar refinery; the
spits, right on!, the pulses@gibsons (seattle); great
Canadian wedding dance@wise hall; she stole my
beer, big yellow taxi@the commodore.
SAT 16
sean     macdonald,     adrienne     pierce,     mike
saurette@sugar refinery; j-dub@sonar.
SUN 17
beatnuts, arsonists@commodore; unrefined@sugar
refinery; coldplay, grandaddy@orpheum.
WED 20
mark browning@sugar refinery (early show).
secret three@sugar refinery; djspooky@sonar; new
pornographers, duotang@richard's on richards.
FRI 22
mouse on mars, vert, prefuse 73@richard's (early
show); the colourifics@sugar refinery; ex-centric
soundsystem, velvet@commodore; skywalk@arts
club theatre; bloomdaddies@the cellar; cross-
fade@sonar; the twisters@purple onion; three inches of blood (all ages) @the Java joint (surrey);
umphrey's mcgee@starfish.
SAT 23
cinematic orchestra, king cobb steelie, dj seri-
ous@commodore; young and sexy, unitard, the
SUN 24
the new deal, q, dj ramasutra@commodore; radio-
head, beta band@thunderbird stadium; bob murphy trio@diva at the met; voodoo glowskulls, ann
beretta, backside, pretty girls make graves@grace-
land (seattle); smog, the sadies, damien
MON 25
human hi lite reel@sugar refinery; John scofield
band, metalwood, bloomdaddies@commmodore;
djspooky, masters of illusion@i-spy (seattle).
built   to    spill,    delusions@richard's;    bullfrog,
WED 27
jazzmatic@sugar refinery; alpha yaya diallo, dicar-
do lemv, makina loco@commodore; built to spill,
emmylou harris@orpheum; little stitches@sugar refinery; clarence gatemouth brown, marcia ball.
FRI 29
Joshua redman, chris gestrin trio@vogue theatre.
SAT 30
dave douglas new quintet, chris potter quarter©
vogue theatre.
Special Events
Scott Malin, artiste behind The Kickaround (see pg
23), has a mural on display at The Sugar Refinery
(1115 Granville Street) until the end of July. It is in
glorious colour. It features marsupials.
There's a neat-o Comic Book Art Show and
Drippytown Comic Launch, at the Tart Gallery,
1869 W.4th Ave. The grand Art Opening happens
on Saturday June 23 from 7-1 Opm with DJ
Audiowhore and the Minimalist Jug Band! Original
cover art and panels by 28 independent,under-
ground and successfully "out there" comic strip and
book artists, including Fiona Smyth. Runs till July
Jeb Bishop on trombone! Kjell Nordeson on vibes!
Paal Nilssen-Love on drums! Ingebrigt Haker-Flaten
on bass! Ken Vandermark on reeds! If you've never
heard of these people, you will not care that they
have exclamation marks at the end of their sentences! If you do know these people, you don't
even need to read this cause you've already
bought your ticket! Monday, June 4 at the Anza
Club. Starts at 8pm. Only hosers would miss this.
From June 2 to July 22, Presentation House Gallery
in North Vancouver presents the media work of
Lorna Simpson, Fiona Bowie, and Sophia Calle.
Communication, miscommunication, video, projection. Upstream not Mainstream!
She Stole My BeeRw/ Bie Yellow tahi
Fri. June 15tK The Commodore Ballroom
Evil-Funk Ethereal-Grooves
Fri. June 22nd, The Starfish Room
Sat. June 23rd The Boot Pub Whistler
Hard-Hitting-Funky-Soul-Boogaloo Music
SU&AMdLN Sw/Burt Neilson Band
Canada Day July 1st, The Starfish Room
Thur July 5th, The Commodore Ballroom
July 27th, The Boot Pub Whistler
July 2Sth, The Wise Hall
Tix @ Black Swan, Highlife, Zulu and all Ticketmaster outlets/ charge by phone (604) 280 4444
Tix & More info. @ www.upstreamentertainment.com or call the Streamline @ (604) 904 4207 THIS MONTH S SAMPLER FEATURES NEU!, TINDERSTICKS,
OVAL, VOTE ROBOT and more!
