Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-01-01

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 January, 1998
That magazine from CiTR, 101.9 Fm
e Hiqh LL
ereoJab • 1 chameleon
new years eve
december 11.91
\with the    I
4Jbitfuitij / Conception Records
piece acid jazz ensemble
featuring: Sureshot
fi Mr Supreme (Seattle)
ock's finest, currently blowing up in the UK.
Arrive early. $5 after 9pm.
Hippies turned hipsters bring the funk to
Chameleon for Christmas. $5 after 9pm.
CLUB TELE.-669.0806 OFFICE AND BOOKING TELE. ■ 683.6527 FAX-688.2552
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High Llamas
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Cowshead Chronicles 4
Interview Hell 6
SubCult. 7
Seven Inch 16
Basslines 17
Printed Matters 1 8
Real Live Action 19
Under Review 20
Charts 23
On the Dial 24
December/January Datebook   2£.
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Lustrations: jason da
silva, ted dave, richard folgar,
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contributors: barbara
a, tania a, james b, barb c,
brady c, julie c, glenn d'c, jack
d, Jamie d, greg e, saran e,
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Botched Ampallang
Good Tasty Comic
CiTR's own AAarlene Yuen came
up with this "handy" cover.
Yes, our fifteenth year. Wahoo!
Happy birthday to us!
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From UBC to Langley and Squamish to Bellingham, CiTR can be
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QoqdOgO  39  _.© 0__(2(r
09gu_© caQc?©a'(_]^§ooo^(_)|po.;'
One day only,
Saturday, December 27
10:00 am te 7:00 pm
20-90 % off...
[Lamms m&k] s&o-ag
Boxing Day!
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be closed on
25 & January 1 •
Is that OK?
Propeller-Oro CD
The sophomore release of Mark
Spybey's (Dead Voices On Air, Zoviet
France, Download, etc) most adventurous work. Stunningly packaged and
set to singularly guide your more
precious internal journeys. Available
at finer music retail establishments
everywhere. Released simultaneously
with the sought after Propeller debut
Rome, re-issued in a jewel box. A few
copies of the original copper packaging available only from us.
Got Email? Stay on top of what's new
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y__ w__7_^ -j^/j.
Dj!/Aj_A.._J   UL)  JJ^iJj
That's right, Scratch turns ten years old this month...and in a brief sentimental moment we'd like to pause and extend an enormous thank you
to those who have given of themselves so beautifully in decade number
one. In particular, the following Scratch All-Stars:
Bill Baker, Blaine Thurier, Carl Newman, Cathy Fitzhugh, Claudio
Cacciotti, Cora Crary, Craig Tretiak, Danny Jones, Dan O'Connell, Darren
Shorsky, Dave Lang, Dave Muir, Dave Smith, Doug Parry, Gary Held,
Geraldine Parry, Grant Lawrence, Greg Elliot, Harry Spheropoulous,
Holly Brown, Ian Mackinnon, Jamie Anderson, Janelle Wong Moon, a
Jason Zumpano, Jean Yves Theriault, Jim Edgett, Joe Bodner, John King,
John Ruskin, Jonathan Simkin, Julian Lawrence, Justice Schanfarber,
Kate Jones, Kent Reimer, Kim Hollowaychuk, Lester Smolensky Marcel
Feldmarr, Marcy Emery, Mark Critchley, Mark Szabo, Max Lee, MC Exu,
Mike Kerley, Mike Ledwedge, Nick Raynaulds, Norman Rechlin, Paul
Malcolm, Randy Iwata, Rod Dayton, Sam Lohman, Sandi Kilby, Scott
Gubbels, Scott Parker, Sean Elliot( Sean Hollowaychuk, Shane Ehman,
Sheila Ferneyhough, Steve Olkovick, Tim Olive, Troy viola Funk, Zey
Asher, as well as all the fine artists & musicians we ve had the privilege
of working with...and all the special people we've met along the way,
and the people who's name may have been unintentionally omitted (or
spelled wrong!) due to faulty memory, and of course everyone who
does the not insubstantial deed of choosing to spend your money in pur
direction. To all: hearty hugs, humble thanks, hefty wishes, and much * FINALS*
.cow £hh ad    chr on i) c I e s
for my friends, without whom i am nothing (sappy, but a true fact).
since 1991 i have, through this column, delivered my thoughts on many
different subjects, love, wisdom, heartache, trends, pure fiction aimed
at something, and good old-fashioned rants about the things around
me/us. most were based on things that happened to me as well as those
things i knew happened to others, stories about my friends, my family
and people i didn't know at all. i have, recently, gone through some of
the old columns, charted their course and observed the way the
cowshead has changed over the years, i'm not the same as i was in 1991
and neither is the cowshead. so it is now, with some trepidation, that i
bring to an end the cowshead chronicles as i know them, but, before i
sign off for the final time, i want to put a few things in order, the
cowshead was a great outlet for me and i know many read it and, some
even, looked forward to it each month and to these people i want to say
thank-you. thank-you for reading, following along and having the ability to read between the lines and get whatever it was i was trying to say.
thank-you also to those who knew that they were used as characters in
my short pieces of fiction and for not getting too upset about it. thank-
you also to those who have told me about specific columns that have
affected them in some way. (i never meant to make you cry, really)
thank-you to my friends who went along with my insanity, to discorder
who allowed me to tarnish their issues for these many years — especially the editors who had to deal with me constantly being late with
submissions of the cowshead. i would also like to address my detractors who doubted my sincerity and whether or not i really meant what t
i wrote, i did. i still do. that's it, i guess, i'm done, as mentioned earlier,
i have over the past month or so been going over some of the old columns and am now in the process of compiling the entire works for
those who may want it. but for now, thanks for everything and i'll be
seeing you around,
garnet timothy harry xoxo
HUE   hi Ted •Da.ve
norm da facc/
r pur on Mr FLAW
T6t>P4f*t 97
4     January 7998 ^efcA^so^e'jIt
p QoiDeq Run Rn?
E3§®[_ KKEIimnir
THERE  fS        "^-OFF NEXT
'CHRISTMAS'     ***S
V good used pop culture
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With a jewelry purchase
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PH: 688-6225
SUN - WED 11-7
THURS & FRI 1 1  - 8
191 7 W.4TH AVE VAN., BC V6J 1M7
Good food, great place.
Come check us out!
Stop by after class for dinner,
dessert, or something to drink.
ii Ii!aii" ,N!)' i;'_a_r Radio
Who are you (names, ages, instruments
Steve Matheson (19, phat bass, phat voice), Brad
Vandermey (17, high guitar, backup voice), Jason
Vandermey (19, sparkling drums), Ryan Wagner
(19, dented guitar, attempted singing)
What happened to Burden?
To make a long story short, we are not a band
anymore. There are many rumours about why —
was it creative differences? No. Was it that one of
us went on some music awards show and made a
fool of ourselves? No. Those rumours are connected with Van Halen, not Burden. Sorry to disappoint those who love to gossip. But those who
did enjoy Burden will be happy to learn that Steve
and Happy hove started a new band in the hard-
Describe the differences between playing
with a PUNK band and a SKA band.
It seems as though every time we play with a ska
band, they end up playing right before us, which
wouldn't be so bad ... if they didn't play for so
long. For example, we were scheduled to play last
at the punk and ska fest. The band that played
like you can just go put a cast on it. The words are
so stupid, not to sound critical or anything. But the
worst part about it is when those guys drive by
playing it really loud in their booming cars. Wow,
is that ever annoying, a booming car playing a terrible song. Those booming cars aren't doing anyone any good. I think they should be outlawed.
That way, we wouldn't have to listen to 'Unbreak
My Heart' if we don't want to.
Please give us the names of some of your
song titles and a line from the Target song
you are most proud of.
'Cries of a Lamb,' 'Sick,' 'Mephistophelian,' 'If
Looks Could Kill.' 'Cut the sides but don't touch
the back.'
How did you learn the words to 'Ice, Ice
Simple: we grew up in the '80s. That and a lot of
practice. We always knew the first verse and have
just recently started working on learning the second and third verses. It all started in Moose Jaw,
where we played, at this place called Joe's Place.
They had that song and we were lip sincing to it all
night and slowly started to learn the words. And
before us played for so long that our set had to be
cut down and keep in mind that we only play for
about 25 minutes anyway. But hey, it's no big deal.
As for playing with punk bands, it doesn't really
matter, as long as they don't play for too long.
Have you ever met a gypsy?
Funny you ask because, on our recent western
Canada tour, we ran into a gypsy in Banff. He told
us many stories, like how he's been a gypsy since
he was 1 8 and how he had a big bus with a giant
sky light over his bed so that he could look at the
stars at night. He also asked if any of us knew how
to tune a 1 2-string in the dark! Then he showed us
a great place to camp. After we all got settled in,
he drove away and we never saw our gypsy friend
again. The most heartbroken was Jason; he loved
that gypsy.
What is your current most hated song?
Maybe it's that 'Unbreak My Heart' song. Is it really possible to unbreak one's heart? Come on —
that is ludicrous, once a heart is broken, it's not
6    January 7998
just a few weeks ago, Steve stumbled upon the
Vanilla Ice CD. We have since listened to it repeatedly and learned every word.
What is a Mullet?
It is more commonly described as hockey hair, the
shlong, ape drape, mud flap, the Billy Ray, or the
soccer rocker. It is also the most popular hairstyle
amongst lesbians. If you wish to know how to go
about getting a Mullet, go to your hair dresser and
ask for it by name. If they seem confused, simply
ask them to cut the sides, but don't touch the back.
A mullet is a haircut for the business man/'80s
rocker. It keeps you sophisticated (so your family
won't make fun of you), yet wild (so your friends
won't make fun of you).
Target self-titled cassette, not yet titled second
Contact name and address:
Ryan Wagner, 19056 63b Ave., Surrey, BC, V3S
8G5, 604.574.8686, targetsri@aol.com
Who are you (names, ages, instruments
Gregory M. Adams, 16, guitar and vocals;
Matthew Gene Barber, 1 8, vocals; Kyle R. Deville,
16, bass; Clayton A. Melnyk, 17, drums.
Matt, you are a BMXing buddy of Ken
Paul, DiSCORDER Art Director. Please tell
us a story about him. And! What other
bands do you know of that contain 'BMX
buddies' like the Self Esteem Project?
Matt: Well, last year, Ken, myself, and our friend
Nick rented a car and drove up to a BMX contest
in Nelson, BC for the weekend. It was a brand new
Neon and it was super uncomfortable to ride in.
We left at 5pm Friday afternoon and drove all
night. At about 3am we were driving and it was
real dark out and this deer jumped out of nowhere
and we nailed it so hard that there was fur stuck in
the battery under the hood and in the hubcap. We
got out to find [that] the front end of the car was
smashed and the deer was nowhere to be found. A
few miles down the road, we stopped and helped
this guy who was driving home from buying his
new car and had smashed it into a ditch because
a deer had run in front of his car. We got to Nelson
around 9am and slept in the car. That night, after
the [BMX] competition was over, we all went out
for dinner and I was acting silly at the table and
this is what Ken said to me: 'Matt, you've sure got
a lot to learn.' The end.
And! Sky from Reserve 34 rides BMX, as well as
Matt from The Undecided (Winnipeg), and Ron
Wilkerson from Cellophane Solution (San Diego)
rides and runs his own freestyle company called
Wilkerson Airlines.
Upon whom would you most like to exact
revenge and why?
Kyle: I want revenge on BC Transit for raising their
Clayton: I'm taking revenge on the Great Habib
for initiating the Great White Shark Hunt.
Matt: I'm gonna get revenge on John from Another
Joe for ripping my underwear off in front of 200
kids at Seylynn Hall while me and fellow gob go-go
dancer Ryan Sabourin were dancing on stage.
Greg: I'm taking revenge on my feet for making
me wear orthopedic shoes (there's no jokin' 'bout
During soundcheck for The Self Esteem
Project's appearance here on Thunderbird
Radio Hell, you guys played Led
Zeppelin's 'Over the Hills and Far Away.'
Is this something to be ashamed of?
Clayton: No!
Greg: Clayton looks like Bonzo.
Clayton: Shut up! This is not something to be
ashamed of. It's things like saying, 'Doot dootle
doot doot' and 'Play the blues' that people should
be ashamed of.
Kyle: Led Zeppelin's definitely no 'One King
Matt: I used to play lots of air guitar to
'Communication Breakdown' and sometimes play it
at practice.
What is your greatest fear? Do you ever
picture yourself walking naked down a
populated corridor?
Matt: Well, I'm starting to lose my hair, but what
I'm really afraid of is travellin' in the real live
dork-mobile. And I'm always naked in populated corridors ...
Greg: Walking down a populated corridor with
clothes on.
Clayton: Seeing Fatty Lumpkins naked.
Kyle: Realizing that Greg Bennick is not a
beautiful woman.
Who is Andrew Cairns, and describe his
importance to the Vancouver all ages
music scene. Thanks.
Greg: He's [so hot and spiffy]!
Kyle: You boys know what a U-turn is?
Clayton: Who?
Matt: Andrew Cairns is my buddy. He has a record
label called Cut Rate Records and Reserve 34, Kid
Icarus, and the Self Esteem Project are on it. He puts
on shows at Seylynn Hall and lets everyone use his
high roller cell phone. He especially enjoys veggie
garden pitas and he loves the Surrey Girls.
Ask yourself TWO questions and answer
Why are we so ugly?
Because we're not from North Vancouver, I guess.
Why did Matt and Gregory get stuck with filling
out the rest of the questionnaire?
Meat is murder!
Anything else to add?
Matt: We wanna thank Andrew Cairns, Josh and
Greg: R-34, Ryan Dumbhair, the one and only
Surrey Girls, Bor for inspiration.
Matt: Megadeth Slayer (Meridith Sayer) and our
main bird Nick Berry, September, Plains of
Abraham (RIP), the Oration [sic] (Cody and Jim),
Jason Kollins, Steve Mitchell for getting me a job,
Clay's mom for letting us practice at his house, my
mom for the same thing, and my dad for letting us
use his car for shows, etc.
Greg: Kyle and Clayton went home. Goodbye.
The Self Esteem Project/Reserve 34 split 12" (Cut
Rate) for release: mid-February 1998
The Self Esteem Project 1 2" (Cut Rate) for release:
June 1998
Contact address:
9774 154 St., Surrey, BC, V3R 7J1,
604.583.2544 or 604.526.7931 .• WHERE   IS   NOT
Hey, if you weren't there I wish you would have
been — demonstrating in a show of support
against the various heinous delegates, hidden
from "embarrassment" behind those obscene barricades.
They were such fantastic pseudo-barriers, arrogantly held
together by twist-ties and a gross ambiance of pure violence via intimidation. Also, perhaps, laying down en
masse on cold wet concrete for the spectacular die-in,
organized as part of a smart set of protest techniques
and civil disobedience that punctuated the day. You could
have also been attacked by police, having various legal
rights flagrantly neglected (for an example of the extent
or this abuse, check out the December 10 issue of The
Vancouver Sun). Or even just patiently waiting to backup whatever might have happened or actually did.
Oh yes, I am talking about anti-APEC day at UBC
and what a day it was. All of this was serious business,
justly deserving of an awareness-raising protest (or more)
of whatever size, made all the better for the size it actually turned out to be. It was all so unbelievably volatile,
completely on the brink of mayhem several times. Provocation — that is, entrapment — was readily offered by
the sizable disbursement of police available. The police
were over-eager and ready — so much more could have
happened. Thankfully, we were only given some harsh
but relative notice of what might have been; usually, if
there's a choice between the pacific and the aggressive,
the police always seem smug in their choice of the latter.
I have personally never spent an afternoon being so continuously and completely stressed out. I have also never
participated in a protest quite as compelling and energized, or as seemingly immediate and meaningful as this
one was. It was simultaneously miserable and unifying.
With several thousand or so in attendance, it was truly a
remarkable display. It was a fine protest in the classic
way, butting up against politics in the post-modern sense.
But the overall Tightness of the protest easily surpassed
the programmatic-like unfolding of the usual events and
elements. This was no mere simulacrum or simple media
event. It was a very worthwhile protest, completely necessary and successful in many ways.
Right away, I would like to congratulate the main organizers of the event for their tireless work and bravery.
Yes, APEC Alert got it all well together, all right — very
good work done fighting the good fight. Such efforts are
so sadly lacking these days. And hey, by the way, what
the fuck is with all this bullshit political ambivalence? It's
such a sorry growing trend. APEC isn't about popular
culture capricious-type thinking. It is about massive, real,
political-economic changes, drastically altering the material reality ef more than just under-developed nations.
APEC is global. Everyone is implicated — all the way up
and down. Thankfully, what was started (the protest) was
generously picked up on that afternoon. It surpassed
worried expectation and a jaded opinion which was resignedly anticipating just more of the same old common
wide-spread apathy and sad lack of awareness, but was
enlivened by the very positive turn out. It was a welcome
response from the otherwise not-that-radical and uninspired Vancouver. The more the merrier and also the more
powerful (but why not a little more labour support, and I
don't just mean from the Socialists; where were all the
unions?). Even if people had joined the march and protest out of curiosity, the spirit or the moment certainly captured them to a greater degree and the severity of the
issues being protested undoubtedly registered with all the
seriousness they demand. Everyone in attendance was
engaged. Conviction was distinctly in the air. But it was
not just a heavy program of wordy dogmatic manifestoes
and stiflingly dire grimness. Spirits were fairly high despite the foul realities being discussed, due in no small
part to the intelligent organizers' overtly politicized and
well-utilized senses of style, humour and irony. That's the
way to do it, everyone. A welcome departure from the
— indeed, sad but true — boring typicality of many demonstrations, not to mention up-turning the dangerously false
hope that irony, humour and style are somehow innately
and usefully political, without some specific effort conducted to make them so. By the way, even the Raging
Grannies seemed much more clever than usual.
