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 THAT GOOD TIMES MAGAZINE FROM CITR 101.9 FM
Kristin Hersh Oliver Hockenhdll Jon Borges Lamb Labradford #s&
in
«8r a&6sGur_6*13s
Downtown Vancouver: 556 Seymour Sf. 687-5837 / South Vancouver: 732 SW Marine Drive 321-5112 / East Vancouver: 3433 E. Hastings St. 298-0464
Burnaby: 4568 Kingsway 439-0223 / Surrey: 10280 135th. St. 589-7500 /Abbotsford: 2369 McCallum Rd. 859-4200     WWW.absOUnd.CG www.sonar.bc.ca
Features
Kristin Hersh
Oliver Hockenhull
Jon Borges
Lamb
Labradford
stapler/hater:
barbara andersen
ad madame:
maren hancock
artistic type:
robert horsman
error detector:
tristan winch
design:
rob, ken paul, mike
josephson
photography and
illustrations:
jason da silva, ann
goncalves, patrick
hemingway, robert shea
production lovelies:
nick bradley, julie colero,
mike godwin, ann
goncalves, dorefta lau,
rowan lipkovits, christa min,
erin shaw, miriam
torchinksy
contributors:
tania a, mo b, julie c, mike
c, anna f, robin f, trevor f,
hancunt, John k, samuel k, z
k, christa m, luke m, gibby
p, anthony s, erin s, robert
s, morgan t, tobias w, eric
11
12
14
15
16
jmns
Das Book
5
Videophilter
6
7"
7
Kill Your Boyfrienc
8
Louder Than A Bomb
18
Under Review
21
Real Live Action
24
Charts
27
On the Dial
28
Datebook
30
Cover
w, natx, -eromey
programme guide:
anna friz
charts:
julie colero
datebook:
barbara
distribution:
matt steffich
us distribution:
g-baby resch
publisher:
aaron nakama
When asked who the character in his cover
COMIC WAS SUPPOSED TO REPRESENT, JaSON Da SlLVA
responded philosophically, "he's all of us."
Funny guy. Design by Rob.
© "DiSCORDER" 1999 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
17, 500.
Subscriptions, payable in advance, to Canadian residents are
$ 15 for one year, to residents of the USA are $ 15 US; $24 CDN
elsewhere. Single copies are $2 (to cover postage, of course).
Please make cheques or money orders payable to DiSCORDER
Magazine.
DEADLINES: Copy deadline for the Winter issue is November
24th. Ad space is available until December 1st and can be
booked by calling Maren at 604.822.3017 ext. 3. Our rates
are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings,
photographs and transparencies), or any other unsolicited
material. Material can be submitted on disc (Mac, preferably) or
in type. As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news
and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-
mail us at: citrradio@mail.ams.ubc.ca, visit our web site at
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-61 38 SUB Blvd., Vancouver, BC, V6T 1Z1,
CANADA.
printed in Canada
m
a FEVER: SENSE RECORDS TOUR
Featuring Hoschi & Korben Dallas (Germany)
his rising Europe
LOUNGE X pre-party with Deki
IMPNI NinJaTunePresents
^ RUSSIAN PERCUSStON TOUR;
l3m AIRTIGHT with The Hippos  &
g guests
Tickets available at rxx^^tAwrmmboutlets, or charge 280-4444, or www.ticketmaster.ca .   I
■ ■ ■ _s____-=r^_^_!__!K_rrs_-__- 5&mZ ™ Das Book
his stories in their "The Best
Short Stories of...
ollec
TOBIAS WOLFF
The Night In Question
(Vintage)
ZSUZSI GARTNER
All the Anxious Girls on
Earth
(Kev Portner)
Three things in life are given:
death, taxes, and the ongoing
battle   for   sexual   supremacy
between   males  and   females
Boys get all the cushy jobs. Girls
get bigger brains. The writing
exempt from this rule. Short fic-
seem to exemplify this point
rather well: the boys (Papa,
Faulkner, etc) win all the fancy
awards, while the girls (WeIry,
Erdrich, Oates) possess most of
the talent Some of you macho
knuckleheads out there may disagree with me, but I'm going to
prove myself and make you feel
like idiots (or maybe not, we'll
see).
Let's consider, first off,
Yankee writer Tobias Wolff's
collection of shorts, The Night
in Question. Like so many
American wordsmiths these
days, Wolff suffers from a bad
case of "Carveritis." You know
the symptoms: the short sentences, the understated empha-
endings. Now, I shouldn't say
that this is necessarily
unfavourable. I dig Carver   He
BY GIBBY PEACH
makes me smile. He makes me
cry. I rip off his ideas when I
write. But Wolff really likes
Carver. A lot. You know what I
mean. What's more, Wolff is
very, very male. A Vietnam veteran, his stories are rife with
ters. His boys don't cry. And
they don't get anxious. Despite
the stereotypically American
writing, however, there are
ibout two or three real gems in
this
ollectio
the flick American Beauty the
other night (unreal... no shit)
and it seems like it could have
been written by Tobias Wolff
The awkward moments, the lack
of a strong moral compass, the
fact that you want to cry at the
end; these things are written all
over Wolff's book.
Now here's where I prove
my point: academic big-leagues
in the United Snakes drool all
over Wolff like he's a smelly, hot
slice of apple pie (what could
be more American?). They stick
tions They make him a finalist for the National Book
Award. They give him the
PEN/Faulkner and the Rea
Award. The Night in
Question was even a New
York Times Notable Book of
the Year. The whip cream on
top of the pie, though, is that
he gets to be writer-in-resi-
dence at Syracuse University
where all the fancy-pants,
pipe-smoking old boys tell
him he's the best thing since
Hemingway Sure, the caliber of his writing is high and
this collection is certainly
worth purchasing, but it's
time for the old boys to pull
up their pants and realize
that the girls deserve some
accolades too.
Girls like Zsuzsi Gartner
Owner of the coolest name this
side of Chinua Achebe, Gartner
is local, cool as snake-skin
boots in Surrey, and at the
beginning of a prolific career.
Gartner's first collection, All the
Anxious Girls on Earth, is so
good that I bought it after reading the first story (which isn't
even one of the good ones)
while browsing in the book
store. Now, I should point out
that I usually get the books I
review for free because asshole
publishers want me to say good
less plug) to buy this book. If
you've blinked an eye in our
fair city at any time in the past
year, you've undoubtedly heard
of Zsuzsi's girls Anyone and
everyone who's cool has raved
about this book (except for the
pinhead in BC Book World who
said it was good, but not as
; everyone says; fu
him),
ning
thei
9 for book of the year. I'd
be hard-pressed to disagree.
Gartner's stories, unlike Wolff's,
are filled with girls. Dumb
girls, smart girls, fat girls,
skinny girls, old girls, young
girls, all kinds of girls. From
the fat, slow-witted girl in
"The Tragedy of Premature
Death   among   Geniuses"
ny, genius girl in "Odds
that, all things considered,
she'd someday be happy"
who had me grinnin' like a
Cheshire, Gartner has
developed characters who
I'm going to see on the bus,
at work, at the grocery
store, everywhere. I might
cry when I see them. I might
smile. I don'l know. That, to
me, is the sign of someone
who knows what the hell
they're doing. ,
Now, sure, people are loving Zsuzsi to death around here.
But what about the rest of the
country? Will she get nominated
for a Governor-General's Award
(when she should win)? Where
was her name among the
Booker nominees? I'll be
damned if there's gonna be
another book this good in a
long, long while. So where's
Zsuzsi's money and fame?
Tobias Wolff can use his talent to
write about boys. At war, at
play, wherever; I don't give a
rat's ass. My money's on Zsuzsi's
girls. Every last anxious one of
them. •
Vancouver
O1
to take all the wah-wah
pedals in the universe
and start a fire. There is nothing
else that can ruin a song more
quickly than that God-awful
pedal. Okay, the Core can have
the only wah-wah in the world
just in case they have to perform
"Wendy Time." The NOXEMA
GIRLS, however, should take
their pedal and shove it up
theirs. Before listening to their
demo, I thought they'd sound
remotely like Echo & the
Bunnymen, seeing that they
were slated for their opening
slot. Nope. How's this for a lyric:
"I've got my head so far up my
ass, shit is all I see." Like most
new bands, the Noxema Girls
can't decide what kind of music
to play, so they play it all: joke
rock, power ballads, non-lyrical
showing-off of vocals, pseudo
jazz.    You    get   the    picture?
When I think of EVAN
, SYMONS, I think of this poster I
saw for his thirtieth birthday
party. His tongue was a few
inches away from licking a
book. So when I received his
new two song demo, I was
expecting a good laugh. The first
song, "Mik-ayla," features a
jnding, annoying crying
4%%
baby loop. I can't laugh if I'm
annoyed. The second track is
kind of pleasant. Symons' voice
isn't the greatest — it's breathy
and off-key — but it's all right.
But if "The Mirror" is supposed
to be funny, I don't get it.
<esymons@stepandahalf.com>
THEWOKS are from PEL
I'd bet there are hundreds of
bands called The Ewoks,  but
THewoks sound a bit like Sonic
Youth with a sense of humour,
or the children of an SST band.
Their tape has a number of
"Untitled Symphonies" that
sound quite good, but would
sound a lot better if they were
three or four minutes shorter. The
other tracks feature spoken word
on Pop Art and the laws of
physics, and there's one hardcore track about a hairy-legged
<proctorsdoctors@hotmail.com>
<gflei-nmin@is2.dal.ca>
Hey, how about
COUPON? I have to admit that
I'm a sucker for crybabies.
Jordan McKenzie sounds a lot
like David Bazan of Pedro the
Lion: low and on the verge of
tears. Coupon's tape Watching
With Their Eyes is very listen-
able. Straight-ahead minor pop
songs. Very nice. (Blackball
Records, c/o Coupon, 409
Fitzwilliam St., Nanaimo, BC,
V9R 3A9)
<blkball@island.net>**
# BASSIX
EQUIP-
turntables needles headphones slipmats cases/bags house club downtempo
breakbeat jungle/drum n bass hip-hop progressive breaks & beats trance techno
rare groove videos mix dj tapes mirror balls gift certificates
gemini   technics   OffOfon   Numork   sony
217 w. Hastings st [at cambie]
Vancouver, be, Canada
O604£8a7734 fx. 604.689.7781
mail orders available,
email: bassix@netcom.ca LIVING CELLULOID
IN PERSON FILMMAKERVPERFORMANCES ATTHE BLINDING LIGHT!! T
THE MULTIPLEX GRAND: PHASE IV
iuO: matt Mccormick + vanessa renwick
NY/GERMAN FILMMAKER CASPAR STRACKE
GERMAN FILMMAKER MICHAEL BRYNNTRUP
SEATTLE'S EMERALD REELS SUPERS LOUNGE
11/2-3 C
KID • 11/
RlSPIN GLOV
4 THE MULTI
LK IN
LEX
THE
]RAND
RKLt
• 11
5-7 HEA
BEYOND
INDUSTR
UNDERGR
17    101
11 METAL P
11/9-10 PLO
ALS • 11/1
OUND FILM F
BEST    AN
RKIN
TNICK
-14
ESTIV
D
G LOT
S KIC
VANCO
AL •
WORST
AND
-ASS
UVEh
1/16
TV
COMMER
IALS • 11/18
BY08
• 11/1
9 THE
INCREDIB
LY STRANGE
WORL
D OF F
RANK
MOORE •
DUO • 1
11/20 PORT
/21 CASPAR
LAND
STRA
S DYN
KE •
AMIC
11/23
MICHAEL
BRYNNTRU
P   •
11/24
THE
SECRET
IFE OF MR.
X  •
11/25
NEW
(CINE)WO
•    11/30
SHULIE +
RKS • 11/26
-12/1    RAD
WHAT FAROC
'27 X
CAL
1 TAL
-RAY S
REMA
GHT •
PECS
KES
12/2
SUPERHE
REELS SU
REINKE'S
RO SHORTS
PER 8 LOUNG
100 VIDEOS
•  12
E • 1
3 EME
2/4-5
RALD
TEVE
6 Nove<
iber 99
TOHmiEnEHin:
issUbxhhlt
Video Philter
i failed again. I tried, I
y tried to see at least 50
ies in the 1 6 days of the
International Film
Festival. As usual, I stalled out
at about 35. The annual problems of fatigue, butt-ache, and
the perils of trying to subsist
solely on popcorn were this
year accentuated by Gumby-
and-Pokey burnout, management/labour discord, and a
plethora of second-week screenings that were duller than a
stranger's wedding.
It isn't abnormal for the festival to fly out of the blocks with
a first-week barrage of thought-
provoking, well-made films, and
then lose a bit of speed as the
festival wends its way through
the second half of the fortnight.
The gap between superb and
hideously terrible seemed wider
at the VIFF 1 999 than in previous years, but despite my disappearing fortitude, I was able
to catch some really great flicks.
In the list-making, award-giving
belov
itofn
sonal 1 8th Annual VIFF Awards,
which were presented in absentia at a special gala to which,
in a reciprocal invitation policy,
the festival's representatives
were not asked. (Okay, so I was
the only one there. But it was a
great party.)
Most Disturbing (in a Good
Way): Little Tony I couldn't
say which was more squirm-
inducing in this tale of sanctioned
rural Holland — the inky-black
humour or the food the characters regularly imbibed.
(Horsemeat sausages anyone?)
Most Disturbing (in a Bad
Way): Howling for God
Watching people stick quarter-
inch-thick barbecue skewers
through their cheeks and
tongues may pull your ripcord,
but I didn't find enough real
insight into the dervishes' tradi-
endurable.
Best Holocaust Comedy:
Train of Life Is this the genre
of the new millennium? This
French/Romanian story about
the self-deportation of a 1941
Jewish village is as full of laughs
and pathos as last year's Life Is
Beautiful, without the central
personality to draw criticism
from the naysayers. Excellent
performances and the right combination of wonder and farce
made    this    film    compelling
Film Most Likely to Cause a
Post-Viewing Fight: A Day in
Black and White It's short
(only 85 minutes) but so
jammed with conflicting, contrasting points of view on its
central theme — race relations
in America — that the arguments it starts will last for days.
Best Teenage Coming Out
Film (Female): Show Me
Love The Swedish film was
also winner of Best Ending and
Most Painful Scene(s). The
biggest question about this tale
of an unlikely bond between the
most shunned girl in school and
the babe-a-licious object of her
affection is the title change. In
Sweden, it was called Fucking
Amal (as in "Why am I stuck in
fucking Amal?!?").
Best Teenage Coming Out
Film (Male): Get Real Intense
this British comedy the edge
over the American, '80s-era
Edge of Seventeen. If they could
have refrained from turning up
the schmaltzy score every time
the boys smooched!
Most Beautiful Film:
Building Heaven,
Remembering Earth:
Confessions of a Fallen
Architect A Canadian film
essay that washes over you in a
glei
lages,
caressing poetry and engaging
exposition. (Check out the feature interview with director
Oliver Hockenhull in this issue.)
Most Convincing Reason to
Thank Your Lucky Stars: Thug
Life in DC From its opening
statement that 50% of all black
men aged 18-35 in
Washington, DC are in prison,
on parole, or waiting for trial,
this American documentary hits
hard about fhe chances afforded a young African-American
male by today's society.
Best Kick-ass-and-who-cares-
about-the-rest John Woo
Homage: Nowhere to Hide.
The lack of martial arts films on
this year's program was almost
made up for with this ultra-stylish Korean effort by Lee Myung-
Se. The silent-but-deadly
performance by Korean superstar Ahn Sung-Ki is mesmerizing.
Best Excuse Not to Go Out
After Dark: Ultraviolet This
vampire conspiracy series had
better not be over. Query to
Festival Programmers/Channel
I Productions: Are parts 7-1 2 in
Existo This is the political
answer to The Rocky Horror
Picture Show we've all been
excess plot.
Best Dirty On-screen Sex by
a Major Actor: Ralph Fiennes in
Sunshine If you didn't see it
at the festival, chances are you
have missed out on the most
graphic sex that a name actor
has engaged in since 1975,
because there will definitely be
lade   t
this
20th century Hungarian historical epic before its regular
release Besides bouncing his
Fiennes bit o' sunshine across
the screen on two separate
occasions, Ralph demonstrates
fhe abilities that have surely
earned him his diving license
(of the muff variety). When was
the last time you saw an academy award nominee with his
face firmly planted in the shrubbery?
Best Sequel Made 15 Years
Later Gregory's Two Girls
Despite the misguided additi*
of c
•r-blov
s fro
the master of the low-key, Bill
Forsyth's follow-up to one of the
1980s' best coming-of-age
comedies delivers enough genuine guffaws to make the retred
worthwhile.
Best Reason to Kill the
Digital Revolution Now, While
We Still Can The Book That
Wrote Itself A seemingly talentless director/writer/actor
directs himself in his own script
about a talentless writer who
tries to film his really bad book.
The result? A really bad movie.
The relative cheapness of digital made it all possible.
Programmer Most In Need
of a Step-Ladder (In Order To
Descend from His Ivory Tower):
Tony Rayns [Dragons and
Tigers Asian Films Series)
I've said it before. I've heard it
from other filmgoers. I've felt it
in my sagging eyelids while sitting through many of the films
he's programmed. Mr. Rayns,
while s
fa:
sable
the
Drks?
t Pogo-Per
ing, tun, engaging
movies, often does not. Maybe
he just gets more out of a film
than the rest of us chumps, but I
have learned from hard experience that unless the synopsis
says, "wildly popular in its
native country" or "winner of a
zillion major awards," just don't
bother.
Tony Rayns Award for
Slowest, Dullest Film: love
Will Tear Us Apart • 7
inch
'alii I
My discerning ear has up
and left me. Everything
sounds the same More
specifically, everything sounds
like bad emo. Where have all
the pop 7"s gotten to? Are
cutesy bands and those kids that
like the harmonies just not into
the vinyl scene? Do they not
understand what
they are doing to all of us wh
would rather hear something
that rhymes than something
that is supposed to [r
supposed to) make l
think and feel? I do
not want to sit i
my room and listen     to     dreary
above a simplistic guitar riff and
some cymbal-
crazed but poor-
ly-ti n
drumming! Help
me,   pop   bands.
rhymes and hand<laps
and good things like that.
Heck, I'll even take rock
bands or instrumental wanderings or other such goodies. I am
an okay person. I do not hate
everything. I do think, however,
that this emo trend had better
hurry up and dry up, or get
good. Oh, to not be entirely horrid, I will say that I'm happy to
note that most bands are doing
coloured vinyl. Yum I That said,
on to this month's records that
frustrated me so
Kentucky label Doom
Nibbler has got its heart in the
right place and its fingers in the
wrong musical pie. After listening to the two debut releases
from the label, I am saddened to
say that the best thing about
these releases is their cover art
and the label's logo. Shoot. Not
so kind, I know, but here's what's
up Release #1 is a split single
by CAMBER and KID
BROTHER COLLECTIVE KBC
is a great name, but that's where
the greatness halts. This band
might be able to make it big,
though, because it sounds exactly 100% like the songs on the
first Get Up Kids album. I liked
that album, but I most certainly
don't need to hear it again, carbon-copied for the masses. Then
again, maybe these guys did it
first, and the GUKs just got a
record out faster. So it goes with
fads these days... Oh well.
