Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-10-01

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 Your Guide to UBC's Campus/Community Radio Station, CiTR  101.9 FM
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Mayo Thompson's
long-standing avante rock
project is weirder than you .
aka Bonnie Prince Billie,
Palace, Palace Brothers, Palace
Songs, etc. does his best NOT
to answer our questions.
Loud, smart and powerful,
these lads are the best in the
local punk scene.
Ever wondered what came after
Unrest and Air Miami?
Minimalist, melodic ambience
from Manchester.
They like to kiss, they like to
sing, they like to sing about
kissing.  Features
Ex-Dead Teenager
the Kiss Offs
Fun Flon
Red Krayola
Will Oldham
■min niimtf _■am
editrix: miko hoffman
art director: ken paul
ad rep: kevin pendergraft
production manager:
tristan winch
graphic design/layout:
kenny, randal mindell,
malcolm van deist
production: cato, travis
clarke, ann goncalves, christa
min, malcolm, shane vander
meer, heidi wuttke
photography &
illustrations: jason da
silva, ted dave, andrew
dennison, jules duquay,
richard folgar, barb
contributors: barbara a,
tania a, don b, Joshua b,
lauren b, brady c, chris c,
julie c, michelle c, lisa cw, val
c, jay d, glenn d'c, david e,
sarah e, trevor f, christine g,
patrick g, steve g, alia h,
anthony k, blaine k, becky k,
namiko k, christa m, janis
mck, nardwuar, June s, mark
s, shane v, tobias v, barb y,
Jerome y
programme guide:
anna friz
charts: julie colero
datebook: miko
distribution: matt steffich
us distribution: tristie
discorder on-line: malcolm
publisher: linda scholten
Vancouver Special
Grumpy Old Dog
Interview Hell
Demo Derby
Seven Inch
Stapiegun Showdown
Film Fest
Under Review
Real Live Action
On The Dial
October Datebook
Botched Ampallang
Good Tasty Comic
This month's sketch is raised from
the deep waters of False Creek by
Cobalt, co-host of CiTR's
Onomatopoeia show, heard every
Thursday at 2:00 pm.
© "DiSCORDER" 1 998 by the Student Radio Society of the
University ot 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 checks or money orders payable to
DiSCORDER Magazine.
DEADLINES: Copy deadline for the
November issue is October 14th. Ad space is avaibble until October
21 st and can be booked by calling Kevin at (604) 822.3017 ext. 3.
Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited
material. Material can be submitted on disc (Mac, preferably) or
in type. As always, English is preferred.
From 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 822-3017 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 #233^5138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
PrintedL   In. Caoacta. W
■lue Lizard
proudly presents.,
for $5
Dance Lessons
@ 8:45 with the!
m w • ■   ■*-»•.	
W- Mm
Blue Lizard Dancers Dear
Dear Airhead,
For years I've been reading this magazine of yours and for years I've been watching your
fonts getting smaller. What is with you guys? I now can't read Discorder on the bus. You're
turning into the Terminal City, for godsakes!
Loved the September issue.
ps. When are you guys gonna get more than one colour on your cover? Geez, you got colour
on the inside, why not the outside?
First Chipmunks and Squirrels, now Nardwuar! Why are you chasing all of your contributors away? And when's the last time I saw an Airhead in here, anyway? Don't you have any
Displeased in Delta
Dear Airhead,
I've just come back from Europe after a two year back-packing trip. Look at what I found in
Heathrow Airport.
(enclosed: one badly tattered cover from the April Discorder issue.)
From Discorder % voicemail:
"Umm, I'm Sarah, I just, umm, wanted to write for Discorder. Do you guys, like, accept reviews
and stuff from people, or do you, like, do it another way? Anyways, I'm just curious, and stuff.
So, right, umm, bye."
Editor's note: we did call Sarah back, but in case you're wondering, yes, we do accept
submissions, on disk preferably, of good, independent (preferably) arts/music-related material. You can call Miko at 822.3017 ext.3 for more info.*
Punk Bock •
01: QUI. dl
w 10/12     Winnipeg, UAH
Regina, SIS
Saskatoon, SAS
Edmonton, ALB
Calgary, ALB
Kelowna, BC
Vancouver, BC
• 10/11+
. 10/15
• 10/16
• Ml
* 10/20
West End Cultural Ctr.
University Center
King Edward Hall
Sunnyside Comm. Ctr.
F9 BOX 7495 W. NUYS W 91409  PRICES, CD-S10 LP/'CStf
4     Octokk. U7S Vancouver
The Dramatic Balanced by
I'm embarrassed to say that I've
had this one sitting on my shelf
for months now, but The Dramatic
Balanced is not a CD that deserves to be gathering dust.
Readymade is one of Vancouver's best bands and anyone who
has a fondness for shoegazers or
melodic, arty, atmospheric
sounds or disjointed poetic lyrics
(in this case loaded with references to the oddities and icons
of modern life, ranging from the
technology of personal finance to
Holden Caulfield) has got to
agree. There's more than an
hour's worth of music here, with
several songs over six minutes
long and many as sadly sweetly
lovely as summer rain. This will
get a lot of play at my house over
the dark, dreary months to come.
Notes  from  the  Underground
No, this isn't another record from
CiTR's own Nardwuar, although
the Human Serviette did name an
album after these local pioneers
of psychedelia. Their history
makes for some interesting liner
notes: after a stint as The Molesters (yikes), the band opened
for The Grateful Dead in
1966 (when some of the members were still in high school), and
soon developed their own blues-
based free-form style. The Loyalists were too hip to collaborate
with "the establishment" that put
out records — unfortunately the
result is that only six of the songs
here were recorded in the 1960s
(two of these apparently at the
CBC's local TV studio), and four
tracks date from a 1990 Commodore show. The United Empire Loyalists' resistance to the
more commercial sounds of the
era is easy to hear: they're a lot
closer to Captain Beefheart
and The Mothers of Invention than to the bands that pass
for pyschedelic on the commercial oldies stations.
Notes from the Underground
is a fascinating archival document and will delight anyone with
a passion for the '60s, but the
fainthearted might do well starting off with a couple of the more
accessible songs, like the bluesy
"I Know You Rider" and catchy "It's
Alright," which remind me a little
more of two of my favourite bands
from the era: The Creation and
The 13th Floor Elevators.
4 Songs from Lindy
Not to be confused with Lindi
Coyne, aka Wandering Lucy,
this Lindy is male and originally
from "the shores of Lake Winnipeg." After a childhood of singing Icelandic folk songs with his
family, Lindy moved to Victoria
and started a Celtic-rock band,
Northern Junk, with his
brother. On this solo CD, he's
joined by various friends (the
musicians aren't credited, although producer extraordinaire
Greg Reely is) and the sound
ranges from Bob Dylan-esque
folky (the first two songs, kind of)
to Kevo/ver-era Beatles (the
pretty, psychedelic-tinged "Pencil
Threats") to the Eastern-flavoured,
folky last song, "Into You I'll Be
Falling." Yet somehow, Lindy's
wise, somewhat nasal voice pulls
it all (folkily) together. Watch for
his frequent live shows and a full-
length CD.
Old Dog
BY Blaine & Becky K
I've been talking about my 15-year-old sister, Becky, quite a bit since this column began two months ago. She and I have had what could be called "differences in opinion" about music since she started establishing her own fully
formed identity. She e-mailed me her response to my first column. It is a coherent, mature, considered response to my comments about my role, as an older
brother, in educating my younger siblings about music. I am more aware now
than ever before that I am not onfy getting older, but I'm also losing that
tenuous connection I had wilh the younger generation. I don't fully understand
them, but after reading Becky's article, there was no doubt lhat ihey do think
about what they like (at least Becky doesj and they know why they like it. But
enough from me. I'd like to give you a chance lo hear what Becky had to say
about her musical taste and my snobbery.
Recently, I took a trip to Vancouver to visit my brother.
He was sitting on the couch
with his new girlfriend while
MuchMusic was on the TV. Once
again, he was complaining about
the "pseudo-African music" that
was playing and, once again, I
started to defend the music that I
listen to. Yes, I do listen to rap,
rhythm and blues, dance, as well
as a lot of other types of music.