While I'm thanking people, I might as well thank the
media. Good work to you, too, media hounds. Without
the aggressive participation of the media, maybe no one
would have been pepper sprayed. But then, what kind of
protest would that have been? ... Not on television, probably. The entire protest could have been totally peaceful
and non-violent, as it mostly was, even in spite of the
large number of police. It seemed to me that the heavy
media presence in the scramble right in front of the barricades played a significant role in encouraging both the
protesters and the police in clashing as they did at first.
The pictures of this first clash were everywhere the next
day, unsurprisingly. At least they provided the necessary
level of violence required to be newsworthy and to obtain whatever media time and space is left over after
covering the rest of the days' violence and tragedy — I
mean news. Issues often get lost to the allure and
photogeneily of violence. Sometimes, from my vantage
point, I could hardly see the cops and protesters for all
the media-types rushing around and I was close enough
for a while to smell the pepper spray. However, as everyone is reminded of endlessly, media attention is now an
unavoidable fact of modern life — for complicated reasons — and it is also seemingly necessary for any successful protest demonstration, for even more complicated
reasons. So get used to it. Of course, the media is not all
bad. They can also serve the useful purpose of keeping
police relatively at bay. As it turns out, them cops hate
being recorded when abusing their power, particularly
while being violent; the day's violence was really their
fault — assholes. So this is a classic, double_dged one.
But I do not want to equally tar every media person lhat
was providing coverage of the protest. Several intrepid
news-chasers from our very own CiTR news department
did their best with what they had, trying to provide an
accurate un-sensationalized account of the events as they
happened, including the violent streetclearing wrap-up
by the police at the end of the day. No other media-type
was present for this last quite dramatic bit of violence, I
am told. So, some real thanks to our CiTR news department, demonstrating that good "coverage" is a question
of sufficient time, compassion and honesty, after all.
Of course, it wouldn't have been the same" without all
those police officers, who gratuitously threatened the day's
events. Such well-trained, obedient pigs. They were all
over the place: on top of buildings, on bicycles, in helicopters and other assorted vehicles, dressed up "undercover" style, local ones plus some from other countries,
and probably lots we couldn't see at all — they were the
ones who were really scary, actually. It was quite a show
of force, one that extended all over a city which was shut
down fairly easily and without much resistance. This force-
field became most demonstrative at UBC. The threat or
promise of force was actually the main weapon used by
the police that day. They hardly had to do much more,
thankfully. With a few vicious pepper sprayings, the police clearly illustrated the beginning of the elaborately
equipped arsenal of pacification devices and operations
at iheir disposal (or so it appeared). And if thai wasn't
enough, the truly terrifying sound of barking attack dogs
and the frustrating, endless parade of helicopters was
enough to rattle anyone. After a while, it became obvious that the police could probably do whatever they
wanted. We would have to follow their lead, which turned
out to be not much more than nervously waiting until the
police had to clear an exit road for the delegates' convoy, which they did with so-called "necessary force."
Nevertheless, the police were ready at any time, I'm sure,
to spray as many people as they thought necessary or
worse, if given the chance. However, the organizers did
a good job of maintaining the crowd's attention, communicating as best they could what was transpiring at the
very front line or where ever, while encouraging everyone to sit down and remain as quiet as possible. All this
minimized possible violence. It was — again and again
— a predominantly non-violent protest, except when precipitated by the police. The violence captured most or the
attention, while the nitty-gritty of the issues at hand largely
slipped away. The point of the demonstration could have
been articulated without any violence, which it mostly
was. There were some symbolic arrests and a few very
questionable seizures of main anti-APEC organizers. Also,
a few people were grabbed for taking down the stupid
barricades and there were a few inexplicable arrests of
people simply too close to the action, or something. Most
people were released later without too much hassle, at
least for now. Spurious arrest is hassle enough. In the
end, there was not that much actual violence, but plenty
of abuses of authority.
Over all, the day had a ritual-type undercurrent to it:
because we were there, so were the cops, and vice versa;
this programmatic-like-ness provided an odd sense of
order and pace. Almost in fulfillment of an obligatory Left
versus Right duel, an always expected call and response,
a pis oiler This is a type ot conflict that is actually far too
taken for granted and debased over here. It is done for a
reason and obviously, it should be taken seriously.
Granted, we don't really have that spectacular or familiar of an active-resistance type history to easily reference,
but it is there, actually — jost under recognized (no time
like #>e present to start newly ond to relearn — remember
the Vancouver 5 and, oh', Greenpeace?). We are also
lucky not to have that much of the kind of severe police
violence and oppression that is more regular in many
other countries. Here, the promise of force is almost
enough to maintain control, except in the case of hockey
riots, embarrassingly. Anyway, we all did what we could.
Perhaps activists here and in other places that do not
suffer from acute police brutality should use their relative
fortune and privilege to try to orticulate the usual complexity of the issues that are often subject to protest, in
this way taking advantage of period and place linked
strengths while participating in a broader, collective struggle. Not that we are in any way the only ones capable of
doing such a task. It is, however, a basic starting point
and one that utilizes available means, although, when it
comes to issues concerning political-economy, it is usually the over-developed nations that are significantly involved. In this way, our degree of responsibility and implication distinctly increases. We must all deal with and
within the social, cultural, political and economic contexts that we presently occupy, while maintaining a critical consciousness of our general connectivity along these
same axes of organization, with other nations and systems globally, in the present and historically. In the meantime, we in particular should always keep up a balanced,
critical self-reflection of our many quite luxurious privileges and opportunities. We should stay grounded, self-
aware, and informed of manifold inequalities in this respect. This is our responsibility. We make the future.
This was meant to be a mostly brief commentary with
appropriate high-fives, and so on. I don't want to get too
far away, but it is necessary that the demonstration be
contextualized. I want to emphasize that the protest was
a dramatic event that served to draw attention to an ongoing course of development, continuing in a long history of the same. The protest was well-organized, great
fun, cool and dangerous, but the problems that inspired
it are extremely big, very serious and harder to develop
a relationship wilh than periodic involvement in a mass-
type event might seem to indicate — it takes more than
an alternoon. There is still a lot of work to be done, a
good deal of it slow and boring. Become informed and
help out. It is unfortunote thot the seriousness of the sifoa-
tion is not enough to capture attention and commitment
without also having to worry about being entertaining
Fun is important, bot APEC concerns other more basic
stuff: all the things we take for cpajited. This is a realization that we should obtain from demonstrations such as
anti-APEC day The entire day's events reflect our obligation to critically examine the smallest segments of our
individual lives. This fundamental obligation is informed
by simple, material happenstance expanding into a diverse and complicated network. Our political responsibility saturates the complexity of social existence, riding
out the superficial changes of our cultural currency. It is a
chore to be constantly reminded of our responsibility and
privilege, etc., but it is even more frustrating to watch our
narrow, common priorities reproduce themselves. Even if
ideology is an unavoidable social and political phenomenon, pursuing a more attentive and reasonably based
ideological system is certainly a better option than complacency, at least to begin with. Change is manifested
with every small decision as well as with any large one.
We are all participants in this global political-economy.
All our actions count. If this seems un-cool with contemporary life-style idealism, which is deluded into confusing freedom with consumerism, then it is obvious that things
should change drastically. Our cultural reality should interact a little more consciously with our political-economic
base. We should all make an effort to change in this
direction, further becoming informed and active, before
the choice is totally forced upon us by whatever cons..*-
quences we are unwittingly enabling today.
If you think APEC is bad news, just wait until you find
out about the Multilateral Agreement on Investment (MAI).
Briefly, the MAI is an arrangement that will allow multinational corporations to legally avoid political sovereignty
in the pursuit of profit through ownership and exploitation of any resource (like our water). Think of NAFTA,
only much, much bigger, involving way more players.
This is truly terrifying stuff and our government, as well as
everyone else's, doesn't want you and me to know about
it. By the way, May 1998 is the target ratification date
for this shitty deal, so look out. For a good summary and
concise analysis of the MAI, see the December 4-11 issue of The Georgia Straight. Fight the power.*
kilty p.
Volunteers needed.
Are you an outgoing, spontaneous mon or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
'    E^SESS Transcending the hype of trip-hop, jungle
breakbeats, digital hardcore, dj icon culture
something new arises. Recording under the   I
names Pellucid and Solo Recording Identity on    ^
local label Bug Girl Sound is Arlo Renwick     '
whose subtle digital compositions are based
on the mundane and appeal to listeners ofthe
modern digital age. Arlo explains this process
to Luddite DiSCORDER correspondent Sydney.
interview And photo coIJ<\qe
by Sydney Hernuvnt
Ar Jo Rehw
DiSCORDER: These are your first two releases out on Bug Girl
Arlo: Yes.
But you've been playing in clubs around Vancouver for awhile
I first started playing in '95 at small parties and clubs in Vancouver, but
it's really only been the last five shows that I've done which have been
entirely on my own. Before, I was playing with somebody else and it
was a lot more improvised. It's still a pretty improvised set-up now.
You played at Sonar tonight. How do you find playing at these
huge clubs?
Well, it's interesting. It's an interesting kind of atmosphere because
when you play at a club like that, as opposed to somewhere else like
the Sugar Refinery, there really isn't an agenda and the music is really
good. In a place like Sonar, or any kind of club like that, it's a lot more
of a focus kind of thing where I'm basically taking the role of what a
dj would do. So I'm playing these tracks of mine that would kind of fit
in that mode and it's fun. Those kind of gigs usually have a lot of energy and atmosphere and I'm sure most of the people there don't know
what's going on or even know it's a live show.
So how does that fit with your performance [compared to
when] you don't know if anyone cares or if anyone's listening?
It does. When I'm playing, I'm concentrating on what I'm playing, so to
be honest, I'm not looking at the crowd but obviously if people are
enjoying themselves, I will enjoy myself — unless I'm trying to be perverse and piss people off. And I'm enough of a grownup that I don't
really do that or I haven't been pushed to that yet. It's interesting in one
[way] because these are tracks of mine that I'm doing and they are in
[a particular] style; it's kind of like a one-sided look at the kind of music
that I make. There's a lot of other stuff that I do that just wouldn't
work in that kind of an atmosphere.
What kind of atmosphere would it work in?
I don't know yet. I'd kind of like to do gigs like your standard indie
band or maybe a jazz outfit where there's just a small group of people
[who] are too old to dance and they are there to listen to the music
and I can play a variety of different stuff and really improvise. Honestly,
it would be more of a full representation of what I do. It's something I
have to work out because I don't mind doing this, but I don't want to
have that great a distinction between what I do on record or CD and
what I do live. There are people who do that: 'This is our live performance and we're going to have the crowd going,' and I did that
tonight and that's fine. But if I'm playing gigs, I'd like to play other
things as well, otherwise I'm not sure the real point in doing it aside
from honing some kind of a skill.
Do you consider what you do entertainment?
A show like I just did at Sonar, where it's keeping to a kind of four-four
rhythm, is entertainment. There is a subversion level in there, but I
don't know if it's noticeable to anybody but myself. I'm in that kind of
atmosphere so I'm creating it, but I'm also kind of subverting it at the
same time, [putting] things in to throw people off. I don't really
immerse myself in that side of it.
There's this huge market for it right now...
That's the kind of town Vancouver is...
But it doesn't seem to just be Vancouver, it's every major
metropolis across North America and Europe.
I think a lot of people are still really mystified. Tonight I was talking to
some guys at Sonar and they saw me on stage and they were asking
me if I was controlling the lights, [so] I explained to them a little about
what I was doing.
Well, it is kind of mystifying. It's even more mystifying now
because there are no turntables involved, there's just these
boxes. You're up there turning some knobs and it's weird for
me. I barely understood what was going on with the turntables
and now there's these boxes and wires and knobs ...
It is totally cryptic, especially as most people don't play that kind of
live music and you ask why bother, why not just dj?
OK, then, that's my next question.
Well, I don't dj. I've never djed.
What do you do? What are you doing up there [on stage]?
I basically have a couple of samplers and a synthesizer and it's stuff I
work on at home in my studio, taking tracks of mine that I've recorded — elements of my songs — and I'm taking them from a computer.
I have a little box that basically does what my computer does in the
studio: it runs a piece of music, except this thing is completely interactive and allows me to say, 'Okay, I'm going to bring in the drums now.'
Then I press another button and 'bass.' It's got eight different buttons
allowing me to control eight different tracks. I can control tempo just
by pressing a button, so it gives me a great amount of flexibility. There
is room for margin of error as well, [but] I have the capability to screw
things up big time and wreck the whole show. It's not as if it's a totally safe performance — there is some kind of live element [in that] even
if I'm playing the same songs, I'm never playing the same song twice,
that's the real live element of it. I've got effects as well. I can isolate different sounds, I can tweak things. There's enough going on in each
track for one person — like myself — to be involved, in moulding
shape and taking it from there. I can work with the crowd or against
the crowd. It's more open-ended than djing and I'm generalizing
because a really good dj can do anything. I don't think most djs do, or
are willing to really do, something like that. When you're djing, you're
pretty much fixed with something, whereas what I'm doing is a little
more vague, a little more open, and things like my mood can really
affect how the song sounds.
What next?
I just completed compiling tracks for the full-length that I'm doing
under the name Pellucid. I'm working on that and another 12" to be
released at the same time.
Is that the Solo Recording Identity?
That will be out some time next year. It will be released after the
Pellucid album. I have most of the tracks collected for that as well. I've
been recording these tracks for quite awhile and I've been trying to
think of them as an album, as something cohesive. So, it's still a case
of trying to figure out what I'm doing under each name and what the
differences are going to be between the two names that I'm using.
Are you going to be doing any more 'performances,' for lack of
a better term?
I'd like to do more varied performances. I'd like to do something a bit
different, something more on my terms, smaller. Although if a place
like Sonar would have me again that would be great, but [I'd prefer]
something more obscure. It's really hard for me to comment on that
right now because I'm coming off of a bunch of gigs and my head is
just totally at setting up my studio and getting back in and recording
more tracks.*
Look for Motor of Joy coming out soon.
RESIN at the Southhill Candy Shop
Friday January 2rd • 1998
4198 Main Street
RESIN at the Whip
Saturday • January 3rd • f998
209 East 6th Avenue
Trippy folk groove from Bowen Island
featuring violin, cello, and voice.
I Name
I cmk' ■:/•■
1 YEAR: $15 CDN   $USl5 US   $24 ELSEWHERE
DiSCORDER, 233-6138 SUB BLVD, VANCOUVER, BC   V6T 1Z1 Syrup USA is a Boston, MA four-piece band
who combine their magical talents to produce
some synth-infused pop wizardry that appears
happy   on   the  surface,   but   carries   an
underlying subtext of a slightly mysterious
quality — kind of like a fairy tale. Their latest
album, All over the Land, released under the
auspices of Flydaddy Records explores this
fairy theme further. After a 22-hour drive
spent listening to Steely Dan, hanging out at
truck stops, and ingesting lots of coffee, Seana
and Matt of Syrup USA talked about their
music, their tour, Boston, and, of course, the
- by Jamie Doucette
I thought that we could start off with some
basic questions like: Who are you and what
do you do in the band?
Matt: I play keyboards in Syrup USA and ...
Seana: He's the wizard.
Matt: And she's the white witch of the band.
Seana: 1 play guitar and sing.
How did you meet each other? Was it fate or
have you known each other for a long time?
Matt: Actually, we first met at a gaming convention. We were both into gaming.
What kind of games?
Matt: Like Dungeons and Dragons, chess, Magic,
The Gathering and then we went to King
Richard's Fair — that was fun ... we're sort of on
the vampire trip, too. That's a whole other level
of reality.
Seana: Vampires are evil, though, so 1 really
don't, uhh ...
Matt: That's so not true, Seana. There are benign
vampires, there are definitely some ...
Seana: Well, there are some that don't kill ...
Looking at the album cover and design, their
appears to be a fairy tale motif happening.
Where does the interest in fairy tales come
from and whose idea was it?
Matt: Well, it's like we are living in this reality
right here, this top level reality, this building
reality and street reality, and there are these different levels to it. There is the city level — it's
all here like that, but underneath it is another
level. There is magic all around you, like trolls
and other creatures around you, though some
are pretty benign. But you have to practice
your magic arts in order to get through it all.
Life and all that.
I was wondering who does most of the songwriting and composition.
Seana: I wrote the earlier stuff, but that was
years ago. We've sort of evolved into writing
songs together. The idea for the band came to
me when 1 was in The Swirlies and then 1
started writing songs and then 1 left and then
we all gathered.
Matt: She hooked up with Sam, our bass player,
and then she hooked up with Omn in the course
of about a six month period — this is all before
1 started playing with them —■ and then I was
living above Seana and she invited me to jam
with them one day. At the time, 1 was playing a
farfisa organ and I came downstairs to the basement of our seven-story palatial palace in downtown Boston on the Common.
Seana: Yeah, we lived in a dungeon.
Matt: It was magic.
How did you hook up with Flydaddy
Seana: I met (the guys from Flydaddy] when
they were still at Sub Pop and I was still in The
Who have you been playing with a lot lately?
Matt: With any number of bands: Stereolab,
Built to Spill, and Helium. Boston still has a pretty good vibe. Papas Fritas is one of our favourite
Boston bands.
Is Pop Narcotic [Records] still around7
Matt: Pop Narcotic is nonexistent now, as far as
I know.
Seana: Really!
Matt: [They're] not putting out any material,
unless it is really low key.
Anything funny happen on this tour?
Matt: Yeah, we stopped at this restaurant called
The Village Inn, in the middle of Utah, and this
group of sort of indie rock-lookin' people walk
into the place and we were like, 'Yeah, this must
be a band,' and this is the good part. One of us
says, 'Hey, are you in a band?' [heavy metal roadie accent] One of them says, 'Yeah, we're from
L.A. We're called Wig and we're on Island
[Records], and we're touring' ... blah blah blah.
We replied that we were in a band and that, yeah,
we were touring too.