Pleasant enough musically, with
weak vocals, this just isn't a song
you need to hear. The Camber
song is better and rockiner, but
still awful run of the mill. I guess
I shouldn't slag these boys and
their thoughtful musings on "stifled emotions" and "keepsakes"
and a world that is "absurd"; it
might hurt their feelings. Oh, I
am feeling mean today.
BY JULIE COLERO
#186, Lexington, KY, 40502)
And now for a record that
really let me down. . Self Portrait
U2. The first in this series of compilations was good clean
pop/fuzz fun. This release has
decided to be the "file under:
i/math rock" volume. Damn,
am fighting a losing battle, it
sems Anyways, four bands
contribute to this release, and
give you a quick low-
Okay, so Doom Nibbler split
#2 is, um, more of the same?
Yup  The WICKED FARLEYS
■ething really fast, fast,
and fast. The dr
boring.    The    VEHICLE
NORTH OF
AMERICA let
you down with a
-but-not-
actually-very-exciting tune shaped quite
similarly to all the other
NOA tunes (a bit Pavement-y,
for those not in the know); and
then there's HAYWOOD. It's
always the way that, on any
given compilation, there's bound
not so blah " (Permafrost, PO
Box 69009 Winnipeg, MB, R3P
2G9)
The ODD    NUMBERS
are pop punk   Um. . they sing
about shopping at thrift stores
and stuff. They are from
Californi
3 do you need
to     know?
(Sessio
Janis Wa
Scott:
Valley, CA,
95066)
EUR-
E   K   A
FARM'S
"Quinson-
s could be
be. The B-side, "Headache," has
a less full sound, but still works
pretty well. The drumming is
strangely fuzzed out (weird cymbal sounds!) and the sparseness
of a 4-track recording adds a
quirky feel to the song. This one
sounds fresh outta the
Northwest! (Loosegroove, no
address)
the ALL GIRL SUMMER FUN Dub Narcotic when this was
BAND, composed of a Softie, recorded. On the flip side,
a Cherry Ice Cream Smile LUCKY JEREMY does a simi
other beautiful larly sweet boy ballad. (Heart of
a Champion, PO Box 3861
Minneapolis, MN, 55403)
Those rock stars GUIDED
VOICES have
released a fancily packaged single,
'Surgical   Focus,"
rom their new Do
the Collapse CD.
It's all slick and
Ric  Ocasek-
filled.    I    still
(TVT, 23 E. 4th
St., New York,
NY,      10003)
V I Z A -
NOIR's self-titled
smgle    is    super
good! I can't really
describe it. try to pic-
re a hardcore Gang
Four fronted by Peter
Murphy.   No shit.  (The Pro
Shop,     1812    W.    Hubbard,
Chicago, IL, 60622)
>rds       has
le   of   BIG
Coming at you on lipgloss-pink       STAR rarities from 1974. The
vinyl, this four-song self-       songs are "September Gurls,"
full
bands get a bit of out-of-town
lovin'. The SPITFIRES have got
two new 7" releases, one on
Estrus, and "Slick Black Cat" on
Junk. Now, because I couldn't
find the thingy that goes in the
middle of 7" records with holes
in them, I couldn't listen to the
Estrus release. Hopefully, a sum-
ary of the other record
will be good enough.
This band has
good grit, and
he four songs
titled release is a treasure to
pass all others. This album is
of hand-claps, good vibes, har
monies, shouts, drumstick taps,
and tinkly bell noises. The lyr
are great, sporting rhyr
neat ideas and
fun fun fun fun  I
saved this one
for last because
I knew it would
of all that emo
gunk. Yippee,
shout it with me,
orded at a New York
rehearsal, and "The Letter" performed live in Memphis
(Norton, PO Box 646 Cooper
Station, New York, NY
10276) •
wearing jumper
aren't Mogwai
play with dyr
The vocal:
spectacular,
ing how to tune stuff like that
out. The kicker about Vehicli
Birth: this song's from '96, so thi
was before the drivel of now
times, and you can tell. Cheer
to Doom Nibbler for trackin*
down a goodish one. (Doon
Nibbler,   838   East   High   St
to be one neat song. Here's yer
sounds like a robotic Green
Day guy, all stiff and funny, and
the music is pretty decent.
Maybe #3 will be "file under:
These songs are fun
and boozy and... did I
y fun yet? Anyways, our
boys are rankin' up there on the
garage rock scene these days,
and this release helps to show
why. Nice! (Junk Records, PO
Box 1474, Cypress, CA,
90630)
And now, why I do all of
this. A new small joy in my life is
g u i
la
Microphones
No coincidence
that Phil Evrum
was manning
the    board    at
by Miyu
I.cforc you cry, remember
that; you're £oin£ to have
puffy eye*; arid snot hanging
from your nostrils, you're not
£oin£ to have a tissue, so
you'll use your sleeve, arid
soon, you won't be able to
breathe riormally, your nose
will be plumed, you'll hie
cup, £asp arid taste the salt of
your tears- No one will be
there to comfort you. Even if
there is, they'll say it'll be a
ri£ht, but they'll be lyin£. \y
wori't be okay, arid when
you've finally calmed down
you won't feel better because
everything's the same. You
would've done all that for
nothing.
7  H^g^SJlSffi Kill Your
Boyfriend
COMIC REVIEWS BY ROBIN.
"he other day my friend told       Bn
me that he thought Hellboy      9ood   9UYS)
was a girl comic. I don't       "Paranormal
(Ihe
every girl I knc
reads comics
He//boy Now,
know if it's neces
•rUya
girl   thing,   but
Hellboy, too.
The Hellboy series is
written, drawn, and created by Mike Mignola
(except the first story line,
"Seed of Destruction,"
which was penned by
"Alpha Flight" creator
John Byrne) and is published by Dark Horse It's
set during World War II
and Rasputin is still alive
(21),     initialing     some
demon for the Nazis
Meanwhile, back at the
British camp, a demon
suddenly appears, a
baby demon from Hell.
Thus Hellboy is born.
Hellboy is raised by the
My favourite thing about
Hellboy is Mignola's art His
style is so unlike anyone else's,
but so good that he has
acquired many imitators
Everything is angular,
jagged and severe. Black
chunks and explosive flying
lines are everywhere The
bizarre colour scheme -
dominated by black, shocking-bright red, olive green,
and navy blue — makes the
characters seem almost larger than life Losriy, there is
Mignola's deft and almost
light and positive and neg
ative space. All these artis
tic characteristics are hal
the reason I read the book
It's damn fine lo look at. So
fine, I got the lunchbox
The other half of my
"Why I love Hellboy" dissertation is a culmination of
things: the humour, the
action and the plot. It's
HeHboy's dry humour and
persistent sassiness while
facing some ever-present evil, or
the very first time Hellboy Jr tries
"pamcakes." Sometimes the
humour is so subtle that you miss
it. But when you're dealing with
screwed up shit all the time,
what can you do but laugh? It
makes Hellboy's character all the
more believable.
I   also   love   the
sure it gets a little
redundant But can
you really let the
biggest ever werewolf
kill again? Are you
prepared to deal with
Ragnarok? The action
is   important.   There
lore, old and new Hellboy's
gone against an undead
Rasputin, a Frankenstein-like
monster, a prince of darkness,
Boba Yoga, and various
Lovecraftian villains. (No, there
hasn't been a Blair
Witch/Hellboy story ) Yet I'm
little
For
whenev
Hellboy does fight,
he's always falling
through floors and
into the depths of castles, continually
"falling into the
depths of Hell." Or
how Mignola's hatred
of drawing feet lends
his characters an alm<
s ol n
these thin
,  thor
1 that
sets Hellboy apart from any
other comic: Mignola's love of
folklore and legend. Each
Hellboy story revolves around
long run, it's rare that a comic
will make allowances for intelligence, which makes Hellboy a
pleasant change.
I had to write this review
because I'm tired of people dismissing Hellboy because they
think it's a superhero comic. I
hope this review will convince
you to give it a fair chance. If
anything, just flip through the
book. If the art alone doesn't
grab you, I will — to beat some
sense into you, because this girl
LOVES Hellboy. •
•arch i
o folk
hesitant to call it a horror comic.
Hellboy, aside from the fact that
he's a demon, seems like your
average Joe, with a bigger heart
than you could imagine. And
things don't seem so scary
because you know Hellboy will
kick its ass no matter what. In the
Hellboy
Chronology
• Seed of Destruction TP
• Wake the Devil W
• "Chained Coffin & Other
Stories"
• The Lost Army, a novel by
Chris Golden
• Hellboy Jr. Halloween
Special
• Hellboy Christmas Special
• Gary Gianni's "Monstermen"
(backup story)
• Dark Horse Presents "Jr.
Special" (short story)
• Box of Evil #) 8.2
• Hellboy Jr.   Easter Special
i
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E-mail entries to discorder@yahoo.com; drop 'em off or mail 'em to:
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\'<7
DiSCORDER Magazine
is currently accepting applications for the
position of Art Director
Here's the deal. This position involves laying out the features each month, as
well as organizing and co-ordinating volunteers to help you in this task.
We're looking for a creative person with a flexible schedule (10-20 hrs. the last
week of each month) who has some design & layout experience. You must be
proficient in Quark Xpress and Photoshop in a Mac environment; familiarity
with PageMaker and Illustrator is a definite asset. Knowledge of colour
seperations and simple paste-up is also needed. Most importantly you must
have a love and knowledge of local and independent music.
This is a VOLUNTEER position with a small monthly honorarium.
for more information contact
Barbara (Editor) or Rob (Art Director) at $22-3017 ext. 3
or email discorder@yahoo.com
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December/January issue of this fancy little rag.
Comin' at cha
Friday, December 10.
Here's hopin' you can handle it UP YOUR ASS WITH A CAN OF GAS
OUT YOUR NOSE WITH A RUBBER HOSE o;
stage, Kristin Hersh is indefinable: half Japanese
Bhuto dancer, half Rock Star. It comes out in the way
ie doesn't blink while singing, the way she stares ou
unmoving eyes, over the heads of her seated audience. It
comes out in the way she is alone, completely It comes out
in how, after being whip-smacked by her songs, shi
becomes chatty and friendly between them. It comes oul
the way her lips and eyes change and pout while she looks
at her guitar — a look that seems to say "I've been doing
this for 15 years, I'm still selling half-filled rooms, but, i
okay. This is what I do."
She becomes one of her own songs
"Each song is like trying to define a pe
Songs are like people," she says to me, pre-show, in a
and empty Starfish Room. "It's hard to define them. I dc
know what each of my songs mean, it just has to be
with those words. I have to feel like the truth is coming out of
Off-stage she is like quiet sparkles, relaxed and v.
Her kids explore the empty club; she watches them curiously,
carefully, but still lays all her attention on me. Both Ryder, the
middle child, and Wyatt, the youngest, seem to have her
mouth and her face — round and porcelain, but al
"Dylan's thirteen, he's in school, with his
:ustody of him because I was in a band But the
surfer, I don't know if that is better. He spends as
i us. He understands the situation."
The other two travel with Kristin, who says, "I'm
■>nly teacher they know, which is fine while they are both
o long division, well, then its going
to be a problem." I laugh with her. "They've done rr
their growing up on tour busses and travelling." I can see the
touring child in both of them. Ryder helps with the set-up
and later that night, before the show, I see Kristin w
Wyatt to the back of the house. He looks around c
varied people while she focuses on getting him
stage, backstage.
They all travel in a large jeep, the equipment
trailed behind them in a U-Haul. The family is an extended
road trip. Swiss Family Rockstar, of sorts.
"Financially, tours are a nightmare. The only rc
I am not with my band [Throwing Muses] now is purely
il. It broke our hearts [that] we couldn't be together."
during one of her encores, an audience member yells
"I hoped you'd be here with a bigger band." Kristin
In her veteran touring and singing
worked with many labels and people. In Europe,
always been with 4AD, but in North America, she's been
with both 4AD, her own Throwing Music, and Si
illy great people who worked
with the major labels, you know, the ones who listen to really
great music in their office, and then go sell millions of dollar
of really terrible music the rest of the time. And they
good to us, they just didn't publicise us."
I  ask who her target audience  is,  and  shi
responds by telling me that The Village Voice had told its
readers to go see a Kristin Hersh show, if not purely to see
the wide range of people she attracts. This is an offhanded
compliment she's happy to accept.
want to say, 'market us to everyone
1 2-year-olds,' but you can't do that
ake money marketing good music, they know that. So
many bands are reaching for that one single, that one hit I
make them with everyone. But once they get there, that'
then they're finished. That's one of the
Lilith Fair for so many years, too.  Besides, why
introduce such Gender Speak into your songs if it's not
already there as a theme?" We both laugh at Jewel's gend<
speak, or lack thereof.
She sips herbal tea, and Wyatt toddles over, he
has ice-cream in his hair.
Back on stage, she sings her cryptic songs, songs
that are like the many varied people in the room, each on-
hard to define. One beautiful boy sitting at the front of I
stage, alone, cries during "Heaven" and I suddenly <
decide who moves me more, he or Kristin. I am mesm
by his honesty and her honesty and stay, transfixe
tears, until Kristin finishes the song, breaking the
rip-tide with her story of exploding Swedish fish,
a delicacy. Oh, those crazy Swedes.) • Confessions of an Unrepentant Intellectual:
An Interview with Oliver Hockenhull
by Tania Bolskaya
As an SFU student in the  1980s, Oliver
A\ Hockenhull came to film through a bit of
AmJLfriendly advice   Immersed in a heady
M %m/x of politics, sociology, philosophy,
and communications, it was suggested that he add
an art to his repertoire as a means of not just
thinking but doing. Since I988's Determinations, a
multi-dimensional exploration of the Squamish Five,
Hockenhull has been both thinking and doing —
creating film essays which challenge audiences to
enter and explore their complex topics His most
recent work, Building Heaven, Remembering Earth:
Confessions of a Fallen Architect, was selected for
the Documentary competition at this year's
Vancouver International Film Festival and given the
honour of three screenings in the festival fortnight.
Building Heaven, Remembering Earth it,
however, not a documentary. Neither is it a
narrative or fictional film. It falls into a special
category reserved for the works of filmmakers who
are   determined   lo   remain   unbound   by   the
i. As with n
films that realize their potential as completely
cinematic experiences, this film is difficult to
describe. It is not, like most narrative films, a novel
told through moving pictures. Nor is it, like many
documentaries, a textbook illustrated with dramatic
action and oral storytelling. Il is part travelogue, as
Hockenhull visits great architectural works of
Europe, North America and India, and provides a
travel diary voice-over There is a dramatic structure
in which fictional characters interact with the
travelling Hockenhull. Architectural theory is
discussed, as is the social well-being of the planet.
However, the itemization of these parts cannot
recreate the visual, aural, intellectual whole. During
the festival, I spoke with Hockenhull about his work
and his experiences as a Canadian film essayist.
DiSCORDER: What were your inspirations
for this particular film?
Oliver Hockenhull: There's actually a long
history of filmmakers who explore issues in a film
essay form. This isn't really a documentary, it's
really a film essay, and that tradition goes back to
someone like Dziga Vertov. More recently, [it could
be compared to the work of] someone like Chris
Marker, who deals with the relationship between
the subject matter and the imagination, so that it
becomes a living engagement with the subject
matter One of the problems that we find with
general media is that it is supposedly factual, but
it's not actually a living thing. You're not dealing
with a reflection on problems or questions or issues.
I think that my work is interested in doing that all
the time I think it's very important fo have the
beauty of life and be part of the answer to any
question. We can see that in the tradition of the
written essay as well, where there is the issue and
then there is contemplation of the issue from a
personal viewpoint. Then that personal viewpoint
expands to a transpersonal viewpoint as well.
...where the driest essay is the one which
just disseminates information. It's such a
complex film, there are so many elements
— you have the narrative, you have
actors, you have distinctive visuals. Before
you put the film together, how much was
planned, how much did you find along
the way?
I think that it's important to realise that this kind of
film is process-oriented, so there is an immediacy
with the material, but that immediacy is founded on
a long research period. My research may take me
a year and half before I shoot. I'm really doing a lot
of reading, I'm doing a lot of thinking about these
issues and reflecting. Someone mentioned at one
screening
that they found the work full of theory.
Actually I've read all of that stuff, but I use it as
manure I let things grow out of it, let the poetry or
my own imagination grow out of it. And it's not
heavily theory-oriented. Someone who may be
unfamiliar with architectural theory or French theory
or deconstructionist theory [can still enjoy my work].
Right now there's a big market for the
documentary, but mostly the kind of
documentary you can watch on TV at 9
pm, like Biography. How do you see your
film fitting into...
...the marketplace?
Into the marketplace but also into people's
lives?
I think it was Tom Wolfe, or Norman Mailer, who
said, 'Television has gotten to the point where it's
scraping the top of the barrel.' There's so much
space out there, they're looking. I'm not saying that
it's going to sell everywhere, but I think it'll get
shown on Finnish TV or French TV or Bravo. I do
think it's still a hard sell on these kind of works that
are a little more demanding on people. What
happened was that this film was mostly funded by
the Canada Council. The Canada Council is a jury
process, and it's people I don't know. These people
may be artists but they're also citizens. They're also
just regular people who go to school, who have
mothers and sisters and brothers who own gas
stations. They're the ones who say, 'Yes, we think
this is of value. We want to allow people to see
another way of seeing the world.' Luckily in
Canada there is still that venue available.
This film was shot completely in digital.
What has digital meant for you?
It's really great in a certain way. I'm traditionally a
filmmaker, I like to work in film because of the
quality
of the image, it makes a
difference. For this project, it was no bigger
than your [Walkman-sized] tape recorder, the
camera that I shot with. It allowed me to travel very
easily and also it allowed a much greater intimacy
with the material and with myself. It's not really
required to have a crew. It's a completely different
way of thinking about the world itself, too. For me
it really has to do with the transformative
capabilities of the digital medium because it's
purely a code. That makes you accept the
prominence today of the transformative quality of
the medium. McLuhan said that when a new
medium comes into being, people use if in
traditional ways. The big argument in Constructivism
in the Russians was that people were using cinema
as if it were theatre. Well, it's not theatre. You don't
have to rely on the confines of theatre to make
movies. The jump cut was done in 1918 by the
Constructivists. Hollywood finds it even difficult now
to accept [jump cuts] in a film, that you can play
with time. The digital is even more open to purely
interpretive qualities. The tools of transforming an
image are accessible now to anybody with a
$10,000 computer. That's still a hell of a lot less
than it was five years ago, and it will be a lot less in
a couple more years. Special effects are much more
easily available.
There was a big shift in tone when your
film moves from the West to the East. For
me it was a shift from solids and
inanimates to a living, breathing world. Is
that something you wanted to express to
the audience?
There is a shift,  but that shift is based on a
12 November 99 "Electronic man has to train his perceptions in a relation to a total
environment that includes all previous cultures — simultaneously."
Marshall McLuhan
questioning of the
Western traditions. Not to deny
that in the history of the Western traditions
there is a continuum of referencing of the eternal,
but in the East it's quite prominent. The eternal is
always there. There's a history of this kind of quest.