After I started my little speech,
Blaine went into his room and
came out with the August issue
of Discorder. He put the paper in
front of me and flipped to his article, asking me to read it. I was
surprised that he was going to
try and change. Even though
Blaine likes to portray himself as
a very open-minded guy, that isn't
always what he is. When he
started to bash rap and R&B at
Christmas in that "the world revolves around me and what I
think" way that he has, I was very
upset. I told him that I wasn't "conforming" and listening to rap
because my friends did or because corporate America had
lured yet another young soul into
their eternally burning fires, but
because the music had an appealing rhythm and at times a
good message.
From what I could tell, he
thought that the black music of
the '50s and '60s had been
. somehow violated and painfully
altered into the rap and R&B that
is coming out now. People have
always written music about what
they know  When the slaves in
the States were making up songs
while working, they sang about
slavery, working in someone
else's fields, or about being
owned. Right now, the people
who are rapping know about violence, prejudice, and living on
almost nothing. And that's what
they sing about. So what if
they've changed things a bit? It's
the evolution of music. People
take a style of music and change
it just enough to make it interesting again and to sort of ... personalize it. Blaine can try all he
wants to get me to listen to the
music that he prefers. I might like
some of it, I might not. I listen to
what he gives to me with an open
mind, giving it a chance. I figure
it's only courteous for him to do
the same. I plan on challenging
him to listen to something different from what he usually does;
strange, almost harsh melodies with
bizarre lyrics that make your skin
crawl. Maybe age has something
to do with it. He, being 14 years
older than me, probably slides a
wedge between preferences.
I went to the Backstreet Boys
concert while I was in Vancouver. Blaine was horrified. Oh,
well. I saw Howie D's abs.»
Becky Kyllo
punch ot a garage
band m the
precision of the best
chamber group.
Chamber Musk
ctober 18
_____________  Theatre I
Granville Island
8 pm
Tickets 280-4444
For the past ten years, New York's
Bang on a Can Festival has dazzled the
American new music scene with its bold
and irreverent programs. Now Vancouver
New Music brings the
Bang on a Can All-Stars to
Canada for music ranging from their own
arrangement of Brian Eno's Music for
Airports to the best and latest from
downtown eastside New York, including
David Lang's Cheating, Lying, Stealing;
Julia Wolfe's Lick; Evan Ziporyn's
Tsmindao Ghmerto; Michael Gordon's
/ Buried Paui; Tan Dun's Concerto for Six
Players; and HermctO Pasctial's
7    iSJS^Q.
5 m^zsmz CTW) WUKEtj 6US3H6
The DONKEY ENGINE is the home studio material of songwriter Steve E., who spends his non-graveyard shift time
with a guitar and headphones. Sometimes Steve will share
his recordings with friends Leo and Tom, but mostly, these
musical musings are created by himself. Part Palace and
part Tortoise, Steve feels his music fits into two categories:
"pop songs that just kind of fall out of me and studied math
rock constructs that focus on repetition, texture, and with
luck, a hook or two.
Steve is also one-half of local label Capital Punishment
(with friend Nick), which offers full in-house recording, mixing, and mastering. Their main goal is "to release good
music at a low price."
How does the Donkey Engine fit into the local scene?
Steve realizes he's just "one of the hundreds of basement
artists out there, enjoying the production of new works and
pleased to have a few listeners."
To take the Donkey Engine up on their invitation for
soundtrack work for short films or for info on the label or
their releases (a four-song, out-of-print cassette — but if
you send a blank tape, they'll dub it for you — and their
new Broke Channel CD), contact Capital Punishment at
2816 Kitchener St., Vancouver, BC, V5K 3E3 or cal
Steve E./Nick at 604.253.6543.•
Joel sings heartfelt, emotional tunes and plays an acoustic guitar, "but motherfucker, this isn't folk." Maybe
you've heard Joel in Mohan (previous band) or as Liquid Creature (previous name), but for now, the author
of "a heartwarming tale of deceit and self-betrayal" is the Joel himself.
From Newfoundland but currently residing in Maple Ridge, BC, the youthful (don't know how old he is,
but he sure looks young and has an abundance of energy!) Joel has been plenty prolific the past few years, producing a handful of demo(lition) cassettes, a full-length CD
[Regret], and a video. When he returns from his two-month
tour across Canada, he'll record another full-length, shoot j
another video, "get into more acting, buy a car, do less f
boring stuff."
His lyrics, abstract and sometimes disturbingly morbid,
celebrate anger and empowerment: "... this is an SOS from
your dreams they're drowning without you ... when we
were young weren't we free and when we were free didn't
we have fun what do we have now we have a lot of memories ... and doesn't it feel good to say you're dead ... i'd
rather be naive than be a fuck up like you i'd rather be I
dead than be jaded like you ..." (from a song on one of j
Joel's newer demo(lition) cassettes).
Contact Joel c/o International Liquid Creature, 1 2960
203rd    St.,    Maple   Ridge,    BC,    V3Z    1 Al    or
604.465.3402 or <ilkhq@rocketmail.com>. Another web- |
site: www.angelfire.com/id/ILK/*
One of the very few local all-female troupes, Celestial Magenta have been rockin'
the Vancouver scene (I know, so so cliche to say, but the R-word seems to be the
consistent adjective when describing this band — why should we be any different?) since 1994. This band, a first for all four members (Monika, guitar; Carta,
bass; Linda, drums; and newcomer guitarist Angela), has played over 100 shows
in Canada and the US, and have released three cassettes, one 7", and a CD-EP.
The band describes their music as "a powerful slice of stop-start grubby rock
delights guaranteed to mess with your head," and their critics seem to agree. The
Capilano Courier likes their "loads of fuzz, riot grrrl lyrics, and enthusiasm," Drop
D, on Celestial Magenta's performing skills, says they "... have enough talent to
come up with decent grrrlrock tunes to back up their no-bullshit approach to performing ...;" and Maximum RnR describes them as "... cool, straight-out driving
punk with ... galloping drums, great bass lines, and some slight horror overtones."
Convinced? Contact Celestial Magenta at #3-3217 Heather St., Vancouver,
BC, V5Z 3K4 or at 604.876.7331 or <celestialmagenta@hotmail.com> or check
out their website: www.angelfire.com/ca/celestialmagenta/*
_    Qaowz im Radio
Who are you?
Mark Castle (age 20, Leo, drums, gentleman and scholar), Tyler
Doubt (age 19, Pisces, bass, rock and roller), Kelly Kijek (age 22,
Scorpio, voice and lyrics, dancer and Prancer), Jeff McLoy (age 24,
Scorpio, guitarist extrordinaire, mover and shaker).
Where do you hail from, Disgusteens, and where are you
based? Plus, what happened to the Disfigurenes and the
Defektors? C'mon!
Kelly: In answering the first question I will relay for you an exerpt
taken from Chapter One    ("Destiny Devised a Date") of The
Disgusteens: an Odyssey for the New Milennium/ Part One of the
It was during the early fall of 1997 when Mr. Jeff McLoy and I first
formed a full-fledged alliance. I cannot recall the precise date nor
month of our chance meeting but I can be safe in speculating that the
ocurrence happened around late September/ early October. It was in
the mid-afternoon of a day where a gruesomely grey sky and a hor-
rifically haunting and chilling wind soared and moaned above the
skyscrapers, streets and citizens of downtown Vancouver.
I was strolling aimlessly along Pender St. thinking about Morrissey
and how he and his entourage should take their sound and style and
thus bring back the charm, the magic, and the mystique Vegas once
had back in the days of Sinatra, Martin, Elvis. Old men drowning
their sorrows while Mozz croons "Everyday is Like Sunday." The gold.
The glitter. His royal majesty basking in the lights of the Vegas hon-
eymooners. It would be perfect!
Upon looking in the windows of Crossstown Music, my blissful
scheme was interrupted from finding a familiar face who, at that time,
I only knew as the savvy bass player from the Disfigurenes. It was
none other than Jeff McLoy, keenly sorting through the shelves o' vinyl,
with eyes energized to the size of a pinball.
Upon recognizing one another, Jeff came out to greet me. In that
space of time I was given the tragic news that The Disfigurenes were
no more and that he moved from Kamloops with Mark Castle and
Tyler Doubt, two other natives from the Interior, for the purpose of
starting a new band to be based in Vancouver, BC. I relayed to him
that I "defected" from Victoria, BC for the sake of attending film
up, but the proposil
being a possible candidate for
the vocals department came up
and thus we arranged to discuss
the matter more thoroughly and
to also talk "rock" for a much
lengthier amount of time.
