Discorder CITR-FM (Radio station : Vancouver, B.C.) 1995-05-01

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What the fuck is a p>og&
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,h Columbia. All rights reserved.
"DiSCORDER" 1 995 by Ihe Student Radio Society of the Uni*
Circulation 20,000.
Subscriptions, payable in advance, lo Canadian residents are $15 for one year, lo residents of the USA are
$15 USD; $24 CDN elsewhere. Single copies are $2.00 (lo cover postage, of course).   Please make
checks or money orders payable to DiSCORDER Magazine.
DEADLINES: copy deadline lor June #1 49 is May 11 th. Ad space is available until May 1 5lh and can be
booked by calling Kevin al (604)822-301 7 exl. 3. Our rates are available upon request. DiSCORDER is
not responsible for loss, damage, or any olher injury as lo unsolicited manuscripts, unsolicited artwork
(including bul noi limited lo drawings, photographs and transparencies), or any other unsolicited material.
Material can be submitted on disc (Mac, preferably), in legible print or in type. As always, English is
From UBC lo Langley and Squamish to Bellingham, CiTR can be heard al 101.9 fM as well as through all
major cable systems in the Lower Mainland, except Shaw in Whiterock. Call the CiTR DJ line al 822-2487,
our office at 822-301 7 ext. 0, or our news and sports lines al 822-301 7 exl. 2. Fax us al 822-9364, e-mail
us at GTR@UNIX.UBC.CA, or jusl pick up a goddamn pen and write #233-61 38 SUB Blvd., Vancouver,
•••••••••••••••••••••••I ho
* introduces \
*     *
Begining in June - Every
Friday  &  Saturday  Night
Open 10 am until
2 FOR 1    "7" ■
Night   Jumping    Only
with this ad
Expires   June   30/95
Call    1-800-668-7771
Dave        Big Head
Matthews Todd & the
Band     Monsters
Saturday May 6
The Commodore
Intimate evenings with
Warner Recording Artist
Sat. April 29 - Gastown Music Hall
Sat. May 6 - Gastown Music Hall
Sat. May 13 - Starfish Room (Music West)
Sat. May 20 - Gastown Music Hall
L, Peter ^
with guest DEEP^LIA-*-
TuesdayMay30 • TheCommeflore
with special guests
neconoline crush
and Prick
> Wed. May M
H&** Commodore
OR CHARGE BY PHONE 280-4444 To the folks at
I was shocked to find lhat
you hid behind your veil of
anonymity to make fun of
Mary Lou Lord, using me as a
shield (April issue). I am a
regular contributor to this mag
- I enjoy working on it and I
appreciate the work that you
do. I do not appreciate it,
however, when you have your
fun at other people's expense.
Putting Mary Lou Lord in a
dumpster was an immature
response to what Courtney
Love said; and what she said
was, well, what she said. You
can believe it if you want. But
my name is the only name on
the article. I appear to be
responsible for everything,
graphicsandall. Had I known
you were going to use my
attempt at exposing a cool
indie artist to show off your
computer talent while glorifying Courtney Love's words, I
would not have submitted it
in the first place.
Miko Hoffman
While I certainly do appreciate your contributions to the
mag and I understand where
you're coming from, I don't
think that what we did with
the Mary Lou Lord piece merits an apology.
First of all, we do not hide
behind a 'veil of anonymity';
our names are clearly displayed in the masthead. True,
your name is the only name
that appears on the article
itself, but I think our readers
are savvy enough to understand the distinction between
editorial content and graphic
presentation. The former is
the domain of the individual
contributor; the latter is the
domain of the magazine
I don't fuck with content.
I edit for space, readability
and the usual assortment of
grammatical errors, butlnever
alter the tone or context of a
writer's work. Your words are
your own and anyone who
reads your article will realize
that you respect and admire
Mary Lou Lord both as an artist
and on individual.
Graphics are another matter. While we certainly
wouldn't design a layout that
was potently offensive or radically contrary to the tone of
any specific written article, the
overall visual style ofthe magazine is our forum for expression. As such, it should reflect
certain attitudes and 'values'
which we hold, among them
irreverence and an appreciation of irony. Putting Mary Lou
Lord in a dumpster was indeed 'immature'. It was also
harmless, silly and funny. It
was not malicious, and unless
Mary Lou is absolutely lacking
a sense of humour I doubt very
much that she was offended
by it. (In fact, I have spoken
with someone who talked to
Mary Lou after her most recent show in Vancouver and
he assures me that she laughed
it off when he showed her the
article.) It was a joke, and
hopefully one of the things
that distinguishes 'cool indie
artists' from uptight, egocentric rockstar assholes is their
ability to take one.
dear grant,
i was recently privy to your
glowing review of elliot (only
fhe-best-band-in-the-world and
you know what they say about
genius going unrewarded...
about prophets in their own
time.) and had a good
chuckle over someone writing for the disorder (sic) whining about "wasting their time"
i guess you'd know,
lisa smrrrrrrrl
Wo VolS
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Dear Diseordor correspondence reader,
Nothing isquite like anything
else, and a free copy of
Juliana Hatfield's Only Everything is no exception. A
hearty "thanks" in advance
for your keen distribution of
complimentary corporate
capital. Hey! Great looking
Discorder this April! Much
more readable!
Charlie Cho
Dear Discorder,
I heartily agree with your
position on corporate rock,
and it's high time to use them
and abuse them and get as
much free stuff as possible.
Show the corporations no
mercy, no quarter. Since I
support indie rock by purchasing from indie labels,
allow me the pleasure of turning the knife in the back of
corporate rockone more time.
Yes, I will gladly accept free
stuff. Send me Juliana
Hatfield's Only Everything.
Bear in mind my tongue is
firmly planted in my cheek,
as we are all caught in the
tentacles of the corporate
octopus. Thanks for the story
on Mary Lou Lord. She's
pretty wonderful. Keep up
the good work.
Ron Muir
Juliana   Hatfield  must  be
doing something right, 'cause
we received a truckload of
postcards for last month's contest. Or maybe it was the thrill
ofdissing corporate rock while
still reaping its rewards. Whatever, you twoguaranteed yourselves CDs by doing that which
so many otners failed to do:
KISS MY ASS! (Hey, the whole
contest reeked of hypocrisy
and capitulation to base instincts anyways, so who am I
to buck the trend?).
Oh fuck!!!
They say that only a poor craftsman blames his tools, but I'm
pretty sure they started saying
that before Macintosh computers were invented. We experienced beacoup de Mac
malfunctions last month, and
as a result of my consequent
brain haemorrhoging I forgot
to give a few deserving people credit for their work. Oddly
enough, they're all photographers: Dominic Guillet (d.b.s.
photos on pgs 18-19), Sean
Raggett (live Mary Lou Lord
photo on pg 2 I), Samantha
Calvert (the many photo on pg
24), Lori Kiessling (Bikini Kill
photo on pg 27 which was
erroneously credited to Sean
Raggett). Happy now? Good.
the phone rang off the hook late
last Wednesday, actually i'm not
sure whether or not It was late,
i checked my messages late that
day and there it was. so late it
it it sounds better this way.
trust me. it was a potential job
offer and to say the very least
i was excited, damn, it was a job
offer, it was just that i now had
to go through some sort of
interview process, one that i
have never been through before
and hope to never have to go
through again, i have not
formally applied for a job in
over eight years, they have just
sort have come along at the
best of times when i've been able
to take advantage of them, and
for the most part they have
been good to me but now at a
time when things are at best
unstable i have this job op that
may take me far from the west
coast and into the cold of the
Canadian east, not that east,
but east enough for me, thank-
you. and at a time when old
girlfriends speak to me only
when it's convenient for them to
do so and others choose to ignore
me all together maybe a move east
would be great for all concerned
shit, the phone message mentioned
peoples names i knew, all of whom
were in my comer, so to speak
pulling for me. others have asked
when i am moving as if the job is
mine for the taking while others
are asking if they ean have my
place while i'm away - sensing
that il be back even if i go. another
woman even so much as used the
phrase 'shoe-in' when mentioning
that she had heard i was up for
said job back east, it's a sad thing
- hope, it generally adds despair to
one's life regardless of what
happens, hope brings with it tears
and regret as well, we all sit back
and wonder if what it is we hope
for is really what we want
ultimately, be careful of what you
hope for, you just might get it.
whoever said that gets my vote -
eternally.and to all thosei haven't
seen in the last little while - ill see
you this summer, i hope,
gth So this is it, it's that
time of year again for
the sonic-corporate
grind machine that is
the Music West festival (or
Music Waste, as some indie
fans have been known to call
it). Since the recent "indie
revolution", many industry
types wonder it there is
weighted momentum behind
the trend which has seen
more than a few underground
artists rise to the top of the
rockpile in the previous year.
What is the state of
independent music today?
Jonathan Poneman, co-owner
of Sub-Pop Records (which
recently sold 49% of
ownership to Warner Music
for a rumoured $20 million)
will host a panel in the
conference exploring just this
:  bet f
r tho
wishing to skip the acadi
side of things will be the
Slam City Jam, "two days
of skating frenzy with live
music to match". Not only is
the Plaza of Nations site of
the North American
Skateboard championships
(street style and vertical) May
13th-14th, but the likes of
Strung Out, D.O.A., Fitz of
Depression, Agent Orange,
12 Eyes, Breach, the
Skatenigs, d.b.s. and Good
Riddance are scheduled to
perform during the weekend.
Ticket prices are $ 1 5/day,
less if you have a full festival
wristband. For more
information on Music West,
phone 684-9338.
Talk about indie rock
heroes! Last month Scratch
Records was hit by a theft
during which a "whole lot of
CDs" were stolen. On April
1st, Lotus Seed Paste Moon
Cakers, The Tonics, and
Zumpano threw down a
benefit blast at Pussycat to
recoup some of the losses.
In attendance at the
gig was Photo Sonic
photographer Paul
Clarke,        who
escaped the
wildness by
stepping out into
the Vancouver
night for a breath
of fresh air. On his
fateful stroll, he
noticed two shadowy
figures lurking mysteriously
outside Scratch, and
immediately returned to the
benefit to alert the owners of
a recurring disaster.
Unfortunately, by the time the
cavalry gathered back at the
scene of the second would-be
crime, the foiled theives had
already sneakily slipped off
into the night.
Talk about wrecking the
neighborhood - you all know
Chris, the freaky lookin'
old-school hippy guy
who never sleeps and sells
everything you never needed
a few doors down from Zulu
Records? Now that a certain
retail chain has taken up
residence on the corner, the
upholder of neighbourhood
flavour (ie - the goddamn
hippy) will be forced to
relocate after many years of
community involovement, as
his storefront is slated for
demolition In order to comply
with city ordinances, a
beautiful "new store" parking
lot will occupy the space
where Chris has plied his
wares for so many years.
Etcetera, etcetera: By the
time you read this Bum will
have already returned from
their one-week jaunt in Spain,
where they have been
supporting their new record
Moke It Or Break It on the
Spanish label Impossible
Records Zumpano are
gearing up for their summer
tour of east coast USA with
the Poster Children and
Velocity Girl...Shortly after
their new Dilldozer 7" was
released, local punk's-not-
dead rockers Gob were
picked up for a year's worth
of their clean, tight and quick
pop on Mint records, a
contract which will likely
include some shortie vinyl and
a new full-length record. Gob
are set to tour the continent
with Ten Days Late this
summer...Also touring are
Mint's Pluto, starting in
eastern Canada with Sonic
Unyon recording artists treble
charger Both bands
play       a
April 30th at the
Town Pump with The Posies,
Cinnamon and Mystery
Machine (2pm)...The new
Mystery Machine record
10 Speed was released this
month on Nettwerk - a clean
listen which may have even
more widespread appeal
than their first record Glazed.
So ya think yer punk
enough to handle Chris
"Fans of Bad Productions"  Iter's vinyl-only
CANADIAN cornucopia of
hard hitting rawk? Fuck
The Commonwealth,
as it is so delicately
named,        features
Ontario hardcore on
side  B  (Blundermen,
Uniks),  BC hardcore
on side A (Nothing To
Lose, Goatboy,
Mexican Power
Authority, Submission
Hold) Never before have
these tracks surfaced on vinyl.
Besides, the bopper in you
must hear M-Blanket's cover
of the Bangles "In Your
Room." Crusty punks will shell
out the eight or so dollars for
this incredible 500-only
pressed record. Yes you will.
(Slow To Burn-PO Box 8386
Victoria, BCV8W3R9).
If punk's not your thing
(yet...), Groove Garden is
a compilation of Victoria indie
bands for those craving a
diverse sample of Island talent
(it's those goddamn hippies
again...). Spanning from the
skanky rhythms of Pressure
Cooker to Nomeansno
influenced Pigment Vehicle to
bad white boy groove
Fungkus to the spastic punk
staple Mexican Power
Authority, Groove Garden
certainly tries to please all
And don't let the killer whale
CD art or the "It all comes out
in the mosh" liner notes intro
scare you either. Are you
punk, or what? (Guacamole
Music: PO Box 8448,
Victoria BC, V8W3S1)
Talk about out of
nowhere, those three
eggheads (yes, it is a schtik)
Bil, Fil and Tommy McRackin
not only landed themselves on
a split 12" record on the
legendary Sympathy For the
Record Industry label, but they
share the flipside with sex-
fueled-glam whores the White
Trash Debutantes! Each of
The McRackins' power
pop numbers scramble
themselves fluffily in a manner
which could give Bum a run
for the money. Add the
combined greasy-thick stage
theatrics (read: schtick) of
both groups (don't forget 83
year-old WTD singer Punk
Rock Patti), and you have a
recipe bred for (cluck, cluck)
success. (The Hen Hut: 9237-
1 17st, Delta, BC, V4C 6B6)
A super cool cassette by
Turnpike follows the lo-fi
scheme of things in a sweet
undaunted way. "Sidewalk
Scrapbook" is a soft
enjoyable listen performed by
kids who obviously like their
three musicians, with a bit of
tasteful reverb on the guitar
giving them strings that "wide-
screen" feel. The tape sports
a colourful hand-drawn front
cover, and, in case you want
some background on the
members of Jabber, the band
includes their baby pictures in
place of the requisite mug
shots. A recent burst of gigs
no dolby.
Recorded  in  Surrey,   BC.
(415A   Mills   Hall,   One
University Heights, Asheville,
NC 28804 USA)
Synthesized drifting
ambience is Urceus Exit,
who released Bedlam of the
Piousi last month. This CD
drifts pleasantly though fairly
aimlessly in the background,
with some sections
reminissent of Pink Floyd or
even early Depeche Mode
(no address).
Also released locally:
Meatrack (self-titled cassette),
Heavy Mellow [The Mighty
Heavy Mellow Sell Out
cassette), Cosmonaut (s.t.
cassette), The Bright Lights
[Return to Club 40 cassette),
Facepuller [Anatomy of Noise
7"), and Pet [Lightning
Motoguzzi Charge CD).
This month's breath of
the lair of mixed boy-
girl band Jabber in
the form of their debut three-
song cassette Follow Your
Voice. Eileen Ryan's strong
lead vocals give solidity to the
material, especially when she
stentorially breaks into the title track's catchy chorus
"Thief" is also infectious, so
much so in fact that surgical
removal may be necessary.
And that's the slow one! The
last cut, "Will I Remember?",
is short and sassy and caps
off the show perfectly.
Smooth and tight is the
somewhat mainstream support provided by the other
ing for Art Bergmann at the
Niagara in April) has given
the band a high profile on the
local scene, and thus a
chance to see how the rest of
their set holds up.
Equally as good but totally
different is the sprawling retrospective cassette by G42
MC1I34WE, which apparently stands for Minimum
Clearance 1 1 34 Wembley's
Earotica, whatever that
means, follows the G42
project from its inception in
1989 up to the latest 1993
recordings. Some of it is ambient, some noise, all of it
trippy. Fritter, Dan 243, and
Schmeeb 42 take you through
their early experiments with
recording equipment operation through to the more sophisticated noisescapes
they're now capable of creating. Some of the tracks are
little more than drum programs, and the liner notes
warn you of this, but the better ones can be identified by
the artists' recommendations
of concurrent drug use (pref.
hallucinogens) while audition-
ing. On the 76-second
"Trapped", a guy named
Blackskull's answering machine message ("Help! I'm
trapped in this machine and I
can't get out! Help!") is given
the technambient treatment,
enhancing the surrealism of
the original prank. This 90-
minute hand-packaged cassette comes complete with a
16-page+ erratum booklet.
Caution: these guys are heavily into dynamics and not into
saturated recording levels so
the fluctuating degrees of
loudness on the tape should
be anticipated when playing
on sensitive equipment.
Can Vancouver be ready
for a band like True Love
Forever? Hell, I wasn't
ready for their second tape,
since I was still working on
their first demo when I received it. The group for the
most part sounds like a
fucked-up Pavement, although
a drunken Tom Waits flavour is imparted when
vhat sounds like a
trombone starts
blurting sentimental melancholia.
A good example of this is in
their song "It's
where one gets an
impression of the circus group in TWs "In
the Neighbourhood" video
doing the terpsichore to "Sitting at the Dock of the Bay"
instead. Intricate and loosely-
tuned guitar parts chatter over
an even looser and temporally labile rhythm section,
with cryptic vocals occasionally surfacing above the twisting and winding TLF din. This
band likes to challenge and
be uncompromising, which at
least for our listeners tends to
be an asset (or so we'd like
to think). An intriguing and eccentric sophomore effort from
an oddball band.
Those harmonizing siblings Tim and Todd Fancey
are back with a four-song
cassette by their band Orbit
in Bloom. They still sing like
they're "Ride My See-Saw"-
era Moody Blues, although
for me such a comparison is
somewhat negative since I
actually hate those guys. In
the same way I guess I
shouldn't mention the whiffs
of Rvmes With Orange
(which, by the way, would be
'door hinge' if you read
Vonnegut) that emanate from
a couple spots on the four-
song tape. Well, that's what
happens when classic pop is
your forte, and it doesn't
mean you won't derive any
pleasure from those dueling
vocal intervals so liberally
sprinkled about this set. I
could see a guy like Todd
Rundgren doing major justice
to those soaring voices and
crisp guitars, and it does occur to me that this style of
music would be better received on a more above-
ground playing field, such as
MAY 1995 with a major label. A couple
of the four tunes here are
memorable and infectious
('Theme", "Cartoon Sunset")
and, hey, you don't have to
sing along, since they do it
all Tor you.
On their first cassette No
Smoke No Matches, The
Botniks explored an organic swamp of influences
ranging from The Band, The
Flying Burrito Brothers, Little
Feat, and Murray McLaughlin
to the more recent rowdy folk-
rock of groups such as the
Pogues and The Men They
Couldn't Hang. These references can all be heard on
their newest (self-titled) four-
song tape, put out on their
own Sp,z MonkE Records,
but this time they've incorporated some of the big city into
the mix. It's possible the
harder edge comes from playing some of the local clubs,
where Rock + Roll = Beer (=
placated club managers) is
the theory of relativity. I'm not
complaining, since those
rootsy lead guitars so prominent on their first release tend
to compliment the gutsy R&B
feel of the new tape even a
little better. Despite the
change, the impression of a
crackling campfire nearby still
permeates the new material
(anyone for renting Blazing
Saddles again? How about
Lust in the Dust?).
As Smithsy as they are, I
found myself enjoying Janu
ary by Aldergrove's The
Shermans very much, without having to don my closet-
stowed Robert Smith wig (actually a very dirty drive-thru
car wash brush). Most probably unrelated to the Kingston-
based, Proboscis-Funkstone-
associated Shermans, these
lads specialize in upbeat
dirges decorated by sugary
two-part harmonies. In tact,
wouldn't you know it, this
band is led by a coupla brothers too, this time named Dahl.
What really tweaked me is
the flange effect on the jangly
guitars that give songs like
"Every Moment" fucking
WINGS. They know when
they got a good chord progression on their hands, as in
"Head Says Now" and especially "Humans", so that a
song can turn from a light and
poppy trot to an unrelenting
high-speed merry-go-round of
a finale. So there is life past
To end off I'm going to
scoop my partner Sean and
rave about the debut six-song
cassette by local trio
Queazy. Mr. Raggett is a
big fan and wanted to give
them high praise himself, but
I stole the tape and put a stop
to that. Sounding like a live
recording, these tunes spotlight the band's eclecticism
while still shaping an identifiable sound. There's soft and
sensitive ("Pseudocide"), uplifting pop-rock ("Reach For
The Sky") and ephemeral
hardcore ("Sum Punk",
"Walls of Silence"). Humour,
too ("Serial Monogamist").