It was done very much by European intellectuals
after World War II. People often, especially in
North America, don't recognize the importance of
WWII to the intellectual heritage of the West. Those
moments of Auschwitz and Hiroshima are moments
of fantastic horror of what civilization could create.
Germany, being one of the great homes of Western
culture, creating a civilization that would allow
these things to happen, a lot of Western
intellectuals, like Romain Rolans and Herman Hesse
srted g
, 'What
d going
the matter here? There must be a seed in Western
culture that's problematic' I think we're still dealing
with that. We live in a society that rarely senses
that as being the foundation of the society.
Progressivism. We're always trying to
move forward, away from where we
began.
Away from origin, too, away from time itself. We
try to speed up time so that we don't experience the
profundity of time.
Do you prefer to work out of Vancouver,
and the Canadian film climate? Is it
friendly to a person like yourself who is
not making 'Hollywood North' films, not
making
narrative
films?
To be honest, it's not. My peers are
supportive, but the climate itself is not
particularly supportive. You feel that as an artist,
here in North America, and especially on the west
coast, you're not really respected like you would
be in Europe, as an example. There's a complete
acceptance of that. It's not just for young kids. [The
attitude,] 'Oh well, this is just a phase,' [is] a little
bit hard to take sometimes. Probably only because
I've had the experience where it's not like that.
Do you think that's because of the focus
in North America on the commercial and
on marketable things as opposed to the
intellectual and artistic for their own
sake?
It also has to do with the lack of Ii
lack of integration between socic
and     political     consciousness
There's a real fracture within our
those people who are creative,
creative mind, and those people who are basically
functionaries. You don't have that relationship
between politics and culture. I love and respect this
ng culture, the
consciousness
e continuum,
iety between
that it once had. That's a
problem about Vancouver, for
it will rejuvenate itself again.
Building Heaven, Remembering Earth:
Confessions of a Fallen Architect has recently been
accepted for the International Competition of the Graz
Biennial on Media + Architecture. Hopefully, the film will
make a regular-run return to Vancouver screens, but it is
probably more likely that Canadians will next have the
opportunity to experience its beauty and engaging complexity on the small screen, via video or television. If there
are any true minds in Canadian film distribution, we'll
be scraping the top of the barrel soon. •
t3 You have to wonder about the kids these
days, with the musical role models that
are hitting the charts, one might
reasonably question whether the glint in every
young musician's eyes is fueled by their
fervent desire to be the next member of
BoyZone. Since witnessing Jon Borges' ear-
splitting performance at the Vancouver Little
Theatre on September 25th, I am convinced
that the youth of today (or at least a select
few) will furnish the next millennium with
alternatives to top 40 drivel
Jon Borges is a  14-year old Tulare,
CA   native   who's   heading   up   the   junior
leagues of an army lead by the likes of Jim
O'Rourke        and        Glen
Branca.      After
The     Y o u t
electric guitar from mom at the age of 10,
Borges soon discovered he had a knack for
noise "At first it was all I knew how to do
and I really didn't know that there was
anyone else doing this," he says "Then I
found out there was a whole genre " Living in
a small town with virtually no noise music
scene, the Internet became an invaluable tool
for finding out about other noise performers
One such act, Canadian Nihilist Spasm Band,
introduced him to the "No Music Festival," a
London, Ontario avant-garde carnival of sonic
delights hosted by the aforementioned
legends, where Borges managed to wrangle
himself a spot beside greats like
Borbetomagus, O'Rourke, Solmania, and
Unclean Wiener
Thanks to his stunning performance,
local n
atrons who invited him up to play
Vancouver last month He played the
Vancouver Little Theatre (one of the
are     Still     Sonic
by   Mo   Biggsley   and   Luke   Meat
irritating amusicality of Borges' "songs" was
strangely poetic. Soothing? Maybe not As
Borges puts it, "My music isn't supposed to be
relaxing, and if anyone feels that way, they
just. . shouldn't." Couldn't have put it better
myself.
Describing his experience of that
night, Borges claimed, "It was really great. I
didn't really pay attention to
the audience during my set." Only his second
live public performance, it was perhaps less
daunting than his first, where he shared the
bill with some of his heroes, an event he
'physically draining " Borges is
.lific
apes t*
■corded on a four-trc
3 fascinatingly dense
. His latest
oduct
Hospital's gripping
nd   down,
Borges     leapt     up
confidently, strapped on
his Stratocaster, and exploded
immediately   into   spastic
thrashing musical tirade was a sonic assault,
jarring   even    through   the   complimentary
door. Low, oscillating frequencies dueled with
high-end dissonance. The Ii
were tweaked with every cacopho
As   with   the   best   noise   music,
his
Behind this prodigious youth lies the
supporting love of an unusually open-minded
person, Borges' mother Elizabeth White. Few
moms would put up with, let alone encourage,
a budding noise musician. White, who
schools Borges at home, even undertook the
five-day drive from California to Ontario to
bring her son to the No Music Festival, a
drive during which Borges turned fourteen.
Far beyond tolerating Jon's music, White
takes great pride in it, and even listens to
many of the same bands as her son (her
favorite is Sonic Youth). All the same, Jon's
daily living-room practice is capped at 9 PM.
rule-
and «
kids have bedtimes.
For the moment, Borges f
head back home and "stop for a whili
the energy he dispenses at his shows
surprising that he needs a rest. Let's j
it's not for too long.
." With
it's not
Jon Borges can be contacted by e-mail at
<terminus01 @msn.com> or the old-fashioned
way at 856 E. San Joaquin, Tulare, CA, 93274-
4330 USA. •
LIJLLALIHJ BRICKYARD
WEDMESDMY NOVEMBER 3
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1** November 99 Ihu Hancunb and Bohbu Shea
Lou Rhodes of Lamb is incredible, spilling health
and beauty like a fucking waterfall. Bobby Shea
and I sat across from her in the Upper 'Nar,
grilling her about sex, feminism, joy ...oh yeah,
Lou: 'Post-feminism' is about reclaiming what's
womanly. Feminism was a movement that
needed to happen, but a lot of it seemed to be
concentrated on denying what was womanly:
the stereotypical feminism, the dungaree-
wearing short hair vibe, which is a stereotype.
DiSCORDER: Instead of trying to
reinterpret what it means to be sexual
or vulnerable, it was being shut out.
It's important that women are appreciated for
what we're all about, and the important work
to be done on that score is to give value to what
is womanly. For so long what was womanly was
negative: woman was the moon, man was the
sun. We're the dark side, the other side, and
the weak side.
Yet the moon can be very bright!
Women's vulnerability is their strength, and
women's softness and concentration on emotion
is strength rather than a weakness. I come from
a country where a woman ruled for many years,
yet this was a woman who just took on male
values; she could make anyone ashamed to be
They're not going to let a woman be in
power unless she's going to subscribe
to those values, unless she'll support a
war-faring, capitalistic world. Do you
think we are in an actual post-feminist
time, in that feminism 'worked' in
whatever it was supposed to
accomplish, and now we can all be in
'post'?
I use it in a kind of ironic sort of way, since we
are so obsessed with putting labels on things.
Yes, we are definitely in a post-feminism phase
now, and there have been many bad things that
have happened: this whob 'girl power' thing, I
 Hnn't.knaw. iLthe.wholfi ^pica Girls thing has
happei
Yes, the Spice Girls
here.  England  has
being quite a frigid
think that frigidity ii
things like the Spice
We h(
weird division between thj
a resurgence of
became huge over
reputation  as
country. Do you
hat facilitates
Girls?
England, there's a
ulture which came
about as  a   response  to  PC  or  femi
viewpoints,    and    thi
publications, such as Loaded magazine, that
are   basically   putting   tits   back   in   men's
magazines and saying it's okay now, it's all cool
and trendy.
And some women want their tits in
there!
When it started, I thought it never would take
off. Now it's huge. It sells more copies than The
Face. And it's just tits and football, yet in the
current climate in the UK, that seems cool. The
'girl power' was the response to the new lad
thing, but for me, neither is the path to go down,
neither is a response to feminism. The only way
for the sexes to move forward is for greater
understanding between the two, rather than this
complete battle. The lads go down to the pub on
a Friday night, the girls go down there too, and
they sit in different crowds and poke fun at each
other and laugh really loud. That's the epitome
of the battle of the sexes...
Or the gulf between the sexes!
I don't go for that, I don't think a battle is the
right way to move forward.
Do any of these dynamics play in your
musical relationship with Andy? You
have a yin and a yang in Lamb: one
guy, one girl.
In another interview, we were talking about the
sexuality and a spiritual element of when you
meet someone, and even if you are already in a
relationship, there can be a connection of some
sort, how do you deal with that? Andy said a
funny thing, he said, 'Lou is the only woman that
I'm really close to that I haven't slept with,' and
he said that this has taught him a lot. He's
younger than I am, and he's always been a real
hedonist. He's always had a really strong belief
that he should never not do anything, he's
pushed the barriers in his life with everything —
drugs, sex, everything — and really feels that
he had to do this to be free. His idea of freedom
is that you must transgress all those barriers.
Now he has come to an equilibrium: he's with
somebody that he loves very much, and he's
come to the conclusion that he doesn't have to
be promiscuous in order to be free. He suddenly
realized that, as he put it, he's been spilling too
much of his chi around, and that this was
actually doing him more harm than good. I
don't think it's a very soul-enriching way of life,
at the end of the day. I've never done it, so I
don't know, but sleeping with a different person
every other night.
ftour you're probably provided
with the opportunity.
Exactly, if you're in a band, more likely for thi
boys than the girls, but you could sleep with •
different person every night. You
basically just take your pick.
Do you think it's the same for girls as it
is for guys on tours? Do you ever get
guys hitting on you after the show?
Not really, but then I don't go looking for it. And
it's a very different thing. I'm not the only girl
on this tour, my best friend is along to look after
my baby. But since the band was started, I had
a long experience of being the only woman on
tour, and it does interest me how different it is,
the experience is very different for men and
women. The main difference for me is that I'm a
monogamist anyway, I've never been
promiscuous. I equate love and sex too much, I
can't detach the two things, so I don't go
looking. The boys could quite easily step out into
the audience after the show and find a different
girl every night, and often have done this to
various degrees. I'm sure I could do that too if I
was that way inclined, but since the culture of
rock and roll has been such a male culture, we
don't ever seem to see male groupies. I usually
get men coming up and being a lot more
spiritual with me than sexual. I think they must
be responding to the lyrics. I get a lot of boys
coming and telling me about their girlfriends —
which is really quite lovely — and saying things
like, 'Oh, "Gorecki" is our song." That's really
wicked.
Do you find it harder to express
happiness than sadness through your
music?
I think there is a climate presently where it's
uncool to be happy, especially in youth culture,
and in music in general. For me, I don't know if
I'm just a freak, but I do experience joy most
days. It might just be a tiny thing, so small that
maybe other people just aren't noticing.
Betty Carter is my favourite jazz
vocalist, and your style is evocative of
hers. You also remind me of other jazz
vocalists: you evoke a bit of Billie
Holiday, or even Jimmy Scott. Do you
garner a lot of comparisons with jazz
vocalists?
Yes, I'm very much into the chanteuse style, a
strong woman thing. That's what I love, strong
like Billie Holiday and Nil
who express such passion and emotion
strong yet vulnerable way, that's what I'ri
ich about as well.
It's definitely a jazz tradition, not a
white European tradition.
But it's seeing that vulnerability and strength...
...reinterpreting vulnerability in a
positive sense.
A lot of the times our music is misinterpreted as
being dark, partly from the minor keys we use
sometimes. There's been a lot of research done
into music in that certain keys evoke certain
emotions in people, and this quite often
happens when people listen to our music. For
me, true joy is always tinged with sadness, and
this is why our music may do this to people. I
don't want to write happy happy throwaway
pop, so it's kind of getting the balance. I was
holding my son, listening to this Gershwin track,
and it was almost like Herbie Hancock knew
what I was thinking. It [may] only be a split
second, but it's a moment where various things
fuse and make a moment absolutely perfect. It's
so fleeting, but that's why it's tinged with
sadness — you know it's going to be over really
quickly. I felt, 'My god, I'm so happy with my
son, but one day he's going to grow up and I
won't be able to hold him like this and yet I'll be
really proud, as he'll be a big man.' This is what
we try to sum up in our music: these
combinations of things, the poignancy rather
than a happy happy joy thing. I cry from joy
and sadness. I cry far too often! •
15 H^S£__0_ As Labradford discs begin to revolve, they don't
dissolve their surrounding silence — they
reveal that silence never really existed to begin
with. As the time codes advance, Labradford draws
the not-sounds of open windows, street noise
filtering into the listening room, air moving, barely-
heard words rising from pedestrian traffic,
breathing, and a beating heart around the dense
tracks on Prazision (1993) and A Stable Reference
(1995). The early recordings of the Richmond, VA
ensemble specialise in amplifying the dark tones in
background noise, especially that of urban organic
activity, crafting it into a musical vortex that the
listener can almost touch. Labradford's first two
albums use a battery of analogue keyboards,
electric stringed instruments, and stomp boxes to
create an imposing induction into a musical space
that suspends, dissects, and transforms the listener's
understanding of aural landscapes.
Given their sub-verbal approach to fhe
creation of sound, perhaps it's not surprising that
Labradford's members have a reputation of being,
well, less than talkative about their art. The band's
soundcheck for their September 21 st show at the
venerable Starfish Room certainly didn't seem like
the prologue for a relaxed chat: every corner of
the empty venue was haunted with sounds
generated by the three dimly-lit, gaunt figures on
stage, magnifying the isolation of the non-band
members milling about the club. On the stage,
Labradford seemed unapproachable and immobile
as they hunched over their instruments, glaring at
the panels of flashing points of light. But, as the
room finished rumbling with the final notes of "S,"
Carter Brown (keyboards), Mark Robinson (guitar,
vocals), and Robert Donne (bass guitar) suddenly
became animate and filed off the stage. They even
answered a few nervously placed questions
concerning the tuning stability of the oscillators on
their Memorymoog synthesizer. Bingo. Nothing like
a shared obsession to break the ice...
Although tired (and, initiolly, looking
slightly hunted) they were relaxed, approachable,
and friendly folks. Mark explained that Labradford
(and his side project, Pan American) had been on
tour in Europe in the spring playing a string of sold-
out performances billed as "The Second Labradford
Festival of Drifting." Since then, they had been on
the road in North America and were just starting to
feel the effects of a marathon trek across middle
America's interstates. The band agreed that their
road-weariness stemmed from shifting major urban
centres rapidly. Passing through industrial
wastelands like Gary, IN (the murder capital of
America, on the outskirts of Chicago) that surround
those metropolitan hives is typical of this recurring
landscape. In the dim black light of DV8, we took
turns relating our experiences of this kind of
borderland. The dry, shock-masking chuckles that
the various misadventures drew seemed to lift the
road dust and lack of sleep, helping to regain some
flagging appetites. After a quick bite, a detour into
a corner shop to snag a Buy & Sell (an
unshakeable habit of Carter's), and a (brief)
flirtation with a cheap Polymoog synthesiser
discovered therein, we settled into a comfortable
talk about the evolution of Labradford's music.
Chronologically speaking, our
discussion started dead centre; the group's
eponymous third album seemed an obvious point to
begin, as Labradford (1996) is a pivotal point in
the band's discography. The disc marks an about-
face from the strictly analogue-electronic approach
to instrumentation on Prazision and A Stable
Reference. On the one hand, this album was the
first record to incorporate high-tech digital gear like
samplers qnd sequencers into Labradford's set-up;
on the other, the disc also inaugurated traditional
studio instruments, including a string section and
conventional keyboards such as piano and
Hammond organ. The shift in production values
was also accompanied by a change in
compositional style; as Carter points out, the
introduction of these new elements jnto the group's
sound was a deliberate but natural progression that
accompanied Labradford's growth as songwriters.
According to Mark, the band's new
direction was not only prompted by curiosity,
restlessness, and an evolving aesthetic, but by the
demands of their live show. The addition of
samplers to the analogue arsenal "was Bobby's
idea," he explains; "Digital gear was a way to free
us on stage. The early shows would be very tense
experiences, with us staring across at one another
trying to keep time. Samplers allowed us to relax
and concentrate on other things." Bobby adds that
his interest in sampling provided him with "the
opportunity to bring something new to the group,
and to discover how the technology would work
NUT*
within the music." This digital marriage of
convenience also fit well into Labradford's ethic of
sonic experimentation. In addition to enhancing the
structure of live songs by providing reliably
recurring parts, sampling technology allowed the
group to use a wide range of unusual sounds to
build their rhythmic accompaniment. Mi media
naranja (1997) in particular is characterised by its
use of chiming, shrieking analogue synthesizer
emanations, and percussive musique concrete
components as foundations for rhythm parts. On
this album, Labradford blends these programmed
beats with spaghetti-western guitar, silky-smooth
Rhodes tones, and bass twangs that border on the
baritone. The resulting mixture of soothing
instrumentation and frenetic sequencer mojo
creates an insistent dynamic unique fo the group's
discography. Mi media naranja exemplifies
Labradford's commitment to making each new
album a distinct entity, not only in terms of song
writing, but of atmosphere and sonic perspective.
The close correlation between the band's
choice of instruments and the development of their
music, then, suggests a kind of symbiosis between
the two components of musical production. Carter
downplays the connection, however, and focuses
instead on how Labradford's aesthetics fit within
their current stages of perception. Referring to the
liner notes on Prazision (which listed many of the
obscure vintage synths used on the disc, including
beauties like the Roland Vocoder Plus and Moog's
1 8-oscillator Goliath, the Memorymoog), Carter
describes the relationship with his gear at that point
16 November 99 as a reflection of his early influences. Carter cites
the excesses of the prog-rock era — "You know,
the desire to have a stack of eight keyboards
around you" — as an impulse acquired during his
formative musical years that carried over into his
current project. Although he feels that the band has
(mostly) weaned itself off of these immoderate
tendencies, Carter remains an unabashed Rick
Wakeman and Keith Emerson fan. Mark believes
that the almost naive reverence for innovation
championed by Labradford's moustachioed musical
forebears still persists within the group. "There was
a real innocence about our early efforts," he
explains, "a sense of fun and discovery that
continues to shape the evolution of the band."
Given the eerie, brooding quality of
Labradford's work, Mark's comment might come as
a bit of a surprise. But not entirely. Listening to their
discs, his observation in mind, emphasises the
dimension of gentleness, even guilelessness, buried
within the architecture of urgency that supports
many Labradford tracks. The innocence and
discovery that Mark describes is more easily heard
in the later material, though, where delicate tones
are given more prominence. The increasing use of
such sounds is characteristic of the Zen-ish attitude
that band has adopted towards its gear, which
concentrates on getting more musical satisfaction
from fewer instruments.
This approach is showcased in the
production of their later works, and although the
members see it as a natural progression, the
process required definite decisions concerning
Labradford's relationship with the tools in its sound-
forge. Mark suggests that the group made a
conscious effort to "reduce sound to its basic
elements," and as far as his own instrument was
concerned, "to strive to be really comfortable with
maybe one or two sounds." The stark tones that
Mark discovered in this pursuit combine with the
resonant vibrations of Bobby's bass guitar and
Carter's lush keyboard and string arrangements to
create devastating suites of urban psalms, so
forming the sonic template for the band's recent
direction.