Seana: 'We're Syrup USA.'
Matt: 'Oh, never heard of yuh, but that's okay.'
[Apparently it was hard to hear him from high up '
on his modern rock horse] But the moral is, who's
heard of Wig? We actually listened to their tape
and it was like Middle Eastern rock. It sounded
liked Jane's Addiction and stuff.
Oh, like psychedelic modern rock.
Matt: Yeah. But that's not all that happened ... this
dude named Jim walks in —• he's sort of an older,
elder fellow with a righteous vibe about him —
he sits down and inspects the restaurant, checking the place out and smoking some cigarettes. At
some point, he just turns around and looks at us.
Seana: Yeah, he turned around and looked
straight at me.
Matt: He says: 'I'm 70 years old and 1 was living in
L.A. around 1940 or '50 or so and, you know, that's
when I had my first OBE [that's an out-of-body
experience for all of you who aren't up to date on
the unknown] and then he started saying things
that rhymed. Like, '1 floated above L.A. and 1 saw
the webs and threads connecting heads.' Then he
went on to talk about spirituality and stuff and he
had all this stuff on the table, like anagrams.
Seana: Like TIME = EMIT
Matt: And this was a good one: EV1L=LIVE and
DEV1L=L1VED. I'm sure you'd get it. Anyways, he
definitely was a righteous old man*
After the interview, ['decided to take a glance at some
of Wig's work. It appears that lines like "listen will
you to my gun it grooves" and "pull my trigger" may
have possessed a past CiTR member to inscribe,
CONTRACT!" inside their album sleeve.
Harvey   Switched
Studio Pimps EP
featuring "Supervise"
live SATURDAY JAN. 3 1998 at Starfish Room
with Saddlesores and Electrosonics
live on the net: http://www.surfstereo.com
Records Box #2 402-814 Richards St Vancouver, B.C. V6B 3A7,
9  ms®imm $t*trt.4»L4fe-
>t fully
DiSCORDER: I was curious as to
which, if any, philosophers
might have been an influence.
Tim Gane: It's possible. I don't know.
I don't write any of the lyrics. I know
Laetitia reads a lot. Things that you
could call philosophy or cultural things.
But I think the reaction to what we feel
like doing in that area has to do with
people being kind of critical, [with]
exploratory ideas, you know? There's
something you're preoccupied with,
you try to understand it or write something about it. There really aren't any
answers. It's just like grappling for something. And that's why there are those lyrics from
that kind of perspective — to try and understand
something that she wants to work out what it's
about. Writing things down is a good way of doing
it. So they're very much unresolved, often, and
they're very oblique, occasionally. They're r
realized, final tracks, you know? We're n
sionaries. You know what I mean?
Yes, I...
It gets a lot of people confused. If [people]
are interested in something in this area,
they generalize: it's political rhetoric, or
it's Marxist, or it's ... and the problem is
that I don't think that people have a very
high tolerance to deal with the subtleties
or nuances of particular intricacies of
ideas in terms of lyrics, you know?
I think that might be selling your
audience a bit...
From my experience, I think people generalize, or misunderstand, or trivialize, or
marginalize. Which is fine,  but then
everything is kind of reduced to soundbites. Once you fall into this kind of area,
it's very hard to extricate yourself from it
too much because you find yourself digging a deeper and deeper hole. It's not a
left wing perspective, it's not an anarchist
But I'm asking ...
I think that people understand to a certain degree how the music works with the
words and so on, and the singing and the
voice and the words. It doesn't really
need to be explained in the context of a
... 'cause it works how it wants to work,   .
you  know? There  isn't one  response  j
aimed for, so one response is impossible.
So you  don't have any specific
political motivations, eh?
Do you ever lie or exaggerate to the
No. I wish I could, but I'm not a great actor. I'm
not a person who can pull things off like that very
well. And I suppose you codify what you do a bit.
Sometimes you embellish, maybe, slightly.
Sometimes the truth about writing music is actually
pretty uninteresting to read about. Like any subject
of doing something is the act of doing it which
makes it interesting. Talking about doing it isn't
interesting unless you've had an amazing sort of
10   January 7998
Tim Gane of Steredlab. The man is sharp.
In fact, he achieved pole-position early
on in the game and managed to remain
one  step ahead  of me throughout the
incident which fi [interesting]. Writing music is an
intuitive thing. I sit down. I have an organ and a
guitar. Five hours later, there is a piece of music. I
don't know if this is a lie or an exaggeration, but I
think you maybe leap for little things, which is try to
make sense of it — even if it's not exactly accurate,
because to be completely accurate would be long-
winded and boring. The problem I have is that I'm
often afraid of music being too academic and feeling that people need to have a strange under-
[Jabs a long, creamy-white finger at my notes.]
What's that in French?
Est-ce que vous avez un cerf-volant? [a
trivial question, originally intended for
[Eyes glaze over, a rivulet of drool seeps from side
of mouth.] Laetitia might know that.
Where has your music been received most
standing of esoteric music. When people try to
direct me down that line, I try to resist it a bit.
Although we do have people make up things.
Particularly in England, it happens quite a lot. Like
making up quotes. Recently in
s quoted me as saying something
//hat's-his-name from Prodigy and
even came up in the interview. They
i saying something like, 'We're not
exactly like Keith whatever from Prodigy.' 'Cause it
has to sound current.
about Keith
Prodigy neve
On your tours, which audiences give the
best feedback?
[Silent, quizzical look.]
Where has your music been received the
most warmly?
What is your favourite place to visit, so far?
[A massive grin extends across the white sheet
face.] Hell! I like the desert. In Arizona.
Did you visit the Gra ...
No. It's a bit of a cliche, but I did like Tokyo quite
a lot. And I liked going to Italy and Spain. And
Greece was good. I suppose [I like] places
which are least like where you come from.
I don't like touring in England, although
we get mostly good response in London,
and the southern part. But I like travelling
around the States a lot — including
Vancouver and North America.
Vancouver's not one of my favourite
places. It seems very ... I was shocked
when I first came out, how very rundown it
all looked. And so many poor people and
dirty beggars and other such things that
don't really connect it with the rest of
Canada at all... And we had these people
help us that obviously looked like the most
unhealthy, strange looking people. Hillbilly. You
know, like someone you'd see in a really poor trailer park area of some part of America, like you
always read about. They looked very malnourished
and strange and I was always obsessed with looking at them because they have strange eyes that
were dead.
Could be a result of the health craze ... [an
ear piercing Moog loop cuts through the
[Yelling above the din] WHAT?
[Half-yelling, half-yawning]
[yelling] But these people aren't
healthyl They're the opposite! They're
white as white, you know? Translucent,
but not in a good way. At death's door
really. Anyways ... [unleashes a high-
frequency shrieking sound, which I
could only interpret as giggling] Bit of a
silly observation about Vancouver. [The
noise in the club returns to healthy levels.] You know, the head of the tapeworm, so to speak.
[nervous laugh] What?
You know, if we're gonna play six new
songs we've never played before, I like
to play six old ones, you know. Older
ones that we know. I don't want
[Stereolab] to be an avant-garde group.
But we are. So we are happy to play a
mixture of things. You can't be known for
just one or two or three songs. You have
to make it work. The band has to be bigger than the songs. Or the idea, as a
vehicle, has to be more important than
the individual components of it. That's the
problem with a lot of bands. But I don't
eally want to get into that.
... OK.
I haven't really answered your question.
That's OK. I can't remember asking one.
[Later, upon replaying the recorded interview, this is confirmed. There was no
question asked.]
Look, I'm sorry, but I have to go now. I have to do
a sound-check.
No problem. If I could just ask you one
other, really quick question: when writing
a college paper, is it better to leave one
space after a period, or two?
[Without hesitation] Two. Definitely lwo.» J sat down with Winnipeg band The Bonaduces (pronounced bon-a-doo-cheese)
who were on tour in support of their latest album K is for Catherine. / was
curious about a band with song titles like "Val Left Her Inhaler in the Car,"
"Sara Shut Up" and "Friends With the Narc." Other than some wacky song
titles, I knew nothing about these guys, so I called up my sources in Winnipeg
to find out the latest scoop on these rising sprouts from the prairies. I should have
guessed that I was in for a load of sarcasm. As the interview began, I still felt
unprepared, I stumbled on my questions and I shifted my eyes a lot; luckily, it all
ended gracefully Present at the interview were all members of the band; Doug (vocals
and guitar), Chris (drums), Bob (bass) and Michael (guitar). Sneaking in for a few
questions was their roadie Paul. I present to you an interview full of tall tales and the
occasional fact.
 Interview by Ken Paul
changes to it?
Doug: We're actually remixing it and re-mastering
it. Hopefully it will sound a lot more fidelisky [much
But the same songs?
Doug: Oh, the exact same songs, except looped
How was it recording with John Sutton
[The Weakerthans, Elliott]?
Doug: Hey, it's great. Nothing like it.
Chris: It's pretty casual.
Michael: John Sutton makes everyone feel super
good all the time.
Doug: Yeah, that's his role in the whole story. And
he's got this great band called The Weakerthans
with John K. Sampson. Oh boy, are they gonna be
famous, all over the place ... Their record's
ing out very shortly and it's gonna be so amazing,
it will hit everyone like a tonne of rice.
Chris: It will be the end of music as we know it.
Michael: Kinda the best band on the planet eartl
right now.
Bob: Everyone else will know, once they hi
Doug: Oh baby!
How  did  your  new   album,   K  is   for
Catherine, come together? How the heck
did you pull it off?
Doug: Aw, well, you know, we pulled some
strings, we fudged the budget, we turned some
numbers, and there it was. All of a sudden, just like
that! Yeah, pretty much. What kind of details were
you looking for?
Well, I expected, you know, 'Well, we
washed dishes for 24 hours a day, seven
days a week, we owe our parents lots of
What about some of the names of the
songs — who is the genius behind the
song titles?
Doug: The namer?
: Doug.
Doug: I guess I handle most of the naming aspects.
Most of you are involved with other touring/recording bands. Doug, are you from
Banned from Atlantis?
Doug: Yeah, yeah.
Are you guys still doing stuff?
Doug: No, not at all.
Mike is from Cheerleader?
Michael: Yeah, Cheerleader is starting up again,
for like the third time with a new line-up. It's got this
guy named Jay who plays in a band called
Transistor, on bass, and a guy named James, who
used to be in I Spy, playing drums. And it's got the
same old guitarist, but I have to convince him to
come in to the city to practice, which is hard to do
because it costs him $20 every time.
Paul: Mike, I think you dropped a name there
Michael: Did I drop your name — Paul? Paul, of
Painted Thin fame?
Which  band was  it that just went to
Doug: Painted Thin.
Paul: Uh, yeah, that's my band.
Bob, I've seen you play in B'ehl before.
Bob: Yes, I do that.
Doug: Chris is in a band called The Butterbots and
they all dress as the four elements and sing songs
about Battle Beasts.
Bob: And they also sing about the new fifth element...
Chris: Butter [much laughter]!
Doug: After The Weakerthans, The Butterbots are
gonna be the really, really big band [short pause
for laughter]. It's true! They got 230,000 hits on
their web page yesterday!
IJt is itAtedc/cA-dy in a tiny pAtnphtet diWuiuted
%Auh&ui Architect Tfttei 1/kh Vex Z?e/ie t/tAt the,
d-ic&ms oft imecty Ale xiehet than tt>e /was u>e lead
The 3on&ducei Ate committed to seeinf thu ttend
m    'leveled. 7Ve uiM ioa^c a/1 the imecti
„™^ Trim®     «
Doug: Uh, no, I work pretty hard at a comic store,
for about all my life, and then, uh, yeah, that's a lot
of money. [Everyone agrees]
Michael: And the rest of us just weighted ourselves
around Doug's ankles like the proverbial cinder
blocks — cinder blocks on chains. I love proverbial
cinder blocks.
When [K ...] was released on Squirtgun
Records, many people were wondering
why the fidelity was so low. What happened?
Doug: Yeah, there's some marginal problems with
the mastering and I guess just general pre-production stuff that was handled by the label.
Chris: Let's just say it was fine when we sent it out
Doug: Yeah, [but] not to be down on them at all,
they're helping us out quite a bit.
It's   being   re-released   on   Winnipeg's
Endearing Records. Will there be any
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Who has the busiest gig schedule to juggle? Who has to learn the most songs?
Everyone: Bob!
Bob: Yeah, 1 gotta learn a
couple, but Doug's
also in a band called Swim
and also in a band
called Dreams of a Ridicu
ous Man, which he
plays different instruments in
so 1 think that's a lit-
He tougher.
Chris: I have to learn to play butter!
Do you guys listen to Art Bell when you're
travelling late at night?
Doug: We listen to-Dirken Hayes audio books that
we bought at truck dives, or whatever those places
are called.
Michael: Midnight Cab.
Chris: Midnight Cab is our favourite.
Doug: Just old CBC radio dramas, mostly.
Do you have the one called Future Fear?
[All at once, they break into a condensed version of
Future Fear, with Michael crying hysterically in the
background and with me gasping for air between
laughs. We soon settle down and wipe the tears
from our eyes.]
On to a little interrogation on Winnipeg ...
please tell the readers who Johnny Sizzle is.
Doug: Johnny Sizzle is this sort of strange elf that
sorta floated out of Winnipeg a few years ago.
He used to have a show on public access TV
called, uh ...
Bob: Johnny Sizzles Entertainment Watch.
Doug: Yeah, and he'd interview bands and basically ask questions like, 'Um, okay, uh, what are
the names of some of your songs, and uh, do you
guys like your own music?' ... He'd basically level
us with these hot questions and then we'd go, 'Uh,
uh, whatever.' Then he decided he was more
important as an artist, so he started creating beautiful music and toured to Sudbury a lot and then he
decided Sudbury's too small for one elf, [so] he
moved on to Montreal.
Michael: Where he became a famous model.
Doug: He became a model and a performer ...
he's a great man.
Any Burton Cummings stories?
Doug: Oh, hundreds ... yeah, Burton's this guy
who collects a lot of comics, and I work in the
'industry,' [much laughter] as it's called! He's often
seen stumbling into various comic stores bragging
about his enormous collection of things or whatever ... He's got Action Comics number one.
Bob: He's got a mint Elf Quest number three [much
Doug: Which is almost worth cover price! Way to
go, Burton [everyone claps]!
What's next for the Bonaduces?
Doug: We're gonna water bomb everybody, that's
the first thing we're gonna do. Then we're apparently doing a split 7" with The Weakerthans.
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n^motv5       ^atA
CD Release Reverie
Anza Club - Fri Jan 30
With: Pastoral Chainsaw
(Performing Uneven Steps and Burndog Hyena Tunes)
Joe Bodner and James Dean IV
Turn off the bad news!
Your body
its own
enjoy them!
Ignore the B.S.
Cancel your paper
Subscribe To
are imaginary!
Your Dreams!
CiTR 101.? fM and DiSCORDER are proud to
support Vancouver's fourth annual ROCK
FOR CHOICE event, January 16-17,1778
at the Vancovuer East Cultural Centre.
ROCK OUt and support the Everywoman's
Health Centre and the Elizabeth Bagshav
Clinic Vhile listen-
l ing to such fine
^V   musical acts as
Mr. Wrong,
Veda Hille,
JODI (from Team
Dresch), SNFU,
When it comes to business,
therefs only two names I trust..
Choke & Guy Smil lucky me got a chance to speak with Andi Toma,
one half of German techno-gen'tuses Mouse On
Mars, about their new album ond current tour.
What follows is the half hour of insight and broken
English which endeared me to this man instantly.
DiSCORDER: Have you already played
your show in Toronto?
Andi Toma: In Toronto ... yeah, we played yesterday. It was very good, [we received] a quite
good response and the people are very nice. I really like the Canadians. They have much more passion on live concerts. In the States, they are much
more [reserved]. The concerts were really nice so
far. We have been [on tour in North America] now
about six days. We started in New York and now,
we are in Conada. For us, it is our first time in
Canada. It is exciting!
Let's start with the easy stuff — who are
you and what do you do?
Who I am? Oh God ... who I am ... That's the big
question. Where do I come from? Where do I go?
What's the scent of life ...
Very philosophical...
I always take it philosophical. It's very hard to
answer this question because I can't say just [that]
I am Andi Toma and I work with Mouse On Mars,
because it is just a little part of my life ... the smallest part of my life. But it is my promotional part. I
can't answer this question that fast.
[Mouse On Mars] is the part of your life
that everybody already knows about if
they've been reading the interviews and
listening to the music, so tell me something different about who you are. What
do you do besides making musk?
Ah! Besides making music! I like to cook. I have a
family, I have a child already. I have to say, we
have a studio already, so I am mainly doing music.
I actually want to do more sports, like playing football, but I don't have the time. Mainly, I'm in the
studio working on music. The time I have left I use
for family or friends, so there's nothing special,
apart from doing music, in my life.
Is your studio at home?
No. It wos a few years ago in my house, but now
it's in an old liquor factory. It was a liquor factory
just ten years ago and we built a studio inside ...
it's quite close to the place I live.
Is this current studio the one in which you
recorded with Stereolab, the one that also
doubles as an art gallery?
ia, \a ... There are a lot of artists having studios
there and there's a big room where there's sometimes concerts or parties and clubs. We can also be
[an] art gollery. It's a very communicative building.
Do you play there as well, when it's acting
as a club?
We hove [a] dj, we have parties, we had Oval ...
do you know Oval? We did an electronic night
[with them]. Oval ployed with bands from
Dusseldorf and Koln. That's what we do there sometimes. If you have such a big room, you have to
use it. We always do it [and] we don't get much
money from [the events we put on] because we
don't have the experience. It's not like a gastro
nomic event ... we more, maybe, lose money on
the events.
Your new record seems to have good distribution in North America, but you can't
pick up the older two any more ...
Today we talked about that with the people of our
company, so they [will] try to bring it out as fast as
possible. I think the next one [that they bring out]
will be the first olbum, Vulvaland, next month,
iaora Tahiti, the record I really like, is next...