You gotta appreciate a drummer who can shift so effortlessly between those styles yet
still light the fuses that ignite
the songs with timely fills and
heartbeat-obviating kick drum
punches. Debut pick of the
Here's where I usually put
my idiotic sign-off, but I've
temporarily run out of those
epilogues that can be so indecipherable and yet so banal at the same time.
Saturday May 6: dbs,
Dunderheads, Disfigurines, Gob,
Area 51 & Utopia at Southwall
(N. Van Rec Centre - 7:00pm).
Saturday April 29: Samiam,
Sense Field & The Goops at the
New York Theatre (7:30).
Sunday April 30: The Posies,
Mystery Machine, Pluto, Treble
Charger, Cinnamon at the Town
Pump (2pm).
Friday May 19: Killjoys, Terror
of Tiny Town & Gob at the New
York Theatre (7:30).
Saturday May 20: "Ear of the
compilation record release
featuring Cub, Seam, aMinature
& Venus Cures at the New York
Call the Var
for up-to-do
YO LA TENGO* Electr-O-Puro $9.87 LP/cass $15.99 CD
PAVEMENT* Wowee Zowee $10.96 LPJc.ass $ 15.99 CD
VIC CHESTNUT- 1$ the Actor Happy $8.99 LP/cass $13,81 CD
ROCKET FROM THE CRYPT state of Art $8.9910
HISSANOL   ■ 4th and flock (Andy - ex Nomeansno) $9.87 LP $12.93 CD
VARIOUS ■ free to Fight $14.92 2LP/CD
SCREECHING WEASEL* Kill the Musicians $12.93 CD
DUMP ■ / Con  Hear Music $14.92 CD
SUN CITY GIRLS . jack's Creek $8.99 LP
Couch Potato Resistance 7"
Optional Ingredients from a Vile
Recipe Volume Two
$3 Jl Each 7"
Smart and Nice People Alert!
punk info line
jerk's FirstClass BBS 604 731 700.
^h, Windows, Command Line User.,
iQL http://www.nettwerk.com/
■Mew YdrkTheaire
MAY 19
MAY 20
Ear of [tie
Dragon lour
viih guests
Capoaly 100 people.
-— v—i-~
lu HI
during ihe week and
/r i ii
i mil wi
$ 175 on weekends/
For Punk listings call 684-
Track & Ticketmaster
fW) fly)
rentals, call
all ages* doors 7:30 pm
all ages • doors 7:30 pm
all ages "doors 7:30 pm
all ages'doors 7:30 pm
all ages'doors 7:30 pm
New York r best
hot PW
Summer's  coming  and that means
it's  time   for  this year's
The fifth annual directory,  chock full
of contact numbers and addresses of
bands and the businesses that support
them, will be in the September issue.
It's FREE,  so you've got no excuses.
Get your listing in now!!  The deadline
for entries is August 15,  1995.
Fill in the square below and
remember,  neatness counts.
I     MANAGER/AGENT_STUDIO_OTHER(elaboratebelow)
I DESCRIPTION (15 words or less):
Who are you?
Chris Lambert: drums, 14 years old.
Ryan Dumbhair: lead guitar, backup vocals,
14 years old
Brian Mitchell: bass guitar, lead vocals,   14
years old.
Kevin Evoy: rhythm guitar, 14 years old.
Describe your sound.
Kevin: I'd say our sound is raw fuzzin'
feedbacking screaming punk shit.
Brian: I've always thought that it was sort of a
punk rock sound. I remember when we first
started we were major Nirvana and d.b.s.
wannabes. Now people say we're hardcore.
I don't really know what our main sound is.
How has d.b.s. affected your band?
Brian: d.b.s. really helped our band. So far
all of our shows have been put together by
Jesse from d.b.s Plus they're just plain cool
Kevin: Although we are slightly influenced by
d.b.s., we are definitely not copy-cats. It's just
all the pricks and straight-edgers who think
we are.
Chris: d.b.s. has helped us out a lot. They've
gotten us all our shows. We've only done two
shows and the radio thing, but we're getting
lots more shows and stuff. We're not wannabes
of d.b.s. They're just our friends.
I Ryan: Just because we're good friends of d.b.s.
and we're a young teenage Lynn Valley punk
band we're automatically associated with
them. They are our friends and they help us
out lots, but we don't want to go through life
in their shadow.
What is the percentage of homiez to
punks at your school?
Ryan: No comment, because I mentioned
homiez in our live interview with Nardwuar
on CiTR and I got threatened that I would get
knifed if I ever talked about them again
Brian: Our school is filled with pricks and
homiez. They're not all bad, but I really hate
a lot of their attitude. The percentage of homiez
to punks at our school is seriously about 98%
to 2%. Sometimes it depresses me, I go to
school and think, "Has punk died?"
I fcnai!:#233-6138  SUB Blvd.,  Vancouver,  BC V6T1Z1   fax:16041822-93641
Chris: Yeah. School sucks. P.E.'s pretty cool
when you get to play cool stuff like badminton or hockey, but we're doing volleyball now
and that sucks.
Brian: Well, in class I'm not allowed to get up
and smash stuff for no reason, so I'd have to
say playing in a band is better than any class,
even spares.
Is a cool record collection more important than a date with the best looking
person you know?
Brian: Yes, because you've always got your
hands. But seriously, a cool record collection
is much better than a kick-ass date. Love will
last you a day or so, but a good record collection will last you forever.
Kevin: That depends on how hot the date is.
In most cases I'd go for the date, being the
hornball I am.
Ryan: Well, I could get a hot date any day of
the week, but my record collection really sucks,
so I'd say the record collection is more important.
Have you ever thrown up in class?
Brian: That one brings me all the way back to
grade 5. One day me and my friends were
getting bored so we asked the class nerd to
drink glue and he did. A few minutes later he
Have you ever been beaten up because you have purple hair?
Ryan: My hair is actually right now a greeny-
blue-turquoise-aqua type color. Homiez
threaten me and call me pretty cruel stuff like
"bluehead", but mostly people are scared of
it. Me and some friends were sitting at Little
Ceaser's and a little girl walked up to me,
stared straight into my hair for about 30 seconds, then turned around and ran away.
Strangely enough, the priest at my church did
exactly the same thing.
Is playing in a band more interesting
.._,.     than the best class that
you have in school?
Ryan: What kind of stupid
question is that?
Kevin: Hell, yeah! If school
classes were more interesting than playing music, I'd
hoot myself.
8     MAY 1995 puked so bad that it made me puke. The janitor hated me after that.
Chris: No, but last week this guy threw up all
over the guy in front of him during our Spanish test.
Is there a cop on duty at your school
and has he ever confiscated a gun?
Kevin: Not at my school. I go to pathetic
weenie private school. There's a lot of cool
punks there though
Ryan: Me and Brian and Chris all
go to Argyle, and I think there
are a couple cops there.
Chris: Yep, two. Constable
Guilfoyle and  Constable
Cock-Land  (Cocklyn). They
don't patrol around school beating us up, they just talk about drugs and violence and stuff in science class.
Have you ever used the F word in front
of a teacher?
Brian: Yeah and I don't regret a thing. They
told me I had detention and garbage duty but
I ditched that crap.
Ryan: I called one of my teachers a "fuddy-
duddy" - does that count?
Kevin: Not purposely. Once I did it by accident when I got hit playing floor hockey in
gym. I got a lunch detention for that.
Have you ever chucked a baseball
through a window and not told anyone?
Ryan: I refuse to answer for my own safety
The key words here are "not told anyone".
Kevin: I did and then ran into my house. Unfortunately the person saw me and came over
to my house and told my dad.
How did you afford your instruments?
Brian: I got my stuff from Christmas and birthdays.
Chris: My dad bought me drums in September 3 years ago. I paid to add stuff on and
Ryan: My dad bought me my first guitar 8
years ago. I saved up and bought myself drums
because the only way Chris would agree to
join the band was if we supplied the drums.
Kevin: My first guitar my parents bought me
and they made me sign a contract saying that
I wouldn't tease my dog anymore.
What is it like to be in grade 9 in North
Vancouver in 1995?
Chris: School sucks! School sucks! School
sucks! School sucks! School sucks! School
sucks! Except it was cool when that guy threw
up in my Spanish class. But school sucks!
Brian: It's okay but nobody takes us seriously
and that's just not nice.
If you had a choice between practicing
your instrument or doing your homework, -which would you do?
Ryan: Another stupid question?! What the hell?
Who is the most famous band from
North Vancouver?
Ryan: Bryan Adams!!
Kevin: Bryan Adams!!
Chris: Bryan Adams!! Eh!
What the hell are you going to do
when your voices change?
Brian: Who cares? It's punk so if I sound like
a retard who cares.
Ryan: I'll have to ask Nardwuar how he copes
with a cracky squeaky high pitched weenie
Rate the following in terms of their importance to your band:
rap music \}) 2 3 4  5 6  7
wallet chains 12  3 4
matching band shirts   12 3 4
New York Theatre 1   234(5)6789
South Wall 123456789
Dayglo Abortions 12  3 4 5  6  7 8
Jesus 1   2 3
hockey 1   2^4
musical ability 1  2&J*  5  6  7  8  9   10
parents 1 (2)3 4 5 6 7 8 9  H
Discorder f^i*  3 4 5 6 7 8 9
Sook Yin Lee \£J 23456789   lOl
this interview 1   23456789   l^lV1
6 7 8 9 10
6 7(7)9 10
6 7 8 9  10
167 89 IB
4 5 6 7 8i©
4 5 6 7 8(g/UJk
4 5 6 7 8 9(T<y
Describe your
DD: The Meatmen meet
Minor Threat
CA: The sound of a soft
summer rain interrupted
by the sound of my rumbling sphincter.
CT: Sniper fire.
Do you ever feel the
urge to speed
things up?
CA: It's that same urge
that pushes me to bite
the heads off bats and
tear puppies in half.
CT: Ya, I want to see
Dave explode.
DD: Musically, I think we are doing OK, although I would like it if the Pipebomb van could
How did Pipebomb come together?
CT: In a brawl at the Ivanhoe. The Assasin
gave me a suplex off the pool table and I got
his number.
CA: In a genetic cloning laboratory. The CIA
created us in a tank of beer in an attempt to
make us posterboys for sobriety.
DH: Lots and lots sugar n' water.
Have you ever been injured on stage?
CA: Yes, at a recent Southwall show I got my
ear cut open by our bass player's guitar.
CT: I received a flying elbow smash from the
Cuban Assasin and got a concussion.
DD: Ya, I sharpened my cymbals on a bench
9  H>
9 (To)
9  TO
I(2j3 4 5 6 7 8 9  10- grinder in our shed a few months aqo and
\T 3 4 5 6 7 8 9  l{jy>
Name everyone in your band and
what they do.
Corky Thatcher: bass, unbeaten thumb wrestler.
The Cuban Assassin: vocals.
Dave Drool: drums.
D. Hopeless: guitar.
ever since I usually get cut up pretty bad at
DH: Asphyxiated myself with duct tape at a
recent show. My member has been taped to
the stage once and I carved a pentagram into
my belly with scissors.
What's the best thing about being in
a band?
DD: You get to get in for free
CT: Free beer.
CA: Ya, free beer.
What's the worst thing about being,in
a band?
CA: Medical bills.
CT: Bill collectors, jails, STDs.
Rate the following in terms of their importance to your band: _-\
spandex pants 12  3 4  5  6  7 8 9 (j0/
wah wah pedals 1   2 £/4 5 6 7 8 9   10-~
groupies 123456789   10ft D
wallet chains Q/23456789   UT"*^
amphetamines 12  34  56789(g)
swank haircuts ©2  3456789P
Terry David Mulligan   J   23456789(1
Jesus (lj2 3 4 5, 6 7 8 ■*
Southwall 12 3 4 <&/6 7 8  *
distortion 1   23456189$
hockey 12  3  4 5  6 £>8 9   1
musical ability /--J   2  3 4(5)6  7  8  9   10
MusicWest [g)l   23456789   10
Any closing comments?
DH: May the force be with you
CT: Crime pays when pigs die.
CA: Eat me.
DD: Firebomb Starbucks
Florida Sucks - compilation LP Pan. '95)
demo - 1 1 songs (Nov. '94)
Scarred and Scared -compilation LP (Feb. '95)
7" soon to come!
Contact Pipebomb at:
(Offensive drawings by Pipebomb)
He%-d &r\ tHu^d^y* Tre+r*
1-11prr\ &l\ Git*" 101,1 -TYrbi
UPCOMING MINT* SHOWS!!! A sunny Friday
afternoon in
Yaletown and the occasion is a one-on-one with
local soundmeisters Mystery
Machine. Rising to the occasion of their latest release,
weaving a verbal maze
through an over-priced cappuccino-induced haze, Luke
Rogalsky and Bean sat down
and spilled the dirt on low-riders, recent tour dates and
childhood cartoon idols,
amongst other things.
Mystery Machine is a
band moving up in its musical ranks on two-wheeled,
banana seat cruisers, faster
than the blink of a shifty eye.
Not bad for four youngsters
originating from the verdant
farmlands of Chilliwack, now
conquering audiences in
Canada, Australia (through
their record label distribution)
and soon America four years
after winning the
maiN pic.
prestigious Shindig finals
(earning the band studio time
with Dave Ogilvie at Mush-
Studios). Following the
J Glazed, their first
full-length in
1993, and a
subsequent slew
of choice opening dates the following year, including a coveted
spot on the second
stage at the 1992
Lollapallooza Festi-
j?reewhEel bUrnin' wiThtfggiJBk
stSezfy   *&
Dy  pauj_.^ ^     ^   ^             ^^,^mmmm§K
vol, the last several years
have been a whirlwind of activity and accomplishment for
the band.
The music that Mystery
Machine is responsible for
creating is difficult to pin a tag
on to; it takes more than a few
listens of the material to really
geta grasp on it and sink into
the groove. Songs seem to
meander almost to a point
where they will burst from anticipation and contain a hypnotic quality that definitely
contributes to the appeal of
the band. True to the new album's namesake, Ten Speed
is a cruise, a leisurely ride,
not of the "here today, gone
tornmorow" variety, to be certain. Listeners are encouraged
to sit back, way back in the
banana seat, and light up a
big fat one. Mystery Machine
are appealing not only to their
hometown crowd but to city
slickers alike. A res-
the   relentless rat race of the big
city, if you will.
Drawing almost immedi
ate attention to the band i
When interrogated upon any
pressing Scooby Doo connections, Bean quickly retorts,
"Maybe if I was eight years
old I might have thought Fred
was pretty cool - I don't look
good with an Ascot, though.
Fred was the cool jock guy,
always taking off with one of
the ladies, the leader of the
pack, the brains behind the
"The name (of the band)
probably wouldn't exist without that," Luke interjects, "but
we're not a Scooby Doo
theme band or anything.
We've never made shirts -
Hanna Barbara would sue
our ass!"
Cartoon associations
aside, the conversation
swings toward the musical
seeds of the present members
"I started playing at around
14," says Bean. "I was writing song-type things right
around the time I got my first
crappy guitar, but they
"Crappy songs to go
along with the crappy guitars!" finishes Luke.
Bean agrees: "Exactly.
Very bad, no real semblance
of any songwriting. But that's
what kids do, right?"
Several years after these
creative seeds had germinated and the
|!| four members of
9 Mystery Mo-
^ chine had joined
I forces and were
1 playing on a regu
lar basis, the cal
came from the Van
couver offices ol
Nettwerk Records
"They just got a hold
of a tape somehow,"
claims a rather tight-
lipped Luke.) The result of this
encounter was the 1992 full-
release Glazed, which
touched upon "love, pot and
■■•at the time of recording. When asked how
Mystery Machine has
changed creatively since the
last album, there is an
unbounding, enthusiastic cho-
fus of "We growed up! It
growed right up! Yes sir! We
done growed!"
Is the band touring for Ten-
Speed? "Yes," says Luke, "we
are leaving in the middle of
May, maybe to the Maritimes
and back, at least to Montreal. We will be gone for a
month and then we'll stay
home for a little bit and then
we'll go out again and thei
and for the
next segment "We'll look
for something  else  that's
good, that's awesome!" exclaims Luke.
An inquiry is made regarding the choice of title for
the current release. These
guys adore the more primitive
but definitely functional option
of transportation, namely the
classic two-wheeler: "We love
the bicycles, we now own
four low riders, but we are
soon to give them away to
As a final abode to the
coffee clatch, I ask Luke and
Bean what the best thing
about being in a successful
band is. "Playing guitar is
excellent, a very good thing
to do. Do you love the rock
and roll? I love the rock and
and then gc
Joining the    '^'
out again
quartet will be Daytona
fO    MAY 1995 interview
by    .
june      scudeLer
V Vme scratching my head. Are Grand Theft
Audio who ihey say they are or is this some kind of
weird cosmic joke? Forone thing, they don't do ii>
person interviews, on^ interviews by fax, The idea
of the anonymous band is nota newone; ambient
noisemeisters like Zcviet France have been doing
thisformanyamoon. Buttheresalso the band's
puzzling belief that Vancouverites are open to new
sounds-aswe all know, Lotusland has an
appalling reputation as a piaceto pby. So who
are these mysterious musicians and what are they
DiSCORDER: Do you actually hail from
Grand Theft Audio: Although we spend a
lot of time abroad, we have chosen Vancouver as a current base of operations.
Where do you find your samples?
We collect our samples throughout our
travels and through extensive
research in the public domain area. We are
also in contact with ethnic libraries and
historic institutions. The samples collected
are carefully selected according to content
and context and are used only in manners
to send the right mental triggers.
The original name is in Latin, but the current English translation is Teach Advise Guard.
TAG is a global organization with chapters located in different centres across the world
We are members of the North American chapter
Could you describe the message in the CD - is it coming from direct experience or is it a metaphor (the insert describes experiences in Bosnia)?
The message was a page from my electronic diary
What music inspires you?
All music inspires us. There is something to be learned from everything you hear
Is there support in Vancouver for GTA?
There is a lot of support in Vancouver. Vancouverites have the ability to open their minds
to new sounds in a way that is exemplary. This is one of the reasons that makes this part
of the world so special.
Have you had any problems with copyright Realms 1.0 has a wide variance of sound - is it a help or a hindrance?
clearance? The album is constructed in the manner to represent a journey   It is necessary for it
Not at this time. All parties have been very to be varied.  But it has been carefully assembled so that the transition from one style
receptive to the concept to another is not abrupt or misleading. There is also a general underlying theme in
behind this recording and the use of the the album which eventually surfaces as the listener digs deeper into the layers of
samples for harmonic imaging and this has the music,
helped us with copyright matters.
Why the anonymity? Does it mean you won't play live?
Who or what is T.A.G.? For the time being, due to our involvement with T.A.G. and our actions throughout
TAG. is an information organization origi- the world,  it is better to remain anonymous. There are no live shows in our agenda
nally to fight certain groups from gaining Anonymity also gives the music a chance to speak for itself   The music contained is
control of the media as it evolves through time, more important than our image. BRUCE LEE'S GRAVE IS NOT AN EASY FIND. WE KNOW. WE WENT SEARCHING FOR IT THROUGH SEATTLE'S
LAKEVIEW CEMETERY with karate flick fan and Sick of It ALL singer Lou KoLLer. After a half
hour bus ride from downtown Seattle and another thirty minutes of walking around the cemetery, we finally found it. A simple headstone with an 8X10 headshot of Bruce Lee embedded
into the stone.  We paused for a moment. Lou took a photo. We left, giving directions to fellow Lee fans as we exited.
Following this longer-than-expected pilgrimage, we sat down with Lou to find out what's been
happening with Sick of It All and to see what the band has in store for the future.
Sickef It All
i     ntervi     ewbymf     fceand     Steve
DiSCORDER: So it seems that things have improved for Sick of It All.
Lou: Of course, yeah   The best thing was getting off of Relativity.
We were going to ask what prompted that.
[Relativity] did absolutely nothing for us. That whole last tour v
totally on our own with our own money because Relativity su
> did the last time we came Vancouver was done
;s and they had no interest in supporting us.
Did you have a tough time finding a new label?
Not really, no. Relativity thought, "Those guys are dead, they have no future," but they wouldn't let us go until the
they sold our contract. They wanted to make more money off of us! And when major labels got interested the
price was upped by a hundred percent. It went from like $20,000 to $250,000 for a freakin' contract!
How is EastWest working out for the band?
They're really cool. I'd known there'd been a guy from EastWest at our shows for the past three years and we'd
always laugh, "Oh yeah, what's he doing here? He's obviously just here to see us!" But it turned out that he was
there just to see us all those times. He called up Relativity as soon as he found out that they were selling our
contract. When we went to meet them they were really down to earth, [whereas] we had met with both independents and majors that totally fit the mold of the stereotypical "We'll make you stars, dudes. What do you
want? a car? I'll get you a Ferrari!". And I'm like, "I don't know how to drive, man!"