As Carter sees it, however, the main
intent behind Labradford's music remains
"expressing and developing a language that's a
product of [their] three personalities, evolving over
time." The group's latest offering, £ Luxo So (1999),
further refines their dynamic and marks another
important step in the cultivation of this
communication. Developing fhe musical interaction
that Carter speaks of seems to have been enhanced
(paradoxically, perhaps) by successively reducing
their linguistic communication. E Luxo So is (apart
from EP and compilation releases) Labradford's first
entirely instrumental collection, with Mark's
whispery announcements and sharp pictorial lyrics
noticeably absent. The disc also takes the band's
practice of minimizing its song titles to the next
logical extreme by simply supplying numeric titles,
1 through 6, to the tracks on the disc. Rather than
diminishing the fullness of their musical panoramas,
however, Labradford's progressive reductions have
increased   the   focus,   the   specificity,   of  the
atmosphere that the band envisions for each
album.
This process has paralleled Labradford's
changing relationship with the recording studio
(currently Sound of Music in Richmond, VA with
engineer John Morand), which has become
increasingly important to the composition
procedure. As an example, Carter refers to the
creation of "3," an achingly beautiful piece that
features a "bridge" consisting of a freight elevator
in grinding ascension: "We needed a transition to
complete the two sections," he explains, "and
recording an elevator as a movement in the piece
was something that evolved naturally in the studio."
The decision to keep the arrangement for the piece
sparse was also formed at the mixing board, and
Mark states that "the song didn't improve when
more instruments were added, so we kept it solo."
This left Carter's delicate piano refrain and rich
string arrangement (featuring violinist Chris
Johnston, who has played on each of their albums
since Labradford) to stand alone, exploring the too
often hidden potential of solitude.
When Labradford debuted "3" (minus
the strings) live this Spring in Islington Chapel,
London at the Second Labradford Festival of
Drifting, the piece concluded the band's set. One
by one, the stage lights dimmed and the cavernous
church grew completely dark until all that remained
were the plaintive notes sighing out of a grand
piano. When I eventually heard the recorded
version, the presence of strings on of the song
captured the absent majesty and resonance that
the venue gave "3" at the Festival of Drifting. On E
Luxo So, the piece fits in beautifully with the tenor of
the album, and stands as a haunting bridge
between the first and second movement of the
album; live, it sounded like a farewell that could
break a heart in two.
"3" did not appear in Labradford's edgy
and powerful show at the Starfish Room, but an
unexpected appearance by (fellow Kranky artists)
Godspeed You Black Emperor's string section
added a similarly affecting delight towards the end
of the set. The night progressed, and as Labradford
built up their intense musical tapestries with
electricity and vibrating strings only to tear them
down again, bleak and sublime cityscapes
unfolded and recompressed. Mark, Carter and
Bobby recreate their Pan-American travels as they
positioned themselves over their instruments on their
current terminal stage. Their fatigue vanished into a
well of concentration, their eyes travelling invisibly
over every inch of every extreme of ugliness and
splendor that urban North America imposes.
Labradford does not direct the listener away from
those city systems, does not drown them out or
blanket over their pulsing substance; rather, the
group brings the intricate gaud, grandeur, and
tragedy of metropolitics more sharply into focus.
The music evolves, playing the listener's sensory
receptors like another instrument, broadcasting the
band's focused vision by heightening awareness.
Labradford crafts the tranquillity and unease of the
unattainable, perfect silence by moving sound into
stillness. •
V SILEN IE
BY ERIC WHITE
PHOTOS BY ANN GONCALVES
17 Louder Than
A Bomb
By rejecting journalist,
writer, and activist Mumia
Abu-Jamal's appeal for a
writ of habeas corpus this
October, the US Supreme Court
finally dispelled any illusions
one might have about its commitment to "justice " Given the
facts, it is absolutely inconceivable that any court, regardless
of whether it thought the defendant innocent or guilty, could
deny that the original trial and
subsequent appeals were travesties of the judiciary process It
is no coincidence that people
from all over the world, including the heads of the EU parliament, have appealed for
Abu-Jamal's acquittal (or at least
retrial), nor is it any more coincidental that this opposition,
including the massive simultaneous protests all over the world
when the first death warrant was
signed, has not been reported
by American (and therefore
Canadian) news Just to be
clear, here are the facts of the
case:    In     1981,    Abu-Jamal
stopped the taxi he was riding
in to try to stop a police officer
from beating a Black man (who
turned out to be Abu-Jamal's
brother) Mumia was shot in the
chest and officer Daniel Faulkner
was shot twice (in the back and
in the head) According to witnesses, Abu-Jamal was left on
the ground bleeding for over 30
minutes while police officers
took turns beating him He was
subsequently charged with murder and sentenced to death in
ofthe
since Dred Scott The trial was
held in Philadelphia, a city with
over 1200 cases of police misconduct under review. First, ballistics experts never matched the
bullet in Faulkner with the
weapon Abu-Jamal was carrying Second, Mumia's gun was
a .38 while the bullets found
were 44 caliber Furthermore,
the bullets were copper-cased
and neither Mumia's gun nor
Faulkner's was capable of firing
them. Abu-Jamal's hands were
never tested for powder burns —
which would indicate if he had
even fired a gun — nor was his
gun tested to see whether it had
been fired recently Several
police witnesses testified that
Mumia had confessed at the
hospital the night of the shooting, but the key witness, an
arresting officer who remained
with Abu-Jamal the entire time,
mentioned no such confession
This officer was, conveniently,
sent on vacation for the duration
of the trial and the judge refused
a defense motion to either postpone the trial until his return or
to recall him. Of more than 125
witnesses interviewed by police,
only two identified Mumia as the
shooter while many others
described a shooter who fled the
scene Not surprisingly, both of
the "witnesses" chosen by the
police were already facing criminal charges and were thus open
to manipulation. One changed
her story several times before
implicating Abu-Jamal.
The  presiding  judge was
Albert Sabo,   known  as  "the
house, drum i bass, techno, hip hop, dub, trance,
ambient, jau, rare q/oove, proq/essive, breakbeat,
new _ used, import i domestic
t2"s, magazines,
BOOM TO LUX
Records
vibe, fresh jive, be ethic, fine tuninq, honey drop,
extra strength, fiction, kikqirl,
imuchm
800MT0UJN
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hanging judge" for se
32 people lo death (m
twice as many as any other
judge). Only Iwo of these were
not people of colour. Sabo (a
member of the Fraternal Order
of Police) denied every defense
motion and granted every one
for the prosecution Furthermore,
he denied Abu-Jamal his right to
self-representation and even had
him removed from the courtroom
when he protested this violation
of his rights. Sabo also excluded qualified Black jurors from
the jury. Somehow he also
ended up presiding over
Mumia's appeal Furthermore,
one defense witness testified that
she had been offered the opportunity to continue her work as a
prostitute unhindered in
exchange for fingering Abu-
Jamal as the killer. Sabo ordered
her testimony stricken from the
record When she later came
forward to recant her previous
false testimony, Sabo threatened
her with seven years in prison.
When that didn't work and she
finally told the truth she was
arrested as she left the stand.
Another prostitute testified that
she was forced under threat of
arrest to identify Mumia even
though she was not present at
the time of the shooting. Finally,
in 1990 the Supreme Court
upheld the right of prosecutors
to use Mumia's past affiliation
with the Black Panther Party as
the basis of their case against
him This is the same court that
just a few months later overturned the conviction of a
Delaware man because prosecutors had presented at his sentencing hearing evidence of his
affiliation with the Neo-Nazi
Aryan Nations group. Governor
Tom Ridge, long committed to
Abu-Jamal's death, signed a
new death warrant on Oct 12
Register your protest against
this racist lynching: call Gov.
Ridge at (717) 787-2500 or fax
(717) 772-1198. Call the
American embassy You think
Rodney King was bad? If Mumia
Abu-Jamal dies America will
Subject Resources
• BOOKS
Mumia Abu-Jamal
Death Blossoms: Reflections of a Prisoner of
Conscience
Live from Death Row
Leonard Weinglass
Race for Justice: Mumia Abu-Jamal's Fight Against
the Death Penalty.
I* ESSAYS
Cornel West, "Tree Mumia'?"
Patricia Williams, "The Executioner's Automat"
Mark Taylor, "Mumia Abu-Jamal: The 'Secular
Saint' of the Cultural Left?"
LINKS
http;//www. freemumia.org/mumia_files/index.html
http://aspenlinx.com/mumia/
http://www.walrus.com/~resist/mumia/index.Ktml
http://www.mumia.org
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iES_E^O[__ Under
Review	
AGNOSTIC FRONT
Riot, Riot Upstart
(Epitaph)
This should have been called
"...and OufCome the Posers."
This album is such a fuckin'
joke, I thought it was the new
Weird Al disc 'cause I couldn't
stop laughing. I mean, they had
the gall to write "play it loud,
mothafucka" (by the way: motherfucker is the one with the O,
muthafucka has a U) on the disc.
Even worse: when you flip this
steaming morsel of fetid dung
over, you're informed (in big,
bold letters, no less) that it was
produced by none other than
Lars Frederiksen, the silly-haired
clown from MTV teen-cheese sensations Rancid. The worst part,
however, is that the first track on
this plate of tripe is pretty A-OK.
It's quick, fairly heavy, and has
neat words about asshole cops.
But the rest of this trash is characteristic of the disease that's
ravaged the punk/hardcore
community for far too long: the
Epitaph curse. I mean, you
shouldn't buy shit from Epilaugh
anyway because they're a
bunch of sexist assholes (remember their "ho's, bongs, and
beer" ad?) but this album reeks
of the over-produced, way-too-
slick, football-team chorus,
made-for-white-suburban-geek
bullshit that we've all come to
know and expect from Mr. Brett
and the rest of his crew. Guess
what, kids: punk is dead... and
hardcore's on it's way out thanks
to sellouts like Agnostic Front.
So fuck Rancid. Fuck Epitaph.
Fuck Agnostic Front. Fuck this
lame, tame shame of an album
(and fuck you if you buy it). Play
THAT loud, muthafuckas.
peach, g-baby
CRASH
Crash
(Mo' Funk)
Vancouver-based Mo' Funk
Records has teamed up with
Crash in order to show that
west coast Canadians indeed
have something to contribute to
the world acid jazz scene. It's
nice to see that Mo' Funk is gaining recognition in other countries, and hopefully the label will
help contribute to the movement
seeking to foster a Vancouver
dance music scene worth talking
Crash pull off a number of
tight grooves and beats while
dipping their hands in various
genres related to the
In
like
"Steppin' on Lemons," with its
walking basslines, one can
sense the band's respect for the
jazz tradition. "Nick's Kick" gets
closer to the funk with its snappy
clarinets and Rhodes pianos,
and "Shuffulufogus" has a faux-
swing feel to it. "Doin' the Dog"
appears to make an attempt at
something like ska, but all I could
do was shrug my shoulders and
skip to the next track.
The recording was completed in two days, with probably as
little overdubbing as possible,
and so the album successfully
captures a live and spontaneous
feel, not unlike a jam session.
While catchy and satisfying if
you're listening to it at a house
party, on closer inspection
you're not going to find anything
particularly pioneering about this
collection of songs (with the
exception of "Meanstreak"),
which I think is a problem with
many of the acid jazz artists
today. With all that said, though,
the album still manages to be
funky while avoiding sounding
like a watered-down Get Shorty
soundtrack. Knowing Vancouver,
this album may soon haunt the
speakers of a coffeeshop near
Samuel Kim
THE EARTHQUAKE PILLS
General Happiness
(Meloydia)
I'm from Calgary. And while
yes, it is a hotbed of racism and
cattle, there are some cool things
about it. The music scene, for
example. Suprisingly, few
Calgary bands ever play here,
causing Vancouverites tp ponder
whether there is more to Calgary
than just Chixdiggit and
Heuvos Rancheros Yes, my
children, there is: the
EarthQuake Pills, comprised
of ex-Wagbeard singer/songwriter/guitarist Chris Templeton,
Steve Elashuk on bass, classical/art/brilliant geek Kara Keith
on keyboard, and drummer
Christopher Pike. Their second
album, General Happiness, is
sort of like the Pixies meets
Flock of Seagulls, only totally
not. More like Wagbeard surfing
on New Wave (more than one
member has confessed to loving
Men Without Hats) A quieter
album than their first Meloydia
release Audiodidactiphone
(excepting the kickin' thrills of
"Self-Love" and the elated,
expansive "Intermission" song)
General Happiness is strange
and good. Expect them to be
much louder live.
Hancunt
FACE TO FACE
Ignorance is Bliss
(Ladyluck)
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Face is no longer a punk rock
band12 I am sure I'm not the only
one thinking, "What the hell
happened?" I've heard of
groups selling out, but this is
something that goes beyond
that. Methinks that Face to Face
has decided to take a whole
new direction, and write music
that appeals to ... I actually
don't know The group has
essentially decided to strip away
its raw, punked up distortion
sound in favour of guitar harmonies and blending melodies.
I suppose this is fine if one likes
that sort of music, but for hardcore fans who have been listening to Face to Face for years,
this is rotten pie in fhe face. If the
ground has seriously taken a
new direction, I strongly suggest
they change their name. The
album actually has ballads,
namely "Everyone Hates a
Know-it-All" and "Nearly
Impossible" — by far the slowest
song the punk rock world could
have possibly produced. Punk
rockers will be slow-dancing
with their boyfriends to this one.
And the lyrics on this album are
way too sophisticated. Just compare them to the ones on the Big
Choice ahum oi 1995, and fhe
difference will be painfully obvious. The intensity of the music
has decreased to about one-half
of that of Big Choice: a song like
"Lost" sounds so radio-friendly,
I'd hate to see what would happen if the record company were
stupid enough to release it as a
single. "Maybe Next Time"
almost could have been written
by Goo Goo Dolls. The one
track I actually liked is "I Know
What You Are" — this sounds a
bit more like their earlier punk
rock songs. Copy the songs off
a friend, or download them off
the Internet, but don't pay for this
record. Save the cash for Big
Jerome Yang
FIVE STYLE
Miniature Portraits
(Sub Pop)
These guys are too skilled for
their own good. Listening to this
record blows me away. There
are a lot of fun noodlings on this
And a Union of Friends
Pulling Together
(Smithsonian Folkways)
The thing that saddens me about
this album is that I have a two-
and-a-half year-old godson back
in 'Peg city who I'm gonna have
to give this to. I really want to
keep it, but when you become a
godfather you can't just walk
around pretending you're cool
and telling everyone that you
could have them killed. You have
to be responsible You have to
be mature. You have to play a
role in your godchild's life. I am
neither responsible nor mature,
but my godson is gonna learn a
thing or two from me. I'm gonna
teach him about the labour
I. He's gonna learn that
nies suck, cops are
ind scabs should be
Dolar
This
man's abilities are astounding.
He can play anything, and play
it well. Not to make out that Bill
is the only hot ticket in this band
— he's joined by Jeremy
Jacobsen, aka the Lonesome
Organist, and John Herndon,
the drummer in, you know, that
band... The best part about this
album is that it is so upbeat.
These men are happy to be post-
rock! So happy, in fact, that in
with their jazz and Latin influences, they let the rock back in!
Julie Colero
ELLA JENKINS
thei
mpty
heads with picket
gonna grow up proud to be a
member of the working class.
And this CD is gonna get him
started. Twenty-seven tracks of
Union-friendly goodness (union-
made, of course) for the little
demons. Songs so good, they'll
kick Sharon, Lois and
Bram's Skidamarinky Dinky
Dink asses all the way down the
block. The tiny terrors'll be running around the house singing
"If I had a hammer, I'd hammer
in the evening." And the history... oh, the history on this disc.
Ella recants stories about going
to IWW meetings, supporting
picket lines, fighting nasty politicians, etc. Buy this for the little
bastards in your life and maybe,
one day, they'll spit in their boss'
eye and say "Thanks to the Ella
Jenkins I grew up with, I
learned about the importance of
a united labour front. I joined the
movement, and now our Union
is strong enough to SHUT YOU
DOWN. We've got our hammers, and we're gonna use 'em
to tear your fuckin' factory apart.
You will not exploit us any
longer. Welcome to the strike,
asshole!" Well, maybe that'll
happen. Maybe...
gibby peach
JACK KEROUAC
Reads On The Road
(Rykodisc)
"What the hell, isn't he dead
yet?" you wonder. Will this Beat-
boy fascination never end? It's
all been a little nauseating, over
the years, as we resurrect those
boys over and over again, name
cafes after them, eulogize them
as they die off one by one... all
the while never admitting that all
that "freedom" was a pretty easy
privilege for white middle-class
men to grab, as they listened to
jazz and tried to be black, as
they used women like truck
stops. However, I admit thai The
Dharma Bums was my favourite
book in high school and inspired
me to get my hitch-hiking career
off the ground I admit that if not
for the riot of words the Beats
published, the world of literature
might still be really staid and
conservative. And I have to
admit that this CD is not a disgusting marketing ploy to cash
in on beat-fetishism, but a genuinely interesting sampling of
Jack Kerouac's recordings of
himself reading and singing and
goofing around.
The material here was
recorded in the late '50s and
early '60s, though some poems
have additional music recorded
last year and composed by the
likes of John Medeski and
David Amram Tom Waits
and Primus also do a turn that
is part tribute and part original
Kerouac. The longest unaccompanied reading is from On The
Road, and chronicles a night
wifh Neal Cassady (Dean
Moriarty) in a San Francisco
jazz club. It's pretty captivating,
and nice to hear Kerouac reading himself rather than someone
else pretentiously fawning over
the text. Kerouac has a great
voice — smooth and velvety at
times, hyped and jumpy at others. He sounds like such a sweet,
sentimental guy singing "Ain't
We Got Fun," he should have
had his own radio show. It's well
worth a listen, and not only Beat
fans need apply.
Anna Friz
KINCAID
Kincaid Plays Super
Hawaii
(Kindercore)
For all those averse to cute,
catchy pop, beware Kincaid!
These boys from Athens, GA
(now relocated to New York
City, aspiring cosmopolites that
they are) are on top of that
whole pop scene thing.
Bandmates Ryan and Dan are
the hard-working men behind
Kindercore Records, a label
which continually doles out pop-
tastically stellar records, their
Kincaid sticks to the safe pop formula, ensuring plenty of sing-
along opportunities and
toe-tapping choruses. I like it
when bands convey life in verse-
chorus format so perfectly.
Julie Colero
ore reviews on
the next page,
sucka
21 H^ai£2S® ere's more o'
them reviews
Rhythm and Strength
(Columbia/Sony)
You'd think after five years or so
someone could come up with
something new Especially someone who burst onto the scene
with such originality and
panache
Alas, no, this is not to be the
case with good old Leftfield
The new album is so much like
ihe last one I actually had to
eject it just to check I had not
accidentally placed the wrong
CD into my rickety CD player
Again, alas, I had not, this
was indeed the "new" album,
bland and boring in comparison
to the amount of electronica that
has sprouted forth since Leftism
hit the  stores five years ago
Unfortunately, in such a
developing field where new
styles and blends of genres and
styles are blooming almost every
week, Leftfield has not kept up
Which is sad, as I think they
have so much potential. I, personally, don't need another CD
featuring reggae vocals over a
break-beat, or another Euro-tech-
no rebirth
I don't have time for it And
neither should you.