V rar
Sri CD
/ancouver's DIRTMITTS join the
ranks of the Sonic Unyon
record label, bringing with them
their infectious blend of dissonant
pop! Like their live shows, charac-'
terized by ringing chorus-tinged guitars and layered
melodies, this eponymous release sounds sharp, crisp and
lushly noisy. Bravo!
CD 14.98
In Meorm NA
Even My Sure
Things Fail CDEP
We've espoused the \
the CALEXICO boys for
some time. They've even played i
our old store. We like them,
they're sweet guys. Their Tex-Mex style country musings
always charm us in every way. Simply put, they make us
happy. Thus, we feel that this latest recording hardly
requires any spin or push. Our mentioning it here in this ad
is merely to pass on our good feeling about them to you,
the valued customer. Please enjoy this excellent collection
of B-sides, CD-Rom videos, and whatnot from this great
band. It may surprise old fans and new fans will be quickly
convinced to become old fans. How can you go wrong?
Clicks and Cuts can describe
the leading edge of digital noise-
making, then Nuts and Bolts
might describe these fine boys
from Kelowna. As you may recall, Nuts and Bolts is also the
name of a popular if disconcerting snack food: a curious
mixture only possibly conceived by a vast and secret organization, like Nabisco, or by carefree preadolescent boys,
such as the young men in question. More analogue than
digital - supposedly eschewing modern processing for
older forms - VOTE ROBOT occupies this same impossible
creative axis, from inscrutable to fearless, Byzantine to belligerent. Still, no matter what process is used, their music is
as refined and intriguing as anything on Mego or Mille
Plateaux. Damn the laptops, boys - good work!
CD/IP 12.98
The Old Noise
While some of us are comfortable stagnating in shallow
ruts of regularity, others strive for
the next level JERK WITH A BOMB
are kicking at the sides of society's ruts, giving us all that
knees-bended, hands-locked-together push over the top to
get us on the right track again. Sending us over with
sounds garnered from simple machines (guitars and
drums and a bit of low-down vocals do the trick), this not-
alt-country duo reaches out to those in need of awakening.
JERK WITH A BOMB offers up greatness, or at least a
change from the mediocrity of so many lives, and shows
that there's many an alternative to going nowhere, some of
which are really quite pleasurable.
Beautiful CD/2LP
CD/LP 12.98
CDEP 14.98
Can Our
Nick Cave and The Bad Seeds |
I is the Faulkner of pop, then surely the Tindersticks resemble the I
poetics of Neruda! Imagine landscapes of exfoliating Eucalyptus trees, villas, wine and a
pueblo called 'Brokenhearted' - such is the setting for
TINDERSTICKS' narratives. And so, these authors of orchestrated pop elegance return with new fictions, well steeped in
the lonely theme of modern melancholia - yes, tiny tears
still make up their oceans! This is a loose, relaxed and
rewarding record, that grows on you as the pages turn!
P.S. Their suits aren't just for special occasions.
CD/LP 19.98   Free posters while supplies
last plus a contest giveaway!
In the Fish Tank CD/LP
Pinch us we must be dreaming - two of our favorite
bands working together. It's too good to be true. Yet
true it is. Both bands ease into one another's style like old
good friends. The meeting is remarkable and memorable.
LOW'S beautifully depressing style is articulated nicely by
the spacious generosity of the DIRTY THREE. And the
DIRTY THREE somehow coax LOW to become even more
brooding, as though enraptured by their compatriot's
dusty melancholia. Beautiful stuff, really. However, In the
Fish Tank leaves us uncertain about one thing: should we
thank God or get real drunk? Enjoy.
CD 14.98 LP 12.98
For some, the reissue of this legendary disc will mean
the culmination of years of diligent record bin excavations. Raiders of the Lost Disc - beware, this Holy Grail
will melt your ears away. A-ha! This is the fabled zenith
point in German prog-rock imbued with the ability unlock
the secrets of Stereolab greatness, revealing the historical
model for their art-production. The trilogy is complete:
Can, Kraftwerk and now Neu! Such prowess of cannot
remain suppressed - however, its exact arrival date is still
rumored...Check back frequently!!