Skk of It All formed in 1985 - were vou guys all childhood friends?
Oh yeah, we grew up together, all of us. We were the freaks. I met Armand in highschool 'cause he was the only
other guy in school who knew who Motorhead and Discharge were. Anybody who got into hardcore and punk
was an outcast - not like nowadays where everyone dyes their hair green.
What is Sick of It All about?
Keep playing music so we don't have to get real jobs! Nah, it's always just been an outlet for us, something where
we can complain about things. It's weird 'cause when we were younger and getting into punk rock we'd think,
"We're going to change the world, we're going to change everything, man!" Now we know it's better to just live
your life the way you want 'cause you're not going to change everybody else. Our belief is try to live your life
better and a little more righteous and hopefully the more people that do that the better things v
I get.
f2   MAY 1995
Do people often misinterpret what Skk of It All is about?
Yeah. Especially when we were growing up in New York. I used to work in the mail room of a marketing
company and I'd invite the people I worked with to our show and they'd say, "Yeah, I'll be there!" Then I'd hear
them talk when I was walking away, saying, "I'm not going, their skinhead fans will beat you up 'cause you have
long hair!"
"Anybody wfio got into hardcore and
punk was an outcast - not like
nowadays wfiene everyone dyes their
hair green"
Do you get a lot of idiots at your shows who are just there to act tough?
We have had a lot of problems with that. I don't like to blame the media, but from 1 986-89 New York hardcore
was in the media's eye and when they came in they were saying, 'Oh look, a straight-edge movement! What's
this whole positive youth thing?' I did a forty five minute interview with a TV station about it and the only segment
they aired was when they asked me about slam dancing - which was less than a minute of the whole interview
- and I answered, "Slam dancing? Hell yeah, it's violent." Then they cut me off and went on for about half an
hour about how violent slam dancing is! This is what all these kids see and then they're like, 'Wow look how
rough and tough it is!'
You keep insisting that New York's not that bad!
I could take you to places in Brooklyn and you'd think it was the most beautiful city on Earth, or I could take you
to places in my neighborhood in Queens and you'd be lucky to get out with your shoes on! You just know when
to stay out of neighborhoods, you know where not to go. I hate Dands that sing about being in gangs. Me and
my friends all grew up in the same middle class neighborhood There were about ten of us and out of all ten of
us, one of our guys is in jail for murder - he was a drug dealer and all that. Now, if we all came from the same
neighborhood, wny is he like that? Because he made nis choice. We all hung out in the same places with the
same people and out of all of us he was the only one that got into trouble. Why? 'Cause that's what he wanted
to do. You make your own choices. And I'll tell you another thing - there was never a drive by shooting in New
York City, I don't care what any band sings about. I mean maybe now that it's in the movies, but I swear to God... It'd be hard to do a drive by in New York - there's so much traffic!
Yeah, it'd be like, 'Oh, I've got to stop, there's a red light!'
Has the hardcore scene changed much over the years?
Yeah, it's weird. Like I said, when we got into it we were the outcasts, and now everybody's into the Offspring and Greenday. And now there's a whole huge straight-edge
scene going around and it's their own separate scene - most of them won't go to other
hardcore shows. I'm not putting them down, but lot of them will only go to see straightedge bands and I think that's sad. I also know punk rock kids who won't go to straight-
i lot of
edge shows. They're missing out on a lot of good r
Are you finding straight-edge scenes all over Europe and North America?
Yeah, especially the States and Switzerland - or Sweden. One of those 'S' countries
where they have a lot of chocolate! There's a huge straight-edge scene and they are
carbon copies of this part of New York State called Syracuse where they have a big
straight-edge vegan scene. We played there one year and the whole place loved us.
But when we went back (on a later date) a lot of the kids who had seen us before
were standing outside and we were like, "Hey, you comin' in?" And they were like,
"Well, we're here to see the opening band. You guys aren't vegan so we can't see
you!" I was like, "Last year you were kissing my ass and I was telling you to hang out
and relax and this year you hate us 'cause we're not vegan?!" And he's like, "Well, I'm
'Try to live your life better and a
little more righteous and hopefully the more people that do
that the better things will get."
Sounds like they take it pretty seriously.
They're serious this year,  but next year when we go back they'll be into techno raves
and graffiti. It's just trends for them and that's what's sad. It's the same thing with the
whole 'rebirth of punk'. Everyone's saying that hardcore is back, but it never left. The
media left.
Lefs talk about Scratch mo Surface.
In your opinion is it the best thing you've put out?
Yeah, we feel that it's our best album for a lot of reasons. Craig added a lot because
he's a way better bass player than Ritchie was and he has a better concept of sound.
And everybody had an input in every song on this album. The first two albums were
just me and Pete on everything. We also had help from this guy Billy Anderson from
San Francisco who's worked with The Melvins, Mr.  Bungle and Jawbreaker. He loved
the sounds that we got and he got our live energy on tape. He's a great, great guy.
Hopefully we'll work with him again.
What happened with your previous release, Just Look Around?
I think that Just Look Around was a very overlooked album, especially on the east
coast. It came out during the height of gang violence and all the gang kids were
coming out to our shows because we were Sick of It All - 'bad ass, tougn music...Pete's
got tattoos, let's go!'. Now when we do interviews with kids about the new album they
all tell me that they used to think we were morons because of the type of people that
went to our shows. Then they read the lyrics on Just Look Around and realised that
we were singing about losing a friend to AIDS and things like that     They were
shocked.  On Scratch the Surface we have a song called  "Desperate Fool", and
people came to us, especially girls, and they're like,  "I can't believe that with such a
tough guy following you would sing a song against rape." What do you want me to
sing, a pro-rape song? We have friends who have confided in us about this and it
scares the hell out of me. This could happen to my girlfriend,  my godson, to anybody.
Do you spend most of your time on the road?
Now we're really touring a lot. Two months, come home for a week, two months, go
home...We've toured all through  Europe, Japan, Argentina, Mexico City...
How did you wrangle your merchandise into Mexko and Argentina?
In Mexico it's all bootlegs; in Argentina it's all legitimate stuff. Argentina was amazing.
When we walked off the plane there were a hundred kids - it was like one of those
old Beatles clips. We were trying to get into the country without having to say we were
performing because we didn't have any working papers. Here we are trying to sneak
in with the equipment, saying that we're just playing with friends and hanging out, and
there's a hundred kids with video cameras and others taking  photographs!
Is it weird to go from that to playing some small town in the States where only a few
people show up?
n like in San Jose where we played to fifty people? It's depressing, '
American dollars. We don't play for twenty bucks in America! He said that in Japan
that's an alright price. You know how much our tickets are this time? Sixty American!
When we found this out we called the promoter and said, "What the fuck are you
doing?" He said that that was an average price now for bigger clubs. So we decided to
play the smaller clubs for twenty bucks again and the kids think that's a bargain! It's
just that the economy is so weird there.
What sup next for Sick of It All?
Japan, Australia, New Zealand and South America. Then we're home for two weeks
and then back to Europe for the spring tour - squats, youth theatres and these ten
thousand capacity music festivals. It's amazing: In Germany we played a festival that
the government put on for free. It was us ana NOFX playing. No trouble, no fights, no
riots. How can these countries do this? And they've been doing it for ten years!
Yeah, that's a cool thing about Europe.
Europe's certainly not convenient though. You can't eat after a show 'cause everything's
closed after six - but that's just me being a spoiled American. Well, a New Yorker
actually, 'cause lord knows there's nowhere to eat in Tulsa late at night!
Sick of HAH- demo tape
The Way Itls-T' compilation of NY hardcore (Revelation Records)
The Way It Is-] 2" comp (Revelation Records)
Sick of It All - 7" (Revelation Records)
Blood, Sweat, and No Tears - LP (In Effect Records/Relativity)
We Stand Alone - 7" (Relativity)
Just Look Around- LP (Relativity)
live In a World Full of Hate - bootleg (Lost and Found)
The Revelation Years: Spreading the Hardcore Reality (bootleg)
Scratch the Surface - LP (CD on EastWest, vinyl on Equal Vision)
You mean like in San Jose where we played to fifty people? It's depressing,  but we're
used to it. Like I said, I used to work in that mail room   I would play a Sunday show to
three thousand people going crazy and then get up at "'**
to go to work and sit in the
ail room stuffing Extreme tapes into c
off to radio stations! 'God,' I would thi
the next day
n envelope to send
nk. 'I hate this life.'
everything I long for
And please look for tkese other fine groups below
Also - Catch Tristan Psionic & Smoother
Whafs it like to play in Japan?
The first time we went there we said we wanted to play for the lowest ticket price
possible. The promoter said he'd get it at the same price that Fugazi  played for  twenty
All cds can be found in Vancouver & Victoria at.
Boom, Tracks, Lyle's Place, Scratch, Zulu
and at these HMV locations: Willow Brook,
Park Royal. Mayfair, and Robson Street.
Or you can order by mail for only $ 12
sonic unyon records
P.O. Box 57347 Jateon St, Hamlton, ON. L8P 4X2
ph(905) 632-1905 / fc<[905) 662-1392> P STORES
"Manic Compression"
"Ham   Fisted"
THE   BOARDING   HOUSE 155-4800 NO.  3 RD
"Electric Rock Music"
"Stacked  Up"
BY MAY 31,  1995
"To Bring You My Love"
"Make Way For The Indian"
"Dopes To  Infinity"
"6 Feet Deep"
label Simple Machines is written
in mi liner nous for The
Machines CD, a compilation of
Machos between 1990 an> 1993
digging through the merch money to find Jenny Toomey
enough cash to buy herself an espresso on Commercial
Drive. It's early enough in the morning that Jenny gets impatient when Kristin drops some coin in Jenny's hand and
then returns to her magazine: "Could I at least have
enough to buy a coffee?" While Jenny and Kristin tell me
they've played in Canada before, only Kristin, who was
born in Ottawa, can distinguish between a looney and
a quarter.
After four weeks of touring with their band Tsunami,
Jenny and Kristin are noticeably tired. It's rare that they
leave their business, the Arlington, VA based record label
Simple Machines, for such a long period of time. But with
the exception of a bit of talk about checking their voice-
* » —<~A
- notes in the Machines compilation serve
ding the history of an underground project
story that often gets omitted from history books -
mail and e-mail the girls don't
.pecially worried that the
While the    ,o ,yiu^mnes compilatio
the purpose of recording the history of an underground
- the kind of story that often gets omitted from history
they also give useful how-to information to bands who want to
release their own record or CD. In the do-it-yourself punk spirit,
Jenny and Kristin use their CD and record packaging not only
to show off the artistic talents of their friends but also to share
information about how to put out records. One of my favourite
Simple Machines CDs is their first, the 1992 tribute to Beat Happening, Fortune Cookie Prize, which featured ten covers of Beat
Happening songs by different bands and two tributes to Beat Happening, Unrest's "I Love Calvin" and The Cannanes' "Tribute". The
liner notes of the CD include 8 pages of step-by-step instructions
on to how to produce a CD and a friendly invitation to future indie
label-starters to write Kristin and Jenny if they have any questions.
^  girls don i seem wp^,„.
business is going to crumble to pieces in their absence*, after 5 years
—"Minn thev have accumulated a steady body of dependable
„\ operation they have accumuiaieu u ji<=v.^7  _.
volunteers who can run the show during slow periods. They even
have couple staff people on payroll. However, Kristin admits that
i the luxury of being able to tour whenever they'd
scheduled to coincide with a low activity time for
3 kind of working holiday.
they don't have t
l^e. This tour was sche
Simple Machines; if "
"'— *—* i 7-inch for Geek - Jenny's band at the
vehicle for putting out a /
md a number of other bai
ime - ui.v. -    ids who couldn't find a label
interested in putting out their music. Most of the early stuff put out
by Simple Machines was in the form of compilations, partially because Jenny rationalized that even if the individual bands weren''
popular enough to warrant a record purchase, maybe a compil*
u„tQ "*ntfi(-.ientlv to sell some recordr
Machines have pretty much as much control over the project as
they want. Basically, Jenny and Kristin do all the dirty work. They
take care of the aspects of record production that the band can't or
doesn't want to deal with. According to Kristin, "It varies. Some bands
really want to do the artwork. They'll hand us something and say 'this is
the cover'. Some bands give very little input. Others are very self-starting,
they'll say 'we're recording this new song and we'll have it done by this
day' and they just give us the DAT. Others bands will need more help,
you'll have to find them a place to record.   How much time and work is
involved really varies."
"What used to take a lot of time was actually putting records together.
Once we did this Working Holiday project where we put out a 7-inch
every month as part of a series, so there were 3000 7-inches coming fo
i bands weren't    our door every month. We had to take the record, [—* :* '
would enlarge the fan base s
w^u.v..  a ji. ^ efficiently to
The Forfune'Cookie Prize CD of 1992 was
Dimple Machines label, ^^^^^^^^^^
do the whole CD themselves: "We had v_argo i-xg^v,.—,   .
based in California, help us put it out because you need so much
' -•■* ~ CD. They took over the CD portion of it; we did
the vinyl version. And then 80% of the proceeds from the CD   |j
version were donated to the Sasha Bruce House and we donated
100% of the vinyl profits."
The first CD actually made a profit and Simple Machines
fe n^%Se" ,fhe record or ^nd i
s 36,000 7-inch,
^^^^^^j the sleeve,
mail-order recipient. So
iiiui was jo,uuu /-inches to put together and sell. It takes a lot of
e,     tjrsf CD on the to physically put the records together. This venr w-.'™ ^~;
r time just
lot of
Cookie Prize CD ot  '^ T" " h      didn>, really records   but a lot of th.m        ,0geher, This /ear we're doin
portion of it; we did slnce ^e *ab ■ j ■■■
like Scrawl, continue to work w7»k *■ °Yer.'; ° ,bands* Some of them,
and disoppear; others like Veloct 17 ^'^ T* break ^
labels like SubPop. DoinaTrorlniKJ' '' IT"6 .?" to Work wifh bi3
3 Youthwork, which i
"ionization that operates emergency shelters, .    ^.
legal advocacy for young people in the DC area. Donating the
l-i u~ ™„rt,or „ ^^"■■•■■'■••■•E ' <-■■—i-
their label to another cause is not atypical of Si
30% of the proc     '   £ *
28 year old North Caroli
'ubPop. Doing compilati
more bands, to share their skills
profits from their label to anomet wuk ,- .
Machines. 80% of the proceeds from the Machines CD went to
• -~~r r,lrl North Carolinan's mayoral campaign and to Rise
~...Qr v,r„,nn of-
Community Cafe - a bakery that seeks to empower young offenders by giving them jobs. This is not surprising given that
Jenny first discussed with a friend the idea of putting out a
record while volunteering at a homeless shelter.
The first project of Simple Machines was the first of the
six 7-inches in the Machines series. Released in April 1990,
the record was a four band compilation called Wedge that
featured Geek, Hated, Lungfish and Edsel. Three years later
the label compiled the songs on the six Machines 7-inches -
Wedge, Wheel, Pulley, Screw, Lever and Inclined Plane, all
of which featured cover illustrations that would make a grade
5 science teacher proud - onto a single CD that contains a
3 little history of the record label ana its continuing dramas.
allows them to work with a lot
th a lot more young people.
they put out since they haven't got the time or the labour power to
put out very many CDs or records. In fact, most of the bands they
work with are friends of theirs for whom they agree to put out a
single record once in a while.  Simple Machines neitfter signs
exclusive contracts with bands nor hunts out unmarketed talent.
In other words, don't expect to find Kristin and Jenny at the the
Music West Conference trying to sign the latest rock-stars-to-
ie working holiday they'll gladly pass up.
: West
be. That's o
krista james n       ^^^^^^^^^^^^^
talks to tsunami's
jenny toomey1 and
kristin thomson2
the good women-folk behind
r, ?> ss#£W^#*§0>', '
mpie _
ts \^&3mz DiSCORDER: Now we're here at the
Penthouse Club in Vancouver, and it's
a strip barl
Greg: Yeah, I was doing some stripping here.
I like to take my clothes off when I play.
Brian: Greg came, stripped, and now everybody left, so now we put on a rock show because stripping is not too good
Where did the Fiends originate? How
did you meet?
Greg: I was sitting at work one day -1 worked
in a T-shirt place, we used to do all this stupid
Canucks shirts and all this crap stuff like that.
It's called Canadian Graphics, and they're a
very big stain-piling kind of crap place.
Anyways, I got a call from Brian going, 'Hey
do ya want to start a band up', and that's
what we did.
Brian: Oh, I did actually do that, didn't 1.1 did
say 'Hey Greg, you wanna play in a rock 'n
roll band.' I guess I was a part of it. A rockin'
guitar band.
Are there any good garage bands in
Greg: I haven't heard any
was garage bands in Vane
Garage bands are a rare breed in Vancouver. In fact, arguably the only city in Canada
to have ever had a strong foothold on the fuzz was Montreal in the 1970s, with
bands such as the Gruesomes, Deja Voodoo, 1 4th Wray, et al. These bands were
known for their blasting rock numbers, bare bones song stuctures, and their raw rock
'n' roll raunch, a sound popularized by the Stooges in the 1 960s. Fortunately, though,
for the local groove enthusiasts who enjoy their rock simple, swingin' and trashy,
there are the Fiends
In existence for two years now, the Fiends have at one time or another contained members
of other rockster sensations The Minstrels (Greg W), The Enigmas (Brian), House of Commons
(James), Color Me Psycho (Johnny), and The Worst (Greg J). The group's first record was
released in Montreal on Primitive Records. "We recorded some live songs on a tape deck over
a week," recalls the Fiends' vocalist Greg Johnson. "The recordings were done like a demo -
we were going to record them better, but [the label] liked what they got I guess because they
were primitive [sounding]." A month later the band received an offer to record a full-length
album for Germany's Music Maniac Records. The result was Teen Trash Volume 12: The Fiends,
one in the label's series of albums featuring garage bands from around the world (including
The Fuzztones and The Cryptones): "Primitive rock 'n roll performed by today's teens!".
Adding to the Fiends discography is an upcoming 7 incher on Greece's Doctor Mushroom
Records, She's Not Broken, and another full length planned for late this year
Live, the Fiends' ghoulish act is a lounge spectacle. Frontman/singer Greg Johnson fashions a black cape which obscures his medium build. He cups the mic carefully with both hands
as he sings, his face hidden behind wispy brown locks and btack-as-night sunglasses Behind
him is keyboardist Bill Barker, his face gashed and bloody, pushing the emory fingers of the
Farfisa organ sunk inside the coffin placed before him. Mounted above the grey death tray are
two chalk-white skulls which leak clouds of eerie smoke on cue, adding to the spooky atmosphere. Also on stage are bassist Brian Olinek, guitarist Greg Watson, and drummer Slam
Thunderfoot The Fiends' last performance was on April 14th in support of the "Anarchy in
B.C. Tour", a bill which also featured glamlords Flash Bastard, the polyester magician El
Ballistico and crotch rock revivalists Psychomania DiSCORDBR's classiest [not too mention
self-aggrandizing -ed.] scenster Sean Raggett caught up with the Fiends after their set at the
classy Penthouse club in downtown Vancouver.
dually. If ther
iver, I'd go oi
Brian: The Worst, The Fiends, and that's about
Greg W : The Smugglers are semi-garage still.
Greg: They used to be. I remember when I
used to see them with the Gruesomes, they
were garage, but I think now they're kind of
like Young Fresh Fellows.
Brian: We're doing more of the all out of control fuzz rock 'n roll thang, whether that means
Greg: More along the '65 Texas kind of sound.
We're not really doing the old Young Fresh
Fellows frat-rock stuff like the Smugglers.
Why are there no Vancouver labels
interested in you?
Greg: Because we're not girls. And we suck,
But you have a whole bunch of
records out. There's one from Screaming Apple and you have a record out
on Monster Maniac. Why aren't Vancouver labels interested in The Fiends?
Greg W: Because we're not a modern sounding band. The sound that we have is more
retro 60's.
Brian: We're not grungey, we don't play
Greg W: Yeah, it's punk rock, but it's true punk
rock, like circa '66-'67 kind of thing The stuff
that the Stooges was based on. That kind of
proto-punk led to real punk rock in '77, or
whatever, which turned into hardcore, and so
on. There was sort of a garage revival in the
late '80's, but that died out here.
The Fiends have released records internationally. Where have you sold the
most records - North America or Europe?
Brian: Hopefully in Japan, because that's
where I'd like to tour next. Japan would be
the place to go (to other members) You think
we sold any there, guys?