Anthony Monday
LE TIGRE
Le Tigre
(Mr Lady)
I don't think this is meant to be
funny. Kathleen Hanna's latest
band, this time including Sadie
Benning and Johanna Fateman,
is kinda kooky. Held over from
the Julie Ruin days are the keyboards, samples and wacky
drum beats, but more rock is
introduced into this mix The
strong, simplistic guitar parts
work well with Kathleen's grating voice, but her message often
gets garbled behind the music
The first half of this album has a
lot of rants and chants, while the
second half takes a more laid-
back, electronic route. After
struggling through "Hot Topic" (a
who's who of women who have
made a difference for the feminist cause) and "What's Yr Take
On Casevefes?" (left speaker:
"Genius!" right speaker:
"Misogynist!" left: "Alcoholic!"
right: "Messiah!"), I enjoyed
"Slideshow at Free University,"
with its sampled oration by a
professor on the purpose of art,
and "Dude Yr So Crazy!!" which
is a big ol' dis song for all them
boys in wife-beaters, raver boys,
and anyone else these girls don't
like much. Ups and downs, ups
end down:, and so it goes in the
22 November 99
Julie Colero
ME'SHELL NEDGECEOLLO
Bitter
(Maverick)
Gorgeous, sumptuous, splendid,
and yes, very bitter. This album
is so different from Plantation
Lullabys and Peace Beyond
Passion that at first I wasn't
down. Only for the first, like, 20
seconds But when the strings
that comprise the album's prelude, "Adam," drop out and
give way to the first piano note
of "Fool of Me," I thought the sky
was opening to pour itself down.
Bitter is obviously about Me'shell
falling in love and then being
denied that love, presumably
becuase she cheated on her
partner Have you ever loved
and lost for that reason? This is
the soundtrack. "Fool of Me"
aches more than Marvin
Gaye, while Me'shell's voice
makes you wetter lhan Michael
Frente ever could. It has just
replaced the Karl Hendrix
Trio's "Weekend of Sin" (which
in turn replaced Elvis
Costello s "I Want You") as my
Official Anthem of Unrequited
Love. The other songs are all
fucking beautiful as well.
Meditating on the timelessness of
sincerity, loyalty, and beauty and
framing her loss in the biblical
story of Adam and Eve,
Me'shell's lyrics are as sparse
and gorgeous as icicles: "My
Daddy made no excuse/I
believe my lies are truth/Why
won't you eat what you are
fed/When I touch myself/1 think
of only you/And when I touch
someone else." My only problem
with the album is that Me'shell
only lists the names of her musicians, not specifying which
tracks they're on and what instruments they use, so I have no way
of knowing whose incredible
voice is singing with her on
"Wasted Time." If anybody finds
out, contact me at this paper Or
look for me at Me'shell's upcoming show at the Commodore
Ballroom. I will be the one melted into a big puddle right in
front of the stage.
Hancunt
PEOPLE LIKE US
Hate People Like Us
(Soleilmoon)
This is, ostensibly, a remix
album/companion to People
Like Us' 1997 release, Hate
People Like You. Having never
heard the original, I cannot really comment on the faithfulness of
these new interpretations
However, PLU (aka Vicki Bennett]
has scattered a number of pieces
entirely her own amongst others'
regurgitations, so there is some
indication that she and her
remixers are working in a simi-
There are some big names
at work on this album: Coil,
Negativland, Boyd Rice
Stock, Hausen & Walkman,
Death In June, and Mika
Vainio, to name only the most
which involve
1 the v
irily, sample
1 of earlier
Negativland — is often hysterically funny, and it is sometimes
shocking to hear how her remixes take this spirit of fun to heart,
often against their usual natures
Death In June, for example, a
band as moribund as they come,
manages to squeeze some
humour out from under his armband on "Lycra Rally" Third
Reich samples ceased to be
transgressive/innovative 'round
about 1982; nonetheless, the
juxtapositions are shocking and
successful. Other artists, such as
Rehberg & Bauer and Mika
Vainio, distill Bennett's work until
it closely resembles their own
To close this review, I think it
needs to be said that I don't
know what's more sad: that Coil
submitted an answering machine
message and got it pressed to
disc, or that I enjoyed listening
MARK RIBOT
Live Shrek: Tol I Killed
Tour God
(Tzadik)
This album, recorded live
between '92 and '94 at CBGB's
and in Japan and Switzerland,
ain't no Y Los Cubanos Postizos.
This is Marc Ribot's "Jewish
Punk Revolutionary." He covers
everyone from Hendrix to
Hammerstein, but his original
compositions, fhe beautiful
"Requiem For What's His
Name" and the lyrically superior title track, are where it's at.
Ribot's guitar work is original
and his vocals are either lazy
and cynical or loud and idiotic.
Produced by John Zorn and
released on Tzadik Records, this
album (although Ribot yells in his
own defense, "Keep away from
me with your metaphor") is pretension at its best.
Christa
STEREOLAB
Cobra and Phases Group
Play Voltage in the Milky
Night
(Elektra)
Many critics feel that Stereolab
will  define the  '90s  like  the
Velvet Underground defines
the '60s, Kraftwerk the '70s,
and the Smiths the '80s. This
will be Stereolab's last record for
this decade and it comes with
the birth of a son, the result of a
spare moment shared by founding members/life partners
Laetitia Sadier and Tim Gane.
The Internet has been ticking
with debate surrounding Cobra
and Phases Group... since
before its release.
The majority of this debate
stemmed not from the album
itself but from a path not taken
after the release of their 1996
Emperor Tomato Ketchup. There
were two ways of hearing this
disc, either as airy euro-funk or
as densely layered porno
lounge Stereolab went with the
latter route and arrived at
1997's Dots and Loops, which
has been described as overworked valium disco by some
and as inclusive musical Zeitgeist
by others. Those in the former
camp are unhappy with Cobra
and Phases Group.
Admittedly, Emperor Tomato
Ketchup was a great album. Its
simpler bits, such as the bass
riff/saxophone ending of
"Percolator," had a catchiness
that was both physically infectious and effortlessly hip Bul it
was not a diverse sound. If they
had stuck with this path it would
have only been a matter of time
before Stereolab started sounding like EuroDisney's version of
Sly and the Family Stone
A great thing about Stereolab is
being able to trace their eight-
year crawl from Westernized
Krautrock to a '60s road movie
soundtrack featuring Gilberto-
style vocals and Esquivelian
musical intelligence. The group
is obviously on top of our
decade's revolution in electronica, dance music, and dance culture. People who do not
appreciate Stereolab's chosen
way simply want to cap their
legacy by seeing it self-destruct,
as did the Prodigy when they
decided to become rock stars.
Stereolab took the Dots and
Loops direction further by
adding more acoustic instruments and recording with a
more live sound. The group has
also learned to enjoy dissonance
again, as in their 1993 Transient
Random Noise Bursts with
Announcements. Few ensembles
will include string arrangements,
theremin, and a cacophonous,
rock guitar meltdown in the
same song. Stereolab did and
the track is called "Italian Shoes
Continuum." There's simply a
remarkable vocabulary at work
in their latest disc. The guitar has
its place again. The production
is slick without a plastic feel. It's
Stereolab's unique sense of mission. Sometimes listeners can
actually hear the musicians making eye contact during the
recording. Such diversity threatens lazy minds. Such people
have said this disc is too long,
which is like complaining about
Cobra and Phases Group
Play Voltage in the Milky Night
is a lengthy disc with a lengthy
name and is breathtaking
Sadier, Gane, and team have
ended their decade perfectly
Those who don't love Cobra and
Phases. . will pretend they did
fen years from now in order to
save face Its place in history is
inevitable.
John Keillor
TWILIGHT CIRCUS SOUND
SYSTEM
(M)
Imagine that you are sitting in an
Amsterdam Cafe at fhe World
Marijuana Finals, that BC has
just won, and that providing
music for the stone-bake afters-
ession is none other than
Vancouver, BC born and
Amsterdam-transplanted Ryan
Moore, aka the brains and conductor and general founder of M
Records, who basically is the
Twilight Circus Sound
System, and although you
seem relatively content and at
peace with the world and all
general things, when Moore and
giant puddle that can do nothing
more than try to dazedly comprehend the melding dub
acoustic beats merging from the
speakers to your ears and taking
over your mind.
One of those days, and
Moore makes that sort of music.
Moore's bio is a who's who
of the Vancouver late-'80s music
scene: from working with cEvin
Key, Skinny Puppy et al.,
he's also been the house bassist
for Netfwerk's Sarah
McLachlan and has toured and
collaborated with Tippy
Agogo and Mark Spybey (of
Dead Voices On Air) On the
international scene, Moore has
been a part of the Netherland's
cult psychedelic band the
Legendary Pink Dots for the
last 10 years and played bass
for Muslimgauze and Single
Gun Theory, among many oth-
With this sort of musicality
behind him, it is no wonder that
his most recent dub project,
Horsie, is the sort of listen that
sucks you in prima facie and
then steadily reveals spasmodically-created layers of aural
exploration in the carefully constructed, stripped dub sounds. At
once musical and melodic, yet
full of percussion, this dub sound
is personified in the never-quite-
achieves-a-full-funk-groove of
"Dance," full of (or should I say
"spare of") echoing piano riffs
and a solid bassline to keep
your mind somewhat planted as
you consider your imitation-'60s
Bob Marley posters, as the music
drifts languidly on into "Horsie,"
a seminal piece that catapults
dub into an evolving slow-jazz
structure. As you complete the
album, and realise that Dub
Plates Vol.2, a new TCSS album
that is being done at the infamous Basic Channel/Chain
Reaction pressing plant, the
mind completes the circle and
realises the spiral Moore has created. With In Dub Vol I, Moore
created a dj-friendly dub album
that was a reinterpretation of the
Jamaican  dub sound,   just as
Maurizio and Mike Ink were
doing the same with analogue
studio gear. Now, Moore reinterprets Maurizio's Basic
Channel/Chain Reaction sound
nediums —
leaving the listener with a conspiracy-channel-spiral that any
true Amsterdam Cafe aficionado
will much appreciate
Tobias
VARIOUS ARTISTS
Deep River of Song —
Mississippi: Saints and
Sinners
(Rounder)
Quite possibly the best CD re-
release project of all time, the
Alan Lomax Collection is an
archive of rare field recordings
originally made for the Archive
of American Folk Song at the
Library of Congress with the
intent of preserving the music of
of whom never recorded for a
label or played outside their
neighbourhoods. From 1933 to
1942 Alan Lomax and his
father John Lomax made
over a thousand recordings of
African-American musicians
from the American South,
Southwest, Haiti and the
Bahamas playing on front
porches, in juke joints, at the
local store, wherever.
Eventually, Alan Lomax compiled the material into 12
albums, which are now being
released on Rounder.
Mississippi: Saints and Sinners
is the companion installment to
Mississippi: the Blues Lineage,
and highlights folk traditions
like work songs from the farms,
prisons, riverboats and levee
camps, songs adopted from
white Anglo folk music, early
blues, and spirituals.
These are rural recordings,
and so the music speaks of the
reality of rural life in the '30s
and '40s — hard work, poverty, racism, love, lust, violence,
sin, and redemption. There are
traditional songs like Lucious
Curtis playing "Stagolee"
("that bad man") and Frank
Evans playing "French Blues,"
as well as original tunes like
Big Charlie Butler's "It's
Better To Be Born Lucky" and
"Workin' on the Levee,
Sleeping on the Ground" by
Jim Henry. One rare find on this album is Sid Hemphill,
grandfather of Jesse Mae
Hemphill, playing quills (a relative of panpipes) on
"Emmaline Take Your Time",
and "Hog Hunt," where he re-
enacts the sounds of trying to
catch an escaped hog Fans of
early gospel will appreciate the
God-fearing sounds of Henry
Joiner and group and
Reverend C.H. Savage and
group.
Musically, this collection
clearly demonstrates the blues
idiom in its formative years,
with the influences of African
and Anglo musical traditions
melding into a unique sound
Lomax called the recordings "a
monument to the extraordinary
creativity of the black people of
North America," although pretty much all modern forms of
blues, jazz, rock and hip hop
can be considered part of that
monument. Deep River of Song
is one of the few documents of
the times past, and the music is
Anna Friz
VARIOUS ARTISTS
The New Women's Music
Sampler
(Mr. Lady)
When someone offers me a
"music sampler," I usually
cringe. Images of Chris
Shepard dart through my head.
The New Women's Music
Sampler, put out by Mr. Lady,
has changed my thinking. It
rocks my little red shoes off. It
ain't all rock and roll, though —
some of the best tracks are sad
little
s that
little of the soundtrack for Party
of Five, but in a good way.
There's something really healthy
about listening to sad music —
namely Doria Roberts'
"Perfect." Other contributers to
the collection include the
Butchies, the Need, and
Sar_'-, Dougher. If you like
girls and their voices, there's
bound to be something on this
CD that will move you within. It
sounds cheesy, but that's what
music samplers are. One thing's
for sure:  I'm going back for
Erin Shaw
VARIOUS ARTISTS
Projector: Another Yoyo
Studio Compilation
(Yoyo)
Pat Maley's got the mad hookup. Where does he find all
these cool musicians to fill his
compilations with? He must live
in nerdy folk-pop girl central,
right around the corner from
innovative electro school and
the weird- rockin' convenience
mart Oh wait, he's in Olympia,
the place where good ideas are
too plentiful to capture on one
compilation. I believe Mr.
Maley leaves his studio only to
discover new bands to record
with, and in doing so, leads a
very good life. Most compilations have a couple of good
songs — this one's got a few
bad ones. Nice to reverse the
norm for once I was delighted
to get a new Little Red Car
Wreck song, and the Get The
Hell Out Of The Way Of
The Volcano song was so
much in the same vein that it
has quickly and completely
endeared itself to me. There is
a nice IQU remix on here, and
lots of cute songs from nerdy
girls and boys. I didn't ever
make it to the end of this in one
sitting (22 songs! good value!),
but I've heard I didn't miss
much with the Loud Machine
0.5. Nice artwork on here, too.
This record makes me sad that I
didn't go to the festival this past
Julie Colero
VEAL
Tilt OWhirl
(Square Dog)
LONNIE JAMES
Dee-O
(Scratch/Teenage USA)
I originally planned to review
both of these albums independently, until I realised that my
review for each one was going
to be almost identical (with
some slight variations), so here
Veal's second full-length
and Lonnie James' solo debut
are solid examples of no-nonsense power pop albums. The
musicianship is tight and flawless. A good mix of hard pop-
rock tunes and soft, quirky
ballads on both albums. The
songs, for the most part, are
melodic and hummable, almost
to a fault. Tons of harmonies,
both musical and vocal... in
other words, lotsa "doo doo"s,
short, both albums would have
the ability to make it onto local
mainstream radio, if they were
marketed properly
The only difference is that
Vancouver's Veal, as was first
shown on its 1998 debut Hot
Loser, is a band that is not
afraid to go out on a limb and
try the odd experimentation with
back-masked drums and juiced
guitars, whereas Nova Scotia's
Lonnie James, who did a stint as
guitarist with the Superfriendz
prior to their breakup two years
ago, plays straight-ahead '70s-
influenced pop with no real
experimentation (excepting
some studio noodling). This is a
shame, considering Scratch
Records' reputation for getting
involved in eclectic and weird
projects. Nevertheless, these are
two great releases that leave this
Spike
ZAP MAMA
A Ma Zone
(Virgin)
This album is all about voices —
in particular the smooth, liquid
vocals of Marie Daulne. It even
says so in the liner notes: "Zap
Mama is Marie." That means
she is not some stereotypical
pretty face with a great voice;
she is also the writer, producer
and the creative impetus behind
Zap Mama. Together with her
co-queens of acapella, Zap
Mama mixes it up with the addition of hip-hop, drum and bass,
and soul beats to build a groove
around the singers that is mostly
irresistible. Though I'm usually
suspicious of that trendy world-
beat trick of mixing hip hop and
traditional music, this album succeeds, with the help of the
Roots, This Kid Named
Miles, and Speech My
favourite is "Gbo Mata" — a
song about playing video games
— although the opening track,
featuring Manu Dibango, is
catchy enough to glue the CD in
the stereo.
This is a pretty slick production, which is to be expected
from a Virgin release. But,
despite a couple of generic
tunes, A Ma Zone is lush and
delicious food for ears hungry to
no Lilith Fair crapola.
Anna Friz
Ti/ Aat       w.  e       listened       t a  .   .   .
le tigre (over and over and over) • u-ziq • ornette coleman • kiss •
the faint • tribe called quest • joel r.l. phelps • iron maiden • v/a
everything is nice • v/a buffy the vampire slayer (briefly) • psychic tv
• lung leg • my bloody valentine • trooper • cocteau twins (bbc sessions) • reducers sf • dj vadim • and stuff
TOONIE MAYHEM with DJ Jeremy Warn
A night devoted to past and present hits from the 80s an
Free Pool. Cover $2 00 All you need is your loonies!
THE ORIGINAL KLASSIX NIGHT
23 years strung! Vancouver's first 80s and Disco night
COVef $4.00 -Show up early to midline -up'
WEDNESDAY   YA LIKE IT HARD DON'T YA BABY!
A new night dedicated to modern hard-edged music
from Jane's Addiction to SlipKnot. Free Pool Cover $3.00
THURSDAY        BEST OF BRITISH with DJ Jeremy Warren
The longest running Brit night in Vancouver! Brit pop (Blur)
dance (Chemical Brothers) Manchester (Stone Roses)
80s (New Order) Cover $3.00 — free passes available
COSMIC CONSPIRACY with DJ Brian St. Clair
Start the weekend off with electronica. indi. Brit pop.
& other groovy vibes. Cover $4.00 •show up earty to mid fae-upi
ADRENALINE with DJ Jeremy Warren
The best music of the week with an underground tweak!
Progressive house/techno and new alternative rock.
Cover $4.00
SUNDAY SKOOL with DJ Jeremy Warren
A!i tha liits of the week! SB's, iiard-edged. Brit
alternative rock and progressive dance. Free pool
No cover! Need we say more?
L NIGHTS FREE BEFORE 10:30pm
WITH THIS AD.
Excluding special events.