Jeff: The Disfigurenes' final
breakup was due to sexual tensions caused by three boys and
one girl (and I mean in the literal
sense). Two of the boys had the
sure which Jeff was being
referred to during those orgasmic yelps.
Kelly: As for The Defektors, the
break-up was purely a case of
geographical difficulties. I
"defected" from Victoria to Vancouver in August of '97 for the purpose
of attending school. That same month, drummer Dallas Red back to his
old stomping grounds in Campbell River. We tried to keep the fire a-
blazin' but, alas, the fuel and the flames died down to ash remnants
on the 6th of December when we played our final gig. Also, guitarist
Paul Spriggs just had his second child and is thus primarily focussed
on the fortunes and future of fatherhood.
Jeff,  owner  of  one  of the  best vintage T-shirts  in
Vancouver (a red rattnuts skateboard tee), what can you
tell us about the Kamloops music scene, that your last
band — The Disfigurenes — emanated from? You know
the whole desparate minds "gang."
Jeff: Actually, my favourite "vintage" T-shirt is a Forgotten Rebels
"Fuck me Dead" shirt. The afore mentioned quote is in big neon green
bubble letters. It's really punk rock! They played at the junior high
school I went to in, like, '87 or something, and got live bands banned
from School District 24 for a bunch of years.
As for the Kamloops music scene, or at least the Desparate Minds,
I saw them play a bunch when I was really young. I didn't really meet
them 'til a while after the fact, but they were the best band ever to
come out of the Interior.
Do the words 'Buzz' and 'Cock' mean anything to you?
Kelly: I presume you are referring to the great Manchester four-piece
who seeped out of the whole punk rock explosion in 1977 and thus
went on to pen timeless classics as "What do I Get?" "Fast Cars," and
"Ever Fallen in Love with Someone you Shouldn't have Fallen in Love
With?" Yes, the Buzzcocks were but a catharsis for me at the awkward age of 16. I was a hopeless romantic filled with woe and wan
and thus had the perfect soundtrack that got me through the hellifica-
tion of high school hallways.
Who have you rocked out with recently, or would like to?
Kelly: Our recent past consists of opening up for any amazing roster
of bands from this fair city, such as the JP5, Ex-Dead Teenager, the
Spitfires, ldahoan,and the Francophobes. Our favourite gig was having the pleasure of opening up for the Mr. T Experience at the
Columbia. And we played with the Odd Numbers, Gashuffer, The
Tonics earlier on in the year and were but ecstatic that evening as well.
My dream gig would be to be on a bill with The Fall, The Wedding
Present, Sugar, Superchunk, and, if ever they reunite, The Clash.
Anything else to add?
Kelly: Thanks for all the memories and thanks to everyone who's
come out to see us perform and bought our debut 7".
Nothing Personal 7"
Coming Soon:
The Disgusteens full-length.*
i    ~^^ySi4SBj[
"v,>^__         io
IOMIER                             ^-^
Friday, October 2
Thursday, October 15
Steve Riley & The Mamou Playboys
Cat Power, Tren Brothers, Kimmie
Saturday, October 3
Friday, October 16
Royal Trux, Zen Guerrilla, Ampitel
The Make-Up, Blonde Redhead, Tricky Woo
Sunday, October 4
Saturday, October 17
Voodoo Glowskulls, The Criminals,
(Early Show) Bob Mould
(Late Show) Fantomas
Monday, October 5
Sunday, October 18
Snowpony, Grandaddy
Die Sterne
Tuesday, October 6
Wednesday, October 21
Juliana Hatfield
Co-op Radio Alumni Party
Friday, October 9
Thursday, October 22
Harvey Danger, Action Slacks,
Sinead Lohan, Jude
Death Cab For Cutie
Saturday, October 24
Saturday, October io
Southern Culture On The Skids
Neko Case, The Sadies
Sunday, October 25
Sunday, October it
Charles McPerson
Promise Ring, Jets To Brazil,
Pedro The Lion
Friday, October 30
Search For The Moon - Halloween Costume Howl
Monday, October 12
w/Alpha YaYa Diallo, Adante Inferno,
Queens Of The Stone Age,
Monster Voodoo Machine
Saturday, October 3i
Archers Of Loaf, Creeper Lagoon, Tricky Woo
of not finding
the new vinyl you want?
3296 Main St. (at 17th)
we carry vinyl...
garage + oi!
■ hip hop
- anarco-punk + ska
+ hardcore + emo + more
major/indie labels
new & used
(we also have CDs & scooter stuff!) INOVEMBER 5
endeoWJig fceeoitds
Ninety nine
"767" ($11us/$13 cdn/$13 usos)
A collection of turbulent and melodic new
pop songs from Australia's Laura MacFarlane.
the second album following her highly
acclaimed debut.
the Bonaduces
"The Democracy of Sleep" ($11/$13/$13)
13 new songs of textured and melodic punk.
Blistering pop-corc with lyrics that will make
you weep. On tour this fall.
Readymade 7" Vancouver's Readymade      "#"*
offer drum machines, vocal melodies, and urban melodrama. E
* r\r~*
i,-Dead Teenager is a loud, smart, and
super-powerful punk rock band from Vancouver, BC.They are a must-
see live, although their recordings translate amazingly well.When asked to
describe their own sound, they reply, "We're simply retarded amusement park
music." OK, but the best kind of amusement park music. Imagine riding the roller-
coaster while listening to a mixed tape of Fugazi, NoMeansNoJhe Make-Up, Codeine, and
even Devo.
Ex-Dead Teenager is Cory (drums), Steve (guitar, vocals), Josh (guitar, vocals, keyboards), and
Christoph (bass).
DiSCORDER: Why does Ex-Dead Teenager exist? 	
Steve:We were all living together here and started jamming in the basement. Back then, we were called The
Felt Pens. We came from being pens and moved on from there ...
Since I first saw you a couple years ago at Eric Flexyourhead's anniversary show,
your sound has had quite a drastic change and you're now making good use of
keyboards in your songs. Where is that influence coming from?
Steve:We just wanted keyboards because we really like Joy Division and all that new
wave, so I guess that's the influence there.
Cory: It started with this little Casio keyboard which we had and we did
some screwing around with that, and we wrote some songs with it. Then
Josh ended up getting a keyboard and we ended up incorporating it a lot
d our stuff.
So do you think one day you'll end up taking out all the guitars
and being a full-on electronic band like the Chemical Brothers?
Steve: Probably. I think it'll happen, eventually.
What's your opinion on the music scene in Vancouver nowadays, after the closing of The Space [small all-ages venue]
and that kind of thing?
Cory: We get asked to play too many shows because there's
other bands around anymore.
All that's left is the bar scene? Is the all-ages scene in
Vancouver all but dead?
Cory: Well, I guess there [are] still shows, but there [are] no
bands to play them.
Josh: Just through typical band reasons, a lot of good bands
have broken up lately and I guess there seems to be a bit of a
slump for the scene right now.
It seems like it's a lot harder to find out by word-of-
mouth about all-ages shows because there's no
Washout Records anymore and, speaking of which,
what's up with Washout [Cory is co-founder of the
local independent record distribution company]?
Cory: We moved but of Vert because we wanted to grow
and expand. We ended up moving into another space
[Spartacus Books], but it didn't work out with them so we
moved to The Space, which recently closed down. Now
Chris [other founder of Washout] and I have just split up
the records and we go to shows every once and a while
and sell them.
What are Ex-Dead Teenager's plans for the future?
Steve: We're going on tour in October for two weeks,
down the coast all the way to San Diego and back.
Cory:And we've just recently recorded.
Are you going to put out the recording DIY again
or what?
Josh:We're trying to find someone who can help us with
money because, basically, we don't have the finances available to us to be able to put out anything other than a
tape. We'd like to put it out on vinyl or something else.
We're kind of just waiting to see if someone will give us a
Ex-DeadTeenager has released an independent demo cassette,
It's OK to Laugh at People Wearing Gasmasks, and have a
song on the GO compilation, released by Fans of Bad
Productions. Hopefully, you'll see their new recording in stores
soon. To contact Ex-Dead Teenager, write 1682 Frances St.,
Vancouver, BC,V5L IZ4 or call 604.255.0S50.