Performing with Stereolab will help you
over in North America.
Hopefully ... Normally [for the live shows], we have
a drummer, I play bass, we have electronics, and
it's all mixed up so that there's much more stuff
going on. First we thought [that] maybe if we do
this electronic techno setup, the reaction won't be
very good for us. And also for them because we
did some work together, they can sp
the electronic direction. In the live shows we do
some [songs] together; we improvise. It's very
cool. It's very noisy ...
The other big electronic scene of the
moment in Germany is Digital Hardcore
Recordings — do you have any opinion on
that scene?
We can see that everywhere we go they have been
there. We can understand that it's a different
approach to music that they have, more [provocative], I can't say so much about this ... we are more
pop. We are not that [provocative].
They spend their time sounding off about
the evils of Germany; your music seems
more reserved.
'We put a sound through machines and inside the
machines it is growing into its own personality We
take that sound and say Hello, come in! You" re
an   interesting   sound!"
growing into its own personality. We take that sound
and say, 'Hello, come in! You're an interesting sound!'
There's quite a lot of layering on this
album, but I've read that you don't consider any of your songs to be completely
finished. Do you take your songs to a
higher level live? Do they take on a
whole new life?
We don't play the songs live. We do something
totally different. We take maybe some elements out
of the songs, but, especially when we do the dj set
together, it's something totally new. When we perform as a band, it's the same thing, but it's more
song-oriented. You can sometimes realize [recognize] the songs from the album a little bit. We don't
usually reproduce our album; it is something completely new. Sometimes we have some hooks, but it
depends how we put things through on our desk,
Will your performance in Vancouver be
with a band, or just as djs?
It will be just our cooking-table. It's very rhythmic and
we are very often amused with what we do. For a live
band, it's very important that you can see, that the
audience can see, that you don't have the full control,
that you don't just reproduce something. You're always
astonished, positive ... sometimes we ourselves have
positive reactions because we, ourselves, invent stuff
we didn't know that [existed] before. It's exciting for us,
so it is also exciting for the audience. It always seems
like the people have the feel, like we [do], that the
music is falling apart. You can see in their faces, 'Oh,
God, will they do it? Will it happen?'
And most of the time it works out?
Jo ... Even if it doesn't work out, nobody knows
how it really should [have been].
Is there any last thing you would like to
say about your music, your art, your life ...
Actually, not really ... I think everybody should listen to the music and make up their own [mind]. If I
talk too much about it, it puts it to a certain direction. We are very open obout what everyone feels
about the music, so I don't want to say too much.
What can I say ... maybe Jan!
[Andi yells away from the phone at Jan in German,
asking him if he wants to add anything to the con-
that intense, but the people really like it. [Now] we
just [have] this table and it looks to people just like
The Cache Coeur Naif EP was well-
received over here and your work with
Stereolab on their new album [Dots and
Loops) has not gone unnoticed. There is a
fairly hardcore Stereolab fan-base here
and your music is somewhat similar in its
upbeat, pop/electronic feet...
There might be some musical connections also.
But it's not just because of the musical connection
that we tour together. It's more because of a sympathy which we have with Stereolab. They always
ask us if we want to join them to go somewhere.
It's very good for us because we don't have that
reputation and the people who listen to Stereolab
are very open in alt musical directions, [so] it's
We don't really want to transport a German idea
with our music. We don't want to criticize political stuff which has gone on. We are more maybe
political in a musical way because [our music is
What is your favourite noise-maker that
you used on the new album?
Famous noise-maker... sound-maker... hmm ... mostly it's electronic devices that we put sounds through,
like guitar pedals, or broken cables, or through converters. When a signal goes from analog to a digital
machine through the converter, in this moment, you
don't understand what's happening. Sometimes you
can't control [it] and stuff happens like a distortion or
a fuck-up in the machine. That's our most famous
machine because it con be any machine, any tool.
We like noises which invent themselves. We put a
sound through machines and inside the machines it is
toilet. He can't talk n
lething else to say.9
*. No, «.
Jan is
And so ended my delightful conversation with
Mouse On Mars'Andi Toma. At their show at the
Palladium on November 21st, I had a chance to
meet both Andi and Jan. This meeting confirmed
my suspicions that Mouse on Mars are the two
dreamiest German techno boys in existence. Their
music is pretty dreamy as well. If you missed their
excellent performance, take a listen to Autoditaker,
their new CD. It's a bizarre sampling of every bit of
poppy electronica fit for the human ear. I have a
hard time conjuring up words to describe the
album, as it fits into no established genre I know.
It's a little bit ambient, a lot bit goofy sounds. It's
guaranteed to put you in a good mood. Andi and
Jan of Mouse On Mars have cooked up quite a
batch of fun on their musical machinery this time!
nyQiMPE Qrrgyj/ifa
Cooking     with     Mice     by     Julie     Colero
B   I5^g5SES_i s
ome time ago, it was posited to me to
consider the proposition that "genius"-
ness, which was the result of artistic
patronage, should once and for all be
trashed from 20th century dialogue. It
was argued that one should move
from ideas of "master artist" to those
of "master interpreters." For example,
much of the originality and creativity
of Canadian indie-rock icon Glenn
Gould is credited to his interpretations
of the classics — notably Bach's
Goldberg Variations — thus promoting ideas of contextual, anti-authoritarian readings and meaning. Well,
perhaps such discussions are best suited for a more appropriate forum, i.e.
a well-gassed social club evening.
Suffice to say for the sake of this introduction, it would make a fine question
for this essay's main protagonist, High
Llama's head honcho Sean O'Hagen.
Self-labelled "mad," "delusional,"
and "meticulously obsessed" with
musical detail, Sean's musical agenda
appears to some to be solely centred
around his interpretation and continuation of a lofty lineage of pop composers like Burt Bacharach, Jimmy
Webb and Brian Wilson. But for Sean,
the past is merely a starting point —
the sonic vocabulary in his forward-
looking tapestry — and once you get
this most amicable chap talking, so
much more is revealed — most
notably, a willingness to ditch any
"retro-revivalist" tags. As he says, if
one has to be "obsessed" with anything, isn't it most practical to be
obsessed with "musical incongruences?" And what could be more incon-
gruent today than the subject of
"pop-expehmen tai ism ?"
DiSCORDER: 'I'm just doing what I like to
do, what sounds melodious to my ears.'
Keeping in mind Big Star's Live LP and
Alex Chilton's infamous retort to a radio
host's query as to whether Alex's music
is 'anachronistic' it seems that so much
of the discussion regarding the High
Llamas is centred about its historical context, its place within the '60s pop milieu,
etc. But before tackling all that, could
you tell us something about the actual
writing process? You seem like the kind
of person who looks for a good chord
progression and goes with it.
Sean O'Hagen: Yeah, you're quite right. It
does start in a very traditional way, literally
at an upright piano or on a gut string guitar.
I figure that, in an academic point of view,
things have to start in the centre and move
out to the fringe, rather than from the
fringe to a centre. By that, you're going to
end up with a much more interesting result.
We start very traditionally with supposedly
an emotionally communicative chord progression, that's the first thing that effects
somebody. And what you do with those
progressions — how you dress them up, the
way you mime them, twist them or turn
them upside down — is basically what
effectively defines you within other people's
contexts. It's like ingredients: the first top
line melody, the first 2-4-16, whatever number of chords, all shape basic emotional
You have the structures there at the
upright piano and I know you infuse
things with numerous instruments —
vibes, glockenspiel, strings — do you
think about the connotations of certain
instruments? For example, the sound of
a violin versus that of the vibes?
Absolutely, sure. Certain sounds do hold a
kind of baggage, but what you can do is be
74   January 7998
unpredictable in the way that you match the
sounds. Like you might use a string section
that, instead of suggesting a certain feeling
or whatever, you basically whack something
on it, like some sort of filtered sound, to
change the effect. What you've got to do
with the way you use instruments is as well
as suggesting the emotional baggage, you've
got to also undermine them immediately by
mis-matching sounds or'being incongruous
with the way you use particular instruments.
What we'll do is take a filtered organ and
match it with the top line of the strings,
immediately altering your concept of what's
at play. One thing that's really negative about
rock music is that it's fascist music, not open
to change or invention. It's confined by visceral or non-visceral delivery. Fine, people
have done it well —the MC5 are its highest
exponents in my opinion, or people like Alex
Chilton are still doing it. But in general, it's
the music of the establishment and what we
try and do is take instruments that have been
ignored or displaced, like the vibes. The function of groups like ourselves and Tortoise is to
redefine the instruments and say, 'Look, the
vibes are cool, they can actually work.
Everything doesn't have to be a bunch of
guitars.' As far as I'm concerned, one of the
starting points for this whole reinterpretation
of sounds came the last five years [with] club
culture. A bunch of people got bored mixing
James Brown records and wanted to start
mixing jazz, soundtracks, etc., and suddenly
we were hearing these great sounds again.
People who do this intelligently are real musical innovators.
Do you find that challenging in your
music? Finding oddball combinations of
sounds? Electronics?
Yeah, I didn't really know all that much
about electronics two or three years ago,
but it's such an exciting area that one has to
get in there and embrace it. The record I
made with Tim Gane and Andy Ramsey —
the Turn On record — was very much a
learning record, as you say, to challenge
yourself, to get a grip on things. We went
into the studio with absolutely nothing written, whereas usually we're very prepared,
but we realized we had to have a totally
strange, unfamiliar surrounding to kind of
get on top of these new sounds. Making
that record really helped making the new
High Llamas record.
Previous to these experiments in electronics, would you say that the High
Llamas sound was somehow 'pastoral?'
Without a doubt there was kind of a
baroque thing going on, the same way as
with .the Left Banke. Even though I've never
been a huge Beatles fan, that whole late '60s
thing when it was like, 'It might be intelligent
to do the baroque-sounding record' was
interesting. Gideon Gaye was without a
doubt a baroque psychedelic pop record. I
still like the record and we still play bits and
pieces from the album, but I don't think it
stands up as a challenging record.
With the new electronically-infused
recordings, would you say the High
Llamas are moving to a more 'sublime'
sound? [I'm now really moving in my
own sense of how I wanted things to
progress — perhaps to methodologically
Sublime, yeah. Interesting, yeah. Actually, to
be more straightforward about it, I'm much
more interested in jazz as a starting point as
opposed to pastoral pop as a starting point.
I did like the idea of pop music — I love the
idea of absurdity, of being as absurd as possible with pop and I'm into the egalitarian
thing in music. It's the one art in our experience that connects with you immediately.
You can't escape music, whereas to read,
you actually have to decide, 'I'm going to
read this.' I'm into the idea of the accessibility of music [and] I hate elitism. I don't like
the idea of being wantonly obscure, but I do
like the idea of being as avant-garde as possible and also being as accessible as possible.
People have done it over history: Robert
Wyatt did it on his absurd version of 'I'm a
Believer.' On the new record, Hawaii, we
tried it, using jazz and soundtrack music as a
starting point.
The Tindersticks recently released a
soundtrack. What sort of soundtrack
material is of interest to you? Obviously
you'd want to be cognizant of its mood...
Or not. Sergio Leone and Morricone never
discussed the film. It's quite well known that
its was sort of, 'The music that is in my head
now is what's in your next film, mate.' What
would it be for us? Well, on one hand, I love
Bernard Herrman and his thick slabs of brass
and on the other hand, I like the nuttiness of
people like Morricone — little bits of
clavinettes, banjos dancing around.
You've said Hawaii was too slick. It
seems as if there were a lot of cinematic
interludes at play between the songs
themselves. As for the new record. Cold
and Bouncy, is it safe to say that these
interludes have been tamed down and
stuffed into the song structures? How
does its electronic-ness effect this?
Yeah, the songs are more assimilated.
Basically, the songs cannot survive without
electronics, they have become the stasis and
the role is much more permanent. In doing
that, it's basically dragging the Llamas closer
to our spiritual cousins in music at the
moment — be it Stereolab, Luke Vibert or
what have you — and away from the awful
drudgery of the heritage retro-rock thing. I
mean retro in the most terrible sense,
because there is intelligent retro as well. The
electronics are wonderful, it's the inevitable
acknowledgment of the fact that music has
found its confidence again. The '90s have
found incredible confidence through electronica and drum and bass.
If you think about early electronic
records and ambient music, it didn't
seem as though there was a face to it.
Eno's Discreet Music was about setting
up his machines and letting the music
go. Music for Airports was the birth of
muzak. Do you think ambient music has
finally got its face?
Hmm ... I think that there was some worth
to what Eno was doing in being 'anonymous.' I love that idea, that's why the
vocals on Cold and Bouncy were recorded
the way they were — to get away from the
whole, 'Oh that's my voice, that's Sean
singing.' I wanted a homogeny of vocals to
assimilate into the arrangements the same
way as the electronics might. I'm fairly
interested in the idea of instrumental music
being accepted as a pop norm, redefining
songs almost like ... there is personality in
the music, but it isn't associated with these
human individuals.
What about your position in the music?
Are you worried about your music
being perceived as 'epic?' How do you
perceive it?
I think that the music we make is emotionally connected, not just an intellectual exercise. Sometimes I'm asked if I'd like to work
with an orchestra, but I actually don't like
that attitude, that kind of bombastic
lengths one goes to. When we did Gideon
Gaye we tried to use strings intelligently, we
had three strings and we tracked them up.
I liked that, it goes against the attitude of
'Right, let's bring in the orchestra!' [and]
'Let's knock 'em dead with this.' That's not
where it's at. That's the pompous epic thing.
To be ambitious you don't have to talk
about volume or density.*
I just wasn't m
by Ni ade for these times.
Pastoral High Llamas
)h Llamas9
Of or relating to a semi-sedentary way of
life, marked by a more rustic existence,
closer to the natural in which shepherds
held close ties with a flock of animals
and a wide subsistence base. Originating
from the Latin "pastorale" which now
refers to an instrumental or vocal composition evoking idyllic themes, the idea
of "pastoralness" is today most associated with the rise of Romanticism and
the cavalier poetics and paintings of the
late 18th Century. As for the High
Llamas, Sean O'Hagen's 1995 release
Gideon Gaye worked with a very pastoral palette, offering a glimpse into
early pioneering North American life
with its whimsical pastiches of bar room
folly, giddy hamlet life, and overall agrarian imagery. Sonically, the album pits the
ever catchy Beach Boys' harmonies with
the guitar musings of Donald Fagen's
Steely Dan. In Sean's words, "It was a
derivative album. But I'm prepared to
defend it. It may have been a good
album in 1995, but in 1997? I'm not
sure." The critics were sure, however,
championing the classic "Checking In,
Checking Out" to some chart success
and tracing O'Hagen's latent rustic signifies — including his protagonist of
choice (a goat) —to the Beach Boys' day
at the zoo and their Per Sounds release.
In "Checking In ...," O'Hagen muses,
'Gifted artists need respect/ True collectors must collect,' in one hand, nodding
to his love of the aforementioned '60s
pop orchestrators, while also foreshadowing his own audience/artist relationship. Ironically, O'Hagen's refusal to
re-record the track lead to artist/label''
"differences" and an inevitable falling
out with Epic Records.
colas Bragg
The Sublime
What has been called "the bourgeois
mode of experience," the sublime is really just a nice way to untangle the shifting
terrain of the inherently hard to define
'postmodern condition.' The High
LLamas' newest release, Hawaii — with
its epic proportions, lush instrumental
arrangements, and cinematic reference
points —offers up a new take on a sublime subjectivity via a strategic use and
undermining reuse of sonic signifiers.
How? Skilfully suturing th-e three M's
(Mancini/Morricone/Mingus), O'Hagen
masterminds the architecture of his new
Utopian pop landscape, dubbed Hawaii.
Why Hawaii? Well, as James Burke's
'Connections' would tell you, it was in
Hawaii that Brian Wilson finally got out
of bed and deemed himself mentally sta
ble. In fact, all of the Beach Boys looked I
to the main island and recuperated post-f
1967's Smile sessions. O'Hagen's 29-f
track, 74-minute opus offers a similar!
tropical cabinessence vista, with fruitful I
combinations of earthly vibes, strings,!
banjo, piano and spacey synths. As fori
Hawaii, O'Hagen steers clear of its epic!
proportions: "It was too slick of a record I
tor us. I listen to the records that I like!
and they're a bit looser, a bit more falli-l
Sean O'Hagen's Varied Resume
1984-1988: Sean and mate Cathall
Coughlan form Microdisney, releasing!
four LPs to some success and surprisingly I
touring with U2 to support '87's Croo/cec/l
Mile. Cathal went on to form the Fatima|
1990: Sean's first solo, titled High Llamas, I
is released on UK's Demon Records, a!
more straight ahead effort, with a nod of I
what's to come on "Paint and Pet."
7993: The High Llamas' first release,!
Apricots, comes out and Sean is inducted I
into Stereolab, arranging strings and brass j
for Space Age Bachelor Pad Music.
1994: Recorded over ten days and on al
budget of $3000, O'Hagen's breakthrough!
album Gideon Gaye was released initially!
on Target Records, later on Alpaca Park!
(Sean's Epic Records imprint). The rave is I
on. Sean is a busy man, working with!
Palace on the beautiful Hope mini-LP (you!
can hear him methodically counting certain I
numbers in!) and with the Boo Radleys,I
too. Sean even finds time to play in Arthur j
Lee's revamped Da Capo-era Love.
7996: Sean begins his Hawaii recordings!
while continuing to fill out the Stereolab!
sound. He meets up with John McEntire!
of Tortoise, collaborating on various!
Emperor Tomato Ketchup arrangements!
and mixes. Meets up with Brian Wilson!
and the other Beach boys to discuss!
recording a new LP a la Sunflower. No go, f
Mike Love hated him, although Sean did!
appear on stage playing guitar with Brian I
and the Boys at Ohio's Columbus ZooT
Hawaii is out, synthesizing strings and|
electronics, verve and vision.