1275 Seymour Street
685.3288
23 nm^ms-js Real Live
Action
LIVE MUSIC REVIEWS
SUPERCHUNK
CLOSED CAPTION RADIO
Friday, September 17
Starfish Room
This was a lovely, compact bill:
Closed Caption Radio and
Superchunk, with no lame,
pitied third band to mar the
night CCR kicked ass as usual,
showcasing new material from
their upcoming album. Yum,
yum Superchunk rocked the
Fish with their usual confidence
The Chunklets stuck to new material off of the Jim O'Rourke-pro-
duced Come Pick Me Up (a
divine release) and also dug into
some earlier tunes including
"Fishing" and "Why Do You
Have To Put a Date On
Everything" (a high point for my
companion, Meat) And was I
ever a Shocked Sheila when I
saw with my own eyes that all
the sweet, high-pitched singing
from the new album was actually Mac McCaughan and not
gorgeous bass goddess Laura
Ballance! I love gender mind-
fucks. Superchunk put a lol of
sweat into their set, and also had
special famous guest musician
Matt Sharp, bassist for Archers
of Loaf, playing acoustic guitar
— off-stage, to the right right in
front of where Meat and I stood I
The audience, as usual, was
aloof, quiet, and typical of
Vancouver I really liked my first
Superchunk concert, but Meat
didn't, so he got drunk and
angry with me.
Hancunt
KOOL KEITH
DJ SPOOKY
Sunday, September 19
Richard's
Oh, the shenanigans
Where to start? We waited
an hour (at least) in a ticket holders' lineup until being let into the
Dick house at 10:45. Whatever,
I guess it can't be helped. But it
was a Sunday in Vancouver,
OK, so you know we were outta
there by 1 2:30. So glad we didn't pay for our tickets. And, to tell
you the truth, after the pathetic
display that was Kool Keith
we were happy to leave But
first, let me praise DJ "don't
AKA me, motherfuckin' try-
hards" Spooky for such a gorgeous, although brief, set
Spooky created imaginative
sonic landscapes which incorporated his own instrumental playing, including an electric upright
bass and a thumb organ. Beats
and loops and samples mixed
with the instrumentation, some
24 November 99
familiar, some unrecognizable,
all perfect Although the visuals
that accompanied Spooky's set
were suitably trippy and hypnotic, I closed my eyes upon hearing the strain's of Miles Davis'
horn blow the opening notes
from Bitches' Brew I focused on
Miles, Omette, and many of
jazz's finest innovators swimming in millennium electronica
from one of turntablism's finest
Sorry, but Kool Keith was kind of
sad I om so sick of hip-hop concerts where they ask you over
and over again to give it up,
feed their fuckin' egos, for no
son to scream uncontrollably
about you and I will. Why not
put on a really good show, like
Rhazel, who stood in the same
spot as Kool Wank only a month
ago He didn't need to whine for
applause because his incredible
demonstration of talent demanded it Are you taking notes, Kool
Keith? No, just get on stage with
your tired schtick as some dork
in a hockey mask running
around, trying to stage dive, and
then pelt us with shriveled chicken bits in plastic baggies and
porno mags (which could be
interpreted as a brilliant
metaphorical comment on
pornography and it's dependence on a ravenous, sick consumer society but I FUCKING
DOUBT IT!) Everyone I talked to
agreed unanimously: Kool
Keith's DJ sucked hard. He just
put the needle on the record and
then stood back What's the
fucking point? Perhaps Kool
Keith recognized that his
mediocre rapping (regardless of
his recorded brilliance and individual style, he was flat live,
OK2) would be upstaged by any
DJ wilh more than mediocre talents, so he got this guy. I dunno.
The hilarity reached its grealest
height when the rappers onstage
asked for some girls to come join
them. After much coaxing, they
finally got some very reluctant
Yaletown types on stage, who
looked extremely embarrassed,
yet were too indoctrinated by
their patriarchal conditioning to
not go along with an attempted
display of their booty. Robotic.
Oh, the shenanigans Then one
of Keith's entourage informed the
bored audience at the end of the
show that a Dick's on Dicks
bouncer beat the shit out of some
guy that they hauled offstage.
This announcement barely got a
reaction from the bored audience. But it did happen, and I
can only hope that the bouncer
was fired, and that the promoter
thinks twice before he books
another show at Dick's I doubt
it, though, as hip-hop continues
to demonstrate that, for the most
part, it's about the money.
MC Super Cunt
30 FOOT FALL
THE RETREADS
Saturday, September 25
Brickyard
Oh, how I longed for this show.
It seemed too good to be true:
two of the world's finest punk
bands playing Vancouver in successive weeks? Alas, it was too
good Frenzal Rhomb did not
play, so I waited with baited
breath until 30 Foot Fall took
the stage They might have broken an arm walking up to it, for
all I knew.
Rushing to the bar to ensure
I wouldn't miss 'em, I actually
arrived 45 minutes before the
Retreads played. This being
Ihe
rst  I
I had e
them, I was quite impressed
They are indeed a Spawner
band, no mistaking that, as they
have that we-wanna-be-on-Fat
tone to them but, like
Complete, they stand out. Turns
out Complete is the singer's other
band. There you go.
So, 30 Foot Fall did make
the stage okay. Starting with
"Constipation" and "Urine
Nation," they stated their politics
right off the bat: absolutely no
politics. Oh, how I miss such
bands in today's all-too-serious
punk scene Butch is the singer's
name And move over
Nardwuar, this man is entertainment personified. He danced, he
shook, he boogied, he stripped,
he spent more time on the floor
than the stage. And this man's
voice is unparalleled — my own
would have rasped beyond
coherence after two or three
songs. His was still conversational after 20 or 30. I am in
I'll be frank. If you missed
this show, buddy, you missed out
big time. This review is somewhat incomplete, because I didn't stay for Straight Faced
What could have possibly
topped what I'd just seen? This
may well be the best show I
have ever attended.  No shit.
Trevor Fielding
TRICKY
Monday, September 27
Rage
My favourite coffee-slinging sex
god turned to me, half way
through the Tricky show, face
deadpan (looking gorgeous, of
course) and said, "Thirty bucks
for a fucking ticket. You'd think
it'd kill him to turn around?" I
knew then what type of review
the show was going to get
I don't care if you're a musical genius, a recluse or just a
"private person" if you sign to
a major international label, if
you decide to do a tour across
North America for months, you
can't hide behind a speaker in a
dark room and expect people
who've paid a lot of money to
see you to sit back and enjoy
themselves
Sure the music, sound, and
guests were great It was a much
harder show than previous ones
I have seen, and at times much
more hard-core electronica than
on his albums, but I could have
put on his new album and turned
off all my lights if I wanted that
His back-up singer, stunning
in both her stage presence and
her voice, was the only attractive
thing about the show. She
lounged to the side, looking
ethereal, or stood centre-stage
and belted out some of his older
songs (like "Karmacoma"). But
Tricky, oh Tricky, he had his back
to the audience half the time. The
rest of the time, he was unlit and
hidden behind a speaker. His
entire interaction with the audience was a mumbled "thank you
thank you thank you" spoken
after every second or third song.
I, personally, don't go to
shows to see that sort of behaviour. I can get it at home if I want
it. I'm not saying everyone has
to have the Cirque De Soleil
come and perform naked and
on fire to make a good show.
But I do want the performer to
realise that she/he is singing to
specific set of individuals, not
just a dark room. Tricky, sadly,
failed in keeping a fan interested.
Anthony Monday
TAKACS STRING QUARTET
Tuesday, September 28
Vancouver Playhouse
It's wonderful that we
Vancouverites have such fine
local talent and attract exemplary outside players as well.
The Takacs String Quartet is
the real deal: when this standard-setting ensemble comes to
town, the critical ears of industry
and serious listeners are sure to
be there in rapt attendance.
Perhaps this accounts for the
group's hesitations in their opening of Bartok's 1928 fourth quartet. It was not until the third
movement that they seemed to
agree on balances The rhythms
seemed uncertain as well, as if
they were too concerned with
keeping together at high speeds
to let the music flow naturally.
MONDAY, NOV. 1
UZJSMED0MA
THE LIARS
SINGLESEVEN
TUESDAY, NOV. 2
FLASHING
LIGHTS
LOCAL RABBITS
DIRTMITTS
CLOVER HONEY
SUNDAY, NOV. 7
LES SAW FAV
TUESDAY, NOV. 9
TEAGANI & SARA
WEDNESDAY, NOV. 10
CRITTERS
BUGGIN
FRIDAY, NOV. 12
BUZZCOCKS
DOWN BY LAW
LUNACHICKS
SATURDAY. NOV. 13
ARCHER
PREWITT
SUNDAY, NOV. 14
MATTHEW
SWEET
MONDAY, NOV. 15
GUSTER
WEDNESDAY, NOV. 17
PEDRO THE LION
DAMIEN JURADO
SWANK 0'HARA
THURSDAY, NOV. 18
MARCY
PLAYG0UND
BLINKER THE
STAR
FRIDAY, NOV. 19
PLANET
SMASHERS
KINGPINS
UNDERC0VERS
SATURDAY, NOV. 20
ISOTOPE 217
THURSDAY, NOV. 25
KILT
FRIDAY, NOV. 26
SUSANABACA
SATURDAY, NOV. 27
TRICKY WOO Bartok's quartets ore among the
most difficult to perform and
whatever problems the group
:ing  *.
n stage. By the third
movement everything seemed
effortless and the audience was
stunned into silence, entirely
attentive, and richly rewarded.
The first half was completed with
the fourth of Haydn's 1772
"Sun" quartets, Op. 20. This
was one of the most perfect performances that this critic can
recall. The same can be said for
the second half, featuring the
first of Beethoven's
"Rasoumowsky" quartets from
1806 Performances like this
remind us what all the fuss surrounding old music is.about;
we're in love with the" works
rather than the age The audience then got a movement from
a quartet from Beethoven's very
deaf late period, his Op. 130,
after five curtain calls. If there's
an afterlife worth attending, it's
something like that.
John Keillor
STANDING WAVE: Local
Thursday, September 30
Vancouver East Cultural
Centre
Standing Wave's season opener
was a burst of sensitivity and
heart. The ensemble appeared
rested and enthusiastic. They
kicked off with James
Beckwith Maxwell's 1 999
Forberen, a work that carves the
composer's name into the listener's memory. Forberen is a rich
quartet, filled with techniques
eliciting unconventional sounds
to compliment the music's
abstract narrative. Some composers have found it easier to
simply string together unconventional sounds and call that collection of sounds a piece of
music, often legitimizing this
compositional method with the
label "etude." Conversely,
Maxwell elected to tell a tight,
dramatic tale requiring a large
vocabulary to illustrate romantic
tension. The ensemble had no
trouble with the extended techniques and stunningly reflected
the composer's vision.
Itmar Erez's 1999
Ritornello I pluckily followed,
featuring charismatic percussionist Lauri Lyster on the Udu,
a Nigerian percussion instrument
that resembles a rounded wine
gourd. A consistent rhythmic
motif went through myriad
colour contexts varying from
interesting to beautiful. African
and Middle Eastern influences
mpai
ted s.
to Ritornello I, lending weight to
the impression it left on the listener Keith Hamel's
Refraction, from 1991, ended
the concert's first half with a trio
for piano, clarinet and violin. Its
shape was not always striking,
but its reversal of instrumental
accompaniment — frequently
demanding that the clarinet and
violin support the piano — slyly
refers to the second movement of
Webern's Concerto, Op 24,
which did much the same thing
The concert's second half
began with Jacqueline
Leggatt's Raido, a 1999 duet
for cello and clarinet. Only three
minutes long, Raido was
inspired by Viking runes, but
comes off as something gentler
than anything remotely martial.
This critic found an extra-musical
association with the cummings
line "until the small, clumsy feet
of april came-into the ragged
meadow of my soul." Raido was
gentle and lovely, neither kitschy
nor soul shaking. Bradshaw
Pack's 1997 piece the earth for
you a Standing place was more
forceful and sinuous, featuring o
strummed cello introduction, perhaps indicative of a troubadour's
musical preamble. The instruments eventually followed and
surrounded the cello, creating
tension and depth of narrative
without programmatic pretension. Its exposition was distinct;
rather than transparently spelling
out basic materials to be developed, Pack offered a mystery to
be explored. Tfie earth for you a
Standing place was strenuously
involving and genuinely beautiful.
The concert concluded with
Brent Lee's 1 998 Ribbons of
Visible Air, and featured
Francois Houle on soprano
saxophone and an amplified
Standing Wave ensemble. This
was a lyrical, pretty work that
resembled light electric jazz. It
was a nice way to unwind after
a fine show. The Vancouver East
Cultural Centre is a great venue
for new music, featuring good
acoustics, enough seating, and
an alert bar staff. Standing
Wave has a wonderful season
planned, so make time to be
John Keillor
FANTASTIC PLASTIC
MACHINE
Sunday, October 3
Chameleon Lounge
When I think of Fantastic
Plastic Machine, all the connotations of "pop" that one can
imagine come to mind — all the
bubble bursts and all the shiny
happy tunes and all the sweet
saccharine tastiness of soda.
Sunday night was like walking into a pop factory; everything bubbled, sparkled, made
you want to jump and sing
along. At the same time, you felt
like sitting down and chair-
grooving with a soda in your
hand. Either way, Tomoyuki
Tanaka [AKA Fantastic Plastic
Machine) gallumphed around
the turntables at the far end of
the   room,   making   everyone
happy little pop-bubbles in his
world.
Tanaka has a long history in
the turn-table world, his previous
claim to fame has been working
with Deee-Lite (he played their
opus "Groove Is In The Heart"
and proved that, apparently, it
is).
His visuals were perhaps the
second best thing about the
show (the first being the general
all around pop-ness). They were
sort of the same genre as the cartoons in Pink Floyd's "The
Wall," but happy. That's H-A-P-P-
Y. Imagine the Muppets on E —
that sort of thing. The 2 metre by
2 metre screen hanging behind
Tanaka was continuously filled
with primary-coloured little balls,
or images of beautiful cartoon
babes orbiting around a grinning cartoon Tanaka.
The whole evening came to
a crux, for me, in his rendition of
Eurythmics' "Talking to an
Angel." Perhaps better than the
original. Only Annie Lennox
The whole experience was
made of yummy things. If you
haven't picked up FPM, do.
You'll thank me in the long run
Anthony Monday
CHEMICAL BROTHERS
JAMES HOLROYD
DJ SHADOW
VELVET
Wednesday, October 6
PNE Forum
What evil lurks in the hearts of
men? DJ Shadow knows, and
throws down moldy breaks of
terse toms, boombastic bass,
and relapsing rides all itching for
a scratch with more flavour than
a pumpkin patch. Shadow
carved a niche in my ear drum,
serving phat platters of aural
soul food smothered with heartbeat gravy.
Sadly, the Forum was chosen for this quadruple-billed
platypus. Let it be said that the
Forum should be used as a hockey rink as it was intended.
The first act, Velvet, was
loud and had vinyl for sale at the
swag stand.
Second phase, DJ Shadow
took the wheels of steel for a
ride. I had to smile when he
gave props to a thrift store (a
regular stomping ground for us
starving DJs). Shadow displayed
his skills as a capable beat juggler and remixer of fab party
time favs such as "The Number
Song" and the beautiful
"Midnight in a Perfect World."
Under the flashing lights he
resembled an Afrika
Bambaata clone — cleverly
mixing records of any style into
soundtracks taking beat-digging
archaeologists on a journey to
the centre of the earth, excavating broken bones and musings
i. How else but by
the nimble fingers and imagination of this beat kleptomaniac
would such sounds be heard
across the universe for 55 minutes of non-stop kookiness?
James Holroyd spun
house for 30 minutes too long
before the Chemical Brothers
took the stage
Too loud, too late — I left the
Morgan Tanner
AUDUBON QUARTET AND
FRIENDS: String Sextets of
Johannes Brahms
Tuesday, October 12
Vancouver Playhouse
Johannes Brahms (1 833-97) was
not a typical German Romantic
composer in that he was never
caught up in the ecstatic rapture
of his own genius. His music had
a sober integrity precluding
whims and temper tantrums.
However, the second work was
written when Brahms was experiencing a relationship crisis.
These two sextets, written during
differing emotional circumstances for the composer, offer a
compelling   aesthetic   profile.
The first sextet, Op. 18, was
written 1859-60. Life was good
for Brahms and his disciplined,
long breathed melodies worked
well into robust counterpoint.
Brahms' elegant and unwavering control over the material is a
primary expressive factor, more
in common with Mozart's late
18th century than Wagner's
19th century and its music's
wilder nature. Brahms admitted
he should have been born a hundred years previously; he was
more Classical than Romantic.
The Op. 36 "Agathe" sextet,
completed in 1 865, exposed
Brahms' discomfort with free
Romantic expression. Having
painfully terminated his relationship with Agathe von Siebold,
his musical testimony to his loss
was both less assured in execution and perhaps more compelling in elocution. The inner
movements were rife with
melodies in high registers, not
normally part of Brahms' musical
language. They sound almost
clumsy and very honest, like a
tough, laconic man trying hard
to talk about his feelings. Brahms
was a composer who expressed
music rather than himself, which
is why his second sextet's particular beauty is unique to his output.   Even   those  who  do   not
can recognize his distinct composure, which is dignified without any trappings of an affected
aristocratic grace. He also
refused to reflect the soul of the
tortured genius.  That was not for
tious and hard working composer with little interest in the
glamour that surrounded 19th
century music. His music rarely
got "personal" because for him
music was better when it was
free of an artist's fingerprints of
The Audubon Quartet —
along with Erika Eckert on viola
and Walter Gray on cello —
had no problem uncovering the
magic of both sextets. They knew
how to bring out soaring
Romantic regist
s bala.
Ckii
I pois.
both works translated to an effective dramatic curve. The second
sextet positively ached, while the
of the composer's stiff upper lip.
The enthusiastic and sympathet-
Dught on a pro-
that
gavfi
rounded portrait of a great
very    human    composer,
acoustics   at   the   Vai
Playhouse   were  excellent
usual, and the crowd wa:
good as a listener or perfoi
could hope for
John Keillor
DEL THA FUNKY
HOMOSAPIEN
CASUAL
UGLY DUCKLING
Sunday, October 17
Richard's
Del Tha Funky
Homosapien, powers activated when the spirit hits the stage,
my friend there's no need for
alarm. Breakers from intersecting
dimensional darkness emerged
with light bending moves
expanding the culture as the stylus grooves.
First up, the LA triad of Ugly
Duckling: backbeats dropped
by Young Einstein got the two
emcees' synergy flowin'. Next in
line, Casual maintained an
underground train through an
ocean of pleasure and throbbing
membrane pain. The Cas' bellow and free-style flow won the
crowd's jiggy Jell-O joy. Jay-Biz
provided the heartbeats, gravy,
and cutlets to make us shake our
butts.
All set and stoked like an
arsonist to a match, Del opened
the hatch to the funk trunk.
Elevating the verb through the
ceiling to the Mothership, truth
revealing, congealing with the
beats, embracing the feeling.
The show included interludes
from a local DJ who kept the
night's underground vibe alive,
lacing the joint nicely with dope
ind lyric
tlie   r
of   his
12"
Phoney Phranchise and the
upcoming LP Both Sides ofthe
Brain, slated for release in
February. The jet skills set ended
with a high energy lick from
Third Eye Vision The show
lasted from nine o'clock until
midnight with beats that take
flight and lyrics that enlighten
and, as Del proclaimed so poetically, "the future is now."