9/26    BL00MSDAY
10/3    MY IDEA OF FUN
788 BURRARD STREET 604-669-2289
What else da you  do,  besides  make
Dwayne: I'm getting a recording studio in my
Travis: I'm unemployed and I run Peek A Boo
Gavin: Unemployed. I'll probably be sucked back
into my previous job once our tour is finished. My
job [at a brewery, carrying bags of malt and grain]
has prepared me well for unloading all of the
band's equipment, which I do every night. Nobody
Dwayne: That's because he's quit twice and
Phillip: I'm a student of Law at the University of
How many other bands are you associated with? Or are they bands that no longer
Phillip: Well, the Teen Titans was a band that I
was in, but we broke up. The l-4-5s was a band
that [Travis and Gavin] were in ...
Gavin: ... because we were jealous that Phillip
was in a band. Travis and I tried to start a band ...
Phillip: ... and it was better than the band that I
was in! Dwayne was in a band called the Nipple
Five, but they're not together anymore, either. The
Kiss Offs started after the l-4-5s stopped being an
active band. Those were all bands we were in
when we were younger.
Gavin: Now we're much more mature.
Travis: We write songs about Scrabble and politics, bridge parties ...
Dwayne: The business songs are good, too.
So the Kiss Offs are your main musical
focus at the moment?
Travis: We gave up five weeks of our life for this
[Dwayne drops his beer, distracting the entire
group. So much for that question. Talk of trolls, goblins and magic seem to take over from any sort of
musical conversation.]
Your songs seem less than serious ...
Phillip: They're dead serious! What are you saying? They're pretentious.
Gavin: They're stunningly more serious than the
l-4-5s and the Teen Titans.
Dwayne And the Nipple Five. Our music sounded serious, but once you really heard what was
But all of your songs are about kissing!
Phillip: That's serious stuff! Kissing is the most important thing that a man and a woman can do together.
ivie Some Kind
Travis: Well, there are other important things ...
Phillip: OK, maybe not the most important ...
Dwayne: We all like to kiss.
Travis: We like to kiss people and things.
You've got songs about how great kissing
is, but also about how evil it can be ...
Phillip: Kissing isn't evil!
Well, you've got 'The Kiss That Kills' [off
of their second 7"].
Dwayne: Ah ... I see where you're getting con-
Phillip: Have you ever seer
Of Wonderful?
Katie: It's a kiss that's so
great, it kills you.
Phillip: You know, it's that
movie with Ethan Hawk and
Meg Ryan ... no wait, I'm
getting the actors wrong ...
anyways, you know, the
tomboy is telling her friend
that since he's got a date
with the 'popular girl,' he
needs to know how to deliver 'the kiss that kills,' the kiss
that's gonna knock 'em dead
and make you fall in love. It's
definitely not evil — it's
good! All the other kisses in
that song [Eskimo, butterfly,
etc.] are these really dorky
kisses; they're not the real
kiss, the one that kills.
Dwayne: Most of our
songs are about kissing and
human relationships. We
cover desperation, excitement, fear ... emotions and
relations within the theme.
It's not just a joke.
Travis: We do like to kiss,
there, come to our shows!
Gavin Walker, why can you do no wrong
[laughs all around]?
Gavin: We had this song that we were writing
and I was told that that was the chorus. I was
forced to make up the rest of the words, which
were about how horrible my life was. It drove me to
leave Austin, Texas for six months before I could
come back to my horrible life and continue on.
Sometimes I do wrong things; just not very often.
Phillip: He steals from Canadian stores!
Gavin: I don't steal! I was thinking about it,
Dwayne: Once you're near the end of your Bread
And Water Week, you might be thinking otherwise ...
Travis: Gavin and I started a bread and water
II you kissers out
diet this week.
Gavin: We started it today and so far we've had
a tuna fish sandwich, potato chips, candy, a vegetarian sandwich with fries, and a lot of beer.
Travis: It's not working out very well. Our rule is,
bread and water, or anything free. The tuna fish
was free.
When were any of you last in your teens?
Phillip: Gavin is the youngest, and he's 25 ... so,
six years ago.
Katie: All three of you [Gavin, Phillip, and Travis]
Travis: That's right. And
we've never been kissed.
Phillip: We're fake
teenagers. In the Teen
Titans, if your question
relates to that, we were
teenagers when we started
that band.
It seems that a lot of
the music coming out
of Texas is very teen-
oriented. Bands like
Junior Varsity and the
Teen Titans have a lot
of silly stuff like team
cheers and songs
about pep rallies.
Phillip: There's all sorts of
stuff coming out of Texas.
The Teen Titans [have] two
excellent musicians, but for
singer and I am the opposite of that — not that I'm
bad, I just don't know anything at all. I just did my
best. I'm getting a little bet-
Katie: You didn't know how to play guitar when
you played with the Teen Titans.
Phillip: I played guitar in high school, in some
bands, but not very well.
Travis: I didn't know how to play guitar when the
l-4-5s started. I learned to play guitar by playing
along with our own record.
Dwayne: You've come a long way, bud.
[Was one of] you hospitalized in New
All: Oh, Albuquerque.
Phillip: I was hospitalized in Albuquerque.
Travis: Our friends were hospitalized in New
Phillip: Yeah, after being knifed.
Katie: They were jumped by a pack of teenagers.
Phillip: [I was in hospital because] I was dehydrated.
Travis: We had had a push-ups contest in the back
of our hearse. We were on tour in a hearse last
summer. It didn't have any air conditioning and we
were only drinking beer and coffee ...
Katie: ... And driving through a desert.
Dwayne: There was some sort of gas leak, too,
which was less than good.
Phillip: It was in this atmosphere that we decided
to see who could do the most sit-ups and push ups.
I lost. I passed out in some dive of a restaurant.
Dwayne: Some guy was stepping over him to get
to the salsa bar.
So why the proper tour van this time?
All: Duh!
Katie: It only takes once ...
Travis: We did two tours in the hearse! They were
small — weekend excursions, like.
What do you mean to Mod?
Katie: Maude? Like the TV Program?
Mod, like the culture. Like, what are you
doing playing here, at a Vespa Club show?
Travis: We like Vespas. Dwayne has a Vespa.
Dwayne: If you're talking about mod culture from
the '60s in England, the scooters weren't really happening then. Really, the difference between mods and
rockers was that the mods tended to do substance
and dress well, whereas the rockers tried to be tough
and drink a lot. I guess that the Kiss Offs share cultures because we drink a lot and we look beautiful.
[Dwayne drops his second beer. He declares the
event to be a "fiasco" and resumes his oration on
mods ...] Mods are very fashion conscious ...
Katie: I would not consider our band a mod band.
Phillip: Mod, in Austin, means a different thing
[than riding scooters]. There are all these kids there
who have this Romulan haircut, and tight pants.
They're meticulous dressers and they're kinda punk.
We're not like that at all.
Travis: We kinda look like slobs. We dress up
when we play.
Phillip: We always want to look good on stage.
Dwayne: I guess what we're bringing to mod culture ... is moderation.
Travis, a question about your record label
[Peek A Boo]: do you usually work with
bands from Texas?
Travis: All the records I've put out have been by
Texan bands. It's kind of my policy to put out Texas
music because I don't have much money and there's
always another of my friends' bands that I want to
put out a record for by the time I get any money.
I've already got several projects lined up, as there
[are] a lot of great Texas bands. Whenever bands
come through Texas that are talked about or written
about a lot, I always think, 'Well, there's another
band from Texas that's doing that same thing.' I
want Texas bands to be heard outside of the state.•
11 s   w^* yjfler a gruelling, self-torturous game of should l/shouldn't I (approach Mark
( /1 Robinson of Flin Flon before soundcheck, as arranged) and pacing Toronto streets,
f~w I opted for the safer, less humiliating solution and was willing to suffer the conse-
^—S A, quence of regret. Luckily, Lisa gave me an encouraging pep talk and agreed to
do the interview for me. Still star-struck and nervous, we went backstage just before the show
and met up with Mark, Matt, and Nattles (who opted to sit the interview out). Mark and Matt
were extremely friendly and smiled a lot, which was a tremendous relief.
And hey, you may have never heard of Flin Flon, but if you're the good indie rocker that
you think you are, you've heard of projects/labels that these three folks have been/are involved
with: Unrest, Air Miami, Grenadine, Teenbeat, Olympic Death Squad, True Love Always, Cold
Cold Hearts, Cutthroats ...
Barb: I don't do interviews.