You have records released in France,
on Dig Records.
Greg: The Worst does. Our new single is out
on a Greek label called Doctor Mushroom.
We've been selling most of our records in Eu
rope. Before I was in this band the Worst
started, and the last Worst single sold out in
two months, it was gone.
So the Worst are still happening?
Greg: Ahhh, well, they're happening. We
have all the tapes in the can, we just have to
mix it. We're doing a Guess Who song. Randy
Bachman gave us the OK on one of the Guess
Who songs.
Which Guess Who song is that?
Greg: "Writing on the Wall".
Greg W: "Clock on the Wall".
Greg: "Clock on the Wall", or whatever. I'm
kinda drunk.
Now there's other members of the
Fiends involved extensively with other
rock 'n roll bands - Brian, you were
invoved with the Eee...Eee...Eee...
Brian: Eee...Eee...wha»2 Sorry, I lost something
there. What are youawp   Jp J^jfmP
The old school Vancouver band! "Teenage Barnacle" - the big hit, my favour-     ,
ite song! You -were in the Enigmas!
Brian: That was actually before I bought a
bass. I played the bass without an actual bass.
See, that's the amazing thing about that band.
Who made those bubbling sounds at
the beginning of that song, "Teenage
Brian: I believe that was someone blowing in
a toilet, and it was not me. I would have to
blame that one on Paul (Mackenzie, singer of
The Real McKenzies). Get him in here He's
never admitted to sticking his head in a toilet
before, well this is his first time.
And now the Real Mackenzies are
doing their thing again - they've reunited. Are the Enigmas going to be doing a reunion soon?
Brian: Last thing I heard his head was in a
toilet, so we might be practising some new
songs shortly.
And also, we have Greg Watson here,
who is in the band, originally from
Montreal, the Mmm...Mmm...
Greg W.: The Minstrels? They were originally
from Quebec City, actually. Then they were
out of Montreal for awhile, then they played
in New Orleans for the winter of '91-'92 and I played with them for two months there. I was
living in Kingston at the time. I played in the
band the 14th Wray, and previously to that I
played in a band called the Buzzards in Ottawa around 1987.
Is punk dead?
Brian: Supposedly punk is alive right now,
downstairs (Flash Bastard are heard playing
below). We're missing it, we're missing it! They
said it's punk rock, but it didn't sound like punk
rock to me. I would say punk rock is dead
Greg: There's that flyer, "How to Dress Punk..."
Brian: Well yeah, punk rock will be alive tomorrow, after people see the flyer. Right now,
it's dead. Tomorrow punk will be alive.
Do the Fiends do any good cover
songs at all? Do you cover any bands?
Greg: Two bad ones.
Brian: Not two good ones, we do two bad
covers. We do some bad ones, yeah. "Jack
the Ripper"
Greg: No, we wrote that, we wrote "Jack the
Do the Fiends tour?
Brian: Three shows in town, and hundreds in
Europe. We're a hit in Europe For some
strange reason they love us!
Greg: We're going to tour Europe, and we've
made lots of money, it was really good, we
toured the whole thing. Plus it gave the guitar
player Greg (Watson) a chance to buy his
new amp, so it was great. We're thinking of
doing it in the fall. We don't play here because nobody's interested But after this show
tonight, [it shows] some people are interested
What do The Fiends think of Lick the
Greg: Never heard of them.
Brian: Licking the pole could be good, if it
was mine, otherwise I'm not sure exactly what
that means. .'
Greg: On a real cold day, if you lick the
pole on a real cold day your toungue sticks
Why isn't vinyl dead?
Brian: Because I have 4000 fucking records
and I got a turntable to play them on, that's
why! That's my theory.
Greg W.: There's always going to be people that think digital technology is evil, and
there's always people who are going to embrace digital technology. There's always going to be people of both schools.
Greg: And also, in Europe they sell more
vinyl because nobody can afford the prices
of CD players in Europe. CD players are way
out of control in Europe. Nobody has CD
players in Europe, that's why vinyl is big in
Europe, that's why we sell out in Europe.
Brian: And not twelve inches, actually eighteen inches. They go for really big vinyl in
Greg: They got huge fucking records, huge
fucking records there.
Brian: When a band is huge, they don't mean
like huge, it's like the records are so huge. If
you can play them, the band's fucking amazing because they sound good if you can get
them on your turntable.
But you put out your latest release,
Tyrants of Teen Trash, on CD as well
as vinyl.
Brian: That is true Well, that was for the
American release We got all the CDs. Greg:
Music Maniac (label) is like the A&B Sound
of Germany, except for the guy who owns it
puts out garage stuff He makes all his money
off selling Madonna and puts out garage
bands I had a really good point there, but
now I'm kind of drunk...
Brian: Greg, you better have another beer,
and think about that one for just a minute.
But wouldn't some consider you
straying from the roots, like selling
yourselves out, straying away from
the garage vinyl format of the 60's?
Greg: Yes, we are sell outs. We like to sell
out, very good. We're on the internet, we're
on there.
You're on the internet!
Greg W: Yeah, apparently. Greg's on the
internet. Greg's into the computer thing.
Greg: I'm the computer nerd. I got a thing
on the internet   It's free, so I said hey, let's
put the Fiends on the internet. So we did it!
What about all those hackers out there
that might like to get in touch with the
Fiends via internet?
Greg: The web page is <thefiends/
mindlink.net/homepage.hfm>. That's the home
page, and there's like all the covers of all the
singles and records.
Graphics and everything!
Greg: Graphics, the whole fuckin' bit, even
samples of three songs!
Brian: And actually more than that. We stick
everything we can on that little e-mail thing.
You have an e-mail address as well?
Greg: <TheFiends@mindlink bc.ca>
Brian: Isn't it "mindless"? Instead of mmdlink,
mindless would have been good, but hey.
Greg: We also have been getting a lot of things
like, "Oh, well, the information highway is not
very garage-genre. Why are these fucking garage people on the fucking internet anyway?"
We're just doing it because...
Brian: We're trying to keep the spirit alive!
ritalive! B
thought maybe you were expecting someone
from outer space. Sorry.
Greg W.: Vancouver, eh? I'd probably take
them out of Vancouver into the woods because
it's much cooler there.
Greg: (to interviewer) You're hating this, aren't
Greg, -who is your Canadian hero?
Greg W.: A Canadian hero, eh? That would
have to be Big Joe Mufferaw.
Big Joe Mufferaw?
Greg W : I don't know, there was a song about
him on Stompin' Tom's A Proud Canadian.
Big Joe Mufferaw, all the way from Ottawa.
Greg, who is your Canadian hero?
Greg: Randy Bachman. Randy Bachman wrote
"It's My Pride" by the Guess Who. And then
there's the Victoria band the Five Canadians,
an amazing band from the 60's who wrote
"Writing on the Wall". (Covered by the Worst
on the Creepy Thing 7" on Screaming Apple
records.) i|LTH
Brian, who is your Canadian hero?
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Greg: Plus it's free, so who cares?
Brian: Fuck 'em   Fuck everybody!
OK. Where is a cool place to hang
out in Vancouver, BC?
Greg: The best place to hang out is at
Brian's house because he has lots of beer.
Let's just say you had a visitor from
out of town, coming from the east
coast, and you wanted to take them
to do something in Vancouver - what
would you take them to do first?
Brian: Well, would they be from outer space?
Did you say he was from outer space or out of
town? Because if he is from outer space that
would be a whole different story Out of town,
I'd just take him to a few local things   I just
Brian: Well, I've got a bunch of favorite Canadians since I'm older than these young farts
here It's All Meat from the late 60's, a mighty
fine Canadian band from out east
Any last words, the Fiends, from Vancouver, fuzz-rock sensations from Vancouver, the Fiends?
Greg: We came, we played, and uh, nobody
showed up (laughs). No, no, no, we had fun.
Greg W.: Thanks for coming out, thanks for
listening  This was a lot of fun.
Brian: And always drink Vox beer   Nothing
except Vox.
Greg: Fuzz.
Greg W.: Fuzz
Brian: Fuzz. Fuzz is the future of rock 'n roll
Fuzz, more fuzz. THE RECORD LABEL
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Sydney Australia 3 piece, smack in the head power pop meets white boy dub and lullaby drone.
Hunters & Collectors Demon Flower SALD/C 220
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Ed Kuepper Character Assassination SALD/C 217
Actually the 20th album of his career. For those not familiar the pedigree goes - Saints, Laughing Clowns and solo
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Andrew Wyse on tenor sax
took the place of second guitar. And the band's energy
and drive increased throughout their set, right until the
end. Awesome, and the
crowd loved it, cheering for
an encore that couldn't come.
(They were the opening
band, afterall.
Two days after this in
credible show I chatted
with the band's guitarist,
Ruben Huizenga, when
he called me from Victo-
Arriving at the Town Pump
on the 15th, I headed straight
for the merchandise table to
pick up that CD. Manning the
table was John Boyes,
Glueleg's manager and general troubleshooter, and after
quickly impressing him with
my bubbling enthusiasm and
meaningless chatter, I bought
a CD and asked if I could interview the band. 'No problem, they'd love to do it, and
the interest from CiTR is
greatly appreciated.' We
made an appointment for the
next day and that was that.
By this time the club was
really filling up. Mystery Machine was the headliner and
the crowd was upbeat and
eager for tunes. The canned
music faded out, the
stagelights came up, and
Glueleg took the stage. A general rush to the floor ensued,
with me in it. I guess I just
don't know the right people,
because it looked like lots of
people were just as excited
over Glueleg as I was. Jumping into a fast, funky rhythm,
band   took
charge of our
senses. The first
part of the show almost seemed to be a defiant exhibition of what the
band was truly capable of
performing.  Styles mixed,
tempos changed,   rhythms
evolved, vocals rapped and
argued with each other, but
each song had a central
that was never lost in the
Extra intensity was added
by the unique choice of instruments the band used. Bass
was filled by Carlos Alonso
on Chapman  Stick,  while
same opportunities you have
No, and frankly I
ildn't want it.
Our music has developed so much,
and we've reached
a  professional plateau that we had to
k at getting  to.
Park Alien  is  raw,
while Heroic Doses is
cleaner and more mature.
We have learned a lot in the
last year.
Well, we're writing
new songs on the
road, there's a new
single "Come With
Me" that's a radio
edit only, and we
should have a new
CD late this year or
early next year.
Any funny tour
No, things have
been really calm this
time. Last November
Carlos and Chris decided to do a naked
run on the prairies
somewhere in Saskatchewan. People
were stopping and
taking  pictures,  wondering
who the crazy idiots were.
We got some write ups locally
about that one
When are you coming
back to Vancouver?
Maybe in a couple of months
We really had a great show
at the Town Pump and are
looking forward to doing it
art. Streamline your set so
there's no BS between songs
or at the start. Pro attitude,
confidence, focus. Find people who can tell you things.
Call people, listen, and learn
and be humble because you
don't know dick
How about being original?
Picture yourself in the future
Over the years you develop
your own sound, if you sound
like someone else you're just
young. Find yourself in what
you like
Tell me about the future
for Glueleg.
I see our songs as being
stronger and more focused as
we continue on. Exploring the
What would you say to Thanks  Ruben,  good
any new bands starting luck on the tour,
out? Thank you, and to CiTR.
Get your music down to an
Where did Heroic
Doses get recorded?
How long did it take?
Doses was recorded at Reaction Studios in Toronto last
year. It took us two months to
record and mix it. What's
cool is that Reaction really
wanted us to record there.
They liked the music enough
to bring us in and foot the bill
for the CD to get us going.
We owe them a lot for believ-
Are there any previous
Glueleg recordings out
Where did this
tour start,
where does it
end, and how
have reactions been?
It started at the beginning of
this month in Toronto and
ends on the 26th in Quebec.
Later we're going further«
to Halifax, etc., to play the
The reactions have been varied, depending on the promoter. Like in Edmonton it was
great, but Calgary was really
Do you feel that two or
three years ago you
could   have   had   the
t9 Gft^jsg-i I'm shitting tumbleweeds and
I've got a mighty hankerin' for
a glass of warm whiskey, a
pair of aces and a piece of
tail. Since deciding to devote
some prime DiSCORDER
space to a disertation on that
wonderous film genre known
as the western, Riave dusted
through thirty hours of wild
towns, tough lawmen, good-
hearted whores, sanctimonious matrons, viscious scoundrels, cold-blooded killers and
introspectively dubious heroes. Under the test of this arduous task my love of the
genre stands tall against the
setting sun, undiminished by
time,1amiliarity or poor examples, the western is one of
the few means through which
the "American story' can truly
be told.
It is also one of the few
genres where the absolutely
cerebral meets the gloriously
physical to create a unique
cinematic experience of tension and repose; the audience
is trapped in a world where
there are two modes of existence - action and contemplation. An unwitting Hamlet, the
western "hero" - and thus, vicariously, the audience - is
often plagued not only with
"extended pursuit" (the high
speed chase always involving doomed horses, often including a loaded stagecoachj
and "dramatic confrontation"
(the showdown at noon on
Main Street), but with
"contemplation". The guy
with top billing has time, too
much time, to Think about his
course of action and to think
about death before he faces
it down the barrel of an unfriendly six-shooter. From the
bartender to the sherrif to the
errand-boy, from pleading
frantically for his self-preservation to spittin' on his shoes,
everyone has advice for him
but no one can take his place
when it's time to either get the
job done or mix his blood
with the dust of the lone prai-
boys to steers an then there's
the type who'll turn there nose
sky- high at the whisper of a
western wind tickling the celluloid as it passes around the
reels. It's usually a love'em or
despise'em situation. Taste,
however, often has little or
nothing to say in the matter.
Many a high-brow classical
music-lovin -wine-swillin'-suit-
wearin'-sport-hatin' Midas
thinks there's no better way
to spend an evening than saving Tombstone rrorn the
Clanton gang and, likewise,
many a beer-chuggin'-mac-
Rabelasian will dismiss the finest example of the
genre as a "duster"
and vow that they'll
give away their collection of vintage
Penthouses before
they'd consider sitting through two
hours of one. Then
there are those misinformed naysayers
who insist that West-
  ihit,   basing
their opinion purely on hypothetical extrapolation and/or
the anti-western environment
they were unfortunate to have
grown up in. The enduring
popularity of the style
waned only in the last twenty
years as the genre seemed to
play out it's potential.
"Dusters" began as
highly accessible films geared
towards the movie-loving audiences of the early century
who sought escape from the
drudgery of their daily lives
in the new, and cheap,
nickelodeons that crowded
the blocks of the urban pits of
hell that were their homes.
Early westerns were comedy/
adventures and stuck very
closely to formula - lots of
chases, a few laughs, some
feminine titilation, and
enough coffins to decimate
both the Carmanah and Stein
Vallies in one tworeeler. At
the low end ten to twenty and
at the most sixty minutes, early
westerns could hardly introduce a complicated senario,
allow time for character development, show the hero in
troubled contemplation, and
satisfy the audience's bloodthirsty need for wanton maiming and killing in the alloted
time. Since it was the audience that was slapping down
the dough and creating the
film studios immesurable profits, their need came first.
As the film industry was
waddling out of its infancy
and into it's toddler stage, the
Old West was creaking to its
arthritic knees. The new film-
production community of Hollywood hired many real and
unemployed cowboys to add
(a somewhat
biased) authenticity to the
scripts and
the stunts.
When word
got back to the
range that the
crazies in Hollywood paid
$5/day, compared to $5/
week for
p u n c h i n '
doggies, the stampede
started. Soon, parts of Tinsel
Town began resembling
Dodge City on a Saturday
night, complete with whiskey-
induced brawls and deadly
disputes over friendly games
of poker.
Tom Mix, the most well-
known silent cowboy star in
his day, did have real experience in the ways of the West.
He became infamous, however for a flamboyancy that
would probably have gotten
him lynched, in the good ol'
days, as a man a little light in
the stirrup. In the other-worldly
microcosm of film life, it only
made him more saleable. Two
other famous silent cowboys
were William S. Hart and
Harry Carey, Sr. Products of
the big industrial American
cities who were romanced by
lurid dime novels and tales of
wide, open spaces, they realised Their dreams' of
cowboydom through the
magic of Hollywood. Harry
Carey, Sr. began his career
as a performer for D.W.
Griffith in   1909 but turned
cowboy in 1917 when he
teamed up with a young director, John Ford. The two collaborated on 26 silent dusters in total, half of Ford's total portfolio of 55 westerns.
John Ford, born Sean
Aloysius O'Fearna, is regarded, without exception, as
the ultimate director of westerns. Considering that he
helmed 55 films offne genre,
his first at 22 in 1917 his
directorial debut) and his last
in 1964 (two years before his
retirement) I will go out on a
very short limb to say that not
only has no one excluding
perhaps Clint Eastwood",
come close to understanding the western better but no
one has proven his love more
arduously and more often.
In 1923, the western
graduated from the limitations
of adolescent male fantasy
to realise it's potential as a
vehicle for serious epic saqa-
ing with James Cruze's The
Covered Wagon. In 1924,
Ford made his contribution to
the new style of Western with
The Iron Horse, which detailed the completion of the
transcontinental railroad. The
old-style "Cowboys and
Injuns' movie did not fade out
or existence with the emergence of these new, more serious, pictures. They were relegated to B-movie status ond
lived full and happy lives as
hour-long warmers, screened
before the feature presentation, until the advent of television dealt them a qrisly death
in the 50'i.
Ford, however, was
much too visionary a helmsman to be held in B-movie
land. By 1939 he had directed 1 10 films; the experience of every one of them is
apparent in the sublime
Stagecoach. Made in the
most orgamsically prolific film
year ever seen, Stagecoach
was one of three films Ford
directed in 1939. The film
starts with the rhythm of danger, beat from an Apache
wardrum; Notorious Native
American Geronimo is pissed
off as hell and ready to wipe
any pale face that appears in
his territory off its equally
pasty body. In the next scene,
the town of Tonto, New
Mexico greets, with particular enthusiasm, the stagecoach coming through on it's
regular stop en route to distant Lordsburg. The Tonto
Sanctimonious Society, whose
membership includes the most
judgemental feminine minds
the town has to offer, has finally succeeded gathering
enough support to outst Dallas, Tonto's provider of sexual
favours and purveyor of unchristian behaviour. She, and
the town's perpetually inebriated physician Dr. Boone,
are forceably shuttled on to
the coach and out of town,
joining the sinners for the ride
are Mr. Peacock, who, as a
whiskey salesman possesed
of samples,   proves to  be
Boone's boon; Mr. Hatfield,
the shady gambler with gentleman's manners and a
sketchy past; Lucy Mallory,
the "fragile" lady travelling to
meet her husband a calvary
officer* and Mr. Gatewood,
the obnoxiously pompous
banker with a mysteriously important valise. Sherrif Curly
Wilcox, riding shotgun to protect the stage and the driver,
nervous Buck Rickabaugh,
round out the cosy octet. Just
out of town, the stage meets
up with escaped, but honourable, convict, the Ringo Kid
whose lame horse hostorced
him to hitch a ride to
Lordsburg where he has "business". As an escapee, the
Sherrif is forced to arrest the
Kid but lets him ride,
unshackled, inside the coach.
Things start getting dubious
for the stage s safety when
they hit their first stop. Their
escort, a company of U.S.
Army calvarymen, must abandon them and rejoin their brigade which has been attacked by Geronimo's forces.
Stagecoach is a tour
de force of tension. The stage
is pursued by the omnipresent, yet invisible, Indians. The
passengers are thrown together in a "lifeboat" situation: everyone is compelled to
go on by a secret or a social
stigma (or, in the case of the
mild Mr. Peacock, the rule of
the many over the few), yet
none wants to be on the jour-
niy, especially in such company. What could be a trite,
and dated, melodrama is
lifted into a excrutiatingly exciting adventure and intriguing character study by the
grace of John Ford's talent
and the skill of the sublime
cast, which includes Claire
Trevor as the "damn your
pity" Dallas Thomas Mitchell
as the jovially and intellectually drunk Doc Boone, and a
youthful John Wayne who
provides surprising tough-guy
sensitivity as the determinedly
heroic Ringo Kid.
By 1946, cinema had
been around for forty years
and in it's "Golden Age" for
15. In the post-war era,
American filmmaking took
another step in it's development as it moved from passionate teen to contemplative young adult. A new cerebral complexity, as epitomised by hot actors of the age
like Marlon Brando, was
brought into films on a more
regular basis. Plots moved inside the mind and films began to consider the landscape
of the psyche as important if
not more so, than that of the
overt story. In 1946, John
Ford held the western by the
hand and led it quietly into
this new, vast and largely
uncharted expanse.
My Darling Clementine
retells the story of famous old
west lawman, Wyart Earp.