Morgan Tanner
BRICKYARD
THE MURDER CITY DEVILS
THE COME-ONS
THE CATHETERS
THE FIRST ANNUAL
EMO HARDCOREFEST
NOV. 14-15
Heavy Metal Sunday:
M.49 Wednesdays
25 •2^g°QHSffi AGNOSTIC
FRONT
"Gadjits
itAtl (ur A/tMi -Wf
m iiiiinm
Junior
Kimbrough
:^(Af~
gnffi^a
www.epitaph.com
_5        «.
PUNK ROCK VIDEO/CD COMPILATION OUT NOW! [dvd  out: 11/23] L_
SICK OF IT ALL • BAD RELIGION • MUSTARD PLUG • MELVINS • MAN OR ASTROMAN • THE WEAKERTHANS • SUPERCHUNK • AFI AND M0RE...20 BANDS IN ALL
"EXCHA NGE "     SC007-10"/MCD
FFTHEN.   "alleera"
(live)       SC008-CD only      L;
[iZsUBCITY(^] CiTR
Charts
WHAT'S BEING PLAYED ON CiTR 101.9 FM
HOW THE CHARTS WORK
The monthly charts are compiled based on the number or times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "November" charts reflect
airplay over October). Weekly charts can be received via e-mail. Send mail to
| "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*
1 joel r.l. phelps
2 jerk with a bor
4 cocteau twins
5 various artists
6air
7 westbam
8 stereolab
9 sadies
10 solex
1 1 flashlight
12iquw/miranda
13 u-ziq
14 jack kerouac
15 unwound
16veda hille
17 magnetic fields
18 julie doiron
19 third sex
20 kool keith
21 the pietasters
22 new bomb turks
23peshay
24 sloan
25 lonnie james
26 billy bragg
27kelly joe phelps
28 promise ring
29 supersuckers
30 selina martin
31 blackie & the
32 reverberators
33 various artists
34alexandre st-ongi
35 wooden stars
cctcber long vinyl
blackbird
death to false
s/t
bbc
seven segment
constellation
metro breaks '99 nice + smooth
premiers symptomes astralwerks
■r stop living this way   mute
2 piggy
4 tentacles
5 wontons
cetcber bhcrt vi^yl
calypsos to please cinnamon toast
icheros               wild turkey surprise! mint
the touch k
extra spicyl
cctober
cobra and pha:
pure diamond gold
pick up
running season
girls on dates
royal astronomy
reads on the road
a single history
you do not live...
69 love songs
& wooden stars
back to go
lost in space
awesome mix tape
the big combo
miles from home
between the bridges
elektra
bloodshot
matador
double a
k
astralwerks
kill rock stars
independent
merge
sappy
ruffhouse
hellcat
drop kick
blue
murder
7 smash up derby
8 spitfires
13 string builder
14 catheters
1 5 readymade
16 tricky woo
17 north of ai
18lullaby for the ...
19 mates of state/fighter
20 thievery corporation
blow all the hell!
slick black cat
fly vultures fly
lake view
the kids know how tc
the block alone
ten tons
bayonet point
ebb & flow...
split
assault on babylon
peek-a-boo
sudden shame
xxon virile action
grimsey
endearing
bittersweet
montesano
saddle creek
1 david lester
2 pepper sands
3 hot hot heat
4radioberlin
5 mark
6 full sketch
7 the yachtsmen
8swanko'hara
9 les saints
10 coupon
1 1 quonset
12 John ford
13robertianherre
14 Victorian pork
3 girls
16S€
17blisstones
18 (the) polo convoy
19 the radio
20 tampax twin
the light changed before i could blink
tourist in your own town
distance
don't make me sorry
soundtrack
catch that summer breeze
no one has a clue but you
ta mere
in their sleep
desert blade
shitkicker
go where you go
uh-oh
hollywood calling
bridge and tunnel crowd
sonora
vincent's victory
kinder surprise
swampfoam
scratch/teenage u
:hing...
very emergency
greatest rock'n'roll...
space woman
■deo kings kings of love
s/t
mage/negation
jade free
sub pop
true north
independent
sweet chin
hans kloss
misery
hour: favourites
Wednesdays, midnight until three a.m.
smiths
louder than bombs
underworld
beaucoup fish
plastikman
locomotion
this mortal coil
filigree and shadow
opposition
intimacy
muslimgauze
betrayal
g.f. haendel
le mystere des voix bu
Igares
love's secret domain
dead can dance
spleen and ideal
david sylvian
gone to earth
f01* OASIS COOt. TOP T0f!
WEDNESDAYS, MNE PM UHVL TEW THIRTY
ron sexsmith
whereabouts
veda hille
you do not live in this world alone
blackie and the rodeo kings
kings of love
brave combo
polkasonic
those darn accordions!
clownhead
bocephus king
a small good thing
irene farrera
soy de ti
kelly joe phelps
shine eyed mister zen
zubot and dawson
strong
various artists                west
coast world: a world music compila
tion from be
Geo^l^rb^^^
by Jq$or\  fo*£facL
2? t^g&mm On The Dial
SUNDAYS
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM   All of
time is measured by its art This
show presents the most recent
new music  from around the
world  Ears open
THE ROCKERS SHOW  12:00-
3:00PM Reggae inna all styles
and fashion
BLOOD   ON   THE    SADDLE
3:00-5:00PM   Reakowshil-
caught-in-yer-boots country
UPGLOSS & CIGARETTES  alt.
5:00-6:00PM    British    pop
music from all decades
SAINT   TROPEZ   alt.   5:00-
6:00PM    International    pop
Papanese,   French,   Swedish,
British, US, etc ), '60s sound
tracks and lounge  Book your jet
set holiday now!
QUEER   FM      6:00 8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened lo by everyone Lots of
human interest features, background on current issues and
great music from musicians of all
sexual preferences and gender
HELLO INDIA   8:00 9:00PM
GEETANJAU 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 the
1930s to the 1990s, semi-classi-
THE     SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl With your hosts
Checkmate, Flip Out & J Swing
on the 1 & 2's.
THE CHILL-OUT ROOM 12:30-
2:00AM Hip-hop and R&B
with DJ Klutch, techno and house
with DJ Decter. Lotsa great
tracks—come smell what we're
cookin'! Stay up late and listen
VIBE 2:00-6:30AM
MONDAYS
BLUEGRASS FOR BREAKFAST
6:30-8:00AM Join your hosts
Master T Rudolph and Joe
McLeod of the clan McLeod for
a skillet-lickin' good olde lyme
The best in bluegrass and down-
home groove
BREAKFAST WITH THE
BROWNS 8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights! Tune in
and enjoy each weekly brown
plate special. Instrumental,
trance, lounge and ambience
BLUE MONDAY ah. 11:00AM-
1:00PM Vancouver's only
industrial-electronic-retro-goth program Music to schtomp to, hosted by Coreen
POP SCENE alt. 11:00-
1:00PM
SOUPE DU JOUR 1:00-
3:00PM Feeling a little French-
impaired? Francophone music
from around the globe, sans
Celine Dion.
A WALKABOUT THE WORLD
3:00-4:00PM
EVIL VS. GOOD 4:00 5:00PM
Who will triumph?
Hardcore/punk from beyond the
BIRDWATCHERS 5:00-6.*00PM
Join the sports department for
their eye on the T-Birds
POLYFILLER ah. 6:00-7:30PM
AUDIO   VISUAL   alt.   6:00-
7:30PM Critical theory, debate
and dialogue on art and culture,
set to a soundtrack of breakbeat,
worldbeat and other eclectic
sounds.
PIRATE    RADIO    alt    7:30-
9:00PM Formerly "Love Sucks,"
BABYLON AFTER SUPPER alt
7:30-9:00PM
THE JAZZ SHOW 9:00PM-
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
Nov 1: Celebrating his 71 st year,
pianist/composer Horace Silver's
latest Jazz Has A Sense of
Humour.
Nov 8: Boss trumpeter Joe Gordon
with tenor saxist Charlie Rouse
and drum king Art Blakey
Nov 15: Trumpeter/composer and
leader of the UBC Jazz
Orchestra Fred Stride guests to
present the music of Bill Holman
Nov 22: The Giants of Jazz in
Concert: Dizzy Gillespie, Sonny
Stilt, Thelonious Monk, Art Blakey
and Al McKibbon.
Nov 29: Young piano heavy
Benny Green and his trio: Tfiese
Are Soulful Days.
VENGEANCE IS MINE 12:00-
3:00AM Hosted by Trevor It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
PSYCHEDELIC AIRWAVES
3:00-6:00 AM
TUESDAYS
THE     MORNING     SPORTS
SHOW 6:00-8:00AM
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM
9:30- 11:30AM Torrid trasfv
rock, sleazy surf and pulsatin'
punk provide the perfect scissor
kick to your head every Tuesday
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
7
8
9
10
11
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1
2
3
9
10
11
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1
2
3
4
5
6
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7
8
9
10  I
11
12PM
1
2
3
4
9
10  I
11
12AM
1
2
3
4
5
6
3 November 9p morn. There's no second chance
when Kung-Fu is used for evil
with drunken fist Bryce. Kill-yaa!!
TRAGIC ANIMAL STORIES
11:30AM- 1:00PM
THE SELFISH SHOW 1:00-
2:00PM    Poetry, piano and
BELT OUT THE BLUES 2:00-
3:30PM Music for families and
little people.
HIPS TITS UPS POWER 3:30-
5:00PM Featuring That Feminist
Collective from CiTR.
10,000    VOICES 5:00-
5:30PM Poelry, spoken word,
etc
RADIO ACTIVE 5:30-6:00PM
Activism, issues and fucking up
the corporate powers that be.
FLEX   YOUR    HEAD   6:00-
8:00PM Hardcore and punk
rock since 1989.
RADIO ELUNIKATHIKO 8:00-
9:00PM Greek radio.
LA  BOMBA 9:00-10:00PM
WITCHDOCTOR    HIGHBALL
alt.   10:00PM- 12:00AM\
VENUS FLYTRAP'S LOVE DEN
alt.     10:00PM-12:00AM
"I'm currently on hiatus and will
be back December 28the  See
you then.   loveden@hotmailcom
AURAL TENTACLES 12:00AM-
3:00AM
WEST COAST POPPIN' 3:00-
6:00AM 100% west coast rap.
Huge giveaways, with your host
like no other Shawn Powers.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-
9:00AM A perfect blend of the
sublime and absurd, with your
refined and exotic hosts Jack
Velvet and Carmen Ghia.
FILIBUSTER 9:00-10:00AM
Mixed-up musik for your
morning nod.
ELECTRIC AVENUES 10:00-
11:00AM Once a monlh, the
folks from Avenues spin their
favourite tunes.
SPIKE'S MUSICAL PINS AND
NEEDLES 10:00-12:00AM
Spike spins Canadian tunes
accompanied by spotlights on
THE ETHER TABLE 12:00PM-
1:00PM
THE SHAKE 1:00-2:00PM
DJ IN A COMA 2:00-3:00PM
MOTORDADDY 3:00-
5:00PM "eat, sleep, ride, listen to Motordaddy,  repeat."
RACHEL'S SONG 5:00-
7:30PM Nov 17th.: Mayoralty
debate with David Cadman. Re-
broadcast of Dr. Peters AIDS
diaries. Philosopher's Cafe highlights.
AND SOMETIMES WHY alt.
7:30-9:00PM sleater-kinney,
low, sushi ... these are a few of
our fave-oh-writ things.
BY THE WAY alt. 7:30-
9:00PM
FOLK OASIS 9:00- 10:30PM
Featuring the latest local and
folk/roots/world music, phone
interviews, in-studio guests and
more    Requests  always  welcomed !
STRAIGHT OUTTA JALLUND-
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HANS KLOSS' MISERY HOUR
12:0O-3:00AM Mix of most
depressing, unheard and unlis-
tenable melodies, tunes and voic-
FIRST FLOOR SOUND SYSTEM
3:00-6:30AM
THURSDAYS
AGAINST ALL ODDS 6:30-
8:30 AM
REEL MUSIC 8:30-10:00AM
Soundtracks and classical.
STAND AND BE CUNTED
10:00-11:30AM
CANADIAN LUNCH
11:30AM-1:00PM From
Tofino to Gander, Baffin Island to
Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE & MIKE 1:00-2:00PM
Crashing the boys' club in the
pit. Hard and fast, heavy and
slow. Listen to it, baby, (hard-
core).
ONOMATOPOEIA 2:00-
3:00PM Comix comix comix
oh yeah and some music with
Robin.
RHYMES AND REASONS
3:00-5:00PM
CULTURE CAVITY SEARCH
5:00-5:30PM
REELS TO REEL 5:30-6:00PM
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.
ON AIR WITH GREASED HAIR
7:30-9:00PM Roots of rock &
roll.
LIVE FROM THUNDERBIRD
RADIO     HELL 9:00-
11:00PM Local muzak from 9.
Live bandz from 10-11.
COCKED AND READY alt.
11:00PM-1:
RADIO SATYRICON alt.
11:00PM-1:00AM Nocturnal
transmissions/trip jazz. "Too hip
for own damn good, Daddy-
O!"—Slish
PLUTONIAN NIGHTS 1:00-
6:00AM
FRIDAYS
SHADOW AT DAWN 6:00-
8:00AM With DJ Goulash.
CAUGHT IN THE RED 8:00-
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
SKAT'S SCENE-IK DRIVE!
10:00AM-12:00PM Email
your requests to Djska_T@hot-
mail.com
THESE ARE THE BREAKS
12:00-2:00PM DJ Splice and
A.V. Shack bring you a flipped
up, freaked out, full-on, funktified,
sample  heavy beat-lain  trip,
focusing on anything with breakbeats Versatile at any style
LITTLE TWIN STARS 2:00-
3:30PM
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
3:30-4:00PM Back in action
in November.
BLACK NOIZ 4:00 5:00PM
Essays, poetry, social commentary, and conscious music from
a Black radical perspective. If
you can't take the heat listen to
Z95.
NOOZE & ARTS 5*00-6:00PM
FAR EAST SIDE SOUNDS alt.
6:00-9:00PM
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa
& African music from around the
HOMEBASS 9:00PM-
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
SATURDAYS
THE MORNING AFTER SHOW
3:00-8:00AM
THE SATURDAY EDGE
8:00AM-12:00PM Studio
guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
performances.
SAREGAMA 12:00-1:00PM
POWERCHORD 1:00-3:00PM
Vancouver's only true metal
show; local demo tapes, imports
and other rarities. Gerald
Rattlehead and Metal Ron do the
damage.
LUCKY SCRATCH 3:00-
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues tunesters and
crooners in the blue degree.
Blues and blues roots with your
hosts Anna, Jim and Paul.
RADIO FREE AMERICA 6:00-
8:00PM
SOUL TREE alt. 10:00-
1:00AM From doo-wop to hip
hop, from the electric to the
eclectic, host Michael Ingram
goes beyond the call of gospel
and takes soul music to the nth
degree.
PIPEDREAMS alt. 10:00-
1:00AM
TABLETURNZ alt. 1:00-
4:30AM
EARWAX alt. 1:00- 4:30AM
..."noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I free
da jazz..." Out. —Guy Smiley
REGGAE LINKUP 4:30-
8:30AM Hardcore dancehall
reggae that will make your mitochondria   quake.   Hosted   by
rEHE8B^Mffi "SWJB^iAS3
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29 ®$&mm Datebook
WHAT'S HAPPENING IN NOVEMBER
SUBMISSIONS TO DATEBOOK ARE FREE!
to have your event listed, fax all the relevant
info (who, where, when) to 822.9364,
attention "datebook." deadline for the winTER issue is November 13th!
Buttless Chops@Sugar Refinery
SUN 28 Stereolab, Microphones@Commodore
MON 29 Moist, Matthew Good Band, gob@Pacific Coliseum
TUE 30 Radical Remakes: Shulie + What Farocki faugn/@Blinding
Light
WED   DEC    1    Radical   Remakes:   Shulie   +    What   Farocki
7b_g/i(@Blinding Light
THU 2 Superhero Shorts@Blinding Light
FRI OCT 29    Nubile & Foursquare Hallowe'en Party@Sonar
SAT 30 Rasoul Hallowe'en Party@Sonar; Fiends, Brewtals,
Gorehounds@Piccadilly,  Lounge Cats, Crypt Kicker 5@536
Cambie Street; "Q"@Chameleon; Sudden Death Hallowe'en Party
(feat. D.O.A., Karen Foster, Dog Eat Dogma, Chapter 3, Robert
Menard)@Brickyard, Snapcase, Buried Alive@Grandview Legion
SUN 31 Andrea Parker@Chameleon
MON NOV 1  Uz Jsme Doma, the Liars, Singleseven@Starfish;
First Annual Dead Poets Slam@Cafe Deux Soleils; Beans@Sugar
Refinery
TUE 2 Day of the Dead Celebration@Gallery Gachet; No Name
Jazz        Band@Sugar        Refinery;        CiTR PRESENTS
SHiNDiG.'ORailway Club
WED    3    Choclair@Sonar;   EarthQuake   Pills,    Notes   from
Underground,      Orchid      Highway@Brickyard;      Dogfight,
Turntable@Sugar Refinery
THU 4 Rocket Fins, Handsome Devils@Brickyard; Fonique; Todd
Tomorrow, Mr. Seven@Sugar Refinery
FRI 5 Fags Fer Folk (feat. Roger Lee, Bertram Scott, Betry)@Cavern
Theatre; Aquabats, Hippos@Croatian Cultural Centre; Mark
Crozer@Metrotown Chapters; Murder City Devils, Come Ons,
Catheters, Riff-Randells@Brickyard; Reflector, Mark Wild@Sugar
Refinery
SAT 6 CiTR PRESENTS Joel R.L. Phelps and the Downer
Trio, Jerk with a Bomb, Slow Fresh Oil, the Birthday
Machine@Brickyard; Flashing Lights, Local Rabbits, Dirtmitts,
Clover Honey@Starfish; Fags Fer Folk (feat. Roger Lee, Bertram
Scott, Dave Taylor)@Cavern Theatre; Sense Music Tour (feat.