Lisa: Barb really wants to do it but she's
too shy, so ...
Mark: You're like Natalie, I think, I guess.
Matt: Yeah, you should interview Natalie.
Lisa: So Flin Flon is a town in Manitoba,
Mark: We thought of a name called Led Zepplin.
We thought it was really good. We found out it was
already taken.
Lisa: Dammit. Those bastards. Are you
named after the town in Manitoba?
Mark: Uhh ... No.
Lisa: Are you being difficult, or are you
named after something else?
Mark: It's named after this character in a science
fiction novel. But it's ironic that the town was named
after the same science fiction character. Apparently,
it's the only town in the world that's named after a
science fiction character.
Lisa: And how did you find this out?
Mark: Oh, someone sent me an e-mail and said,
'Check out this web page,' and it was the town of
Flin Flon's web page.
Lisa: Okay, okay, but your 7" is called
Swift Current, which is a town in
Saskatchewan. Were you aware of that?
Mark: I've heard that too. I don't know if you saw
the cover of the record. We're all from New Jersey.
So we have the Delaware Bay, which is on the bottom of New Jersey there. And it's known to have
Lisa: So there goes the whole first part of
our interview which was going to be
Canadian prairie based.
Mark: Oh, really? Well, you can ask us questions
Lisa: Okay. So do you like Canada?
Matt: This is my first time.
Mark: This is Matt's first time out of the United
States of America. I went to Halifax once. I
played the music festival. There was a hurricane. It was the first hurricane since 1969 that
actually kicked around. That was a year and a half
ago, 1996.
Lisa: Do you know who the Prime Minister
12   Ocioiti: im
of Canada is?
Mark: Mmm, Joe Clark. Pierre Trudeau.
Lisa: Thanks for trying.
Mark: Margaret Thatcher.
Matt: Who is the Prime Minister?
Lisa: Jean Chretien.
Mark: Oh right, I knew that. No, I did.
Lisa: Do you have a favourite Canadian?
Mark: I don't know, Michael J. Fox ... err ...
Lisa:  Thank  you.   Favourite  Canadian
Mark: Let's see, I like the Bossanova band. K-Stars.
Matt: Triumph.
Mark: Barenaked Ladies. I try and think what
bands are from Canada? What's that terrible band
from Calgary called? Girls Like It or whatever?
Barb: Oh, Chixdiggit?
Mark: They are the best. Actually, I saw some cool
bands in Halifax. They were from there, like Thrush
Hermit. They weren't very good, but they put on a
good live show.
Lisa: Did you hear Sloan? The hugest band
in Canada for the young girls?
Mark: That was the night of the hurricane. We
didn't see them. I've heard of them, though.
Lisa: So you have the New Jersey connection. Is that how you got together?
Matt: No.
Lisa: It's just how you picked the art. So
New Jersey is not a connecting factor at all?
Matt: We just kind of discovered that we were all
from New Jersey.
Lisa: Is Flin Flon a full-time project or just
something else to do?
Mark: It's full-time. Except for Matt, of course.
Matt: It just means that I have two full-time projects.
Lisa: Does that strain your psyche at all?
Matt: A little extended, but ...
Lisa: Is this band much different from your
other bands? Or is it a natural extension?
Mark: I think it's different. The music anyway. It's
hard to make the vocals a lot different unless I do
something completely different, which I'm not really
doing vocally. But I think the music is a lot different.
Lisa: How so? It's a lot of bass and drums,
: Right. I wrote most of our songs, like 90%
of them at least so far and I wrote them all on bass
guitar. I used to always write on guitar, so it's a
new angle.
Lisa: Do you see a precedent in terms of
bass and drum bands? Or do you feel like
you are breaking new ground? 'Cause
there are [other] bass and drum bands,
[like] the Canadian band The Inbreds.
[And] I think Godheadsilo. There's also
Duotang, [another] band from Canada.
Mark: Yeah, I was really excited to see them. But
they sounded ... they were so good, they kinda
played chords and they just sounded like they could
have had three guys up there with a guitar.
Lisa: So you prefer having the bass sound
like a bass [instead of] trying to make it
sound like a guitar?
Mark: Oh, yeah. Well, you'll see it tonight. It's
mostly bass and drums and rhythmic.
Lisa: Is it minimalism that you're trying to
go for?
Mark: Well, minimalism in terms of, it's only three
people I guess.
Lisa: What's the best Flin Flon song?
Matt: They're all good.
Mark: That's what Versus was apparently told by
the leader of the band. In all the interviews, if they
ask you what's the favourite song off the new album
you say, 'I like all of them equally' I like 'Medicine
Hat,' actually. It has a good groove to it.
Lisa: Also a town in Alberta, Canada.
Mark: Is it?
Lisa: Are you just pretending like you
don't know or you really don't know?
Where did you get the name from?
Mark: From a book of Indianlore and stuff.
Barb:   On   my  trek   across   Canada,   I
stopped   in   Medicine   Hat   and   Swift
Lisa: I'm from a town called Terrace,
British Columbia, T-E-R-R-A-C-E, if you
need a name. I'll volunteer that one. But a
nicer name, which is near my home town
is called Kitimat, K-l-T-l-M-A-T.
Matt: That's pretty good.
Lisa: Okay, what's your most favourite
song you've ever written — besides all of
them are good?
Mark: I like 'Bubble Shield' by Air Miami.
Lisa: Are you in any other bands other
than Flin Flon?
Oh, I play drums in this band called Aden.
I'm not playing on [their current] tour. They get different people sometimes. I played the last month or so.
Lisa: If you had to be in a cover band,
which band would you cover songs by?
Mark: I always wanted to cover Crispy
Lisa: Who are they?
Mark: Exactly. You do a whole cover band and
you do it exactly like them and nobody would really know because nobody's ever heard them before.
I think that would be kinda cool. They're an English
band from the 1980s.
Matt: I used to be in a band that would do a lot of
Led Zepplin songs.
Lisa: Earnestly?
Matt: Sort of half earnestly. It's hard to take a
band like that seriously. But we certainly enjoyed
playing them.
Lisa: Tell that to the Led Zepplin fans.
Matt: Well, no, I mean, I think Led Zepplin has to
be a guilty pleasure. They're entertaining. The lyrics
and vocals are good, so ... a lot of it is kind of silly.
Lisa: The state of independent rock and
roll in 1998 [has changed] with Simple
Machines closing down and everything.
Do you see a place for independent rock
and roll in the future? Do you consider
what you do independent rock and roll?
Mark: Yeah, there is a place for it, but it just
depends on how popular it is or how well it can
be marketed and things like that.
Lisa: But do you think there's room for it to
expand and grow in terms of fan base?
Mark: Yes, in terms of fan base, but they have to
figure out some other way of retail. It's going to
have to be like an Internet thing or something. I
mean, it's going to be worse than it is now. I think
the whole thing about manufacturing an actual
physical CD and placing it randomly in stores
across the country and hoping that someone who is
looking for that record will happen into that same
space and find that record is ... it's getting more
and more difficult.
Lisa: So is Teen Beat going to expand onto
the Internet?
Mark: I don't know. I don't think someone has
come up with a good system of doing that download thing and having people pay for it.
Lisa: So you are positive about the future
of rock and roll and what you do? Do you
see yourselves living this life for a while?
Mark: It depends on if people want to hear the
Matt: True Love Always is notoriously an unprofitable band ... and I've been doing that for a while.
Lisa: And you do it for the love of it.
Mark: True Love.*
Check out Flin Flon's website at
www. erols.com/teenbeat/ffa/html and
hey, just for fun, why not check out the
official website of Flin Flon, Manitoba
at www.flinflon.nwnet.ca/ You might
also want to search for Flin Flon's brand
new album, A-OK, on Teenbeat. SUBSCRIBE TO DiSCORDER
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MARTINI MADNESS (every 3" friday)
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UBC • THE STUDENT UNION BUILDING • 6138 SUB BLVD. AUTECHrE's latest album, their fifth, is
simply called No. 5. Just as the import
copies of this album were infiltrating the
local record shops, Vancouver had the
privilege of witnessing one of their rare
North American performances at the Palladium on July 30. The day of their show
was long and arduous for both myself
(as I spent the entire day trying to confirm the interview) and for the hyper-creative minds behind Autechre (pronounced:
O-tek-ra), Rob Graham and Sean Booth,
as they had just flown in from the UK. I
was finally given the green light at the
club shortly before the band was to perform. I was introduced to Iwo very pleasant, smallish fellows dressed in modest,
sporty, baggy gear — very cool and
minimalist, much like the style of interesting electronic music they create for
Warp Records. Based out of Sheffield,
England, the label is also home to other
mad techno "scientists" like Aphex Twin,
Speedy J, Squarepusher, and Scottish
newcomers Boards of Canada.