Ford had met Earp when the
latter was a technical advisor
in Hollywood in the 20's and,
though he initially did not
want to make the film and
was merely fufilling a contractual obligation to "the Fox studio, he was determined to
shoot the picture to match the
version Earp had told to him.
In this, his success was not
quite complete; a few details
which work nicely in the
framework of the film's whole
are factually incorrect. However, as a great western and
one of the first that blends inner and outer turmoil, My
Darling Clementine hits the
Henry Fonda plays the
retired Marshall Earp who, as
the film opens, is driving cattle with his brothers to California. They stop outside of
Tombstone, Arizona for a rest,
a drink, and a shave. Leaving the youngest sibling to
guard their camp, they head
into town to sample the local
life. What they discover is a
8ood example of a bad town
'isgusted by the inadequacies of the local policing
forces, Fonda takes matters
into his own, infamously capable hands quelling a
rowdy, deadly drunk. He
refuses all subsequent offers
of Marshaldom and the brothers head back to their cows.
All they find when they get
back to camp, however, is a
dead Earp. The cattle have
been rustled and their youngest sibling murdered. Wyart
decides to accept the town's
job offer, makes his remaining brothers deputies and sets
about avenqinq the family
loss. As Marshall, W. Earp
soon meets the town's resident
Cain, Doc Holliday. The good
doctor (in real life a dentist
but here a former surgeon) is
wild and tubercular but comes
to an understanding and state
of mutual respect with Tombstone's newest lawman. The
movie's climax is, of course,
the gunfight at the O.K.
Corral, perhaps the most oft-
filmed shootout of all time
(heck, it was even featured in
a     Ster Trek episode).
Much of My Darling
Clementine's screen time is almost void of shooting, chasing, or trick-riding. The main
theme of the film discusses the
way in which nature is civilized; Fonda, as the civilizing
force, shoulders the burden or
his largely contemplative role
aptly. The standout, however,
is Victor Mature as Doc
Holliday. I have only ever
seen this actor on one other
film, as the laughing, safari-
suit-and-ascot wearing giant
in the Monkees' Head; twos
wholly unprepared for his intense portrayal of Holliday a
man who has received all the
benefits of decent society, yet
chooses to revert back to a
raw, animalistic state of nature. His florid, masculine face
is perfectly manipulated as it
occaissionally lapses from it's
killer visage and we can see
an image of the epitome of
culture that he used to be. This new-fangled western has a very large potential problem area: inner life
and motivation are very difficult to convey without making
them too obvious with words.
It therefore rests on the talents of the director and actor
to bring these factors to life.
Ford, Fonda, and Mature
were more than equal to the
task. In the forty years between My Darling Clementine
and today, others, like Fred
Zinneman {High Noon) and
Robert Altman [McCabe and
''   . Miller), have also met
>st and
i victorious from the
encounter. Most recently in
1992, Clint Eastwood's
(only the second western to
win the Best Picture Academy
Award, the first
being 1 93 Ts
made for en-
adult western
fare. There
have been failures; Heaven's
Gate has been
signaled out,
fairly or not as
the last nail in
the coffin of the
as tiresome as ar
ful psychological western is
one which resorts to telling the
audience, through flashback
scenes and narrative dialogue, every experience a
character has had and, subsequently, every motivation
the character now has for his/
her actions. Playing down the
audience's ability to del '
and discern for themselv*
film's themes and character
motivation has been a major
Hollywood studio forte ever
since     profits
started climbing
into nine digit
1 994's
Kevin Costner/
Kasden project,
Wyatt Earp is
just one such fiasco. The last
hour and a half
of this, the eleventh cinematic
life story of the
lawman Hollywood refused to
let die, is kind
of exciting and
certainly worthy
as a second-
grade, straight-
out action western. The epic's
first two hours,
however, are an unfortunately
apt example of the new Hollywood ethic - when you can
blurt something out why hint
at it? Every possible excuse
for the middle-aged Earp's
crusty, mysogenistic
bastardness is documented
for us in scene after painful
scene. The flow in this movie
is about a smooth as a ride
in a shockless chevy on a logging road as we journey back
and witness every telling moment from Earp's ejacufatory
teenaged midnight play-acting to his wife's and unborn
child's deaths from typhoid to
his Dodge City days. No wonder the running time on this
saga is three hours and
twenty minutes - I'm surprised
we don't get to see his balls
drop and witness his first
shave. The fact that Kevin
Costner is the actor that we
§et to spend this plethora of
evelopment time with only
makes the endeavor duller, if
that's possible. There are two
bright sparks in the midst of
this drudgery; Dennis Quaid
makes a delightful, if cadaverous Doc Holliday (Quaid reportedly "got into" losing
weight for the part a little too
heartily and almost became
anorexic)    and    Isabella
\il video**
Baekround info
was provide*
C iiieuiaiiia '95 J
Rosselini is a spittingly great
Big Nose Kate, Holliday's
whore/companion who,
tragically, disappears after
two scenes. It's difficult to
watch a western where the
filmmakers are more sanctimonious than the town matrons; an AA Earp who keeps
spouting the same credo tor
three hours - "Blood [family]
is the only thinq" - is no Earp
for me. The buzz behind this
film was it's "authenticity".
Getting all the facts right does
case made for a very entertainingly silly movie. The action starts as Earp and his
brothers pull into Tombstone
to make a new life for themselves. They aquire a gambling hall and set themselves
up as businessmen. The Earps
end up, of course, taking on
Marshall badges, cleaning up
the dirty old town, and earning the hatred of the Clanton
gang'        Ii   l       -
It there s a comon
thread through all the Wyatt
Earp movies I have watched,
it's that the best part is always
Doc Holliday;  Tombstone is
no exception as Val Kilmer
turns in the only intentionally
hilarious performance in the
picture. There
        has  been  no
screen     per-
guidly and
than Kilmer^
The rest
of  the   film's
tirely of TV
actors and n
status cogs
[Dana Delany,
Micheal Biehn,
Elliot M„
Dana Wheel
'      Jasc
♦ ♦
More John Ford Classics
She Wore a Yellow Ribbon
Rio Grande
The Quiet Man
The Man Who Shot Liberty
[Cheyenne Autumn
r intelli-
>uld be
not an entertaining,
gent   movie make v
the lesson we can all learn
from Wyatt Earp.
By contrast, the lesson
to be learned from Tombstone, made at the same time
as Earp by a competing studio and starring Kurt Russell
as Earp, is that no matter how
serious a film is intended to
be by its makers, it's still possible to have a howling good
time watching it. A troubled
set - the director was replaced
and the script was hacked
apart and re-written - in this
Priestley) may not ki	
mirth they brought to my heart
but, if they are reading this, I
thank them. Russell looks like
the make-up department did
him up for a silent classic
(amazingly, his eyeliner never
runs!); Priestley is gloriously
fey as a wild west homosexual (?!?) in love with a travelling actor, flamboyantly
played by Zane; Delany is the
wholesomest, spunkiest and
most liberated whore
this side of
the Rockies;
Nicholson is
a wonderfully
pathetic hop-
head; and
Biehn is tirter-
menacing as
the Latin-
spoutinq out-
law, Jolinny
Ringo. Tombstone is the
perfect party
movie, but
make sure
you have
your thumb
poised on the
pause button -
you won't
want to miss any of the stupendous dialogue or goofy
characters while you ana
your friends are busy guffawing.
One measly column is
not enough space to do the
entire expanse of westerns justice. Even after my next
installment, which will cover
more superlative examples of
the genre as well as a few
other frontier tidbits, only a
fraction of the territory will
have been seen in these
pages. Until then Do not forsake me oh my darling....
believe it's finally come
time for me to make an
announcement I've been putting
off for a while now. I will be
retiring, at least for the time being,
my services as a writer for
DiSCORDER's pages. It seems that
the way my life/possible career is
going, everytime I even look at a
record I seem to be in some sort
of conflict of interest. Believe me,
I am a strong believer in
community over conflict '
(i.e.. this scene is way too
small to worry about such a
bitter subject as conflict of
interest) but I've finally come
to the conclusion that it's a
real beast
Take for instance local
punk rockers Gob. They have
just released an excellent four
song 7" EP which I would love
to review (or did I just?) but the
problem is... I like Gob so much
I signed them to the local label I
work for! See what I mean? This
exact same situation is recurring
over and over and far to
frequently for my liking. If I don'
work with the band, I often ki
the people in the bands, sometimes
really well. Hell, I'm in a band who
releases 7"s all the time, but who
is there to possibly review those?
Therefore, at this stage in my life,
I've decided to work at the record
label, promoting records the label
puts out, and not reviewing
records. That means that this
column is up for grabsl Who wants
it? Seriously, if there's some soiled
soul out there who wants to keep
the good ol' 7" record torch
burning with honest written support, please approach myself or
DiSCORDER editor Dylan and we
can talk about it.
Oh, and by the way, that new
Gob EP, grossly titled Dildozer,
is really good punk. It came as part
of a pair as Nefer Records released both the Gob 7" and d.b.s.'s
first crack at vinyl with the
Snowball EP. As chronicled in last
month's feature article on North
Van's favourite teen punks,
"Snowball" is a tune about going
too far too fast on smack. But
the song is so rambunctious, fun
and snotty you'd never guess it was
based on such a serious topic The
organ solo is great too! d.b.s 's
Rancid infatuation really comes to
the forefront here in that ballsy,
shout-punk style. The flipside's
"Punk Rock Anthem" is a tad on
the long side to be a punk anthem
and the vocals are a bit flat at
times, but whoopdeedingdong, I'm
sure d.b.s. don't give a flying
yahoo about perfect pitch so we
shouldn't either. As an added
bonus, the record is pressed on
fitting baby blue vinyl. (Nefer
Records, 1 027 Davie St., Suite 600,
Vancouver BC, V6E 4L2).
22  MAY 1995
The Mr. T Experience is a
group that should be a major
influence on both Gob and d.b.s.
MTX recently showcased their
new line-up to a capacity crowd
at the Starfish Room, where they
rocked loud and hard. MTX also
showcased the stellar songs from
their latest EP Tapin' Up My
Heart, an awes
new three
song punk pop
record. The title track,
namely "Tapin' Up My Heart",
rocks just as hard on vinyl as it
did live in a too-catchy frenzy, featuring an amazing fuzz guitar
blast throughout. MTX have
achieved a great sound on a great
song. The b-side goes on to certify
this as a wonderful record as "My
Stupid Life" (a rocker all the way)
and an unlisted acoustic track play
up lead singer/guitarist Dr.
Frank's self-
hilarity within his lyrics I love it!
(Lookout!, #106, P.O. Box 11374,
Berkeley, CA, 94712, USA).
The thing I always have to keep
reminding myself is that I ain't
gonna love every record I get. This
next one, for example, is another
release from Bear Records,
whose two Tinker 7"s I slagged so
mercilessly in a previous column.
Making it a Bear Records hat-trick
o' shit, I certainly do not enjoy this
single by Stellar Dweller anymore
than Tinker (ooo I hate that name!),
but at least I can figure out what
Stellar Dweller are trying to do
Basically they give us two tunes,
"Catlips and Kittequality" and
"Sadness Rings": sludgy, folky
semi-industrial clunkers. Love 'em
or leave 'em, folks. (Bear Records,
J.A.F. Box 444, New York NY,
101 16 USA).
Slipping back into the good,
one of my favourite rock'n'roll
combos of all time are back on
vinyl, thank god. The Fall-outs
have just released a split 7" with
Flathead on the newly formed
Seattle label Square Target.
The a-side is rightly given to
the Fall-outs, wlio contribute
a superb, remixed version of
"Zombie" (the original
version is found on the Fallouts champion LP Sleep
An excellent pop song,
"Zombie" is reminiscent of
early Kinks hits, only
somehow, this song seems
to surpass anything frorr
the '60's garage rod
camp. It's a high
quality song
Flathead continue
with the walkin' dead
ith the flip's tune "Here
Comes The Zombies". It's hard to
follow up on the  Fall-outs,   but
this is a  pretty cool mid-tempo
cryptic cruncher from  the snot
garage,  albeit a  bit on the long
side.  But whatever,  it caps off a
great   little   debut   for   Square
Target    (Square Target Records,
P.O.   Box   19673,  Seattle WA,
98109, USA).
nite first. After a closer inspection,
what I assumed was a Man Or
Astroman? CD EP turned out to
be an actual 5" vinyl record!!! It's
true! Rock'n'roll has reached a
new horizon, which means that
bands are now releasing music on
12", 10", 7" and 5" records! Viva
la vinyl! But, urn... there's just one
small problem, and it's about 5
inches long (sounds like my last
date). This lil' record is so small
my turntable won't play it! Every
time the needle is about to make
contact, the arm pulls it up (sounds
like my last date). Frustrating
indeed, but I think I could muster
up a pretty good guess at what
these two MO.A.M. songs sound
like. Could they be, say, two tunes
of instrumental space-rock'n'roll
with bursts of sampled b-movie
sound clips? Urn, yeah, I think so
All I can hope is that one day I
can find out if I'm right, once I
figure out how to play this pooch.
(Sympathy For The Record
Industry, no address).
The following is a pathetic
transition into the next review: The
Mystic Zealots, like Man Or
Astroman?, have a band name
that also starts with the letter M.
But that would be about as much
as   these   two   groups   have   in
common. I swear I know
something about this band but I
can't pinpoint it. This scantily packaged two song seven inch on Skull
Duggery Records offers no
information either, so I'll have to
fudge it, as the term "research" is
out of my mental grasp at this time.
The Mystic Zealots could very well
be Canadian as their two songs
"Now That's A Monkey" and
"Quarter To Two" create an interesting mix of pop rock verging
on something funkier... dare I
suggest a cross between Sloan
and        Furnaceface?
That covers a  lot o'
popular Canuck sounds,  so who
knows,  the Mystic Zealots could
very well  be a force very soon!
(Skull Duggery,  no address).
Huevos Rancheros, most definitely Canadian, have directed
their latest recorded work to their
hometown of Calgary for the very
first time in their colorful career.
This 7" contains the songs "64
Slices Of American Cheese" b/w
"Telstar" and could be the fullest
sound     this     Tex-mex     instro-
rock'n'roll three-piece has ever
achieved, with throbbing bass and
deep, reverberating guitar tones.
"Telstar" could easily be your
standard "cover tune on the b-
side", but this rendition easily rocks
its way past the norm.
On the same label gallops
forth Curse of Horseflesh, which
may    contain    certain    human
elements of Calgary's legendary
Color     Me     Psycho      (again,
"research" is evaded). On the a-
side of this platter C.O.H.  rollick
and  romp  through  a  stompin'
rendition of "Old Joe Clark" in
what sounds something  like the
Cramps meets the Hard Rock
Miners.        The        b-side's
"Andromeda   Stomp"   is   a
fairly generic  instrumental
that has some interesting parts,
but doesn't quite achieve the
height of their  label  mates
Huevos Rancheros.   Both of
these two singles on Roto-flex
Records continue the tradition
of   a    long    line    of    hearty
rock'n'roll from Cowtown. Keep
it up, you dusty rockers!   (Roto-
Flex, P.O. Box 64252, Calgary
AB, T2K 6J1).
So remember folks, I'm packing in this writing stuff for the time
being, so if any of youse indie-
rock losers out there want to take
over, let's chat. If we don't find
someone, you can be sure I'll be
back next month.
7AJLI • BOOM • SAM'S • HMV Popularity is something
that takes a very short
time to acheive. Often, it
is a bizarre thing to experience
because it doesn't even seem
justified. In the few short months
that I have been doing this column, for example, my mail has
increased from nothing to a
piece a day. I love it, but sometimes I really wonder what motivates people to write me or to
send me their stuff. To be truthful, a lot of the time I feel I'm
doing a half-assed job of this
and I am sure that I fool no one.
I know my reasons for doing
this column: free zines
and a sense that I am helping to increase networking. But
sometimes this "fame" of mine
shocks me. Because I do a zine
and write this column someone,
somewhere, has me down on
a list of important alternative
press contacts. For the past six
months I have been receiving
press releases from the likes of
Ticketmaster and Music West.
That isn't even due to Discorder,
it is for the "magazine" called
Random Thoughts that I stopped
doing over six months ago. And
just today, some guy from Co-
Op radio called me and invited
me to be on his "panel discussion" about alternative press. I
said "Yeah sure, but why me?"
My friend Krista explained that
because I write a zine and do
this zine directory, "you are a
publisher and a critic; those are
your official titles in the real
as afraid
world" as I was in high
school -1 thought it would be a
lot harder than this. In my pretend little world, I am a kid with
a typewriter and a glue stick
who manages to scam a few
copies from Kinkos often
enough to make a zine. And
as for the critic part, this little la
la world of mine calls that making friends. I have a feeling that
the real world is a tad dumber
than I expected, which is fine
with me considering I have no
intention of being part of
it. I am feeling
creasingly a
sorbed in my ci
cle of friends, absorbed by the
idea of creating
and creating com-       |
munity. This month's
reading list reflects that
new community. More than
ever, zines are a way of teaching and learning on a personal
Dry Socket #1
(8.5 X 5.5; 32 pages)
This is my first exposure to the
writing of Sivan, the creator of
Dry Socket. Anyone who read
the Riot Grrrl Vancouver zines
will remember her as one of the
moblizing members of that
group. Her writing here is more
personal, less political, but still
very important. In the introduction Sivan warns that her
thoughts aren't always congruous or long lasting, but she manages to make it work here, providing quick visual images as
well as some very personal and
not so short stories. Send her
some stamps or trades to: 2024
A, E. 1st Ave, Vancouver, BC,
V5T 1W5.
Flower Power #6
(8.5X5.5,58 pages)
It isn't very often that In
across political zines i
Vancouver, even
though I know there
are some very political punks living here
Rejoice is one such
punk, and maybe the
fact that she is somewhat alone in this
genre explains why
she does such a thorough job. Flower
Power acts as a network for anarchist
punks all over the globe.
It includes a complete listing of all the letters the zine
receives and gives us a
glimpse into what punks are
actively doing all over. Rejoice
also distributes some tapes and
zines. Send two dollars to: PO
Box 78068, RPO Grandview,
2606 Commercial Dr., Vancouver BCV5N5W1.
A Girl #2
(8.5 X 5.5; 4 pages)
Short, painful ana progressive,
this is the follow up issue to one
of my favourite zines ever to
come out of Vancouver. Andrea
expresses in clear detail the
pain of becoming an adult.
Send a stamp to: 624 E. 15th
Street, North Vancouver, BC,
I'm Johnny and I Don't
Give a Fuck # I
(4.5 X 6; 50 pages)
I was never a bad kid. I got
perfect grades and was too
;thrnatic to get in much
trouble. Thankfully,
people like Mr.
Andy Healey did
enough evil
things to make my
lack thereof go
unnoticed. And
' beautifully, he
never grew out of it.
I don't know if a lot of
such delinquent kids are
good at telling their stories, and
somehow I doubt it, but Andy
must be the king. These pages
are packed. Some stories are
hilarious, some are just shocking, and others are plain gross.
Send one dollar to: PO Box
21533-1 850 Commercial Dr.,
Vancouver, BC, V5N 4A0.
Invasion of the Slut Monkey from Hell #4
(8.5 X 5.5; 40 pages)
Just in case you were starting
to think that all zines are personal and self-critical, a new
issue of the 'Monkey comes out
Mind candy is needed sometimes; too much fiber can leave
you constipated and I need a
sugar rush every once in a
while. Indie rock reviews, silly
stories and comics. Send
stamps to: 252 Risebrough Or.,
Markham ON, L3R 3J4.
Kickwriting# I
5 X 5.5; 36 pages)
If you have broken up
•ith anyone recently,
Jon't read this zine.
This is Lonewolf's attempt to do justice
to the oh-so-poetic
subject of love. If
you are presently
gushing over someone, this poetry will
make you say, "Oh
yes, God yes!". But
if you are a bitter old
sour puss like me
who has to struggle to
be objective, you will
instead concentrate on
ie amazing photography and layout in this zine
Even if you gag at the love
idea, Lonewolf deserves credit
for doing poetry. Most punks
dimiss poetry as too wimpy, but
Lonewolf chooses to go against
the status quo and refuses to ignore this powerful vehicle for
emotion. The right to feel can't
be denied. Send lots of money
to Lonewolf: PO Box 40520,
Portland, OR, 97240-0520.