Poo-poo on your ju-ju CD
I has become subtler and less abrasive since they detonated screaming guitars and juddering beats on Semtex. Still,
it would be unfair to accuse ex-Flying Saucer Attack
string-strangler/radical eco-warrior/THIRD EYE main-man
Matt Elliot of mellowing. Whilst becoming more
restrained and sample-based, Bristol, England's finest have
maintained a formidable level of intensity. All that brooding
must have taken its toll though, because Elliot is finally
closing The Foundation and settling down to start a family.
His swan song is this collection of collaborations and
remixes, featuring Zulu favourites Blonde Redhead and
Chris Morris, among others.
CD 19.98
IVI was arguably the most influential electronic musician of the     fjfc_l
'90s. He was certainly the most
obtuse, masking each new innovation with a dense conceptual smokescreen. Now, long after his convoluted theories
stopped being interesting, his music continues to beguile
and astound. Ovalcommers retains the harsh textures of
last year's Ovalprocess, whilst bringing back some of the
dreaminess that made 94 Diskont such a heady treat. If My
Bloody Valentine had stuck around after Loveless to keep
pushing at the sonic brink, this is what they might have
sounded like in the year 2001. Highest possible
CD 19.98    LP 14.98
Braille Night CD
It has been said that IDA resemble a now
Mac. Is that a bad thing? For those of you with something to prove, perhaps it is. For those who understand
that there is a certain pleasure to be found in the sound
of men and women singing in harmony, this comparison
may make sense. The members of IDA have endeared
themselves to a community of dedicated listeners over
the years offering us individual and team takes on love
and the other emotions we can never quite articulate for
ourselves. Let IDA spill your guts.
The Eames Brothers created
the chairs you are reclining
in.. .Phillip Stark, the chic sofa across from you.. .but
all these are nothing, if there is no atmosphere. A drink
with no fizz, is like a shag with no emotion. Where are
we going with this? Beautiful things are wasted alone.
Grand designs are only realized next to people. There is
music...but it is us who make the dance. And so, direct
enviable task of providing this summer's club-pop
soundtrack. You are invited to Beautiful - a thoroughly
modern setting characterized by rich woodwinds, lounging horns, fervent bass, and upright beats.
CD 16.98   2LP 18.98
Songs I Hate
And Other
Moments CD
The popularity of Buck
exceptional Man Overboard LP suggests that there
is a market for Canadian underground hip-hop after all.
Buck began that album's excursions into harrowing
emotionalism and experimental abstraction as one half
of Sebutones alongside SIXTOO - who now steps up
to make his own solo flight into uncharted territory.
And what an epic journey it is - with a couple of tracks
stretching beyond the 15-minute mark. Advanced,
challenging stuff, to be sure but - like we said -
there's a market for this stuff.
CD 19.98
Montreal's Constellation
Records further diversifies their roster with this startling debut from this enigmat- I
ic duo interested in exploring '
the terrain of experimental neo-classical music! H
UP has the ammunition - percussion and cello sources
- a battery of sounds entertaining thoughts of the
impossible: confluences of sustain and staccato, melody
and discordance, motion and calm. A challenging listen
with Trux edges, Kronos beauty, and the fucked up harmony in between.
CD/LP 12.98
All prices in effect until June 31, 2001
CD 19.98
ASHLEY PARK- The American Scene CD
Various- NUGGETS 2 Box Set!
BAUER- Can't Stop Singing CD
DELTRON 3030- Instrumentais CD/2LP
NEOTROPIC- La Prochaine Fois 2CD/2LP
AMERICAN ANALOG SET- Through the go's: Singles and
Unreleased CD
SPAIN-1 Believe CD
1t&cv Stuuvuty at
1Z69 TVrxt 4tA "Avoute
^cdti Satellite Store, - Stafi. ic, fan „ <U<U!
tun* 'til flcate tZ*
Ttext Sfotv (often* $u«te 23* 7-WfH*):


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