Both Rob and Sean are in their mid
to late twenties, so it was a perfect opportunity for me to ask them what sort
of things they were listening to in the
'80s, as I believe that the music you listen to as a teenager leaves the biggest
and most lasting impression.
"Coil," fhey both said simultaneously. Coil? Wow!
"I don't know, really. The '80s was
a bit of a manic decade. I suppose the
first type of music that really did my head
in was electro like Kraftwerk," said Sean
cid house w
next thing, and really ba-
'sic electro hip hop, and then
we got into Meat Beat Manifesto and
Renegade Soundwave and they sort of
opened the door for darker stuff like
The wider mainstream acceptance
of electronic music in the past ten years
or so has encouraged the artists who
create it to branch off into various genres and styles. Although Autechre are
intensely original, I still had to ask them
what musical category (that ugly "C"
word!) they might lean more towards.
They both looked at me with complete horror and Rob said, "We don't
— we don't have any particular loyalty to any one thing, we just do what
"There's some good individual music [coming] out of Miami. There're two
pretty good labels from there and there's
a kid from Baltimore who's really good.
There are pockets of activity everywhere. There's quite a lot of good stuff.
The Detroit scene is still pretty strong."
Naturally, since Autechre is on
Warp, I wanted to know about some
of their "famous" friends like Aphex
Twin (a.k.a. Richard James), Plastikman
(a.k.a. Richie Hawtin), and, of course,
they had nothing but good things to say
Sean added, "There's no real reason we do what we do. We just do if to
please ourselves. It's not like we're doing fusion or something, or if we are,
we don't really know that we're doing
Europe and Britain have been into
techno and electronica for quite some
time, so it has evolved and grown —
but in North America, apart from the
few small scenes that were coinciding
with Europe's, the whole electronic thing
is currently exploding and is still quite
young. I asked them whether they
thought North America is still behind the
times or is it starting to catch up?
"The [techno music] industry is very
diverse, but essentially everyone is behind the times," they both agreed.
about both their contemporaries.
Taking the topic of techno s
and localizing it to Great Britain, 1 asked
Sean and Rob if the music pheno
are the same from city to city.
"No, they're very different. 1 nr
basically, it is all the same peop
tening to the same music, but v
based out of Manchester anc
get a totally different vibe there
in other cities like Glasgow or
don. We do know a lot of othe
r art-
ists, but we're all trying to do ou
thing.  Up
north in Mane
harder and
you have to be a
ot stronger
— that encourages us to be
a lot better,
"If you'
e a master at m
the press a
d creating your
Dwn image
and your c
wn destiny, then
London is
the place t
*> be, but we're
lot particu-
larly intere
ted in being dynamic."
Quite w
ell said for two h
jmble guys
ve and produce s
ain's most
ingenious and
electronic r tunes that kept the
discorder crew going
Wednesdays thru Sundays
LOI.9 fM
ROUND 2       fi|
Gradient Profile
Forecasts Farewall
Jet Set
Full Sketch
Fridge Art Tiara
Station A
Some Ducks
Swank O'Hara
Kick In The Eye
Trailer Park The Red Krayola have been making records since
1966. Their rather outof-place place in pop music
is secure, because instigator Mayo Thompson has
popped up every time since its birth when there
was an opportunity to make music that was truly
experimental. Their latest album, Hazel, is on Drag City and
features such current luminaries as David Grubbs and John
McEntire. The collaborative effort that is The Red Krayola
has stayed fresh by a willingness to rigorously experiment,
musically and conceptually.
Mayo Thompson was jointly interviewed on Sunday,
August 29th, in the alley behind the Starfish Room, by
Randy Gelling for Offbeat and Mark Szabo for
Offbeat: The first Red Krayola album that I bought was
Coconut Hotel. I was -wondering what you think of that
album today?
Mayo: I stand by every record I've made. I don't think we've made a
false step yet. I hope that doesn't sound too self-congratulatory, but, in
fact, I think that Coconut Hotel is one of our best albums. When we
made the first album, Parable of Arable Land, we just didn't want to
repeat it. We thought, 'What are you gonna do after that?' We made
Coconut Hotel before God Bless The Red Krayola And All Who Sails
With It. Another key record will come out in October, which is the live
'67 stuff, the feedback stuff we were doing at the Berkeley Folk Festival
[with] John Fahey, who sat in with us. Unfortunately, the tapes we made
with John Fahey in the studio I cannot find, and I have been trying. We
went into the studio and made some stuff with him which was wonderful. It's lost. I think it's in Nashville. On Coconut Hotel, I think one hears
[what] we started in the '60s. The idea — and it's kinda coherent with
modernism — was to push the envelope, push the limits. It is a question
of saying, 'How about this? How about this? Does this meet it?' and not
in a sort of platonic idea, a fixed idea of what the ontology of the item
might be, and then simply satisfying it in some sort of mimetic or representational sort of relation, but in a more inductive relation. Two in
one headed auras and all those kinds of things make a difference to the
way the things are put together. The other thing that makes a difference
is, if you think you're going to make extreme music in the '60s, and the
'60s was very much about being extreme, right? Grateful Dead? That's
not extreme. What's so extreme about a blues revival? This looks like
business as fucking usual to me. It was about being there and who you
are and a sense of who you're with. You could be playing 'Mary Had
A Little Lamb' and why not? Not to say anything against 'Mary Had A
Little Lamb.' It's a nice tune. What I'm saying is that it doesn't matter
what value you slug in there, it doesn't make that much difference.
Offbeat It seems that many of the bands that survived the
'60s least appealed to the hippies at the time, like the Velvets.
They were emblematic of the opposite of everything anybody thinks
they hold holy, anywhere in the whole wide world. Our game was, we
didn't like many people at all We didn't like anything, much. We listened to a lot of music, and felt strongly about this and that. When we
got to California, they asked us in Berkeley, 'Who do you want to
meet?' and we said John Fahey. He was the only person we could think
of who was doing something that was responsive to the things we were
interested in, such as Albert Ayler, Miles Davis, all the findings in jazz,
and also Morton Feldman, and John Cage, and Stockhausen. I think
Stockhausen is wonderful. Great theatrics and wonderful play on ideas
and words; Cage is more pedantic, in the long run, but fine. He's more
of a teacher, a guru figure. That's another thing about the '60s, I don't
give a fuck about no guru.
Offbeat: Don't you think that the hippie viewpoint still
dominates —
Like German ideology won the war, right?
Offbeat: Still dominates most underground rock?
It certainly does. I've got nothing against hippies as long as they stay
out of my way. They run good record companies, sometimes they open
decent coffee shops, because they are fastidious about detail, but for me
it's an extension of possessive individualism. It relies on some coherent
philosophy of individualism as such.
Discorder. I'd like to talk a bit about the Rough Trade days.
You went to London ...
In '77. The situation with Art & Language changed, so I started thinking
about playing music; business again, so to speak. Started working at
Rough Trade. I met those people in '77-78, Geoff and I hit it off, started working together bit by bit.
Discorder: The first place I ever saw your name was on
'Wanna Buy A Bridge?'
The sampler that launched Rough Trade America [pause], which later hit
an iceberg.
Discorder: How did that happen?
The label had changed. In '78, itwas one thing, then by '80-'81 it had
already changed. It was something because of the success on the back
of things like The Specials. Selling Specials singles, the distribution got
very large, and proved they could do the dirt. The company had the
reputation as far as the music business was concerned, of 'if they had
a hit, they couldn't handle it,' that kind of stuff. Well, we could handle
it, and the distribution turned that into a working project. Stiff Little
Fingers did very well, so on the backs of those kinds of things there
was a lot of money around. Scritti Politti were the band with high
promise and the band that other labels were actively interested in and
courting and so on. It was only a matter of time, could Rough Trade turn
it into a hit? That was always the game in Britain: could Rough Trade
deliver a hit? The Smiths wanted a hit, everybody wanted a hit. That
was also the moment with Scritti Politti in the early '80s when there was
a move back to pop, and away from punk, to some extent. Punk was
dead, at least as far as a productive mode. But the label went down.