This is My Scream # J and
(6 X 4.5; 32 pages each)
These are the best zines this
writer has ever done. That isn't
because she has tried hard to
capture your attention or
thought up interesting stories,
but because she is for once telling the hard truth without a
thought about style or grammar
The emotions expressed are
pure and direct. To tell the truth,
I almost cried and puked when
I first read them. Feeling anyone else's pain that acutely is
so rare that it is a definite sign
of a fierce and brave writer
Send stamps to: 425 W 1 3th
Ave, Vancouver, BC, V5Y
Sometimes I'm A Pretty
Girl #3
(4.5 X 6; 32 pages)
I can't keep up with all of
Zanna's zines. She is not just
the publisher of a zine, she is a
zine machine! Everytime she
puts something out it is better
than anything I have ever seen.
The layout of this zine is a masterpiece in itself.
In this issue, Zanna addresses her relationship with
her father and the classism that
he impressed upon her while
she was growing up. This is an
issue that not many people think
about. Certainly not enough
people  I could discuss it here,
but I'm  afraid  it
would come
off preachy.    /     ^J
Za'n  na  (^
presents it in    I
a totally non-
threatening way
because she isn't talking to you. If you are middle
class (that probably includes
most of you), you need to read
this to educate yourself about
how you have been conditioned to perpetuate the
priviledge of your class. And if
you are from a lower class, you
ild probably appreciate
that at least some people are aware of
Send  stamps  and
money to Zanna at:
2024a E. lstAve,Van-
r, BC, V5N 1B5.
(promise you that if you
send away for any of these
zines you are going to have
a lot to think about, at least
enough to last you through to
next month. You can decide
how deeply you want to go,
how much you are willing to
think. The choice is up to you.
Just remember that there are
people out there going through
exactly what you are going
through and we all have a
chance to share our lives. This
is how we grow; this is how we
Nine Inch-Nails '
Pearl Jam . . \
Beastie Boys .'■'.
The Cure.. .   ....
P-.e.m. •/':•   .   ;.«
.Pixies .."'.'.-•.' ■■
Tragically Hip
Breeders     v
Smashing Pumpkins
at the planetarium
a laser and light spectacular
Tuesdays through Sundays 9:00 P.M.
Info 738-7827
1 A Roundhouse Production!
23 m&mm —
Railway Club
Saturday, April 22
A funny thing happei
the way to the Railway Club. Well,
not funny, just odd.
Driving down
Robson Street on
my way to the
venue, I couldn't
help but notice a
woman on the
sidewalk holding
a sign suggesting
the impending destruction of the
>rld. What a
bummer that'd be
if it happened, but
at least I could die
saying I had seen
The Astronauts.
the band showed off their
reographed    moves
played vintage instrum
tethered to vintage
amplifiers. I do.     '
Gastown Music Hall
Thursday, April 20
; instrumental
surf-rock genre,
like Dick Dale or
the Ventures, I can only imagine that what I saw at the Railway was at the very least a
close approximation to a performance by one of those
acts, if not something in its
own league Fueled by
pounding drums, heavily reverberating guitars, and
minimalist bass-lines, the music was incredibly energetic,
sounding exactly as surf is
The whole im-
*• of The Astronauts was
perfect, right down to their silvery-grey jumpsuits and gold-
coloured helmets, costumes
which would have looked futuristic on some episode of
Lost in Space Completing the
obscure 60s surf film effect,
to describe i'
was just so
How, many of us asked,
could The Smugglers top that?
Well, I don't think it would
have been possible, but they
sure tried their best to be at
their best. Much like the Astronauts, the explosive energy
The Smugglers put out was
key to their performance: over
the course of their two sets,
their hopping, party-rocking
songs had the small dance
floor buzzing like there was
no tomorrow - maybe they
also drove down Robson on
their way to the show
I don't think it's fair to say
that one band was better than
the other on this night. Nor
should it be important. Both
were incredibly good at what
they were doing, and that's
ultimately what matters in
whatever long-term we have
left on the planet
Brian Wieser
crowd in front, Good Horsey
appeared happy to return
from their self-imposed hiatus.
Horsey was great on this
night. As usual, their songs
were deep, quirky, and full of
stuff below the surface. With
a great sense of dynamics
and a captivating stage presence, the band looked more
comfortable on stage than in
the past- singer/bassist Mark
Szabo was even dancing!
Musically they were equally
strong, with a full bass sound
allowing for unconventional
and creative guitar noises to
round things out. The Good
Horsey folks played tunes
from their debut full-length CD
[Kazue) and gave us a surprise or two as well, such as
when guitarist Justice went
solo for a song while Mark
and drummer Max sat down
to watch along with the rest
of us. All in all, a happy set
that left us wanting more.
Zumpano have come a
long way in the last year. Not
in what they're doing or how
they do it, but in their notoriety: It was only a year ago
that the then unknown-outside-
of-Vancouver Zumpano
played with Good Horsey at
the ANZA Club. Since then,
Zumpano have signed with
legend-making label SubPop.
Even without changing their
schtick, Zumpano have yet to
grow tiring to the listener.
Swinging as ever, the men in
suits brought the local stars
out onto the dance floor,
boppin', twirlin', and shimmying away. Although they
never go past 1966 musically, it doesn't matter when
their songs are so peppy and
full of life.
Zumpano were really good
in every aspect of their performance. However (and
maybe it's because they play
on a different "level"), Good
Horsey   were   just  a   tad
Bnan Wieser
Miko Hoffman
Town Pump
Tuesday, April 18
Not even realizing that there
was a third band on this bill,
I walked in on A Taste of Joy's
last song. Judging from the
crowd's reaction, though,  I
didn't miss much. Then again,
at every show I've seen at the
Town Pump the crowd's reaction is always next to nil until
the headlining act - an unfortunate symptom of the "I'm too
cool to enjoy any other band
except the one my friends tell
me to like" syndrome.  Oh
well, whatever.
The same held true for Steel
Wool (scheduled openers fluf
canceled at the last minute),
a quartet from Seattle, Washington. Although their loose,
erratic stage banter didn't
exactly invoke gales of laughter from the audience, their
music was brash, furious and
energetic enough that it
should have had people yelling and stomping in appreciation. Hell, one of the guitarists just about broke his
back in a prat fall off the stage
- all for the sake of rock n'
By the time the Black
Crowes - er, I mean Royal Trux
-goton stage, I was dwelling
on the ironic fact that both
Royal Trux and Duran Duran
have new albums entitled
Thank You and that one of
Duran Duron's songs is called
"White Lines", a subject of
which I'm sure Royal Trux is
very    familiar.    Wait    a
James of gob at the New York Theatre,
April 8, 1995. Photo by Andrew Dennison
24  MAY 1995 91AZY9
Electric Lady land
(Ninja Tune/Cargo)
This is a cool, late night, Italian acid
jazz collection. Variegated percussion
dominales Ihe swing with styles ranging from Afro-Cuban lo jazz to bop to
hip-hop, all splendidly mixed lo produce an aurally diverse rhythm front.
Wilh the bass bombing Ihe beats and
tricky horn sets insinuating themselves
between all the grooves, the sound
achieves the paradoxical quality of
shuffling your feel in some way-out
style while al the same lime melting
your mind inlo a puddle of laziness.
9 Lazy 9 have played (heir stuff from
Tibetan fishing boats and Polish rivel
factories, from Naples to Nanking; exotic locales and outrageously unprecedented gigs giving their sound its
unusual spice. Electric Ladyland is
Kuan-Neng Foo
The State Of The Art Is On Fire
(Sympathy For The Record In-
You know how your Grandma used
lo make you those famous chocolate
chip cookies of hers and you'd stand
there by the stove wilh your fist in your
moulh and your eyes bugging oul,
'cuz you couldn't wait lo smear that
oh-so-chocolaley goodness all over yer
face and then she'd turn to you and
say with an impish, bespectacled grin,
"Good things come lo those who
Make tracks granny, 'cuz when I
see six chewy new morsels from San
Diego's finest, I just gotta gel some
pronto. Afler 2 1/2 years of wailing
for Rocket's latest batch, a whole lol
of lovin' finally came oul of their easy
bake oven. "Lighl Me" kicks off this
pan in a fine style as the ultimate jilled-
love song. Followed by "A+ in Arson
Class", the story of Ihe shop teacher's
worsl nightmare, super-charged "Rid
or Ride", and Ihe epic "Human Torch"
which showcases the big brass kick
of members Apollo-9 and JC 2000.
Flip this lid and you've got "Rat
Size" wilh its singsong chant of
"Rat's Alrighll". "Human Spine" ends
it all in its fucked-up glory. Damn, if
this is any indication of their up V
coming big time rekkid, I belter gel
me another glass o' milk.
Bryce Dunn
(Sonic Unyon)
What is il with Sonic Unyon bands
that half of their roster changes names
after they've gathered some attention?
First there was Gorp to Sian, then
NCI 7 to Treble Charger, and now
Smoother, formerly known as Sponge.
Taking Ihe songs on Copycat individually, Ihere are a lol of good ones
surrounded by what I can only refer
lo as filler. Rockers like "Honey",
"Hamper", and "Colourful Hat" are
full of energy, and calchy as II
loo. The guitars are solidly presi
but never wanky, the bass and dru
are tight and powerful, and the ov
all band performance is strong. I
ely, vocals appear
thinks is
may think lo be a poor excuse for caterwauling, and Ihe singing on Copy-
cal isn't lhal bad. It's not so good either. Too often Ihe vocals comes across
as an attempt lo malch lhal Layne
Staley-style coarse whine lhat is prevalent on any Alice in Chains song.
Layne seems lo have mastered il for
his own work bul I don't think il works
wilh Ihe music of Smoother. However,
Ihough it was grating, if not prohibitive, lo hear al first, afler repealed
listenings il becomes less noticeable.
Wilh songs reminiscent of local
power-poppers Pet, the Sweaters and
others. Smoother's CopycaMs, if noth
ing el
Brian Wie>
Co Id Water Flat
Coid Waler Flat is a three piece hailing from Ihe easl coast of the United
States, and includes vocalist/guitarist
Paul Janovilz, brother of Buffalo Tom's
Bill Janovilz. Whaddaya know, Ihe
similarity doesn't end there. Cold
Water Flat seem lo be an identical
clone of Birdbrairmra Buffalo Tom.
Their moods are comparable (on Ihe
dark side), as are ihe songs (slow to
mid-paced wilh a tendency lo plod),
and the coincidences extend all the
way down lo Ihe vocals and the producer (Sean Slade). It will be interest
ing lo see if Cold Waler Flat will be
able lo escape from the Buffalo Tom
comparisons lhal will inevitably ensue
enough lo develop their own identity.
Fred Deri
Let It Come Down
This third full-length release from the
Hartford, CT quartet finds the band
sailing gracefully through uncharted
musical territory, pulling a complete
360 from their last Iwo dislorlion-laden
releases. Those hissing, dissonant gui-
a brave move for Ihe band considering the fickleness of ihe audience lhal
Ihey have appealed to in the past,
including members of Mercury Rev
(who guest on the album) and label-
mates Sonic Youth.
St. Johnny have "Come Down"
from their manic amphetamine fueled
assaull heard on High As A Kile and
Speed Is Dreaming. A casual jaunt
through these thirteen tracks is a relaxed, diverse affair, including a mixture of soul, lounge, gospel and rock
'n' roll elements. You name it, it's here.
With Ihe addition of two new members (on eleclric guitar and drums) the
only reminders of last year's chameleons are Bill Whillen's disjointed, apathetic vocal slylings and Jim Elliott's
solid bass lineage. Whit1
is adve
. such a
"Hey Teenager" and "Do You Wanl
To Come Out" wilh the assslance of
everything from piano and saxophone
to a choir belling it out. A wacky mix
Change Giver
"OK lots, how 'bout a warm welcome
Ihey're hip, they're hot, they're SHED
"Alio folks, I'm Rick Wilier, and this is
me band, Shed Sevenl Yer in for a
rawkin' good lime tonight! I'll be doing vox, screeching and pouting and
shaking me bottom in yer face. Thai's
right, who do you love?"
(more cheers and screams from the
frenzied crowd)
thoughtful, intelligent lyrics aboul im-
life...or are you really here because
me band's in all the papers since we're
(mass drooling is in full effect)
"This 'eres me band - three blokes on
backup; but it's really me you should
be concerned wilh. I'm the one who
makes the covers. I'm the one wilh ihe
sexy swagger   I'm  the one with the
right! Thai's Mr. Sassy Pants lo you!"
(Ihe screaming crowd has now be-
So Ihere you have il - Shed Seven, in
their own words. Actually, it's all a big
lie (Don'l sue!).
Shed Seven make decent music,
it's jusl Ihe vocals that are so immensely annoying. Rick Wilier obviously feels he has something lo
say...but do we want lo hear il" ''
all si
s and n
enjoy the lyrics if you knew what ihey
were intended lo be trashy, bul it's all
no idea thai his lyrics mean shite. If
you can tolerate shoddy, trivial lyrics
(and a grating voice), you might be
able lo enjoy Shed Seven. If you're
looking for music wilh quality content,
Music for the Jilted Generation
I'm not sure what lo make of Music
for Ihe Jilted Generation, which made
many lop album lists in Ihe UK for lasl
year. It's a solid, very competently
made techno album which produces
Ihe desired effect - gotla sing, golla
dance. However, you'd be hard
pressed to replay any of the tracks in
your memory banks while taking your
morning/evening/weekly shower
Cynics oul there may laugh and ask,
'What'd you expecl?" but lechno
doesn't have to be generic lo be good;
witness Orbital or Cornwall, England's
Richard D. James (that's Mr. Aphex
Twin to you.)
A few years ago, I kepi reading
about Aphex Twin and his legendary
minute...was that Simon
LeBon under that droopy
make-up and fake fur coat? I
guess no one will ever know
for sure.
Bryce Dunn
Starfish Room
Saturday, April 8
opened this solid triple bill
with an extremely brief set of
sometimes brooding, other
times sweet n' jangly pop
numbers complimented by
angelic and powerful vocals.
Better on record than live, but
still enjoyable.
Next we had the bastard
sons of Burt Bacarach (sic)
serving up some cocktails of
soulful flavour after defeating
an initially murky sound mix.
Abstaining from the act of selling their own wares and opting instead to pander some
fine literature was a classy
move, even if the crowd didn't
quite get it. "She's A Full-
Blooded Sicilian" is one of my
fave tunes.
Finally, the Poster Children
rocked out all over the place,
with the brothers Valentin
shakin' their mops of muppet
hair whilst tearing out guitar
strings, bassist Rose
careening around like a
berzerk ballerina, and drummer Howie keepin' it steady
for every tune from the blistering opener "New Boyfriend" to the climactic closer
"Just Like You" Ahh, my dollars were well spent.
Bryce Dunn
Are you a pathetic little
weenie with no friends?
J YK! I am a pathetic little weenie.
So send me a t-shirt!
Colour (AH sizes XI)
□Kelly Green     □Forest Green
□Navy Blue       QBlaek
Send $ 15 to CiTR to have a t-shirt mailed to
you or piek one up @ CiTR for only $10
1   to Pathetic Little Weenie, c/o CiTR,
6138 SUB Blvd, Vancouver, BC V6T 1/1  first single, "Digeridoo". Then, one
glorious night, I heard it's sonorous
beauty at a local club. It made me
nauseous and gave me goosebumps
at the same time, il was that primal.
The irony is lhal James wrote it to encourage people to leave his friend's
raves at the end of the night.
Describing James' music is not
easy. I find it very moving - maybe it's
the unease apparent in it. "Flaphead",
for example, has a warm, thumping
beat overlaid with what only can be
described as keyboard flatulence, then
contrasts very well with Ihe lushness
of the rest of the track. The essence of
James' sound is the fact he refurbishes
analogue synlhs to recreate Ihe sounds
he hears in his head. This gives the
music a friendly, sumptuous sound, bul
some of Ihe sounds are so downright
bizarre that it can keep the listener on
edge. To the uninitiated, James' sound
can be repetitious, but I find it a fascinating mixture of fast and slow, slop
and start. James is also one of the few
He carries around a DATman and will
tape Ihe goings on al his local grocery store, for example, and manipulate them lo his own liking. A very
funny example of this is "Tamphex",
in which he screws around with an
English tampax TV ad. The man's a
June Scudeler
Cock's Crow
The Wallons' debut Lik My Trakter
grew on me slowly. I loved their Simple Brain EP as soon as I heard it.
While Cook's Crow seems lo be gelling better with listening, it certainly
didn't amaze afler the First spin. Ballads were the strength of the Waltons'
first two releases and, while Coat's
Crow is generally a mellow album,
it's Ihe faster tunes which really slick
out. Of particular note are "Steel in
Your Heart" and "Michelangelo's
Tummy", a critique of glamour magazine culture. Also very good is "Surprise", a collaboration wilh Spirit of
the West. However, the best part of
Cock's Crow is the producing.
Michael Phillip Wojewoda continues
lo impress me. The Waltons' are
plagued wilh a rather hollow sound,
bul Wojewoda makes Ihem sound as
full as they'll ever be.
Peter Stevens
Welcome To My Mind
Here are five reasons why you should
pick up this greal new release from
these California hip-shakers:
1) They named their group afler a sixties' garage band from Vancouverl
2) Songs like "Welcome To My Mind",
"Love You Belter" and "Angle" will
leave burn marks on your living room
3) Not one, but Iwo Billy Childish
lunesl ("Gone, Gone, Gone" and
"Oul of Control")
4) They sing aboul The Queers! ("Lei's
Have a Cheer")
5) 'Cuz I said sol
Nuff said - now gel goingl
Bryce Dunn
Endangered Species
Hard Times
(Touch n' Go)
The Skynard reminds me of mar
canyon-under-conslruclion me ant
my other useless, suburban, wel
supping, newfie shop-clots hung
in, drinking Schooner at Ihe bol
around bonfires and shittin' on
cars at the top. Lynard Skynard, *
his working class anthems thai he
myth and a sentiment behind ther
bag of blanched peanuts.
As Ihe second song wore on my
hazy highschool associations quickly
dissipated and I began thinking of the
cowboy boots and red pick-up lhal
belonged lo my dad...this quickly degenerated lo thoughts of church and
fried chicken, which are unendurably
dull. I look Ihe CD off and replaced il
with the Laughing Hyenas' Hard
Times, which was basically the same
thing except snider and more electric.
Ball-Hog Or Tugboat
Shooling a comparison between Mike
Wall's music and any other would be
as abstract as Ihe two objects the man
compares himself lo in ihe album's title. Whether wilh ihe Minutemen,
firehose, or collaborating wilh Fifty or
so of his closest friends, Watt stands
behind a legacy of one very unique
sound whi '
,  funk c
Dck  fusic
With seventeen tracks in all. Watt
has released an album which can be
described simply as one long eclectic
jam featuring a who's who of progressive musicians of this decade as its
ve effort lhat
,1  hurls
of the man, "We keep I
Wall rocks.
Samantha Calverl
Love Apocalypse
(Mutiny Records)
Forty-five minutes of a guy wilh a bad
voice moaning on lop of ambient guitar and drum machine. A waste of
Whal a relief! Yes, Brendan O'Brien
of CandleBox and Stone Temple Pilots' fame produced 100% Fun, bul
his presence is nowhere to be found
in the songs. For lhal matter, it's hard
lo notice him anywhere al all; Ihe
jangly, sometimes country-influenced
pop-rock sounds aren'l loo dissimilar
from previous Malthew Sweet releases. Maybe that's the sign of a
good producer: letting the artist express themselves as best as ihey can.
This LP was supposed lo be lighter
than it's bleaker sounding predecessor, Altered Beast, and it is just lhal.
Most of the 1 2 tunes are closer in spirit
to the "up" songs from Girlfriend, with
bouncy, poppy hooks that stick lo your
ears like only the candy lhal Sweel
There are other aspects of the overall production that dominate this
record. For example, guitarists Richard
Lloyd and Robert Quine are back at il
again, filling out every song with their
identifiably jagged lead guitars and
providing a greal contrast lo Ihe otherwise smooth sounds of Ihe recording.
seems lo lake elements of the two previous releases: the "fun" aspects of
Girlfriend and the 100% (no filler) attitude of Altered Beast. In doing so,
it's really more of the same. If it came
lo a life or death choice, I'd pick Altered over 100% in a second; if your
insatiability for pop music gels the best
of you, you won'l be terribly disappointed. You mighl even have a little
Rough Music
(Beggars Banquet)
The first thing I noticed aboul The Blue
Aeroplanes when I looked at their CD
sleeve is that Ihey have 25 members
in their band.    Of course ihey don'l
all play al once, but instead vary the
combination of players for each song.