Hoschi, Korben Dallas)@Sonar; Jazzmanian Devils@Chameleon;
Jeet Kei da Tripmaster@Sugar Refinery
SUN     7    Les    Savvy    Fav@Starfish;    HQ    Communication
Downtempo@Sugar Refinery
MON 8 Coal Chamber, Slipknot, Dope@Cr
TUE      9      Tegan     &     Sara@Starfish;
SHiNDiG!@Railway Club
WED   10   Critters   Buggin@St
atian Cultural Centre
CiTR PRESENTS
Cinderpop,
Solarbaby@Brickyard; Tiefisher, Lily Frosr@Sugar Refinery
Amsterdam Cafe  302 W. Cordova St  (Gastown) 683 7200
Anza Club  3 W. 8th Ave.   (Mount Pleasant) 876 71 28
Arts Hotline 684 2787
Astoria Hotel  769 E. Hastings St. 254 3636
Bassix  21 7 W Hastings St. (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Dog Video 3451 Cambie St. 873 6958
Black Sheep Books 2742 W 4th Ave.   (at MacDonal^ 732 5087
Blinding Light 36 Powell St. 1 878 3366
Boomtown  #102-1 252 Burrard (at Davie) :. 893 8696
The Brickyard  315 Carrall St | 685 3978
Cafe Deux Soleils  2096 Commercial   (the Drive)       . ' 254 1195
Cambie  515 Seymour 684 7757
Caprice Theatre  965 Granville   (Granville Mall)       V 683 6099
Celebrities   1022 Davie St  (at Burrard) 689 3180
Cellar Jazz Cafe  361 1 W Broadway (downstairs) 738 1959
Chameleon Urban Lounge  801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC) 822-3017
Club Vesuvius 1 176 Granville St. (downtown) 688 8701
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel  303 Columbia  (at Cordova) 683 3757
Commodore Lanes   838 Granville St    (Granville Mall) 681   1531
CNB Skate and Snow 3712 Robson St. 682 5345
Cordova Cafe  307 Cordova St  (Gastown) 683 5637
Croatian Cultural Centre  3250 Commercial Dr. (at 17th) 879 0154
Crosstown Music 5 1 8 W Pender St. 683 8774
Denman Place Cinema   1030 Denman St.   (West End) 683 2201
Dr Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8  515 Davie St.  (downtown) 682 4388
Fifth Avenue Cinemas  21 10 Burrard   (at 5th) 734 7469
Firehall Arts Centre  80 E. Cordova   (at Main) 689 0926
F.W.U.H.  Beatty 552 Beatty St. (downtown) 687 7464
THU 1 1 Reel Big Fish, Crowned King@Croatian Cultural Centre;
OCEAN3, Sabumlauts@Brickyard; Mortal Engine@Sugar Refinery
FRI 12 Buzzcocks, Down By Low, Lunachicks@Starfish; Breathe
Underwater, Umbrellaheads@Piccadilly; Katari Taiko@Stanley;
Yefim Bronfman@Chan Centre; Saddlesores, Rich
Hope@Brickyard; Under the Table, Howard Roark, Otaku
Concept@Sugar Refinery
SAT 13 Archer Prewirr@Starfish; Kaitari Taiko@Stanley; Isotopia,
Dr. Theopolis@Miss T.'s Cabaret; Radio Berlin, The Switch, Hot
Hot Heat@Brickyard; Shazzam@Chameleon, Defaides@Sugar
Refinery
SUN 14 Matthew Sweet@Starfish; First Annual Emo Hardcore
Fest (feat. Ink & Dagger, Icarus Line, Bluebird)@Brickyard
MON      15      Guster@Slarfish;     Grade,     Bane,     All-State
Champion@Brickyard; Beans@Sugar Refinery
TUE 16   101 Best & Worst TV Commercials@Blinding Light, CiTR
PRESENTS SHiNDiG!@Railway Club
WED 1 7 Pedro the Lion, Damien Jurado.Swank 0'Hara@Starfish;
Choke, Removal@Brickyard; Los Paranos@Sugar Refinery
THU 18 Marcy Playground, Blinker the Star@Starfish; Gregory
lsaacs@Commodore, The Funny Ha Ha Art Show Opening, the
Probes, DJ Audiowhore@Brickyard
FRI 19 Planet Smashers, Kingpins, Undercovers@Starfish; Village
Idiot, Drexell's Eye, Somatic@Brickyard
SAT 20 Isotope 21 7@Starfish; SuperFudge@Chameleon; Muffs,
Groovie Ghoulies, Hissy Fit@Brickyard; Diversions@Sugar
Refinery
SUN 21 Living Celluloid: Caspar Stracke in person@Blinding Light
MON 22 DJ Vadim, Mr. Thing, Blurum 1 3, Killer Kela@Sonar;
Beans@Sugar Refinery
TUE 23 John Korsud Jazz Quintet@Sugar Refinery; CiTR PRESENTS SHiNDiG@Railway Club
WED 24 Jet Set, New Electric Riot, Siobhan Duvall@Brickyard
THU 25 Kilr@Starfish; Ken Aldercroft Trio@Sugar Refinery
FRI 26 Susana Baca@Starfish
SAT 27 Tricky Woo@Starfish; Kenny Hawkes@Sonar; Millennium
Project@Chameleon; Living Stones@Christ Church Cathedral;
"Special"
New  Drawings   Nightly
>dy Gallery (368i
NOVEMBER      20TH
2nd Annual Vancouver
Underground   Film  Fest
HEY    MUSICIANS!
JBMISSIONS   OF   SONGS   IN   ANY   GENR
dr a  Canadian  independent   10  c
15th.  Call  807.577.5512  or  email
VENUES • BARS • THEATRES • RESTAURANT • RECORD STORES
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings St.   (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main St.  (Mt. Pleasant)
Hollywood Theatre  31 23 W. Broadway  (Kitsilano)
Hot Jazz Society  2120 Main St.   (Mt. Pleasant)
Hush Records 221 Abbott St.
Jericho Arts Centre   1600 Discovery  (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott St.   (Gastown)
Luv-A-Fair   1 275 Seymour St.   (downtown)
Medialuna   1926 W Broadway
Minoru Pavillion  7191 Granville St. (Richmond)
Moon Base Gallery   231 Carrall St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records  5750 Fraser St.
Orpheum Theatre   Smithe & Seymour   (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards  (downtown)
Paradise  27 Church   (New Westminster)
Paradise Cinema  919 Granville  (Granville Mall)
Park Theatre  3440 Cambie   (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre  881 Granville   (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
Puff #14-712 Robson (at Granville)
Purple Onion   1 5 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge   1 221 Granville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir St.   (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
Richard's on Richards   1036 Richards St.   (downtown) 687 6794
Ride On 2255 W. Broadway; 2-71 2 Robson St. (upstairs) 738-7734
Ridge Cinema  31 31 Arbutus St.  (at 16th) 738 6311
Scrape Records 1 7 W. Broadway (near Main) 877 1676
Scratch Records 726 Richards St. 687 0499
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864
Singles Going Steady 3296 Main St.   (at 17th) 876 9233
Sonar 66 Water St.  (Gastown) 683 6695
Starfish Room   1055 Homer St.   (downtown) 682 4171
Starlight Cinema  935 Denman St.  (West End) 689 0096
Station Street Arts Centre 930 Station   (off Main) 688 331 2
Sugar Refinery   1 1 1 5 Granville St.   (downtown) 683 2004
Theatre E   254 E. Hastings  (Chinatown) 681 8915
Thunderbird Ent. Centre 1 20 W. 1 6th St. (N. Van) 988 2473
Tribeca  536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
Vancouver E. Cultural Centre   1895 Venables (at Victoria) 254 9578
Vancouver Little Theatre  31 02 Main   (Mt. Pleasant) 876 4165
Vancouver Press Club  2215 Granville   (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Futuristic Flavours 1020 Granville  (downtown) 872 2999
Video In Studios   1965 Main  (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326
Vogue Theatre 91 8 Granville  (Granville Mall) 331 7909
Waterfront Theatre   1405 Anderson   (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wert Bar 1320 Richards  (downtown) 230 6278
Whip Gallery 209 E. 6th Ave  (at Main) 874 4687
W.I.S.E. Hall   1 882 Adanac  (the Drive) 254 5858
Women In Print 3566 W. 4th  (Kitsilano) 732 4128
Yale Blues Pub   1 300 Granville  (downtown) 6819253
Zulu Records 1 869 W. 4th  (Kitsilano) 738 3232
30 November 99 ywiaj/nm
OUMa
SPECIAL
PRirP
A collection of unreleased
and rare, hard-to-find
tracks spanning from
"Brit-pop shoe gazers"
(remixed) to 90's house
and downtempo favourites.
Songs every good record
collection should have.
AIR "Kelly Watch The Stars" / Moog Cookbook Remix
Everything Bot The Girl "Before Today" / Chicane Mix
Chapterhouse "Mesmerize" / Mad Professor remix
London Suede "Chemistry Between Us" / Lionrock Mix
Hurricane #1 "Only The Strongest Will Survive" / James Lavelle remix
Armand Van Helden "Flowerz" (featuring Roland Clark)
Blur "Beetlebum" / MOBY remix
Chemical Brothers "Elektrobank"
Fatboy Slim "Sho Muff"
^oomST
Album In Stores November 9th/99 AZULU PALETTE
Add Some Colour
to your Music Collection
JOE STRUMMER HH FIVE STYLE
RockArt&The
X-Ray Style CO/IP
M clanged out the
last chords ot his Clash anthems
on his legendary black Telecaster
In that time punk rock has come tull circle, dwindling in
obscurity during the late '80s/earty '90s until it flourished
under the recent Epitaph Records Rancid boom! Join this
Miniature
Portraits CD
Five Style is often
id-natured to
into the more contemplative and self-
conscious tenets of post rock experi-
Qill Dc
mentalism. Hogwash! Their welcome irreverence totally enlivens
too frequently staid formal musical adventunsm But Five Style is
not simple and disposable either. Their level of musicianship is
godfather of grit on his indie label Hepcat Records debut, and   resoundingly awesome. They come across more like Bill Frisell
catch up on where he's been for the last two decades. meets the Meteis than your typical Chicago arch-scenester band.
Captures the edge ot London Calling with the world-beat bop   In other words, let the party begin here.
of Sandamsta! PQ 1g Oft
CD 16.98     LP 12.98   Avail Nov 2
ROCKET FROM THE CRYPT
All Systems Go Vol. 2
Seventy-plus minutes of tattoos, tailored suits, switchblade
combs, honkin' horns, sexy sax, Sna-na-na pomade, and,
favourite has finally produced some overdue new work. Yet yes... a black, loud Les Paul guitar! Catch up on what you've been
this can be seen as a small but polite Catch 22: The same laid-   missing in this compilation of rarities, B-sides, and singles from
back demeanor that keeps us in anticipation is also probably a    San Diego's "juicier than a shark meat burrito" rockers! A great
central quality ot what makes Dave Pajo's subtle, intelligent       collection.
>d things, and with waiting, good things can become even     .__.    mnoav
re precious. In any case, friends, come and get it AKTU LINDSAY
AERIAL M
Live From A Shari. Cage CD
|\ lot nearly prolific enough for his many fans, this Zulu
CD 16.98
GORKY'S ZYGOTIC MENCI
Spanish Dance Troupe CD
Exotically named, this Welsh Beach Boys-esque quartet
have quietly staked their claim in the hearts of many of
die-hard orchestrated pop lover Barafungle did it for me, and
this new long player should catch on nicely with the cool Beta
Band/Belle and Sebastian set! Romantic sounds, soaring
melodies and a nice Moe Tucker back-beat... ah, the simple
pleasures in life! Ask for it as Gorky's
CD 16.98
SUPERSUCKERS
The Evil Powers Of Rock'n'Roll CD
Gearheads take note: these hot rod "Ramones-meets-
Hank Williams'' rockers are rolling into Zulu on their
hedonistic, punk rock flat-bed truck to save you from the
boredom of MOR rock! Loaded down with their customised
low-slung guitars, thunderin' twin cam tom-toms and lubed
fuzz bass, the Supersuckers promise to rotate your tires and
more! File next to The Hellacopters Turbonegro, and
Gluciter!
CD 16.98   Avail. Nov. 2
Prize CD
Combining the cool, detached style
of New York with the sensual vibe
of Brazil's carnival. Arto Lindsay continues the exploration of modernised
samba and bossa nova songwriting
first witnessed on his Noon Chil
dense rhythmic record with "woody" beats and tush, a
orchestration, Prize offers a nice pastiche of colourful sounds,
skewed beats, and introspective lyrical reflection — if your stereo
had a dimmer switch, this record would push it. Invite your friends
over for a listen.
CD 16.98
SUNNY DAY
;~; ^.   i
REAL ESTATE
** iM
Live CD
positively Live! Seattle's heartfelt
1   post-grunge crooners come
■m
.
through with another serving of
* ..,*' *
ARCHER
PREWITT
White Sky CD
"The second solo release tor
I this member of the Sea &
Cake is the work of a more
mature, more focused, reflective and confident singer,
songwriter, musician and arranger It moves from lush,
fully orchestrated pop to strong, dnving rock cuts, bittersweet introspective, Mick Drake-ish ballads and a final track
with acoustic guitar, strings and flute. His previous work
has earned him perennial Zulu fave status... why not check
out this nice solo detour on White Sky (and live at the
Starfish Room, November 13!).
BRUSH ON
some local canvas!
RADIO BERUN
Sibling CO
With ties to the 7Segment collective, this propulsive post-new
wave quartet tune into the DC
Dischord ethic wiUi the jagged
sounds of past masters such as Joy
Division, Wire, and The Cure
Showcasing nine songs with smart
aesthetics, this debut is the sonic
pamphlet of change to come.
CD 12.98   Avail. Nov. 5
FRENCH
PADDLEBOAT
Conversions in
Metric CD
The new bedroom rock from this
youthful practitioner who is well-
versed in the software ot today's
diverse sound cabinet: Volume
AUstar, Mouse On Mars, Euphone,
and more! I can program a
microwave, he, a sampler.
Recommended for anyone looking
for pop excitement and acoustic/
electronic tape cut-up collage!
CD 12.98   Avail. Nov. 5
SPARKIVIARKER
Treasure Chest CD
Appropriately titled, this 23-track
album offers a musical retrospective of these local "forefathers
of the post-hardcore scene!" The
nicety annotated Treasure Chest
features a great overview of tracks,
including Scallen and "Speaking
Of Meros." As a bonus, this collection catches up with each of the
seminal members today, showcasing tracks from Stratagy The
Famous Greek, and Samsarasevin1
CD 16.98   Avail. Nov. 5
NEWHEDRON
Turn This City Flat
CD
Relative newcomers on the
scene, these arty rockers combine today's "emo" sensibilities with
nice sonic experimentation and
plenty of angular guitar sophistication. Calculator rock it is not, but
anyone interested in Silkworm and
Shellac might want to point their
compasses home!
CD 12.98   Avail. Nov. 5
STAFF Picks
dynamic noisy love-pop. Their loyal
fans should be more than familiar with their tender live sound, and
trust me, this will not disappoint! Join Jeremy Enigk and company
for another action pact set... as your stereo is now the front row!
CD 16.98
MOGWAI
S/t CDEP/1Z'
For those in tranquilized attendance,
Mogwai s live show demonstrated
the captivating and enveloping power
of controlled and dynamic atmospheric sound. And this new EP is another
inward refinement ot that same consistent Mogwai modus operandi:
smart oceanic guitar rock. Although the motion of the waves may be
becoming less dramatic and aggressive, the overall Mogwai feel is
still in full effect. And we think this is a very good pattern. Some
might say that Mogwai are becoming the Michael Nyman of guitar
3
mck, e*
BRADY-
MAGNETIC FIELDS- 69 Love Songs
JOEL RL PHELPS- Blackbird
BOXHEAD ENSEMBLE- Niagara Falls
TRISTEZA- Spine and Sensory
FRANK BRETSCHNEIDER- Rand
cmsnNE-
CONTEMPO- UB Naughty EP
GAY DAD- Leisure Noise
SPEARMINT-A Week Away
AIR- Premiers Symptoms
THIEVERY CORPORATION-
Abductions..
EGGSTONE- Ca Chauffle en Suede
Various- SIMULTANEOUS ICE CREAM
RINOCEROSE- Installation Sonore
GRANT M-
MAKE UP- Save Yourself
CONTINENTAL DRIFERS- s/t
MACHA- See It Another Way
JOE STRUMMER- Rock Art & the Xray
Style
DAVIE ALLAN- The Arrow Dynamic
Sounds of...
JASON-
MAKE UP- Save Yourself
ROYAL TRUX- Veterans of Disorder
LEE HAZELWOOD- Trouble is a Lonely
Town (reissue)
LEE HAZELWOOD- Requiem for an
Almost Lady (reissue)
FLAMIN GROOVIES- Teenage Head
(reissue)
JUUE
SOLEX- Pick Up
TRISTEZA- Spine and Sensoiy
JOEL RL PHELPS- Blackbird
JERK WITH A BOMB- Death To False
Metal
JAMES KOCHALKA SUPERSTAR- The
Life of Carrot Boy
MAGNETIC FIELDS- 69 Love Songs
ARAB STRAP- Elephant Shoe
WESTBAM- We Will Never...
REAL KIDS- Better be Good
DRAGONS- RLF
OS MUTANTES- Best of...
Various- MORE OAR
DRAGS- 45 X 3
FASTBACKS- The Day that Didn't Exist
MKO-
JOEL RL PHELPS- Blackbird
TRISTEZA- Spine and Sensory
MAGNETIC FIELDS- 69 Love Songs
BRIDGET CROSS- sA T
ARAB STRAP- Elephant Shoe
THIRD SEX-Back To Go
LOVE AS LAUGHTER- Destination 2000
ARTO LINDSAY- Prize
MC-
TRAM- Heavy Black Frame
RADAR BROTHERS- The Singing Hatchet
FLY PAN AM- s/t
FOR STAR- s/t
KRONOS QUARTET- Dracula
MICK TURNER-Marian Rosa
TINDERSTICKS- Simple Pleasures
PLONE- Beginner For Piano
SHAHERA-
ARTO LINDSAY- Prize
TOM JONES- Reload
TOSCA- Chocolate Elvis
MALDOROR- She
SOLEX- Pick Up
RADAR BROTHERS- The Singing Hatchet
MAGNETIC FIELDS- 69 Love Songs
SUPER FURRY ANIMALS- Guerrilla
ARAB STRAP- Elephant Shoe
THE NEW
MASTERS:
BUFFALO DAUGHTER wxbo
CO /12" Thor bear cut-up reim planer.
HELLACOPTERS Pay* The Dues
2CO/2LP Wow'A great deal wth a Ir* rise
recorded at ttie Starfish Room!
MIUfNIUM PROJECT
I A Mo'Funk space pa
various Artists LOCKED ON...
THE BEST OF 2C0 Alinitededwnt
JEREMY BOYLE:
Guitar SoiOS CD he ot Joan ot Arc samples
CATHETERS -vt cd/ip       -
LETIGRE LeTigreCtVLP Kathleen
Hannah (ex-Bkini Kill's newest project!
LOW LOW VHS Video Fans take note a
video cofecbon tor (roe liaming.
FROGSe
GENTLE PEOPLE Simply Faboo
CD the swinging electro sound, on Flephlex.
UUM Paint By Numbers CMP stow
evotvug post trance rock
LfTHOPS Sequencer TwinseMZ
aka Jan trom MOUSE ON MARS.
SONIC YOUTH symcoap  ,
godfather's kiss off to the nullenium. Available Nov. 5.
SQUAREPUSHER Selection 16
CO Come on My Selector! The best since BIG
LOADA! Available Nov. 5.
ARSONISTS As The World Bums
IP The instrumental version now dropped..
LOOPER Who's Afraid 01 Y2K7CO-
BVior a
KID LOCO- Jesus Life For Children Under
12 inches
TRISTEZA- Spine and Sensory
DJ KRUSH + TOSHINORI K0NDO- Ki-
Oku
OST- Book of Life
BELLE AND SEBASTIAN- Tigermilk
ARTO LINDSAY- Prize
CD 16.98
CDEP/1Z9.98
PRICES IN EFFECT UNTIL NOVEMBER 30,1999
1869 W 4th Ave.
Vancouver. BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6=30
Sun 12:00-6:00

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