7997: Sean's experiments with electronics!
continue, finding his Van Dyke Parks in!
Stereolab's Tim Gane. Together they col-T
laborate on the Drag City release of Turni
On, an LP as much about learning to loop!
and sample technologies as it is about!
solidifying the collaborative direction to!
come. Stereolab's 1997 Dofs and LoopsM
and O'Hagen's pending 1998 release Co/c/1
and Bouncy both bear its experimental!
electronic fruit — the latter a testament to I
time spent this year with his "spiritual!
cousins," Mouse On Mars.
ft s^au^a The Spirit of the Holidays is
upon us and though some
would say that it's smothering us in a fetid blanket of consumerism, I prefer to look at December 25 as a day I can subtly
let my friends know how much
they mean to me by translating
my love into a gift. When someone has spent a year giving me
moral support, laughing at South
Park with me, pouring me
Manhattans and letting me puke
in their car, I find that a card that
reads "A donation has been
made in your name to [MY FAVOURITE CHARITY]" is not an
adequate enough reward. My
friends deserve rewards, and
since I can't give them all fabulous holidays in Vegas or steady
employment (deserts just enough
for putting up with me), this year
I've settled on video as the perfect one-stop giving idea.
Both inexpensive and versatile, you can find a suitable video
for all tastes, quirks and fetishes.
Music, movies, how-to, documentary, porn: I challenge you to find
a friend (or relative) that won't
be delighted with your hand-chosen video gift. As the festive sea
son of elbowing cranky fellow
shoppers through Pacific Centre
is already well underway, I have
tried (in my good-witch-of-the-
North kind of way) to scout out
the best video purchasing spots
Limited by a lack of private
transportation, I was only able to
canvas the downtown/Vancouver South area. Many stores
(London Drugs, Future
Shop, The Bay, etc.) sell the
most popular videos — sometimes at discount prices — but
unless your friends are into Jingle all the Way or Liar Liar, you
won't find much selection. The
major video rental chains sell
both new and used videos at reasonable prices. Used, you're going to pay about $ 10 for a second-rate, well-worn, hardly
giftable cassette. New, the prices
are a standard $20-$30, but the
selection is mostly pretty pedestrian fare. (We're talking big
blockbuster movies, not films
about crossing the street.) Please
note that Blockbuster Video
forces directors to submit censored versions of their films if the
film received more than a Re
stricted (old style) rating; if you
rent or buy from this company
you are supporting censorship
(by an American right-wing company) in Canada.
The biggest video departments
I was able to mosey through were
Virgin, Sam's, A&B Sound
and Videomatica. Of the four,
only Virgin is not Canadian
owned and it is by far the worst
for service. It seems like the Virgin policy is "Hands Off" and the
staff take this approach to heart.
Getting help in that store is about
as easy as getting Demi Moore
to hand-deliver your nachos at
Planet Hollywood.
The initial reaction I had upon
my visit to Sam's was that the
building's designers think all
movie fans are in need of a little
exercise and thus they put the
video floor up four not inconsequential flights of stairs. Once I
had ascended to the dizzy
heights of Sam's video department, I was met with a mediocre
selection of film, TV and music
videos. My first stop, as with all
the stores, was to check out the
price of Bound. All my associates
will be getting a copy of this fine
film this Yuletide season, as I think
everyone needs a little lesbian
gangsterism in their life. The
Sam's price: $ 16.99. Their "cult"
section offered up a paltry 18 titles, all '50s sci-fi and one John
Waters film (Polyester). Musically
speaking, there wasn't much either, unless you're hot for the new
Hanson vid. The best bets seemed
to be Leonard Cohen's / am a
Hotel ($12.99), Iggy Pop: Kiss
My Blood (Live in Paris) ($11.99),
and the Goth Box[\], $29.99 (not
including the companion CD).
That old standby of inexpensive rock V roll, A&B Sound, was
the not-surprising winner of the
best music section award. They
had a comparatively vast array
of old-style alternative music very
reasonably priced. Some interesting titles I stumbled across were:
Sub-Pop Video Network (Program II) ($27.99), The Great
Rock V Roll Swindle ($23.89),
The Monkees Head (a don't-
knock-it-'til-you-try-it classic,
$ 17.89), Neil Diamond: Love at
the Greek ($14.29), and a mysterious Sonic Youth tape
($21.99). A&B also sported a
pretty good sized film collection
that included such must-have titles as Russ Meyers' Beyond
the Valley of the Dolls and Glen
or Glenda. The kings of Seymour
Street were also champions in the
Bound contest — a mere $ 13.99
for two hours of Jennifer Tilly,
Gina Gershon and thou.
As far as movies go, however,
the winner-and-still-champion is
Videomatica. Knowledgeable
service (the rumour is that you
have to take a movie trivia exam
to work there) and a film-lover's
wet-dream of a selection are
yours when you step off of 4th
Avenue and into their too-small
sales space (two doors west of
their rental store). A Canadian TV
section (including Kids in the Hall\
and the David Cronenberg
Director's Edition series were but
a few of the unique finds at this
store. For all of you out there who
were horrified when your favourite British wit turned slapstick,
Rowan Atkinson's Black
Adder series can be had here, in
its entirety, for $102. Unfortunately, though they're well-
stocked in musicals, they have no
concert videos or regular videos.
For the Boxing Week, holiday
cheque-spending season, all the
above stores will order cassettes
for you at no charge: Videomatica
quoted me the fastest waiting time
at 1.5 to 2 weeks. Have a well-
oiled holiday season and take
this last bit of gift-giving advice:
Bound is a film that the whole
family can enjoy; why not make
it a Yuletide tradition?*
by The Invisible Claire
exotic but still familiar. In addition, persimmons make for delicious fruit crumble. Though I
should be using this space to review Giant, Stinky Fire Engine's
record, I would rather only allude
to its qualities by way of a fruity
metaphor. (Up, PO Box 21328,
Seattle, WA, 98111/ Slabco,
PO Box 85510, Seattle, WA,
For this edition of the column, the
ever-evasive Claire was contacted
via Ouija board.
"The magic letter of the month is
... K! I'm not sure what the cabalistic value of that particular character is, but it must be rather fortuitous considering the nigh-deluge of musical creations with
which K Records has drenched
this earth. Their cup overfloweth
so grandiosely, in fact, that they
could afford to send me three new
K releases. The magic number of
the month is, quite fittingly, three.
I'll set my cryptographers at UVic
onto the task of decoding the alchemical and/or numerological
significance immediately.
"It is unfortunate to hear the
extent to which tight trousers have
taken their toll on poor Ian. His
voice, formerly so resonant and
distinctive, has withered to a
feathery gasp which barely jostles the soundboard's needle.
However, MAKE-UP seem to be
persevering despite their singer's
76   January 7998
handicap, as the delightfully affected "Free Arthur Lee" single
confirms. The B-side to that gospel anthem is a lovely Dub Narcotic remix wherein Mr.
Johnson's atonal but deep voice
is brought in to buttress lan's feeble yelps. Never thought I'd say
hallelujah to that, but amen. Free
lan's pants!
"Speaking of cryptographic
puzzles, GAZE are playing the
,   he,
.nd  hin
game, toying with our minds under the auspices of lingering guitar notes and pretty voices. Attempting to interpret the various
address terms made me flash
back to the teen angst of years
(er ... months?) gone by. From
what I could piece together, it
seems that you have not been
very honest concerning your feelings about her, and it makes me
feel miserable. Who are these
never-named individuals and why
do they have such interesting love
lives? Listening to Gaze's three
newly pressed songs is a
strangely voyeuristic experience.
There is a soap opera going on
in our midst, it would seem.
"By night, SARAH
DOUGHER is a member of The
Lookers. By day, she sings
acoustic love songs with a strong
and confident voice. You know,
it was only recently that I began
to appreciate acoustic music of
this variety, but I can safely assure you that Sarah's talent is of
the top echelon. 'Stumble Down'
is nearly worthy of a young
Patrik Fitzgerald — and that's
a BIG compliment in my book.
(K Records, PO Box 7154, Olympia, WA 98507 USA)
"And now, for the records I
chose to buy entirely on the merits of funny band names!
"I first heard toytown new
while eating a Fu Yu persimmon.
Lovely fruits, persimmons —
sweet yet tough, vaguely noble
despite their garish colouring,
"Memories of my short-lived
vocation as a noise groupie
flood uncontrollably back when
IN L.A.'s Ride A Cock Over
Horse 7". Tape loops and feedback and maddened yelping, recorded live before a dreadfully
unappreciative audience, return
my thoughts fondly to those
happy days of ruptured eardrums and sadomasochistic performance art, Hitler films, and
strapping tape. The cover art
was drawn by fellow noise-
mongerer and Scissor Girl
Azita. (Menlo Park, PO Box
1652, Cooper Station, New
York, NY, 10276-1652)
"Excursion Records butter
my hardcore toast. Their four-
song compilation of Northwest
H/C, Brewing, pulverises
grief and heightens the sensations that accompany frustration. All four of the bands
featured (Slowsidedown,
Nineironspitfire, BOTCH,
do what they do very well, but I
have to single out Botch's song,
'End of Discussion,' because it
balances controlled and chaotic
elements so excellently. Punk alchemy — I love it.
project that makes me swoon
in delight is this 7" split twixt
STATE ROUTE 522 and LYING ON LOOT The former
steep their aggression in
melody, but goodness gracious! Lying On Loot are just
pure, depressing, mellifluent
ecstacy. 'Skies of Stars' and
'Deafeatist' weave acoustic
guitar, violin, and one of the
loveliest boy voices I've heard
in a while into a blissful
dysphoric tapestry. (Excursion, PO Box 20224, Seattle,
WA, 98102)
"I fear lounge because it
threatens to bring back all we
have worked so hard to destroy. I fear Vista Cruiser by
is so good that it could, if
given half the opportunity, remove some of my prejudices
against the form. (Collective
Fruit, PO Box 4415, Seattle,
WA, 98104-0415)
New Order After A Traffic
Accident, did a groovy
Eurowave full-length on Kill Rock
Stars last year. 'Return To Me,'
the A-side of their new single,
follows in the slickly programmed tradition of that release, but the title track,
'Charmed, I'm Sure ...' is more
of a guitar-based lyrical rant."
(Punk In My Vitamins, PO Box
2283, Olympia, WA, 98507)
Claire disappears, leaving behind only a small puff of mysterious
purple smoke.0 basslines
by dj noah (djnoah@direct.ca)
To kick off the new year,
this month's column is an
interview that I conducted with Planet Dog
Records founder Michael
Dog. He was on a small North
American tour at the end of
November and beginning of
December. His last stop onthe
tour was in Vancouver on
Wednesday, December 3rd.
The following is our conversation which aired live November 28th on HOMEBASS.
Michael phoned in from s
where in Los Angeles.
Noah: You're on tour
right now. Is it just in
North America?
Michael: It's only a short tour.
Eat Static has a couple of dates
and I'm playing for both of
them, as well as a few other
dates in the vicinity.
Is Eat Static playing to
promote their new album?
Yes. A couple of people had
shown a lot of interest in bringing
them over to play on the West
Coast. Somehow they managed
to work it all out and ship all their
equipment over [laughing].
In our last interview, you
touched on the lack of
support for Eat Static in
Europe. Has that changed
since then?
The 'Hybrid' single definitely
got a lot of club support when
it came out in early '97. In fact,
the remixes went down really
well with the drum 'n' bass djs.
They are also going to be
friendly mix of 'Contact,'
which is on the new album,
Science Of The Gods, when
they get back from this trip. It
should be out hopefully at the
end of January.
You had just signed FLF
when we talked last,
bringing your roster to
five. Have there been
any more acts added to
your label?
No, it's currently gone dc
rather radically, for various
reasons. It's now down to Eat
Static and Future Loop Foundation. There'll be more in
the future; it's just, well, you
could put it down to natural
wastage. Actually, that's kind
of a cruel thing to say. One
of the bands split up, one had
a contract that ran out, and
one felt they wanted to
elsewhere, and I wasn't
about to force them to stay
with Planet
Can we expect anything
from FLF in the near future?
] single out at the
beginning of the fall, and he's
currently working on his next
album, which I think
to be a real corker.
Are the Megadog parties
still going on?
It   has   slowed   d<
Megadog.  I  have actually
stopped organizing the shows.
inted to be able to
trate more on the label side of
things. Oddly enough, there
will be two Megadog parties,
one after the other, just days
after I return to London after
my tour.
Do you still find enough
time to dj?
I'm actually djing more now
than I ever did, even with the
time I devote to the label.
Any sounds or trends
that are peaking your interests these days?
There's more diversity than
ever out there right now. It's
hard for me to latch on to one
particular sound. I think, certainly in England, there really
is everything. I really find Jump
Up, a strain of drum 'n' bass,
quite interesting because it's a
much more danceable rhythm
which is becoming more and
more popular. There's also a
type of trance and hard-house
mix that's gaining popularity
and one of the labels at the
forefront is HOOK.
Any plans to record your
own material?
I'm actually going to be co-producing the FLF album. I would
love to be able to indulge myself and play around with creating drum 'n' bass rhythms,
but I'm more of a 'Make it
sound like this' person, dictating to someone else what I
want done.
What's on your plate
for next year?
I'm working on the finishing
touches of the next Planet
Dub compilation which
should be out in March and
I will also be adding a few
more acts to the label.
This was not the entire interview, but due to space constraints, these are what I felt
to be the most important excerpts. Next month will be
an interview I had with ambient recording artist Steve
217 west hastinqs street |
Vancouver, be, Canada
(§) 60H.6Z9.77ZH
fx. 60f.689.7781
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the underground @ 848 granville street (on theatre row) tel: 604.681.8732 _•' ••*_? X U NI VE RSAU %si >' #•»
PA? •__¥   •   CONCERTS CANADA   <t "5^  I #.%*
with guest Kacy Crowley     4m
jj- Saturday, January 10th ifpr
Province    QD   JS___
with special guest
A Fool and His Money
The Shipping News
American Whiskey Bar
(Arsenal Pulp Press)
Human society is a wondrous yet
pernicious thing. It brings us into
contact with ecstasy, tragedy,
and apathy, it both cocoons and
exiles; it warmly caresses and
firmly dismembers.
Nothing can reveal these
facets so readily as the misfortunes of the guileless and the
treachery of their expected benefactors. Ann Wroe's A Fool
and His Money: Life in a
Partitioned Medieval Town presents the case of Peyre Marques,
a small businessman and pef/7
r of the Provencal town of
Rodez during the Hundred
Years' War. A capable merchant
in his youth long ago, he has
since succumbed to a senility
which pillages his mind and
slowly disinherits his family. All
that sustains him is a fable of hidden gold he endlessly recounts
to whomever might listen.
Whimsical fate prevails: contracted to repair the cause of
recent basement flooding within
Marques's cellar shop, three drain
workers do indeed find a pot of
coins. Never have they — or
Marques's daughter and son-in-
law, Gerald Canac — seen such
■alth or coins of high quality.
On the promise of finders' fees,
Canac swears them to silence.
But this is a divided town
wherein the separation is physical. Like Berlin of the Cold War,
a wall within the town's defen-
e outer wall delineates the
sity of the belligerents.
The two rulers have too much to
gain from the conflict of Church
and State (generated by their
ss) to consider negotiating with one another. This
tension between City and Bourg
is   exacerbated   by   fears   of
'English' marauders
the countryside: within the town
walls, the fears of the elite trickle down. The cache that the
builders, Johan Gasc (City) with
his subordinates Marti Barbier
(Bourg) and Marot de Namaria
(other), discover is so undeniably pure that it must have been
placed there long ago. Canac
and his wife, fortunate to come
down to the cellar shop when
they did, are similarly aware of
the coins' quality. This book follows a comedy of errors made
more surreal by being an historical event. Wroe's research of
local archives provides an
enjoyably vivid account of
medieval town life. Rarely has
the absurdity of reality been
pursued with such honesty, clarity and wit.
While senility crippls Peyre
Marques, the protagonist of E.
Annie Proulx's Trie Shipping
News, Quoyle, is hindered by
his physiognomy. Plainly stated,
he is a doughy, lumbering, clumsy oaf. Both father and brother
incessantly remind Quoyle minor
of his ineptitude, of being a disgrace to the family. Quoyle, a
college dropout, is saved from
complete neglect by the kindness
of an outsider couple, Partridge
and Mercalia. Partridge introduces him to journalism. Even
under Partridge's protection,
Quoyle's unerring sense of self-
destruction transports him into
marriage with a promiscuous
woman. Weakness and despondency created by this ill-cast
union are salved by its products,
his daughters Bunny and
Sunshine. Fortune finally excises
the disease from his life just as
she sought to eradicate his happiness. Thus, unlike Marques's
continual descent into penury
and pain, Quoyle profits. His
children are returned, an aunt
convinces him to return with her
to Newfoundland. Partridge,
always true, finds him a post at a
local paper to seal his decision.
At its heart, The Shipping
News is a tale of families, their
secrets, and the lies we tell ourselves. Though horrors exist
within families — as witnessed
by the hundreds of sexual abuse
reports that overwhelm
Nutbeem's files — the lucky few
can find peace and love.
Whether or not these sentiments
will last ages can never be truly
ascertained until the voyage is
complete and the regrets counted. Proulx invites her audience
to become one with the environment she weaves. Subtly changing the tone to insinuate cruelty
or a secret best left hidden, her
language conveys a genuine
feel for social interaction few
authors accomplish.