The band switches between two vocalists and any combination of thirteen
guitarists. Fortunately for Ihe band,
most of Ihe members are mulli-instru-
mentalisls so Ihey can contribute lo
each song in a number of ways. Out
of Ihe 25 members, Ihere is only one
female and she plays the electric gui-
Another aspect of The Blue Aeroplanes that struck me is how clean their
songs are. In a lime where fuzzy gui-
Rough Music as Ihe title implies. Most
of the lyrics are spoken over lop of
the music, bul in a musical way. Thankfully, the lyrics aren't all about love. In
fact, there are only one or two love
songs on this 1 3 song CD. If you are
looking for a break from today's distorted guitar-ridden music, then this CD
will provide for you amply.
Big Hit
For those of us old enough lo remember, in Ihe years between Skinny
Puppy and Nine Inch Nails our indus-
"»d by 'Ebb's
~      MUSIC
Sadly, every album they have released
has been a liltle less impressive than
Ihe previous one as Nitzer (pronounced Nighlser) Ebb has become
mired  in pseudo-dance  techno. Ah,
Enter Big Hit, a release with a dif-'
ferenl approach. More of a rock album than anything else, Big Hitis not
half bad. It's moderate, not heavy fare
wilh a creepy feel to it and maybe
even a tad "grown up" from the "Join
in the Chant" days. Though not quite
back to the good old days when singer
Douglas McCarthy was poster boy for
sore throat losenges, Nitzer Ebb's latest is good enough for the car stereo.
Sire Records
I confess that while I tend lo gel frustrated wilh Ihe very-produced 4AD
sound, I liked Belly's first full length
release, 5/ar. The songs on Star made
an eclectic collection, but ihey all featured non-linear structures, Tanya
Donnelly's hicuppy, electric sounding
voice, and non-sensical, unpredicl-
As a long lime fan of Throwing
Muses I had appreciated the poppy
energy Tanya Donnelly had added lo
the band's sound; it was this quality
that saved the albums from being
overly depressing al limes. With Star
Donnelly managed lo indulge these
poppy tendencies while still produc-
"Facepuller have discovered how to deliver their music
with the intensity and recklessness of madmen, but at
the same time construct unique, "their" soundinq songs
that appeal to almost anyone who dias
metal/industrial/aKernative or even rock.
Thanks Facepuller - Adrian Promley MEAT
new releases
cowing real soon...
redsugar £ St. EUSTACHE
redsugar - "Zero"
wore new releases cowing real soon... PATTI tStk
YEAROFTHEROOStE^(re-release) ■%#%■ fc»*
ing a
King, however,
ingly boring, lifeless pop album.
Gone is Belly's odd song structure and
the irratic ups and downs of Tanya
Donnelly's voice. Instead the flow of
ihe songs is predictable and neat;
Donnelly's voice is similarly flat and
steady. Her songs have become literal and personal,  relaying  mushy
liched  »
aboul I
identity, noi atypical of pop songs.
Tanya Donnelly, il would seem, has
become loo pop. Il is as ihough in
over-indulging her pop sensibilities
she has finally allowed pop lo lame
the individuality oul of her.
the many
|4^ LEECH-OP Leech suggests no obvious
■parisons, which is normally a good reason
recommend something. Vaguely PCish in its
dryness and droniness ...with quirks a plenty
' a few good horsepower hidden under the
bonnet - KEKAN& (UK), Feb'95 KKKK
COQUITIAM-W Guaranteed to ^
suck the sediment from the dirges of your pathetic soul.
Leza Maloney, fcingOn office optimist.
j        send a SASE to:
r BangOn Records
544-810 W. Broadway
Vancouver, B.C. V5Z 4C9
"BECeiEg charts
lay  '95   LONG  VINYL   50
maj'95   SHORT   VINYL   35
1   y   various artists   skookum chief powered zit rawk        nardwuar 1
1   2   pavement                                wowee zowee                                   matador 1
1   ,   zumpano                                look   what   the   rookie   did   Bub   pop 1
1   4   the coctailB                       peel                                          carrot   top 1
|   5   mary lou lord                    mary lou lord                    kill rock stars 1
|   (,   the muffB                             blonder and blonder                   reprise 1
|   •)   elastica                                  elaBtica                                               geffen 1
1   H   raudhoney                             my brother the cow                   repriBe 1
I ,,   good horsey                          kazue                                           trackshun 1
II (,   kicking giant                     alien id                                               k
1 j j   pet                                           lig htning raotoguzzi c harge           ra & ra 1
llz   tae vinaigrettes                 atta boy girl                            incentive 1
1   j   the mcrackins                    what came first?                     Bhredder 1
l14   half Japanese                       greatest hits                       safe     house 1
L,    bikini kill                          last 2 recordB on cd        kill rock BtarB 1
|17   various artistB                    wakefield:teenbeat    sampler    teenbeat 1
Ijj,   guided by voices                box                                                             Beat 1
1 j,,   various artists                  work up                                            virgin!
J20   yo la tengo                           torn court.enay ep                        matador 1
1 ,[   the minstrels                      ev'ry which way                 anaba pacific 1
1 ,.   tBunami                                   world tour and ot her ... simple mac liines 1
1 , ,    helium                                     the dirt of luck                          matador 1
1 ,.    heavenly                                the decline and fall of                   k
I ,,    bettie serveert.                    lamprey                                           matador 1
I,!, huggybear weaponry listenc to lovekill rock stars 1
,,   pluto                                       cool way to feel                                  mint 1
\i 2 perfume tree fathom the sky ep Zulu 1
.1 1 brax bandits life goes on creation 1
14 ^icy for the ladies slow river 1
<< the fakes                                  real fiction                                   chainsaw 1
I3C radio free vestibule            sketches songs and shoe s              borpo 1
1 'fi: royal trux                               thank you                                             virgin 1
'^morphine                                y*50                                                          ryko 1
Kimecca normal                          Bitting on Bnapc                             matador 1
41 little axe                                 the wolf that house built                epic 1
4,: belly                                       ''ing                                                         Bire 1
4i change of heart.                    tummysuckle                                        virgin!
4 4 kustomized                               battle for space                             matador 1
4>> laika and the cosmonauts    amazing colossal band                  upBtart 1
47 jewel                                        oave the linoleum ep                  atlantic 1
4!iBuckerpunch                          carols from the canyoncheraical Bound 1
49 squirrel    nut    zipperB   f-1"3 inevitable                               mammoth 1
50 railroad jerk                          one track mind                                matador 1
| 1 girl afraid wallflower pop kid 1
1 2 slip don't even bother lo 1
1 i sunnychar you're my battery shredder 1
1 4 wandering lucy hit independent 1
1 S gaze bob independent 1
1 6 lefty lucy gauche skinnie girl 1
1 7 bite funbuns derivative 1
1 tl plum Bhort way to live spirit 1
1 i teen angelB jesus is on my side scooch pooch 1
1 1 o june genius squealer 1
1 1 1 pouraons bad love #13 think 1
1 1 /. doo rag trudge in the red 1
1 1 i sissy bar magic bunny love kit 1
1 1 4 campus trampB knocked out cold demolition derby 1
1 1 5 the zambonis away game dot dot dash 1
1 1 6 bubblegum crash love blood behemoth 1
1 1 7 flop act i, scene i super electro 1
1 1 c flashback five forever young mojave 1
1 19 poundsign/poBtal Bplit smallfi/no life 1
1 20 red five Bpace shattered music 1
1 2 1 the finks dirty rotten dionysuB 1
1 .: burn/teengenerate split lance rock 1
1 : 1 toddler hey we're sweethearts really fast racecar 1
I 2 4 godzuki toast march 1
1 .: 5 cheticarap coincidence cinnamon toast 1
1 ,: i. jobyB opinion natty bohemian friction media 1
1 27 blonde redhead 10 feet high valentine smellB like 1
1 ,: r. sone 747 high maBt 1
1 .: '< folk imploBion walk through this worlddrunken fish 1
1 ii huegeniuB drink fight i fun damaged goods 1
1 i 1 trailer bride croBBing jordan friction media 1
1 .' alisonB halo dozen ipr 1
1 i i less than jake glumble no idea 1
| 1 4 Btellar dweller catlipB bear 1
1   ' '    the tonics                           ups and downs                            zapruder   1
I 1 crazy cough remedy jw productions 1
1 : e.r.a. outeniko e.r.a. medley 1 red bullet 1
1 juan luis guerra canto de hacha karen 1
1 "l johnny zee & djk bokchoo roma 1
1 ' kwak manjo hibiscus 1
1   '■*   corabo d'afrique                        ahl homme                     jinu     encore  1
!: tropicana el negro independent 1
1 '' Basha teri raeri ek jindri brag 1
1 W   pochi y su cocoband                canciones    cocomanticaB    kubaney   1
iay'95 INDIE
[     i     raeow
boy    groupies
2     the Btupes
3     the concubines
4     trish kelly
s     wheat chiefs
6     touch'ngoB
7     meet daisy
eliot's    Bhape
8     dbs
9     the flamenco agogo
no         Braile
1 o     kim linekin
thiB       train
11     one angel down
shun the demons
12    plump
cold     feet
13     tattle tale
a  girl's  toolbox
14     helen
15     paisley suitcase
16     vertical after
the    oj    song
17     tensor
no time for r'n'r
ie     pipedream
1 9     the mind grind
club nitty gritty
20     nelories
H Q "M" "P!
:  dj raisjah & dj t.
freaky chakra
djax    up    beats
djax    up    beatB
^m\ mm
m      DiSCORDER has
advertising rates thai)
even paupers
can afford.
Call Kevin at 822-3017 for info
With a jewellry purchase
you receive a free piercing by
Canada's most experienced piercers
1043 GRANVILLE STREET 688-6225
1 *MOPM All of time is measured by its art
Most broadcasting shuns art for incestuous
market-music. This show presents the most
recent new music from around Ihe world. Ears
open. Hosted by Paul Steenhuisen and Cam
THE ROCKERS SHOW    12i00-3i00PM
Reggae inna all styles and fashion. Mike Cherry
and Peter Williams alternate as hosts.
SOUL CHURCH 3i00-5i00 PM Alternating
Sundays with Brent Argo. Vancouver's only
program devoted entirely to African-Canadian and African-American Gospel nusk*. Your
host, Vince Yeh.
Dedicatated 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 great musicfrom musicians of all
sexual preferences and gender identities.
cotton or even a cotton poly blend. Vinnie
Carpelli and Sonny Prince bring you one hour
of pure tightpants, ball hugging, crooning
a one-hour radio show which features a wide
range of music from India. This includes classical music, both Hindustani and Camatic,
popular music from Indian movies from the
1930's to the 1990s, Semi-classical music
such as Ghazals and Bhajans, and also
Quawwalis, Folk Songs, etc. Hosted by J.
Ohar, A. Patel and V. Ranjan.
12I00AM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think
twice. Bring your tape deck and two C-90s.
Originally broadcast on KFX (Los Altos, Cali-
4AM Drop yer gear and stay up late. Naked
radio for nake people.   Get bent. Love Dave.
lliOOAM 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.
llOO PM With your hosts the Gourd of
Ignorance and Don Ihe Wanderer. What will
we play today?   Rog will put it away.
CiTR's industrial/noise/ambient show,
- wimpy British pop, Beastie Boys, indie guitar
swing, and techno thrown in for good measure.
Hit your olfactory nerve centre with
THE   JAZZ   SHOW   9i00PM-12i00AM
Vancouver's longest running prime time jazz
program. Hosted by the ever-suave Gavin
May 11 Tonight's Feature is the famous
set of recordings produced by impresario
Norman Granz and released in a package in
1949.   It was called The Jazz Scene".
May 81 A newly discovered sel by tenor
saxophone master Joe Henderson playing
with pianist Wynton Kelly and Paul Chambers
(bass) and Jimmy Cobb (drums).
May 15l A soulful feature tonight -
vibist and Jazz giant, Mitt Jackson and pianist
Ray Charles (yes THAT Ray Charles!).
May 22i Charlie (Bird) Parker's last
recording session for the "Dial" Label was
with his working quintet plus trombone master
May 29l Tenor saxophonist Wayne
Shorter joined Art Blake/s Jazz Messengers
in 1959. We'll hear Wayne's first recording
with the band called 'Haina' for Blue Note
41OOAM1 The ultimate contrast. Screwing you
over with nostalgia, then bringing you back to
what you might call reality. We do poetry, too.
Thafs right, bub! Punk-pop, surf-slop, and lots
more trash foryercan.Tune in to me, Bryce D., fcr
allthecrud that's got class everyTuesday morning.
Women in music and grrrls in music; two hours of
info and rawk. Ya don't need a penis to be a
musical Genius' Coral and Trish.
THE UNHEARD MUSIC 7i00-0i00PM Meat the
unherd vrhere Ihe unheard and the hordes of
hardly herd are heard, courtesy of host and
demo director Dale Sawyer. Herd up!
board Vancouver's only tropical fiesta egress
CiTR. 101.9 £m
LIMP SINK I2 00AM-2.42AM   H
osted by the
- Alternating with RTY    11.00-1 AM
G42 players. DJ Norm brings y
ou the krunk
Chris Pariah explores Ihe Metanoid slates and
Doctor K talks about more krun
i. Brought to
psycho-sonic   scapes      of   The   Infinite
you by copacetic man surfing b
e information
Livingroom.    lhat Nth dimensional space
super doodiddleyooper high*
ay. Contact:
0 feat
flatulence (only when I
! dead a
Mateo as they shake it and wiggle it to the
latest in Salsa, Merengue. Cumbia and other
fiery fiesta favourites Latin music so hot it'll
give you a tan1 ,jRADIO SABROSA."
Alternating Tuesdays. Live readings and the
latest in techno bizzarro with host Lupus
LATE Warning: This show is moody and
unpredictable.    It encourages ir
insinuate their way into your life to entertain,
provoke, preach, rant, seduce, and lie to you. "It's
only 10am, are they talking about sex again7'
STEVE A MIKE 1.00-2.00PM   Cras
MUSIC AS A WHOLE 8i30-9i30AM   Bob?!7
Maybe, kinda sorta, but not necessarily?
YACHT CLUB    11.30-1.15 Drop anchor with
our new all rap format. Ifs superkalifragalickin'
expealidopemix with DJ Matt
LOVE SUCKS   1.15-3.00PM   Tune in for the
musical catharsis that is Love Sucks. Ifyou can't
MOTORDADDY 3.00-5.00PM 'I don't
know why I do what I do, I do what I do cuz I'm
Evel Knievel and I don't question it!"
ESOTERIK 6l00-7i30PM les oter-ik). adj..
understood by, or intended for, onfy a select
number of disciples; secret; mysterious.
sometimes why are people so miserable?
10-OOPM-12.00 AM Let DJ's Jindwa and
Bindwa immerse you in radioactive Bhungra!
10.00AM Greg here. Join me in the love den
TELESIS    IO1OO-II1OOAM   Tune in for loud.
aggressive rock as well as discussions,
who live wilh physical & mental challenges
LITTLE TWIN STARS    AH. with lo-fi 1-
2.30 PM Strap on your vinyl Go Go boots for
an intergalaclic ride to the stars. Hello Kitty1
PRESENTS...     3.30-4.OOPM Have a
good brunch1
Join our own "best boy* Kevin O'Toole for
news, reviews, interviews; all the shmooz in
Entertainment Tonight find unfit to broadcast
OUT   FOR   KICKS    6i00-7i30PM    No
Birkenstocks, nothing politically correct. We
don't get paid so you're damn right we have
fun with it Hosted by Chris B.
Roots of Rock 'n' Roll • If you don't get into
Rock 'n' Roll Heaven don't blame me!
OiOO-lliOOPM   Local muzak from 9.   Live
bandz from 10.
Alttrnating with TFIL    11.00-1 AM
Straight from the mean streets, Ethan Meyer,
noisy   DUM noiz goody!
THE   CiTR   DINNER   REPORT      5.00-
5.30PM    Do you want us lo make you a
Saber Tooth Tiger' Hall an hour of unbeatable
Brighton. England correspondent Angus Wilson
12.00PM Now in its 10th year on the air.
The Edge on Folk features music you won't
marl* Cap Rtporl at 11 30 AM. 6-9
AM: African/World roots. 9-12 noon: Celtic
music and feature performances
tapes, imports and other rarities. Gerald
RatUehead and Metal Ron do the damage.
THE  SHOW  G.00-8.OOPM  Strictly Hip
Hop - Strictly Undergound - Strictly
Vinyl With your hosts Mr Checka. Flip Out
4 J Swing on the t & 2's.
Killing ugly radio with one easy step
Alttrnating Saturdays.
rings us this 1
FOR THE  RECORD     G.30-6.45PM     Ex-
appeals to me. Fag and dyke positive. Mail in
your requests, because I am not a human-
answering machine. Got a quarter then call
someone who cares.
women who sometimes don't feel fresh, but
always get fresh. Spoken word and music:
light to heavy flow. Maximum protection
recommended tor male listeners. Holy Hannah!
For more interesting dinner guests join Princess
Andrea and her team: Jedi Knight Neil, Leanna
Skywalker, and Gran Moft Ian 867). We bring
you the Force of the news, dark side and all.
With the BBC World Sendee N«n 6 5-
Pereira for all the weekend sports shlock from
the high altitudes and thin air of Point Grey.
7.00PM Paris Green explores world-beat
music with Captain Kirk. Spock and occasional
Mm* ni ■ h«it
Love Dih
the charm
Radio frtt
lo fi    little
Sluggy & Dipo
Mary Tyler
ftm'miHt Hy-jiHX
AwtT* House
0Mt for Kftf
kip kef** k«iJ.it
and sometimes
01.1) SCHOOL
Lulu's Back
In Town
synaptic sandwich
wolf at the door/
STT$ 6fctt6
UvMf YmK
my little
After Hours
Alternating  Saturdays.
NATION       6.00-9.OOPM
H   £   l_  p   /
H O f TE f f / H O f T.
fATVKDA'X FfcO/v\ r-
WOfcO PfcDGR/^A/t.E
flvl TO ZEAD TH&R-
Pfc.O0UC(KfG THlf
P R.O C R.A /v*. /v* E z
F O R_ ka O R_ E
( IMFO K.M*^riO Nf,
COr+JT~ACT~ /v-wicO
WHOM       &       HOW
Arts Ian McKinnon
Board Chair    Harry Hertscheg
Current Affairs Andrea Spence
Engineer    Richard    Anderson
Programming Miko Hoffman
Promotions   Selena Harrington
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Volunteer Coordinator John Ruskin
BUSINESS LINE 604/8223017
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29 BSggogigj-i ,efH for B.C. Childr.
i, Amislad & Rilmo Latino at
els wilh Charley ot the WISE
n, Flyte, Lace & Isis at 339
FRI 28 Veruca Salt & The Muffs ot the Vogue Theatre...Midnight
Shift w/djs T-Bone, Jon Hardy & Al-E at the Ashe Gallery (154 W
Hastings - alley entrance)...
SAT 29 Samiam, The Goops & Sense Field at the New York Theatre
(ALL-AGES)...Jewel at the Gastown Music Hall. ..Facepuller, Waiting
For God & Christ Analog at the Hungry Eye...Rockin1 Cause w/
Spanish Fly, Saints and Poets, Naked Truth, Butcher Shop Quartet &
Dal-Dil-Vog at the Town Pump (Be "■
Hospital)...Fiesta Caliente w/B.C. Sals
the Commodore...Ken Hamm Trio & Tra*
Hall...Full Bloom w/djs T-Bone, Morlce
W. Hastings...
SUN 30 The Posies, Pluto & treble charger ot the Town Pump (2pm
- ALL-AGES)...GoGo Jazz Lounge w/dj's Michael Golf & Lovely Lisa
at the Arts Club Theatre...Alternative Jazz ot Cafe Deux Soleils...
PUB...Ice Cube & face to face at the Commodore...Zoo Boogaloo
w/djs Spun-K & Czech at the Starfish Room...Blue Room w/dj Isis at
Automotive (8-1 2pm)...
TUE 2 Gypsy Kings at ihe Orpheum...1036 Richards w/di Dickey
DdO & guests at -surprise surprise - 1 036 Richards...Baby Blue w/
dj* Al-E, Luis & Jon Hardy at the Shaggy Horse...
WED 3 Grrrls With Guitars at the Lotus Club: Carmen & The
Insomniacs...Helium, Speedbuggy & Flyer at the Starfish
Room...Powderfinger, Guppy & Cellar of the Sun at ihe Hungry
Eye.. Ross Taggart and Oliver Gannon at the Alma St. Cafe Solid
Gold w/djs Jon Hardy, T. Bone, Dickey Doo (progressive house) at
the Shaggy Horse...Wonderland w/djs Lace, Little-T & Pretty Boy at
the Commodore...