It was always competing with the majors; we were the better
Germans, whose idea was to knock the majors off, to steal their thunder,
to do a better job than they could do themselves, and at the same time
meet the humanist needs of the community, blah blah blah. That was
also when independent distribution in Britain became two-tiered, and
later three-tiered.
Discorder. The Cartel [a pooling of independent distribution resources of various independent labels in Britain]?
The Cartel. When the Cartel was formed, you could run things through
the system, and the system would be increasingly rationalised — as
systems will be, of course. As the system developed, it became a question of 'every month there'll be a week where we release ten records.'
That means that these little indie labels will turn out 'professional material.' It's bumph, just like regular labels. Then people who wanted to
make Do It Yourself records, which would have been at least part of the
point at the beginning, was a dead issue as anything outside may be,
a return to a vanity press status. I don't want to be cruel about it, but...
Discorder: They'd come to you and say, 'We've already got
this record pressed, would you just distribute it?'
Exactly, but they would 'have to have their shit together,' so to speak.
My last gasp with Rough Trade was in '85-'86 — at the time, I was
involved in running the label and marketing The Queen Is Dead, for
example, which made it to number two or number one album in the
country, but they could never deliver The Smiths a top ten single. The
idea that the record company is supposed to be doing that kind of thing
is an interesting thought, and that there is some kind of conspiracy, that
something is not being done correctly, that some little element is out of
place. Everybody understands that it's a matter of nature that The Smiths
should have a number one hit in Britain, as far as Morrissey is concerned, and I sympathize of course.
Discorder: There was a sense that it should happen?
It's probably part of the legacy of the intellectual left: the idea that it
belongs to some sort of historical inevitability; all you have to do is
stand around and do the right kind of shit, and it happens — and it
doesn't happen, of course.
Offbeat: Kind of related to that, I was wondering about
your days with Art & Language. Do you believe that politics can be communicated through music?
I believe that politics is inevitably implicated in the musical process,
and I think it is impossible to pick it apart and take it out of there. Some
people are attentive to it and some people don't give a fuck, you know,
and that's the range. I remember two semesters ago, I taught a course
at the arts centre where I teach in Pasadena. It was called 'Art and
Politics and Political Art,' so I see a strong distinction between these
things, and I think the road to political relevance is not the broad
Nevsky Prospect, to quote M —
Offbeat: Political art — do you think that form or content's
more important in music, text or the music?
What's the difference? Which is which? As far as music is concerned,
you can have syntactical structural operators, and have content value.
Obviously, if I do something backwards, inside out, wrong, etc., it's got
an intentional thrust to it, and it stands in a certain relation to it. Put
those kinds of people whose knees jerk fastest, off quickest. After that,
you're on your own. The question would be: do we try to generate a
specific kind of subject in our music? I don't think that we do. I think that,
there, we'd be playing to the hopeless modernists project and relying,
to some extent, on the autonomy of the question. We rely on abstract
Hi levels, formal levels; we present material [which] is potential to certain
kinds of realizations. I try to predict as many as I can in advance, try to
think of all the evil things I might say, try to think of all the groovy things
I might say, and then decide which I like more. It's very beady-eyed, that
process. There was a time when I was involved in Socialist discourse,
lets say, and I've changed to some extent. I still think the ideals of equality, fraternity, and all of those things are okay, but I wanna know who's
going to be running the show, and I have a very strong interest in it not
being the wrong kinds of people. So I am politically involved, but I
don't write on my guitar 'this machine kills fascists.' I don't think it does,
unless I hit him over the fucking head with it, which I would, of course,
Discorder. Woody Guthrie was a more populist writer ...
He also operated in a different kind of time, when the cultural expression
of folk was involved in the whole nexus of the identity of a class. It was
quite a lot more straightforward than it is now. I was not trying to put Mr.
Guthrie down — I have the greatest respect for him — but I think times
have changed. Some people can do more by putting their heart on their
sleeve, [but] I'm not one of those. I don't think there's any single
approach. I'm a pluralist, a relativist, and all of those, and when it comes
to that, a pragmatic. It's a funny thing about America: people say that we
invented pragmatism and we did, but only as a coherent philosophy.
Every methodological approach, every survival strategy is pragmatic by
definition. The Red Krayola in that sense is a pragmatic project: it corrects itself. We try to profit from our errors, at the bank, particularly.
Discorder: Have you profited?
Enormously. I've made, not a fortune in this business, but I've made a living at it from time to time. I still continue to make a reasonable amount
of money at it. I'd love for it to be off the truck on a massive scale. My
fantasy about what it is that we do, is that it's popular music. It is available to anybody. Anybody could listen to it, wouldn't hurt 'em, wouldn't kill 'em. To Quote Billy Wilder, T don't set out to make failures, I try
to make popular films, and if people don't want to go, you can't stop
'em.' We play the game. I don't deny the mercantile aspect of what we
do, nor do I think the mercantile aspect contaminates the art. Some of
my colleagues are more idealistic about art as some kind of preternatural relation, free from all exchange and dirt. I think they're kidding
themselves, because the fun of art is the dirt. Pollock, maybe, just wanted to solve the problem of 'Can I paint something?' and I think that
that's an interesting problem. For me, I think to myself, 'Can I play anything? What am I gonna do? What is there to do? What's there left to
do?' That is another thing; I think that once ground is used up, I don't
want to go over it again. I don't like going the same way twice. Of
course I do, inevitably — hardwiring does that to you. It's not laziness.
We're always aspiring to change the topic. History does bear down on
us, I'm aware as much as possible. I try to keep up with what goes on.
I don't want to volunteer what we do as history — we make our
deposits, we leave our little traces, but everybody does that in some
way or other. It just so happens that I — I don't know what happened
to me; I had bad luck, fell out of the normal sorts of human relations that
keep one going in life and make it possible to have a meaningful existence, so I found myself in other places, and I got it in other ways, and
by now it's a completely alienated world. I'm a citizen of nowhere, a
stateless person; although I am an American, and not sorry about it
either, and white, and not sorry about that either. Although there was a
time when, not that I wanted to be black, Norman Mailer's thing about
the white negro seems fair in a way, a tiny bit of a gloss, I guess.
Offbeat: Seems presumptuous, don't you think? I mean
you aren't black, and how could you ever —
No, he's talking about taking on the ethical standards of the hipster.
He's saying what happens if you don't like white society, and the way
that it's organized, and the things that it allegedly stands for, at least in
the brochures. You perhaps opt for some sort of opposition. Where do
you derive your principles from? Because it is a social matter that you
are addressing. What kind of sociality embraces this? It's the outsider
culture; the downtrodden. I have professed a lifelong sympathy with
the downtrodden and know that I am not one of them. A class traitor in
that sense, I suppose, at least philosophically. At the same time, I'm not
gonna go out and you know, do good. But back to the sociality of success: how can you tell what's a good theory? It can't be the thing that's
selling the most records. It can't be the thing that's selling the least
records. It can't be quantified in those terms, it's got to be quantified in
the behaviour of the people who are affected by it. It would depend on
how people behave in respect of the information. I read about Pere
Ubu in the Sounds newspaper [and] I thought, 'Hmm I'll go check this
out.' So I went, and listened, and I thought, 'Hmm, I know what that's
about.' I understood and I understood the differences in their approach
to it. I remember there was an Italian article, a scholarly effort, which
said, 'Mayo Thompson, of the Marxist art group Art & Language, infiltrated the pop groups Red Krayola and Pere Ubu.'
Offbeat: Pere Ubu as a pop group? That would surprise
some people.
That was always the cry in the studio, 'Hey, that's commercial!' Dave
Thomas, when I was in Pere Ubu, was frightened by some of his fans.
He was terrified to think that he had encouraged such behaviour and
was anxious to try to close down and control that. He only wanted to
appeal to certain kinds of people, or the people that he appeals to, he
wants to see some change in them. At least that's my interpretation.
Offbeat: Is that why he took 'Final Solution' off of the
No, it's a Jehovah's Witness thing. That was one of the reasons I wanted to play guitar in that band and I learned that song, and they never
would play it. Now they play it, because it's kind of a greatest hit, but
I'm told that he continues to throw it away. He will not treat it with the
intensity that he had when he made it, because he knows how he felt
when he made it.