Michael Turner's newly
released American Whiskey Bar
can be simply described as a
tale of missed opportunities and
misdirection. But simple explanations are frequently misleading. The book is a screenplay
within the myths of its creation
and all the purported players
attempt to exculpate themselves
from its deficiencies. Turner's
preface pleads for the screenplay to be seen merely as the
first draft for the film, while in
the introduction the director
claims she had no involvement
with the project save at the
opening stages. In an afterword, a journalist comments on
the film's attraction to the cultural elite, of it being fully generated/exploited by its paymaster,
Klaus 9. Turner conceals some
unity within themes. Would he,
as a character rather than an
author, blame the similarity of
the action of his screenplay
characters and that of its producer, or would he concede singularity of purpose between
producers both fictional and factual (that is, Klaus 9 and Turner
Accepting the former solution provides the most satisfactory answer. After all, the
proposals of Herendy, the corruption of Klaus 9, and the unrefined nature of first drafts might
well produce such a document.
The afterword places this novel
in its proper context: the author
who repudiates his work in
order to profit from its notoriety,
although, unlike Voltaire, neither
Turner (the character) nor
Herendy seek any attachment to
the film except to deny any
involvement with the finished
product. Doing so, Turner (the
author) removes himself from the
disgrace of his character's
screenplay — which has all the
appearance of a first draft in
comparison to his other work
within —to produce a work worthy of close scrutiny and active
78   January 7998 realliveaction
Monday, November 3
Starfish Room
It was a small crowd at the Starfish Room for Tanya Donelly's
first tour since leaving Belly and
going solo. San Francisco's
Black Lab opened the show.
Frontman Paul Durham has a nice
voice with a large range and is
also an interesting person who
planned on becoming a professor of philosophy before embracing music. He conversed with the
crowd, who were all sitting lazily
at their tables, and asked if Vancouver was a disco town. "No!"
someone called out, but Black
Lab proceeded to play a disco
tune anyway. Well, they thought
it was disco. They weren't hard
to listen to, but weren't anything
remarkable either, being good
musicians but lacking in style.
Durham, my friend remarked,
looked better after the set when
he buttoned up his shirt and
donned cool geeky black-rimmed
glasses. So much for the rock star.
Shortly after Black Lab, that
magic moment arrived when the
casual hoverers rushed the stage
(in their own slack fashion) and
took up residence around the
vocal microphone where Tanya
Donelly would soon be standing.
What a surprise that all of these
eager folks were men, covering
the spectrum from the trendy
males to the back-country perennial cap-wearers. Tanya and her
band played tunes from their new
album, Lovesongs for Underdogs,
as well as a few Belly songs, including "Low Red Moon," which
were greeted by enthusiasm from
the crowd.
The show was good but not
great, with a lack of energy
which was probably more due
to the small crowd than the
band's efforts.
kris rothstein
Wednesday, November 5
Starfish Room
The top five good things about
this show:
#5. Miss Murgatroid and
her accordion of doom. Who
would have thought that an accordion could produce such
haunting (and beautiful) sounds?
#4 The Geraldine Fibbers. By their second song of the
night, they were playing as
though it was their last song ever.
Fast, furious and total effort.
#3. The meathead standing
in front of me.
#2. A very responsive crowd
who yelped out song requests
and told Geraldine front-woman
Carlo Bozulich that they loved
her. Bonus points to the guy who
stood at the front of the stage with
his mouth hanging open, amazed
by the handiwork of lead guitarist Nels Cline.
#1. An overall amazing night
filled with accordions, toy phazer
guns, violins and the stand-up bass.
Thursday, November 6
Starfish Room
It was an evening I thought was
only possible in my dreams. How
could so much good music fit into
one concert? Syrup USA
played a long set, letting the
crowd sample the sounds of their
debut album, All Over The Land.
The band was enthusiastic,
putting energy and excitement
into the music, but the crowd
wasn't really ready for them. Tres
bien, but everyone wanted the
Helium played a solid, if
somewhat short, set. The band
didn't seem too interested in playing and kept almost exclusively
to new material. The encore —
"Superball," the single from their
debut album, The Dirt Of Luck —
was short and sweet. I was hoping for more old material, but
what they delivered was good
enough. I definitely could have
done with more of Helium, but
the majority rules, and the majority wanted Cornershop.
Once they took the stage, the
dancefloor filled to capacity. I
was drowned in the stench of pot
and hair products, soon overpowered with the smell of sweat.
Cornershop put on a show for the
groove children, to be sure. With
a closing song that stretched to
25 minutes plus, Cornershop
gave the kids something to remember. It all sounded good, but
got a bit tedious by the end. Each
to his/her own, I suppose. This
event gave everyone something
to enjoy and was well worth the
effort to attend.
Julie Colero
Friday, November 7
Richard's on Richards
The coming of Spiritualized is
a mind-altering event, guaranteed to change your perspective
on the future of live music. With
Acetone set to warm up the
crowd before J.Spaceman made
an appearance, it promised to be
an entertaining night.
By the time Acetone stepped
out on stage, both the floor and
the balcony were packed with
people. They started out with a
bluesy, instrumental tune, in a
style best described as Huevos
Rancheros meets Codeine.
The three-piece band then went
on to turn up the intensity but not
the pace, putting the audience
into the groove of a laid-back,
aural experience. Having never
heard Acetone before, I was unsure of whether or not they would
be suitable to open for
Spiritualized. However, they
turned out to be a perfect lead-
up to Spiritualized's space-pop —
much better than The Dandy
Warhols who opened for
Spiritualized during the summer.
When Spiritualized took over
the stage, the crowd was ready
to be blown away. J.Spaceman
and his fellow musicians delivered the goods: Spiritualized
played songs from all three of
Thursday, November 13
Starfish Room
Barb: Good rock moves. Reminds me of driving.
Sarah: They have cool Yank ac-
B: Good grooves seem to materialize out of sketchy lyrics.
S: GBV-esque.
B: Without the sweat.
S*. I can't think of anything exciting to say. I remember now why
I stopped reviewing gigs.
B: Sarah, do you think rock and
roll is dead? Discuss.
S: I think rock right now is seriously comatose — coasting on
nostalgia, myself included, but it
can be resurrected through hybridization and innovation.
B: Yes, but there's something to be
said about the bass sounding bassy
and the guitar sounding guitary.
Damn, I was digging it until they
started talking about weed.
S: Yes, but music's got to keep
changing somewhat; there will be
a new scene to spark a new
B: A revolution? How rock. All's
I know is that the stuff about weed
confused me. They don't look like
a pot band. Why can't they
and hypnotizing basslines of their
previous albums and into the
realms of pure pop, it was difficult to predict which side the set
would lean towards.
The Verve came on stage to a
roar of applause. The set kicked
off with the anthemic "A New
Decade," followed by "Catching
The Butterfly," one of the few songs
on Urban Hymns which is reminiscent of The Verve's older material. The third song was cut short
when a fuse blew in one of the
P.A.'s power amps, causing the
band to leave the stage for five
minutes while it was fixed. They
returned to continue the same
song that had been interrupted,
almost exactly where they had left
off. A number of acoustic songs
followed, before the band got
back into the groove. After a short
break, Richard Ashcroft came
back on stage alone and played
"Space And Time" almost like the
demo version. The rest of the band
rejoined him for the final song of
the evening, an epic version of
"Come On."
While the band was obviously
thrown off by the sound problems,
they still tried hard to make the
best of a bad night. However, the
mediocrity of the performance
Emerson Lake and Palmer?
I've gone to many gigs in the past
couple of years especially, but this
is the first one that really inspired
me to write. Early in the night I
noticed lhat Ford Pier's Marshall
wasn't there. Hmm. A cello-playing replacement filled Ford's extra
large striped stockings and then
some. Especially those distorto solos, holy. I think the drummer plays
like John Bonham at times, I'm somy
— death to me, I'm sure, for saying so. The sound on a certain song
on the Spine album especially.
Spine received the prestigious Evan
Award of Atlantis Platinum for the
most continuous revolutions in my
vehicle's CD player for 1997.
Don't you love bass players that
don't play with a pick and lock to
the drummer?
How can you describe, using
the English language, the vibrancy in a performance after it's
over? Maybe sounds like
EEOOYAA would help. Veda
seemed full-on happy to play,
putting out 150% all night. How
about that? Not good enough.
still better.
Prog rock love songs do it better on both sides of the brain.
Bumper stickers should be issued
their albums, including the classics "Shine a Light," "Electric
Mainline" and "Medication."
The infectious lines of "Think
I'm in Love" and "Come Together" also found their way
into the set. To top it all off,
Spiritualized powered through
a 20 minute version of "Cop
Shoot Sop" while the audience
was blinded with strobe lights.
Despite the absence of Kate
Radley on keyboards,
Spiritualized was phenomenal. Having stretched the
bounds of the aural experience
with changes in dynamics,
speed and subtle alterations of
pure noise. Spiritualized
proved once again why people can be addicted to music.
Patrick Gross
present a clear, visual package
like The Spice Girls do?
S: They're not potheads, but they
are in a rock and roll band.
B: Touche.
S: Do you want to leave now?
B: Do you want to leave now?
S: Yeah.
barb and sarah
Saturday, November 15
Showbox Theatre, Seattle
After a two year hiatus from recording and performing, during
which the band's future was uncertain, The Verve has returned
to the stage. Having recently released Urban Hymns, which has
definitely moved away from the
spacious, delayed-guitar sounds
was uncharacteristic of them, who
pride themselves on putting on one
of the best shows anywhere. They
demonstrated that they are still capable of creating the magic of
their previous spectacular live
shows, but it is debatable whether
or not the majority of their new
material lends itself to the spectacular live shows. The Verve
needs to follow its own advice:
"Come On," you can do better.
Patrick Gross
Friday, November 28
Railway Club
I was wondering whether Veda
Hille had a bust of Beethoven
on her toy piano like Schroeder or
was   it   Keith   Emerson   from
as well as crying towels. The
Emily Carr record will be out
soon, so the helpings of this material were extra large and pleasing. Veda and crew will be playing a number of gigs to support the
release in January, as well as wilh
NoMeansNo and SNFU So I say
go. If you don't think I'm a goof, then
maybe you'll listen. Otherwise, at
least put a good sticker on my acid
wash jacket when I'm not looking. I
promise never to wash my jacket
I think Kevin Kane is vying for
the Bruce Cockbum award for
making one guitar sound like two.
Perhaps buying his new album
would help me really appreciate the
emotional depth he reaches. Then I
will be truly qualified to gush.
Evan Symons
79   E^gSaK_® under
Slant 6 Mind
(Red House)
Following Further In, Brown's
1996 excellent release, one
might fear a letdown. Amazingly,
that's not the case — this Iowa
native is as strong as ever. His
gravel-pit voice is an infectious
wonder that is in perfect tandem
with his razor sharp stories. In his
bands, folk, blues, swamp and
country are compelling examples of how to re-invent age-
old themes into a contemporary context.
Along with regular sideman
Bo Ramsey (eleclric guitar/
slide guitar) and a full complement of musicians playing bass,
drums, fiddle, banjo and har-
Kelly Joe Phelps (acoustic/
electric lap steel guitar).
While not a solo outing, Slant
6 Mind has minimal embellishment. The band adds the foundation for Brown's craft. Whether
he is brutally incisive, contemplative or humourous, he is a shrewd
observer of the best and worst of
this world.
Opening with "Whatever It
Was," Brown rumbles down a
dusty road, steering through the
soul's heartland like few other artists are capable of.
Pieter Hofmann
Balder's Dod
This is an experimental album, using only keyboards and synthesizers. The songs are very repetitive and quickly become boring.
The writing is simple, with usually only one unchanging melody
running through songs about six
minutes long. This was disappointing because it could have
been a very good album. Defending the repetitive keyboards,
Burzum's Vary says they are
like life — life is repetitive. Seems
prison has had an effect on him.
Doug Lovett
The Epiphany of Glenn
(Thirsty Ear)
Inspired by the Great
Kooniklaster! Originally an album conceptualized by Cul de
Sac guitarist Glenn Jones, John
Fahey came along and introduced the Great Kooniklaster.
That's when it all changed from
potentially contrived to playful
and disturbing. Where Glenn's
compositions were supposed to
be are now spontaneous musical
outings (less three covers) which
document the week or so they
spent together. It was a doubtful,
surreal week by the sounds of it.
I've never been able to get
?0  January 7998
into Cul de Sac's pseudo-eclectic noise diarrhoea, but, in this
collaboration, Mr. Fahey set
down a musical airport where
Cul de Sac could take off and
land safely and "soundly"
Stefan Udell
Soul Of A New Machine
Seventeen pounding tracks. Discordant bass. Thundering percussion. Mesmerizing guitar. The
type of music you have to listen
to at volume level 10. This is anti-
military, anti-Christian heavy
metal fronted by split-personality
Soul of a New Machine
sounds like schizophrenic, demonic possession and though this
is not what some call "devil music," it can be just as scary. Scary
music is good for you sometimes.
Wicked value. Therapy for the
petulant mind.
Big Cheese
Structured Disasters
(Happy Go Lucky)
A collection of 11 singles (I believe) and seven previously
unreleased tracks spanning '90-
'96 from these fidelity-experimenting Brits. Their efforts in guitar
squall and later sampling and
beats puts them in the position of
an overlooked My Bloody Valentine or Flying Saucer Attack, despite being more pop-
hook oriented. I must admit I
found this surprisingly enjoyable,
considering I'd pretty much writ-
years ago and because of my
growing dislike of the genre
boundaries that it inhabits. Not
an unequivocal yes by any
means, but they certainly could
be more widely appreciated than
they are at present. If it sounds
like your cup of tea ...
Sean Elliott
Wolf Songs For Lambs
(DreamWorks SKG/Univer-
I really don't know what to make
of this. Years ago, I caught these
guys at the 9:30 Club in Washington, DC. At the time they were
doing this Bad Seeds/
Cramps/Tom Waits thing that
was right up my alley: eerie and
dramatic. Since then they've
come up with a couple of releases
(a 7" and a full-length) that have
been interesting but haven't quite
matched their "former glory."
Apparently, though, there
must have been some kind of a
buzz around them over the last
couple of years because all of a
sudden they've come out with
another full-length, this time on
Dream Works (!), and they're
getting feature articles written on
'em in stylin' magazines like Interview. Bizarre I What would a
label like Dream Works want with
the likes of a band like
Jonathan Fire Eater? I mean,
they're kind of arty and cute look-
ing but are they the next
Weezer? I don't think so. Aren't
the major trends in music today
in the electronic realm (away
from the JFE line-up of guitar/
bass/drums/vocals plus some
organ)? After listening to the album, I still don't get it, I still can't
wrap my head around it. It's not
bad, but again there's a certain
lethargy-posing-as-mood that
plagues this release the way it's
plagued their others. I tend to
understand most major-label
signings — this one I just don't.
Kandy Kane
(24pp, half size)
This is the most recent instalment
of this long-running Victoria zine.
I've been following Greg Pratt's
Look the Other Way for quite a
while and when I picked this issue up recently, I knew I had to
I'll have to say that #5 has
definitely evolved from its earlier
predecessors, which consisted of
haphazard band interviews (for
instance, the humourous but
pointless Breakwater interview
from #2) and has progressed into
powerful and original personal
insights. Greg gives us reflections, fleeting memories, and writings of loneliness and loss of innocence in LTOW#5. He has
turned his bitterness and confusion into a work of written art.
Along with these writings is a
section dedicated to "punk rock
snapshots," which consists of
posters of shows and reviews of
shows gone by.
I think the only things that
have remained the same since
previous issues are the band and
zine reviews and Greg's illegibly
typewritten layout (his "trademark") which at first looks horrible, but it wouldn't be the same
any other way. I'd pick this one
up even if it does look like it was
laid out in a hurricane. It's got
some substance. (Send $1.50 to
Greg Pratt, Box 8183, Victoria,
BC, V8W 3R8.)
Jack D.
Remembering the Fireballs
(part 8)
I once asked Calvin Johnson
if he had ever been a go-go
dancer for Lync on a tour they
mounted  back in   1993-94,
'cause I was sure that the guy
who had go-go danced for them
at one of their gigs I had caught
was Mr. K himself (who else
dances like that?). He said, "No."
Granted, I didn't have a very
good vantage point, but I was
sure that it had been him. In any
case, Lync put on a fine show but
Mr. go-go dancer stole the scene.
Years later, those fine people
at K (Beat Happening, Lois,
gaze, etc.) have come out with
a Lync retrospective. It's been a
couple of years since the boyz in
Lync parted ways and moved on
to other outfits (Built to Spill,
etc.) and a band that, although
highly influential, was formerly
sorely under-represented in the
old record bins has finally gotten
its dues. They had a pop/punk
sound that has since been capitalized on by bands such as
Modest Mouse and
Tullycraft. I find most of the material here a bit too twee for my
liking, but I appreciate the songs
that are punkier and rawer, like
"Pathetic," which has got some
serious grind to it. The two best
cuts on the album, however, are
the last two: a jittery/spacey/
punky number called "Can't Tie
Yet" (with Tim "I was in Nation
Of Ulysses" Green applying
some kick-ass moog licks) which
anticipates Satisfact and an
angsty/punk workout called, appropriately enough, "The Last
Song," which was recorded at
the legendary Gilman and has
that great live aura to it.
Well, I've never heard of The
Lynnfield  Pioneers,   but
they're on Matador so they must
be cool, right? (OLE 242-2, if
you're scoring along at home.)
The 14-song album opens with a
Sonic Youth-like barrage of
noise, then launches into "Go For
a Ride," a noisy anthem which
brings to mind that Blur tune (you
know ... "woo-hoo"). And that
sums up nicely what this three
piece plays: warped, energetic,
anthemic tunes with yelled/
chanted vocals a la Kim
Gordon or maybe Nardwuar.
They've got a lot of screwed up
guitar parts and use plenty of
weird tunings way up the neck
of the guitar. But they put their
own twist on the music; they do
without a bassist and instead
make use of a messed up Moog.
Yup, you're in for quite a ride.
Don't be fooled by the CD's serene pictures of flowers, fields
and sunsets.