THU 4 Subsonic Thursdays at the Pit Pub featuring © & Flash
Bastard.. The Intoxicotors at the Niagara Pub.. Chris Sigerson at the Alma
St Cafe...The Denison-Kimbal Trio at ihe Starfish Room...The Beat Farmers
at the Town Pump...New Jungle Orchestra at the Glass Slipper...Powder
Finger at HMV Robson (7pm)....Chocolate Milk w/dj Michael Golf (acid
jazz) at the Shaggy Horse...The Bottle w/dj's David Love Jones at the
Piccadilly Pub...Sol w/dj Markem at Graceland...Cooky Puss w/djs On-
E (Deee-Lite) & Czech at 1036 Richards (9-2)...
FRI 5 Suckerpunch at the Niagara Hotel...Pauper's Feast & The
Blue Meanies at the Hungry Eye...The Flaming Lips, Archers of Loaf
& The Beatnik Filmstars at the Commodore...Eugene Ripper's Fast
Folk Underground-at the Railway Club...Ginger at the Town
Pump...Granville Island Bluegrass Festival ('til May 21)...Velour Dimension w/djs Czech, Vitomin-E & Bullocks at930 Station Sheet...The
Bossment w/rototing djs every week at 1015 Burrard (bsmt of Century Plaza Hotel)...
SAT 6 d.b.s., Dunderheads, Disfigurines, Gob, Area 51 & Utopia
at the Southwall (in the Lonsdale Rec Centre, 23rd & Lonsdale in
N.Van, 7:00pm -ALL-AGES)...Pluto, Punchbuggy, Pop Sickle & gob
at the Starfish Room...Dave Matthews Band, Big Head Todd and
The Monsters at the Commodore...Eugene Ripper s Fast Folk Underground at the Railway Club...Hard Rock Miners Benefit for ihe Dragon
Ladies at the Justice Institute Gym (41 80 W. 4lh Ave)...Ginger at the
Town Pump...Jewel at the Gastown Music Hall...Tom Petty & the
Jayhawks at the Coliseum...54-40 at the Breakers...Empathy w/djs
Doeman, Donald Gloude, Markem & more (444-8030)...
Club: Kelle Fleming & Sondy Scofield...Suckerpunch &The Deadcats
at the Hungry Eye...All ot the Starfish Room...GoGo jazz Lounge
w/dj's Michael Golf & Lovely Liso at the Arts Club
Theatre...Alternative Jozz at Cafe Deux Soleils...
PUB...Dan Crary at the Glass Slipper...Quagmire at the Hungry
Eye...Zoo Boogaloo w/djs Spun-K & Czech at the Starfish
Room...Blue Room w/dj Isis at Automotive (8-12pm)...
TUI 9 Slash c
i few close friends, Brother Cai
t the
...The Many, Trigger Happy & Bender at the Hungry
Eye-..Leisure Lounge w/dj's Jon Hardy, Jess & Druna (deep house/
ombient) at the Shaggy Horse... 1036 Richards w/dj Dickey Doo &
guests ot 1036 Richards...Baby Blue w/djs Al-E, Luis & Jon Hardy at
818 Richards...
WED 10 Tony Trischka & David Grier at the WISE Hall...Dick V
Jane, Dust Radio & Richard Reach at the Starfish Room...Melissa
Elheridge at the Coliseum...Solid Gold w/dj's T-Bone, Dickey-Doo &
Jon Hardy (progressive house) at the Shaggy Horse...Wonderland
w/djs Loce, Little-T & Pretty Boy at the Commodore...
THU 11 Music West Festival ('til May 14)...Subsonic Thursdays at
the Pit Pub featuring Trigger Happy & Bender. Big Gulp, Sex with
Nixon, Queazy & Placebo at the Starfish Room...Sonic Unyon Showcase: Tristan Psionic, Shallow, Smoother & Hayden at the Hungry
Eye...Minorityaf HMV Robson (7pm)...Junkhouse, Mushroom Trail,
Opium Underground and Evil Roy Slade ot the Town Pump...DDT
Sons of Freedom, Green Apple Quickstep, Lazy Susan & Crankshaft
at the Commodore...Rough Trade & Mollies Revenge at Dick's On
Dicks...Archie Rooch ond Ruby Hunter w/guests at the Vogue
Theolre...Chocolate Milk w/dj michaei golf (ocid jazz) at the Shaggy
Horse... Sol w/dj Markem at Graceland...
FRI 12 Hayden, The Wild Bouquet, John Wesley Harding, Cormaig
DeForest & Bob Wiseman ot the Gastown Music Hall.. .Caigo Records
Showcase: Tex, Facepuller, 16 Volts, ma & Jimmy George al the
Starfish Room—Spirit of the West wilh the VSO ot the Orpheum...Mike
Watt, Foo Fighters & Hovercraft at the Commodore.. John Cole Ot
the Vogue...Sven Goti, Damn ihe Divo & Sybil Vain ol ih* Town
Purnp...Funkyard ot ihe Phunky Toad...djs Jon Hardy & Druno ot
the bhaggy Horse.. .Velour Dimension w/djs John-E, Mork Oliver &
Vitamin-t at 930 Station Street...The Bossment w/rotating djs every
week at 101 5 Burrard (bsmt of Century Plaza Hotel)...Honey Drips
II w/djs G, J Swing, Kemo, Flipout & Kilo-Cee (Hip-Hop) at the Pitt
Gallery (9:30-?)...
SAT 13 Eric Bogle ot the WISE Hall...The McRackins at the Anza
Club...The Inbreds, Rebecca West, Cub, Coyote & Pluto at the
Gastown Music Hall...Suckerpunch ot the Max...Viko ond Linda,
Ani Difranco, Ruby Hunter ond Archie Roach & Jewet at the
Starfish Room...Spirit of the West wilh the VSO at the
Orpheum...Jewel at the Starfish Room...Bootsauce, Rymes With
Orange, Age of Electric & Deadline at the Commodore...The
Headstones, Bif Naked, Another White Male & Bluebeard at the
Town Pump...Jann Arden w/guests at the Vogue Theatre...Slam
City Jam w/D.O.A., the Skatnigs & more at the Plaza of Notions
(ALL-AGES)...The Rise w/djs John E, Chameleon, Alix Bender,
Mark Oliver, Bollocks, Czech, Pretty Boy, Vitamin-E, LitHe-T & Flyte
(473-8777)...Full House w/djs T-Bone, Vernell, Pep & many more
at 930 Station Street...
SUN 14 Fat Wreck Chords Showcase: Tily, Good Riddance, Mystery Machine at somewhere...Slam City Jam w/Love Battery, Agent
Orange & more at the Plaza of Nations (ALL-AGES)...Terry Bozzio
& Steve Howe ot the Vogue Theatre...TASC Mini-Con 1, science
fiction convention with special guest Anneke Wills (Polly from Dr
Who)...GoGo jazz Lounge w/djYs Michael Golf & Lovely Lisa at the
Arts Cub Theatre....Alternative Jozz at Cafe Deux Soleils...
PUB...Zoo Boogaloo w/djs Spun-K & Czech at the Starfish
Room...Blue Room w/dj Isis at Automotive (8-1 2pm)...
TUE 16 Leisure Lounge w/dj's Jon Hardy, Jess & Druna ^deep house/
ambient) at the Shaggy Horse... 1036 Richards w/dj Dickey Doo &
guests at 1036 Richards...Baby Blue w/djs Al-E, Luis & Jon Hardy
at 818 Richards...
WED 17 Solid Gold w/dj's djs jon Hardy, T. Bone & Dickey Doo
at the Shaggy Horse...Wonderland w/djs Lace, Little-T & Pretty
Boy at ihe Commodore...Velvet w/djs T-Bone, Dickey Doo& special
guests at 1082 Granville (rear entrance)...
FRIGHT WIG...Subsonic Thursdays at the Pit Pub featuring Sex With
Nixon & Crankshaft...People Playing Music at HMV Robson
(7pm)...The Bottle (acid jazz) w/djs Clarence & David Love Jones
at the Piccadilly Pub...Sol w/dj Markem at Graceland...Chocolate
Milk w/dj Michael Golf at the Shaggy Horse...
FRI 19 The Killjoys, gob & Terror of Tiny Town at the New York
Theatre (ALL-AGES)...Velour Dimension w/djs Noah, Dickey Doo &
Vitamin-E at930 Station Street...The Bossment w/rotating djs every
week at 1015 Burrard (bsmt of Century Plaza Hotel)...
SAT 20 Cub, Seam, aMiniature & Venus Cures All at the New York
Theatre (ALL-AGES)...R.E.M. & Sonic Youth at the Coliseum...Four
Men and a Dog at the WISE Hall...Jewel at the Gastown Music
Hall...Enlightenment 2 w/djs Dimitry & On-E (Deee-Lite) plus guests
(info TBA)...
SUN 21 GoGo Jazz Lounge w/dj's Michael Golf & Lovely Liso ot
the Arts Club Theatre...Alternative Jazz at Cafe Deux Soleils...
PUB...Zoo Boogaloo w/djs Spun-K & Czech at the Starfish
Room.. Blue Room w/dj Isis at Automotive (8-1 2pm)...
TUE 23 PJ Harvey & Tricky at the Commodore...Leisure Lounge w/
di's Jon Hardy, Jess & Druna (deep house/ambient) at the Shaggy
Horse... 1036 Richards w/dj Dickey Doo & guests at 1036
Richards...Baby Blue w/djs Al-E, Luis & Jon Hardy at 81 8 Richards...
WED 24 Ned's Atomic Dustbin, Econoline Crush & Prick at the
Commodore...Solid Gold w/dj's djs Jon Hardy, T. Bone & Dickey
Doo at the Shaggy Horse...Wonderland w/djs Lace, Little-T & Pretty
Boy at the Commodore...Velvet w/djs T-Bone, Dickey Doo & special
guests at 1082 Granville (rear entrance)...
THU 25 Subsonic Thursdays at the Pit Pub featuring Rattled Roost-
. & Deadcats...Big Gulp at HMV Robson (7pm)...The Bossment
week at 1015 Burrard (bsmt of Century Plaza
SAT 27 Perfume Tree cd n
e party at the Starfish Roc
& Dj HURRICANE at the Coliseum...Bobby Watson Sextet at the
PUB...Grrrls Widi Guitars at the Railway Club: Morcia Thompson,
Helen Gone Mo Field, Michelle Gooding, and Kristia Jeanne Sheffield ond the Burning...Zoo Boogaloo w/djs Spun-K & Czech at
the Starfish Room...Blue Room w/dj Isis at Automotive (8-12pm)...
TUE 30 Bum &The Nomads at the Hungry Eye...Peter Frampton &
Deep Julia at the Commodore...Leisure lounge w/dj's Jon Hardy,
Jess & Druna (deep house/ambient) ot die Shoggy Horse... 1036
Richards w/dj Dickey Doo & guests ot 1036 Richards... Bo by Blue
w/djs Al-E, Luis & Jon Hardy at 81 8 Richards...
WED 31 Solid Gold w/dj's djs Jon Hardy, T. Bone & Dickey Doo
at the Shaggy Horse...Wonderland w/djs Loce, Little-T & Pretty Boy
at the Commodore.. .Velvet w/djs T-Bone, Dickey Doo & special guests
at 1082 Granville (rear entrance)...
222 2244
876 7128
684 2787
685 0509
689 7734
687 1354
254 1195
873 1331
683 <H#9
689 3180
682 4629
681 7838
683 2201
687 0032
689 0926
872 6719
684 MASK
877 0066
688 2648
255 2606
681 4620
738 3211
688 5351
822 0999
251 6626
685 3288
682 5455
685 0143
254 3545
669 6644
682 3291
665 3050
731 3456
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
681 1625
738 6311
874 6200
687 6355
688 2923
(206) 7341539
682 4171
689 0096
688 3312
(206) 734 1881
683 6695
682 7976
822 3697
822 0999
254 9578
669 4442
222 2235
872 8337
257 6205
685 6217
254 5858
681 9253
738 3232
Arts Hotline
©Gallery   110 W Hastings (downtown)
Backstage Lounge 1585 Johnston (Granville Island)
Cafe Deux Soleils 2096 Commercial (the Drive)
Cafe Vieux Montreal 317 E Broadway (Mount Pleasant)
Caprice Theatre 965 Granville (Granville Mall)
Celebrities 1022 Davie (West End)
CNImax Theatre 999 Canada Place (downtown)
Commodore Ballroom 870 Granville (Granville Mall)
Commodore Lanes 838 Granville (Granville Mall)
Crosstown Traffic 316 W Hastings (downtown)
Denman Place Cinema 1030 Denman (West End)
District Coffee 1035 Mainland (Yaletown)
Firehall Arts Centre 280 E Cordova (at Main)
Food Not Bombs Vancouver
Gastown Actors Studio 36 Powell Street (Gastown)
Glass Slipper 2714 Prince Edward (Mount Pleasant)
Graceland 1250 Richards (downtown)
Hastings Community Centre 2096 E Hastings (East Van)
Hemp B.C. 324 W Hastings (downtown)
Hollywood Theatre 3123 W Broadway (Kitsilano)
Hungry Eye 23 W Cordova (Gastown)
Koemer's Pub Gate 4 (UBC)
La Quena 1111 Commercial Drive (the Drive)
The Lotus Club     455 Abbott St (Gastown)
Luv-A-Fair 1275 Seymour (downtown)
Lux Theatre 57 E Hastings (Gastown)
Malcolm Lowry Room 4125 E Hastings (Burnaby)
Maximum Blues Pub 1176 Granville (downtown)
New York Theatre 639 Commercial Dr. (the Drive)
Odyssey Imports    534 Seymour (downtown)
Old American Pub   928 Main (downtown)
Orpheum Theatre   Stnithe & Seymour (downtown)
Pacific Cinematheque 1131 Howe (downtown)
Paradise Cinema 919 Granville (Granville Mall)
Park Theatre 3440 Cambie (South Vancouver)
Picadilly Pub 630 W Pender (downtown)
Pit Pub basement, Student Union Building (UBC)
Pitt Gallery 317 W Hastings (downtown)
Plaza Theatre 881 Granville (Granville Mall)
Punk Listings
Railway Club 579 Dunsmuir (downtown)
Ridge Cinema 3131 Arbutus (at 16thAvenue)
Russian Hall 600 Campbell (Chinatown)
Scratch Records 317A Cambie (downtown)
Shaggy Horse Cabaret 818 Richards (downtown)
Speedy O'Tubbs Fairview (Bellingham)
Starfish Room 1055 Homer (downtown)
Starlight Cinema 935 Denman (West End)
Station Street Arts Centre 9311 Station - downtown)
3B Tavern 1226 State (Bellingham)
Town Pump 66 Water Street (Gastown)
Track Records        552 Seymour (downtown)
Twilight Zone 7 Alexander (Gastown)
UBC CINEMA (located in the SUB)
UBC Grad Centre Gate 4 (UBC)
Vancouver East Cultural Centre 1895 Venables
Vancouver Centre Cinema 650 W. Georgia (downtown)
Varsity Theatre 4375 W 10th Avenue (Point Grey)
Video In 1965 Main (South Van)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre 1405 Anderson (Granville Is.)
W.I.S.E. Hall IS82Adanac (the Drive)
Yale Blues Pub 1300 Granville (downtown)
Zulu Records      1869 W. 4th Avenue (Kitsilano)
w/rotating djs
FRI 26 Smugglers, Supersnazz, Bum & The Rip-Offs at the Starfish
Room...Oh God, it's Page and Plant at the Coliseum...Velour Dimension w/djs Mar-T, Quick Fix & Vitamin-E at 930 Station
Street...The Bossment w/rotating djs every week at 1015 Burrord
(bsmt of Century Plaza Hotel)...
DATEBOOK" AT 822 9364 BY MAY 20th! mf^K
M   « „       ? ,*
I cH-ui tvette e/trch«T*s> {Q»/ -*L>©a/p
a«d jft^atrtiJ^FiltiiStai*
iicu:i*- /■ io  /i tr /ck. '^gf-jaSip*
with special guest M
I MAY 10
with social guest Matthew Lien
dooYs 700pm • show 8:oopi
Vogue Theatre S0a£cU6
Good things brewing'
Tickets available at all _^^£^^^*. outlets or charge by phone 280-4444. 1869 W 4th Ave.
Vancouver BC
tel 604.738.3232
Monto Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
Cheer up, kiddo! i^um
new world of cool springtime sounds at Zulu in May! r
The Denison/Kimball
® Soul Machine
Who'd hitve thought that a bunch of
Indie-Rock Gods amid put out a Ja/v
record (hat's both adventumus and
challenging? featuring Duane
Denison ot the mighty Jesus Lizard
and James Kimball of Mule, Soul
Machine explores some interesting
territory. From dieir own aggressive
and ambient songs to a piece by
Ornette Coleman, the Denison/
Kimball Trio is sure to please both
rock and jazz tans. Soul Machine
also features a guy from Seam and
another Jesus Lizard member.
O 16.98
Flying Saucer Attack
Contemplative soundscupes flf hiss
and buzz wash by, feeding b;iek into
nowhere and everywhere, layering
onto themselves again and again, for
your assistance, however. Flying
Saucer Attack suggest a direction
for listening — further, always further.
Pooh Sticks
• Optimistic
The Pooh Sticks smell.... Smell
wonderful that is. and we're
Optimistic" that you'll love this
record. Another collection of superbly
crafted pop songs thai are guaranteed
to m;tke you feel all right.
O 16.98       m 10.98
• Maxinquaye
Wake up to this UK soul shot. That's
right, Britannia's got soul — cite
Massive Attack, Portishead, and
now Tricky as examples. Their
Yo La Tengo
• Bectr-O-Pura
Working from a long history of 'el
sics,' the golden touch of Yo La
Tengo produces another excellen
release, following up from the very
If Codeine were a litde bit country
they might sound like Rex; but that
doesn't quite capture the interesting
style of this band. Dark, brooding
Painful LP, Electr-O-Pura takes and sparse with brief suggestions
off and explores previous themes and of tune and structure through
ideas even further. Man, do these time and space. Quiet
people know how to make great dramatic aplomb.
records! Very recommended.
O 14.98 pq 9.98 O 14.98
O 16.98
with its mix of trip-hop.
and everything the soul can hide.
O 16.98       pq 10.98
Speedy J
• C Spot
Extremely user friendly iimbient
soundscapes that diffuse into one's
personal domain. Speedy J's second
full-length C Spot displays a nice
ronment of grixwe/lcMured bliss.
O 16.98       PR 10.98
The Aphex Twin
• / Care Because
You Do
UK's most prolific ambient artist,
Richard James - a/k/a Polygon
Window. AFX, Aphex Twin, etc...
serves another smooth groove.
Guaranteed to have you surfing on
sine waves and inlo auothei oscillating orbit.
O 16.98
• Nihil
Post-industrial heavyweights
KMFDM prove why they're on
the vanguanl of the TVT Records
Crew. On Nihil, the mandate
remains unaltered — harmony
out of annihilating guitar, wrecking
ball bass and relentless rhythm — ouch!
through deconstruction.
I 10.98 O 14.98
Spring Things fronkPl^
Zulu Label News!
Perfume Tree
Fathom the Sky EP
Guaranteed heav;
7 song. 45 minute coll
new material ranges Ii
ambient stylings, with
bass anil dark hannon
ics. The dub
ings arc full of a
depth thai jusl m
s|x.*akeis. Siick\. bin
in stores now
:e through dub to
Zulu Revue Boat Cruise
Friday May 12th
Join us for a 3 1/2 hour tour on board the M.V.
Abilibi. with live performances by Zulu recording artists Daytona. Perfume Tree and
Kick v
Coming Soon...
knock-down-ginger Snowman's Land
CD and cassette in stores: May 24th
A Lifetime Away
Boarding starts at 6:30pm. we pull away from
the dock at 7pm SHARP (you snooze, no cruise),
and return at 10:30pm. Tickets are $19.95. available in advance at Zulu, Scratch and Track
Records, or at the Zulu Trading Post at the
MusicWest Exhibition Hall (sorry, no minors).
Helium helium
The Dirt of Luck |
CD/Cass/LP I
(Helium @ the Starfish
Room on May 3rd) ■•»' mHl °« *U,K
Railroad Jerk
One Track Mind
The Battle
for Space
■ guided by voices!
by Voices
Alien Lanes
18th Dye
Tribute to a Bus
Perfume Tree
CD and cassette
or to he blatant, <
the HMS Zulu —
I capacity event, so
) not apply.
/ ilnmk with its aboard
MECCA „          ..         .
£ korma£ Mecca Normal
ptjv, sitting on Snaps
" CD/Cass/LP
OTHER NEW RELEASES: Pizzicato 5 Quickie EP, Yo La Tengo
Tom Courtney EP, Amateur soundtrack, Pavement Wowee Zowee..


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