Fred derF
(24pp, half size)
I knew that of the long-running
Vancouver zines, this was one of
the more prominent in the underground literature scene, but until
now, I had never had the chance
to read it, let alone review it. If
you've read any of Trish's previous issues, this issue maintains
her comfortable and effective
writing style that allows the
reader to draw insight, emotion,
and honesty from topics such as
child abuse, relationships, and
One of the first things I noticed
about this particular issue was
that her relationships with past
and present partners and her
opinions on those relationships
seemed to be more uplifting and
"hopeful." She seems to have
found a way to express her joy
of love really well. Trish is a sincere, captivating writer who
makes Make-Out Club to be a satisfying, open read. (PO Box 33-
345 E. Broadway, Vancouver,
BC, V5T 1W5.)
Jack D.
The Oblivions Play Nine
Songs with Mr. Quintron
This was easily one of the best
releases of 1997. Some of us
have been lapping up every dirty,
nasty morsel them Oblivions
have tossed to us over the last few
years, but this one comes as a
surprise. Oblivions + Quintron =
SOUL. That's right, ladies and
gentlemen: SOUL! Who would
have thought that the authors of
"I'm Not a Psycho, There's Just a
Plate in My Head," "Motorcycle
Leather Boy," and others could
come up with an album about
loss and redemption that's downright moving and that cooks to
boot? Quintron's presence here
is fairly subdued, for those of you
familiar with his remarkable
oeuvre, but it shows Mr. Q. to be
an organist of real flair. His chops
seem to have really freed up the
brothers Oblivion, allowing them
to access emotional realms they'd
never even approached before
(to my knowledge). Great title,
too. Do whatever it takes — kill,
maim, steal — to get your hand
on a copy of this one. And tell
'em A.J. sent you!
Roll Away the Stone
In its simplest terms, Roll Away
the Stone is easy to describe; it's
just a guy singing and playing
guitar. But that description alone
would be unfair. Kelly Joe
Phelps has extraordinary talent
and plays a very spiritual and
uplifting style of blues. His vocals
are kinda gruff and gravelly and
he grunts, groans, and mumbles
a lot. But the real attraction is his
playing. This guy is an incredible
slide guitar player and he'll leave
your jaw lying on the floor.
The album is a bit too freeform
and meandering for me, though.
I prefer the more familiar song
structure of verses and choruses.
Nonetheless, Roll Away the Stone
is a mindblowing album that will
undoubtedly impress an awful lot
of people.
Fred derF
Plumtree Predicts the Future
(Cinnamon  Toast/Sonic
In a just universe, I'd have the
chance to get sick of Plumtree.
I, along with millions of others,
would watch as Plumtree scored
top ten hits, graced teen mag
covers and got their own ABC
special. Of course, this isn't a just
universe — but whot are you going to do? I know what I'm going
to do — listen to this album repeatedly. Like its predecessor, the
nifty Mass Teen Fainting, it's
sweet, jangly pop. On this
record, however, they improve on
the formula; their lyrics are a little better and their playing's just
a bit sharper, plus they've added
piano and slide guitar on a few
songs. The end result? An excellent pop album that, just universe
or not, should grab the ears of
even the crustiest people. Or at
least you.
Scarecrows Burn
While an original, Jonathan
Pointer runs, musically speaking, in the same circles as Tom
Waits and Randy Newman.
A wry satirist, Pointer's penchant
is the heartland: yard sales, men
firmly planted on barstools and
highway disappearing into the
horizon. With a deadpan delivery, Pointer's humourous "The
Baby Smokers" presents the
oddball tale of a town where all
the tots light up nicotine soothers.
"It's the bestest way for you to
keep a little baby calm/ roll him
up a snack of some nice tobacco/ Somethin' that the baby
Building on folk, blues and
country, Scarecrows Burn is purposefully low-key. While he carries a full band on most of the
songs, his songwriting is clearly
what is important here. This is a
truly impressive debut.
Pieter Hofmann
Where the worlds of slow rock,
alt. country, and math rock meet,
is Rex. I've never really bothered
with these guys, who seem best
known for enlisting Doug Scharin
(ex-Codeine, presently June of
44 and solo as Him) as their
drummer. At least part of the reason he was relieved of his duties
in Codeine, as I understand it,
was his propensity to overplay
and, while he certainly emphasizes virtually every word,
comma, pause, and touch of a
string, I actually find it works. Of
course, after the second song I
always find myself lost, despite
at least six listens. Some songs
are instrumentals, some contain
minimal percussion, many are
well-fleshed out, everything is
deftly played and my mind just
I keep thinking something
may stick, considering the immediacy of the opening numbers,
but no dice. I'll stick with Zeppelin (says witty reviewer #one
Sean Elliott
Busy Curios Thirsty
Prolific artists are rare these days,
with the exception of Bill
Laswell and Mick Harris, so it is encouraging to see anyone
produce more than one album a
year. Even more encouraging
is the fact that Spring Heel
Jack's new album is not a
rush job. Busy Curious Thirsty
is a concept album, not unlike
Ed Rush and Nico's Torque,
full of abstract, looped beats
and mind-numbing basslines.
Samples are used to perfection
in "Bells" and "Bells 2," while
a sample of live percussion
from experimental geniuses
Tortoise ties "Galapagos 3"
together in a seamless fashion.
A soundtrack-like string section
is even worked into "The
Wrong Guide" before chimes
and keyboards overrun the
mix. While the amount of
thought that went into writing
this album is evident and the
originality of the work is extreme, it is nonetheless a difficult album to listen to.  If the
ving from "Atari's Pole Position" disturbs you or does not
fit your idea of what constitutes
a pleasant sound, this album
is not for you. The one saving
grace for less devoted listeners is the fifth track, "Hale
Bopp," a breakbeat loop with
subtle string loops and less of
the aggravating beats found
elsewhere on the album.
Patrick Gross
September Songs:  The
Music of Kurt Weill
(Sony Classical)
Weill and September Songs
proved an eclectic and unique
tribute compilation. There are,
however, a few unfortunate
moments. Nick Cave's "Mack
the Knife" is formless and grim
(but Bertolt Brecht's German
version, of which I understood
not a word, made up for it).
PJ Harvey's cover of "Ballad
of the Soldier's Wife" is sadly
out of her range.
Other than these tracks,
the album is wonderful.
Truly enjoyable was
David Johansen's "Alabama Song." It is poppy,
campy and fun (notwithstanding the dark lyrics). Other
highlights were the pieces
sung by Teresa Stratas.
(There is nothing like a good
classical singer to make you
jealous.) Weill himself makes
a bit of a surprise appearance
in Charlie Haden's predominantly bassy (sorry, not drum
'n' bass) "Speak Low" and
Lou Reed performs the title
track with signature banality.
Even with the less-than-sa-
ments, Kurt Weill's music presented in a variety of different
ways makes for a rompin'
good listen. At the risk of
sounding like I'm going in for the
hard sell, this album is a must-
have for all lovers of musicals.
Buy it if only to hear the late and
legendary William S.
Burroughs spew rhythmically in
"What Keeps Mankind Alive?"
Rompin', I tell ya. Rompin'.
Ska's the Limit (Volume I,
One of the best things about
delving into the history of
things, whether it is history,
language or music, is that you
begin to chart out the links between events and circumstances, culminating ultimately
with a singular event or idea.
For example, there must have
that God is a big white guy
with a beard, or the first time
someone ate a roasted coffee
bean, or said the word "booger."
The same thing applies to music
— there generally is an originator in a specific place at a specific time for every genre, even if
that originator is the product of a
long history of social and cultural
influences. In the case of ska
music, a Cuban born musician
called Laurel Aitken, according
to this release, claims to be the
originator of ska; he recorded a
song in 1959 called "Boogie in
My Bones," which Aitken claims
is the first ska song.
Ska traces its roots to influences of traditional Jamaican
and African music, jazz,
blues, calypso, mento and perhaps most notably, the "clapping" music of southern American gospel which eventually
morphed into the strong, infectious ska beat we know and
love today. Jamaican pop music in the '50s was generally
ith sounding like
■• they're relatively the same size" |
- Rocket
1 all ports in frequent seas
d $10.00
Why dontcha merry it..,,
pecola / smallmouth split 7"
available now $5.00
Distributed by Sonic Unyon
The next five years would see the
emergence of a new sound, ska,
and would see the rise (and
fall) of some of the greatest
stars, such as Prince Buster,
the first rude boy Derrick
Morgan, The Skatalites
and Jimmy Cliff and Robert
Nesta Marley.
Ska, at the time, never
made it big beyond Jamaica,
but the music was transported
to Britain where Jamaican im-
ades later, this cross pollination would give ska the mod
aesthetic we associate it wilh today,
along with a synthesis of working
class culture in the form of Oi!
music. This was known
,ong  s
'  of ska
would see bands such as The
Specials, Madness, The
Selector and Bad Manners
rise to brief prominence. You
can hear the direct link to Ja-
like Millie Small's "My Boy Lollipop" recorded in 1964 (the last
song on the CD).
My preference is ultimately
for the new bands today, the
so called "third wave," in part
because ska has become much
more flexible than the stricter
old school formula and finds
its way into many music forms
— punk, swing, funk and even
French "mlah" music. Long may
we skank!
J. Boldt
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-4^prcWr6S6io^ jan '97 LONG VINYL
1 mecca normal
2 modest mouse
3 ec8or
4 plumtree
5 shizuo
6 the smugglers
7 brand new unit
8 guitar wolf
9 nofx
10 the need
11 butterglory
12 the grifters
13 bossanova
14 soundtrack
roots roundup
secret agent
18 mr. t experience
19 coldcut
20 the exotics
21 sukpatch
22 bad brains
23 lonesome organist
24 the sea and cake
26 the promise ring
27 fluke
28 x-ecutioners
29 to rococo rot
31 laika
32 syrup usa
33 loop guru
34 the lookers
35 the maytals
who shot elvis? matador
the lonesome crowded      west  up
all of us can lie rich     grand royal
predicts the future cin. toast
shizuo vs. shizor grand royal
buddy holly convention ep      mint
diddley squat creative man.
planet of the wolves      matador
so long and thanks ...        epitaph
the need chainsaw
rat tat tat
full blown possession
fame whore
sophisticated lxx>m...
from conception ....
revenge is sweet ...
more beats & pieces
go go guitars
honky-tonk operation ep
omega sessions
collector of cactus ...
two gentlemen
nothing feels good
sub pop
bongo beat
skull geek
ninja tune
tiki tune
thrill jockey
thrill jockey
jade tree
 H circa
x-pressions asphodel
veiculo emperor jones
thicker than water epitaph
sounds of the satellites     too pure
all over the land flydaddy
loop bites dog    world domination
in clover candy ass
never grow old heartbeat
1 duster
transmission, flux
1 the dirtmitts
wee turtles
2 von zippers
hot rod monkey   screaming apple
2 the tonebursts
the present ever written
3 pansy division
3 manifold                  rails
flotation, aerodynamics
4 tullycraft/rizzo
4 destroyer
karen is in rome
5 stink
5 the colorifics
747 (now i see heaven)
6 murder city devils
the murder city ...
6 tickertape parade
audience with the pope
7 invaders from ...
war between the sexes         aaj
7 the spivees
8 lake of dracula
skin graft
8 little gorphin annie
whore next door
9 the kiss offs
love's evidence ...
9 matthias
10 the let downs
360 twist
10 gaze
preppy villain
11 reclusives
more of the same
11 g42
jack maynerd
12 the mat* from uncle friends to none
lance rock
12 london paris
unmatched sock
13 olivia tremor...
the giant day
drug racer
13 emulsifier
up the down side
14 jumprope
the pensive ep
motor way
14 hounds of buskerville
blowin' off some steam
15 celestial magenta
15 heather
burning bridges
16 juno
magnified and reduced .„ jade tree
16 bonafly
17 vehicle flips
17 dreamy angel
laundromatte queen
18 sloppy seconds
minnie greutzfeldt
get hip
18 quonset
desert blade
19 the ids
locked in a room
19 wonderful world of joey
eddie vegas dui
20 sarah dougher
breakin' in a brand
tew...          k
20 three nuts from the sun
Ma  CiTR
top 5  Italian motorbikes
* Moto Guzzi
* Aermachhi/H-D
* Gilera
* Moto Morini
* MV Augusta
top 5 zines        ♦
roctober      motor
.  ,    ...       daddy
runnin wild       „,**!„
2 stroke buzz       show
gearhead     «*£*
hack'd      3 - 5 pm
fave band of '97:
The Von Zippers
Jason da Sitva SUNDAYS
All of lime is measured by its art. This
show presents the most recent new music
from around the world. Ears open.
Reggae inna all styles and fashion.
Real cowshit caught in yer boots country.
WIRELESS 3:0O-5:00PM ak.
The best of Spanish music, news and
interviews for the Spanish and English
speaking communities.
QUEER FM 6:00-8:OOPM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities of Vancouver
and listened lo by everyone. Lots of
human interest features, background
on current issues and great music
from musicians of all sexual
preferences and gender identities.
GEETANJALI 9:00-10:00PM Geetanjali
features a wide range of music from
India, including classical music,
both Hindustani and Carnatic,
popular music from Indian movies
from thei 930'slo thei 990's, Semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, Folk
Songs, etc.
THE SHOW 10KX)PM-12:00AM Strictly
Hip Hop — Strictly Undergound —
Strictly Vinyl Wilhyourhosls Mr. Checka,
Flip Out & J Swing on thei & 2's.
4:00AM Drop yer gear and stay up late.
Naked rodio for naked people. Get bent.
Love Dave. Eclectic music.
11:00AM Your favourite brown-sters,
James and Peter, offer a savoury blend
of the familior ond exotic in a blend of
aural delights! Tune in and enjoy each
weekly brown plate special. Instrumental,
trance, lounge and ambience.
PM Playing a spectrum of music from
Garage Band to Big Band acoustic to
NEEDLEPOINT 1:00-3:00PM Mismatched
flop rock, a quick ride downtown. Don't
miss the Snow While Float. I love the
Snow White Float.
endeavour to feature deod air, verbal
flatulence (only when I speak), a work of
music by a Iwenlielh-centuty composer
— can you say minimalist? — and
whatever else appeals to me. Fag and
dyke positive. Mail in your requests,
because I am noi a human-answering
machine. Got a quarter then call someone
who cares.
EVIL VS. GOOD 4:00-5:00PM Who will
triumph? Hardcore / punk from beyond
the grave.
BIRDWATCHERS 5:30-6:00PM Join the
Sports department for their eye on the T-
7:00PM Mix of most depressing, unheard
and unlistenable melodies, tunes and
Join Library queens Helen G. and Kim on
their info quests ssel to only the best
THE JAZZ SHOW   9:00PM-12:00AM
V__*Ws longest nmning prime lime jazz
program. Hosted by lie ever-suave Gavin
Walker. Fecriuresat 11.
Jan 5: Hammond Organ Giant Don Patterson
with Booker Ervin.
Jon. 12: Vibisl Bobby Hutcherson with tenorist
Joe Henderson and McCoy Tyner.
Jan. 19: Trumpeter / Composer Kenny
Wheeler with Maritime Jazz Orchestra-
vocalist Norma Winestrome and pianist
John Taylor.
Jan. 26: Pianist / composer Sonnny Clark
with Donald Byrd (trumpet) and John
Coltrane (saxophone).
DRUM'N'   SPACE      12:00-2:00AM
Vancouver's only drum 'n' bass show.
Futuristic   urban   breakbeat  at
AUEN BREAKFAST 8:00-9:30AM Bringing
you contact wilh the unknown sonar
wodd of Australia as well as uncovering
some hidden local gems. Come find your
future favourite bands before they
become huge distant stars. Hosted by
Daniel Abrahams.
Torrid trash-rock, sleazy surf and
pulsah'n' punk provide the perfect scissor
kick to your head every Tuesday mom.
There's no second chance when Kung-
Fu is used for evil wilh drunken fist Bryce.
"Have a rock n' roll McDonald's for
lunch today!"
A combination platter of feminist issues,
lesbionicrock and everything else. Unagi
maki for giHs and boys!
dedicated newsteam brings you the best
news about student life, community
organizations, festivals, arts events, youlh
culture, and social / political issues.Real
voices bringing you news you won't
hear anywhere else.
RADIO ACTIVE 5:30-6:00PM Social justice
issues, Amnesty International updates,
activism and fucking up ihe evil corporate
powers lhat be!!!
Underground hip hop music. Uve on-air
mixing by DJ Flipout. Old school to next
school Iracks. Chew on lhat shit.
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up! New
music, independent bands.
RITMO LATINO 9:00-10:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as they shake it and
wiggle it to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hot
it'll give you a tan! jjRADIO
12:00AM Usten tor all Canadian, mosfy
independent lunes.
12:00AM Noise, ambient, electronic,
hip hop, free jazz, christian belter living
Ip's, the occasional amateur radio play,
Warning: This show is moody and unpredictable. It encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
Ambient, ethnic, funk, pop, dance, punk, electronic, synth, blues, and unusual rock.
Girl music of all shapes and sizes.
10:00AM-12:00PM electronic.
LOVE SUCKS 12:00-2:00PM Music atwork.
(Cut up mixed genres - eclectic, electric
included but not mandatory).
MOTORDADDY 3:00-5:00PM No indie
rock here- just some good ol' Southern
fried biker boogie!
Communily/campus news and view
RACHEL'S SONG 5:30-6:00PM Info on
health and the environment, with a focus
on Vancouver. Topics ranging from
recycling and conservation projects to
diet, health, and consuplion and
sustainabilily in the urban context.
Comments and ideas are welcome.
ESOTERIK alt. 6:007:30PM Ambient/
experimental music for those of us who
know about the illithids.
SOLID STATE alt. 6:00-7:30PM Featuring
the latest in techno, trance, acid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosted by M-Path.
longstocking, will oldham, movietone ...
these are a few of our fave-oh-
wril things, la la la!
FOLK OASIS 9:00- 10:00PM Acoustic/roots/
folk music in the middle of your week.
Focus on local and Canadian singer-
songwriters, regular features on other
regions with in-house visits.
12:00AM Let DJs Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkh de phutay." Listen to all our
favourite Punjabi tunes — remixes and
originals. Brraaaah!
THE LAST DESK 8:30-10:00AM Listen
carefully as Johnny B brings you CiTR's
classical music show. Featuring
"Canadian composers, amateur hour &
more. Radio con fuoco, for the masses.
FILIBUSTER alt. 10:00-11:30AM From
accordian to the backwoods via swingin'
lounge sounds... this show is a genre
free zone.
MUSIC FOR ROBOTS alt. 10:00-11:30AM
Viva La Robotica Revolution.
Electronica... noiz...new wave, no wave.
From Tofino to Gander, Baffin Island to
Portage La Prairie. The all-Canadian
soundtrack for your midday
STEVE & MIKE 1:00-2:00PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
JUSTIN'S TIME 2:0O-3:0OPM Serving up
your weekly dose of Shidey Horn and
olher jazz-filled confections.
FLEX YOUR HEAD 3:0O-5:00PM Hardcore
and Punk rock since 1989. http://
TARTS ON ARTS alt. 5:30-6:00PM Tune in
for a lively update on the arts community.
Movie reviews and criticism.
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
9:00PM Roots of rock & roll.
9:00-11:00PM Local muzak from 9. Live
bandz from 10-11.
SUPPERY SLOT 11:00PM-1:00AM Farm
animals, plush toys and Napalm Death.
These ore a few of my favourite things.
It's all about shootin' the shit and rock n'
roll, baby.
10:00AM Join Greg in the love den for
a cocktail. We'll hear retro stuff, groovy
jazz, and thicker stuff too. See you here
... and bring some ice. XOXX
12:00PM Ska inna all styles and fashion
... If we don'l get you dancing... we will
find you... and we will KILL you ...
Underground, experimental, indie and
women. Jacuzzi space rock at it's finest.
NOIZ 4:OO-5:00PM self-titled.
Sounds of the transpacific underground,
from west Java to east Detroit. Sound
system operator, Don Chow,
AFRICAN RHYTHMS olt. 6:0O-9:00PM David
"Love" Jones brings you the best new and
old Jazz, soul, latin, samba, bossa &
African Music around the world.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program
in Vancouver. Hosted by DJ Noah,
the main focus of the show is
lechno, but also includes some
trance, acid, tribal, elc... Guest
DJ's, interviews, retrospectives,
giveaways, and more are part of
the flavour of homebass.
UMP SINK 12:OO-2:30AM The show that
doesn't hate you. Friar Fritter Abfakeln
and Postman Pat alternate with Tobias'
Paradigm Shift (rant, phone-in and kiss
your mother with the guests).
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup Report
at 11:30 AM. 8-9 AM: African/World
roots. 9-12 noon: Celtic music and
UCORICE ALLSORTS12:00-1:00PM All kinds
of music spoken word, interviews. Phone
in for comments or requests.Tune in and
expose yourself to new music and ideas.
Vancouver's only true metal show; local
demo tapes, imports and other rarities.
Gerald Rattlehead and Metal Ron do the
LUCKY SCRATCH 3:0O-5:00PM Blues and
blues roots wilh your hosts Anna and Andy.
host Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed to make you
think. Originally broadcast on KFJC
(Los Altos, Cal.).
1:00AM "Live! — shows and bands —
admission $6.00 — Performers are
subject to change." Maximum Soul.
REBEL JAZZ 10:00PM-1:00AM Join
Girish for some — rebel jazz..
EARWAX alt. 1:00AM- DAWN "Little bit
of drum, bit of bass and a whole lot of
noize." Late-night radio soundclash
destined to fist you hard. Zine features,
phat experimental chunes, and the
occasional turntable symphony. "Money,
we'll rock you on 'til the break of dawn."
— G Smiley
attention, all
women! CilUis
looking fcr you
to join a
kop show, if you
are interested in
diis or have arrf
please contact
naniiko       at
101,9 fM
Omly the OUT-EST cut* far all the HI_-*-SHAKI_-i DADDIES
and the REAL SONE MAMAS in the htuss 1
■utbi at m Rl.nxni,,
signal afford* a reundnesa ,
definltian,  phjsloal pr
senae and natural dlraotienalitj
MS at any  __t,i_ed_ary
between the li.taner and the live
"LIVE! AI IHE HI-HATU is fieroe. It ia
uno.mpromisin6. Humanis., integrity, savage
huirfor.and a sweeping revulsion for hypoerisy
bums and glows throughout this show,
setting this corpse that is our oulture abl
devouring it in its fiery jaws. " &Z9>
Look no further THIS is itl
—Hat Shapiro, editor, POPULAR MUSIO
SIMULCAST in full STEREO sound
every other week
brought to you by ths goad peopl. at PAISTAPP BEEH
-3017 (ext.3) for jh7jT>
z> im$°smm  January
Room... The Cartels, The Retreads@Brickyard... Ray Condo
& The Ricochets@Railway Club... 112, Busta Rhymes, Foxy
Brown, Jay-Z, Kid Capri, L.O.X., Lil' Cease, Ul' Kim, Maze,
Usher, Puff Daddy & The Family@GM Place... Millenium
Project@Sonar... Lili Marleen, Nora Heimer@Pac'\t\c
Cinematheque... Kathryn Rose@Piccadilly Pub... Nigel Mack
& The Blues Attack@Backstage Lounge... Glen Tremblay
Quintet@Purple Onion...
SAT 20 The Colorifics@Starfish Room... Ray Condo & The
Ricochets@Railway Club... Blammo, Trike Wipeout,
Malevolence@Brickyard... Vancouver Chamber Choir, Ed
Henderson@Chan Centre... Millenium Project@Sonar... Jamie
Clark@Naam... The Malchiks, The Hounds of Buskerville@Cafe
Deux Soleils... Black Christmas@Havana Gallery...
SUN 21 Poetry Panache: X-Mas Edition@Death By Chocolate... Sugar Rum Cherry@VECC... Vancouver Chamber Choir,
Ed Henderson@Chan Centre... Andrew Davis Duo@Naam...
Linda McRae, Bughouse 5, Big Yellow Taxi, Truck, Bocephus
King, Daisy Duke@Gate...
MON 22 Grrrls with Guitars: Pamela Messner, Laurel Albina,
5th And Stephens@Railway Club... Jazz Fish@Namm...
TUE  23 Ronnie Hayward Trio@Railway Club... Jim
WED 24 Ronnie Hayward Trio@Railway Club...
FRI    26    Bughouse    Five@Railway   Club...    Green
Room@Chameleon..    Danian   Azriel@Naam...   Gail
Bowen@Backstage Lounge...
SAT 27 Green Room@Chameleon... Jamie Clark@Naam...
Gail Bowen@Backstage Lounge...
SUN 28 Ian Miller@Naam...
MON 29 Money Hungry Newlyweds, Nummmb@Railway
Club... Old Time Comfort@Naam...
TUE 30 Oh Susanna, Kevin Kane@Railway Club...
WED      31      Pluto,      DTT@Starfish      Room...     The
Rubbermaids@Naam... The Jazzmanian Devils@Piccadilly
Pub... The Sharpshooters@Chameleon... Sleater-Kinney, Dub
Narcotic Sound System@Capitol Theatre, Olympia... Royal
Grand Prix@Railway Club...
FRI 2    Skaville@S»arfish Room... Resin@South Hill Candy
SAT 3 Resin@Whip... Harvey Switched, The Saddlesores, The
Dirtmitts@Starfish Room...
MON 5 Chris Aiken with Peter Bingham (dance)@Edam (303
E. 8th Ave.)...
TUE 6 Men in Black, Gatfaca@Ridge...
WED 7 Career Girls, Secret and i/"es@Ridge...
THU 8 Versions@Chameleon... Little Gorphin Annie, Big
Cookie, Vegetable Kingdom@Starfish Room...
FRI 9 Wide Mouth Mason@Palladium... Noise Therapy,
Midge@Starfish Room... Chris Aiken with Peter Bingham
SAT 10 Liona Boyd@Surrey Arts Centre... Chris Aiken with
Peter Bingham (dance)@Edam... Chantal Kreviazuk, Kacy
Crowley@Starfish Room (2 shows! 1st at 7:30, 2nd at 11:00)...
SUN 11 The World's Best Commercials, I997@ Ridge...
MON 12 Iris Dement@St. James...
TUE 13 The World's Best Commercials, 1997@ Ridge...
WED 14 The World's Best Commercials, 1997@ Ridge...
THU    15       Trey   GunnOStarfish    Room...    Double
GAZE@Vancouver East Cultural Centre... LA Confidential, The
Usual Suspecfs@Ridge...
WRONG, JODI (from Team Dresch), VEDA HILLE,
PUNCTURE, LOUD@Vancouver East Cultural Centre... Chris
Parkinson, Daniel Thonon, John Whelajj@Rogue Folk Club...
LA Confidential, The Usual Suspects@R\age...
SUN 18 Fred Penner@Orpheum... LA Confidential, The Usual
MON 19 The Sweet Hereafter, Exotica@R\6ge...
TUE '20 The Sweet Hereafter,Exotica@ Ridge...
WED 21 The End of Violence, Wings of Desire@ Ridge...
THU 22 Christian Escoude Trio@Starfish Room...
FRI 23 Goldfinger@Starfish Room... Oasis, Cornershop@GM
SAT 24 Brian Evans@Vogue...
SUN 25 Taste of Cherry@ Ridge...
MON 26 Our Lady Peace, Everclear@GM Place...
TUE 27 Taste of Cherry© Ridge...
WED 28 Jesus Lizard@Starfish Room... The Rolling Stones,
Jonny Lang@BC Place...
THU 29 Back to the Lab@Chameleon...
FRI 30 The Hanging Garden, K/ssed@Ridge...
SAT 31 The Hanging Garden, Kissec/@Ridge...
th^Starfjsh R$b
cause. W
dowr -4
who is t|ie feestest
vou ask for?
, instead
everyifl-rig ^ ^ ^ ^
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (af Cambie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
The Blinding Light 256 E. Georgia (between Main & Gore)
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Death by Chocolate  1001 Denman St. (at Nelson)
Denman Place Cinema  1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate  1176 Granville (downtown) 688 8701
Good Jacket 42 Kingsway (at Main) 872 5665
Greg's Place 45844 Yale Rd. (Chilliwack) 795 3334
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
Hemp B.C.  324 W Hastings (downtown) 6814620
Hollywood Theatre 3123 W Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main  (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pt. Grey) 224 8007
LaQuena  Uncommercial  (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Medialuna   1926 W Broadway
Mora 6 Powell (Gastown) 689 0649
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque  1131 Howe (downtown) 688 3456
Palladium (formerly Graceland) 1250 Richards (downtown) 688 2648
Paradise 27 Church  (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building  (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 6816740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Queen Elizabeth Theatre Hamilton & Georgia 665 3050
Raffels Lounge   1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W. Cordova (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room   1055 Homer (downtown)
Starlight Cinema 935 Denman  (West End)
Station Street Arts Centre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
The Tower 339 W. Hastings (downtown)
Twilight Zone 7 Alexander (Gastown)
Vancouver E. Cultural Centre  1895Venables (at Victoria)
Vancouver Little Theatre 3102 Main (Mt. Pleasant)
Vancouver Press Club 2215 Granville (S.Granville)
Varsity Theatre 4375 W. 10th (Point Grey)
Vert/Washout   1020 Granville  (dowtown)
Video In Studios  1965 Main  (Mt. Pleasant)
Virgin Mega Store 788 Burrard (at Robson)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre  1405 Anderson (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall  1882 Adanac (the Drive)
Women In Print 3566 W 4th  (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1869 W 4th (Kitsilano)
685 585
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
988 2473
682 8550
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
669 2289
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232
Ti _Dj^ax®_a 1869 W 4th Ave.
Vancouver BC
tel 738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
I      1. MASARD - Het
Please Do Not
Disturb cd
Twift CD-EP
Various Artists
The New
Despair cd
Stupid Stupid
Stupid cd
Designs And
Mistakes cd
I cd
"e silenced tor long, these activist-
ided music makers have returned to th
;iness-of-rock, producing a lively, artic
! and loud funk/rock/dance hybrid-like
w recording. Certainly, the political angle   minds hook up with SHIRLEyVaSSEY?
History Repeating cd-ep
How the helldid these Australian mg beat m<
OF 1997
is still present, but comparably coded in
relation to past didactic gems. Also, now
on Canadian indie label G-7, home of politi
cized punkers Propagandhi.
$1X98 CD
Rootrospective cd
Sixteen tracks or folkfunkrootsrockreg-
gaeska from one of Vancouver's all time
fave party bands. This positive philosophy Solo outing_ whichi a
compilation culminates tunes from long out very sophisticated and sexy listen. Taking a
of print CDs and cassette-only releases. It's the debonair Serge Gainsbourg, HARVEY cc
time to shake the lint out of yer pockets and great passion
$16.98 CD
ter? These tracks drop the bomb, or should we say
boom, giving the Chemical Brothers a run for their
money. Look out boys, the colonies are calling —
history repeating, indeed. A classy, house-
rocking EP.
$9.98 CD-EP
Pink Elephants cd
Ex Bad Seed, MICK HARVEY gives us his second
$10.98 CD
Young Team cd
These young Scottish sonic explorers d;
ingly chart the spacey outer territories c
noise rock experimentation, ebbing and
flowing with equal grace and passion.
Various Artists >
3 CD
Impulsive, dynamic, moody and appealing,    SWINGIN' UTTERS, NO USE FOR A NAME, DICKIES,
MOGWAI s Young Team has
intelligence and style — a Ie
Zulu fave, for your approval.
$16.98 CD
A full meal deal and then some, at a great price.
$5.98 CD
2. CALEXICO - Spoke
3. THE SEA + CAKE-The Fawn
4. OP8 - Slush
5. DAVID GRUBBS - Banana Cabbage, Potato
Lettuce, Onion Orange
6. BLONDE REDHEAD - Fake Can Be Just As
7. TO ROCCOCO ROT  Veiculo
8. APHEX TWIN - Come To Daddy EP
9. PANASONIC - Karlma
10. WOODEN STARS   Mardi Gras
1. RADIOHEAD - OK Computer
2. LABRADFORD - Mi Media Naranja
3. TO ROCCOCO ROT  Veiculo
4. AERIAL M - As Performed By...
5. LAIKA - Sounds Of The Satellites
7. LOW-Songs For A Dead Pilot
8. POLVO - Shapes
10. PAVEMENT - Brighten The Corners
1. THE MAKE-UP-After Dark
3. SPIRITUALIZED - Ladies And Gentlemen
We Are Floating In Space
4. FOLK IMPLOSION - Dare To Be Surprised
5. 0P8 - Slush
6. BETH ORTON - Trailer Park
7. LAIKA - Sound Of The Satellites
8. KARP - Karp
10. HELIUM - The Magic City
1.REX  3
2. OP8 - Slush
3. YO LA TENGO -1 Can Hear The Heart
Beating As One
4. CALEXICO - Spoke
5. THE JAYHAWKS - The Sound Of Lies
6. RED RED MEAT - There's A Star Above
The Manger Tonight
7. SON VOLT - Straightaways
8. BUILT TO SPILL - Perfect From Now On
9. WHISKEYTOWN - Strangers Almanac
1. THE JAYHAWKS - Sound Of Lies
2. SUPERGRASS - In It For The Memory
3. TEENAGE FANCLUB - Songs From Northern
4. GUIDED BY VOICES - Mag Earwhig
5. SUPERSUCKERS - Must've Been High
6. NEKO CASE-The Virginian
7. MINUS 5 - The Lonesome Death Of Buck
8. TOBIN SPROUT - Moonflower Plastic
9. DELTA 72 - The Soul Of A New Machine
10. APPLES IN STEREO - Tone Soul Evolution
2. THE GENTLE PEOPLE - Soundtracks For Living
4. PULP - Help The Aged EP
5. THE VERVE-Urban Myths
6. RADIOHEAD - OK Computer
7. GENEVA - Further
8. OASIS - Be Here Now
9. DUBSTAR - Good Bye
10. TEENAGE FANCLUB - Songs From Northern
Z MECCA NORMAL - Who Shot Elvis
3. MOUNTAIN GOATS - Full Force Galesborg
4. YO LA TENGO -1 Can Feel The Heart Beating
As One
5. LOW - Songs For A Dead Pilot
6. HELIUM-The Magic City
7. COMPOSTELA - Wadachi
8. FUTURE BIBLE HEROES - Memories Of Love
9. BLONDE REDHEAD - Fake Can Be Just As
10. ARTO LINDSAY - Hyper Civilsado
2. BELLE & SEBASTIAN - If You're Feeling Sinister
3. RADIOHEAD - OK Computer
4. MICK TURNER - Tren Phantasma
6. NICK CAVE - The Boatman's Call
7. CALEXICO - Spoke
9. PAVEMENT - Brighten The Corners
10. THE SEA + CAKE - The Fawn
1. Original Motion Picture Soundtrack - TREES
2. PAVEMENT - Brighten The Corners
3. MOLESTICS - Tropic Of Hokum
4. COMPOSTELA - Wadachi
6. TINDERSTICKS - Curtains
7. NO KNIFE - Hit Man Dreams
8. THE SMUGGLERS - Buddy Holly Convention EP
9. DELTA 72 - The Soul Of A New Machine
10. SHUDDER TO THINK - 50,000 BC
2. BELLE & SEBASTIAN - If You're Feeling
3. THE SEA + CAKE-The Fawn
4. ARTO LINDSAY - Hyper Civilizado
6. WILL OLDHAM - Western Music
7. AERIAL M-As Performed By...
8. EDITH FROST - Calling Over Time
9. TOBIN SPROUT - Moonflower Plastic
10. GOTHIC ARCHIES - The New Despair
BONUS! Mention His ad aid get 10% OFF any titles In ihese Top 10s!


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