Offbeat: Could you tell me the names of the members of
your band at the moment?
At the moment, there's David Grubbs, Stephen Prina, Sandy Yang, Elisa
Rondazzo, Tom Watson, Albert Oehlen, George Hurley, occasionally
John McEntire, when he's not so damn busy with Tortoise; Margo Levin,
who doesn't play an instrument on stage or on the records, but she
plays an important role in my feeling for the universe, and not just me,
but other people involved. She has been very kind to us in many ways,
generatively kind.*
by Anthony Kinik
DiSCORDER managed to contact the mysterious and reclusive, yet incredibly prolific Will Oldham — fhe Palace Brother
himself — via the miracle of electronic mail. Mr. Oldham's
reaction upon receiving this barrage of questions? "These
questions are overwhelming; they are broad. Either a telephone budget needs to be created or the questions must be
narrowed. Each question could be its own "interview.' Below
are some responses." The following interview is comprised of
these very "overwhelming" and "broad" questions, and Mr.
Oldham's occasionally generous (yet strange), oftentimes enigmatic/hesitant/shrouded responses.
Anthony: One of the things that I love about the first few
Palace Brothers releases is the sense of mystery that surrounded them: no personnel wos listed, no recording
dates, no site of recording, no producer or engineer, no
nothing. I remember being turned on to 'Ohio River Boat
Song' soon after its release by a friend, and all she could
tell me was there were 'members of Slint' involved. It
wasn't until a piece on the Palace Brothers and There Is
No-One What Will Take Care Of You? came out in the New
York Times that some of the mystery was removed for me.
It was at that time that I learned who the Palace Brothers
were. There has always been a certain elusiveness to your
work, but at this early point the mystery seemed total.
Was there a conscious decision behind this total sense of
mystery? Can you illuminate the early history of the Palace
Brothers and how that early outfit came to be?
There was a woman named Helen from Washington, D.C. with bangs.
She has moved to San Fransisco and she has become a fire-
That same Times article was the place
where I found out that you played the
preacher-boy in Matewan. How
did you get hooked up with
that project and what
was that experience       like?
was working with Hazel Dickens like? In many ways,
your role in that film seems to have pointed in a significant way towards your early work with the Palace
Brothers {I'm thinking of its Appalachian setting, its fascination with music and the roots of music, its religious
themes, etc.)
Ronnie Stapleton wos a preacher in Beckley, WV. He was 'ordained' by
a miraculo-js experience: os a truck driver, he had seen a terrible automobile accident on the highway. He pulled over ond went into the burning vehicle, rescuing two children. He was unharmed and the children
were alive, fn the army in Germany he had laid drunk on the floor of his
room, listening over and over to Tm So Lonesome 1 Could Cry' by Hank
Williams. In church he performed 'Be Careful of Stones That You Throw.'
He also taught me 'What a Friend We Have in Jesus' and 'After All,'
among other wonderful songs. He was a huge man with huge hands.
He had a beautiful, bellowing voice. Once I imagined the roof of the
church coming off and light pouring in; I realized this vision came from
the play Holy Ghosts by Romulus Linney, which I had seen in Kentucky.
Later I saw it in Long Beach, California after a swim in the ocean
there at sunset. It was better in Kentucky, with Bob Burrus. And
Christian Kaufman, who taught me what a 'rusty nail' was.
I've heard that you had an early interest in acting and
playwriting and that you even had a play produced at
the Kennedy Center (I'm from Washington, D.C, so I'd be
interested to know what that play was and how that
opportunity came about). Can you tell me about this
background in acting and the theatre and whether you
think this background has had an influence on your musical career? And, if so, how?
It had to do with cerebral palsy; there is a strange photo of me on
the capitol steps with Mitch McConnel and my friends who had
cerebral palsy. The theater taught discipline; the theater was intensive and focused ideas about body, voice, space, memory, perfor-
What are the differences between The Palace Brothers,
Palace, Palace Songs, Palace Music, Will Oldham, Bonnie
Prince Billie, Push, etc.? Is there a reason for all these different monikers/personas?
Do you think there is no reason?
Is this will to reinvent yourself something that stems from
your background in acting and the theatre?
Chronologically, it must be so!
You've worked/collaborated with quite a range of different producers — Steve Albini, Kramer, 'Adam & Eve'
(Royal Trux?), Rian Murphy, etc. How have these partnerships come about? Has the choice of a producer arisen
out of the songs themselves? Again, you've worked with
a rather large number of musicians. How have these sessions come about? Do the songs 'demand' certain types
of arrangements, certain musicians, a certain producer, a certain feel, or have these recordings
come about in a somewhat less premeditated, somewhat more haphazard manner?
Many good musicians.
Someone        like
Nick      Cave
has con
sciously tried to fit himself and his songwriting into certain literary traditions. Articles on the Palace Brothers
have frequently created associations between your work
and certain authors (Flannery O'Connor comes to mind).
Do you see your work as fitting into some kind of literary
tradition? How important is literature to your work?
I don't really separate records from books or paintings or movies or
even conversations, or design.
What can you tell me about The Broken Giant and your
collaboration with that project? I first heard that set of
songs because a friend of mine bought Arise Therefore
while in London and received a complimentary CD with it
entitled Palace Soundtracks: Songs put together for (The
Broken Giant). Two years later, these songs became
Black/Rich Music. What's the story behind this film and
this soundtrack? Why did it take so long for these songs
to be released domestically? Has the film ever been
A woman friend of mine instigated contact for this record; I saw the
finished movie in Mill Valley.
Tell me about your involvement with the Dutch Harbour
project. How did that soundtrack come about and was
your cut recorded specifically for that film?
The song was written and recorded specifically for the movie. The
director had asked to use another song, and I said that was impossible and so a deal was reached. I wrote and recorded the song in central Virginia and Jim O'Rourke made it into the beautiful finished piece
it is, I assume in Chicago. My life improved dramatically as a result
of this movie and my involvement with it at various points.
How did you become associated with Drag City? Can you
explain the beginnings of Palace Records? Who is Palace
Records and how independent is Palace Records from
Drag City?
Palace Records was created to acknowledge the differing trajectories
of DC and me.
You were featured on one of the first — if not the first —
of the somewhat shadowy Sundowners 7"s. How did
that project come about? Who's behind the Sundowners
This is a mystery to me.
How did your collaboration with Sally Timms ('No More
Rides') come about? Was it a result of 'For the Mekons et
al.'? Was it a result of 'Horses?'
The Mekons ...
What was playing Lollapalooza like? It seemed like an
awfully strange setting for the Palace Brothers, but when
I saw you in Montreal (and the Palace Brothers and Nick
Cave and the Bad Seeds were the principal reasons I
attended) I remember being entranced. Was that the first
time the Palace ...
Your question cuts off exactly here, this is not my editing.
Lollapalooza: cherry. •
So, what can you do, really. We re-e-mailed Will with the rest of the
questions, but he hadn't responded by press time, so we decided to
include what we could, for your reading pleasure. Will plays in-stores
in Portland (Oct. 10), Seattle (Oct. II) and Olympia (Oct. 12) as
part of a radio-promo tour.
m\ Oldham
18 'Oaota OT* Demo
The Public Complaints Commission inquiry into the
police actions surrounding the
APEC summit is turning out
to be as suspicious as APEC
itself. The federal government
refused to give money to the
protesters to use for legal advice, even though the RCMP
is having the costs of their lawyers covered. Protesters asked
for the inquiry to be delayed
because boxes of documents
were only released to them
the week before the hearing
was supposed to begin. The
delay will also give the protesters more time to raise
funds for legal help. The BC
Federation of Labour and
the Alma Mater Society of
UBC have donated money to
the protesters.
The inquiry, postponed
until October 5th, is sure to
be an interesting one. Prime
Minister Chretien will
likely be subpoenaed because documents have revealed that he ordered the
RCMP to ensure "that
leaders  not be distracted  by demos."
Chretien was specifically concerned about
disturbing the visit of Indonesian      dictator
Suharto (who has
since been thrown out
of power by his own people).
The Prime Minister has hinted
he will try to avoid appearing before the commission.
Watch for more to unfold as
more documents are released
and people as unlikely as the
Reform party take sides with
the student protesters.
The anarchist event of the
summer was Active Resistance in Toronto. This week
long event brought together
people from the US and
Canada, including a large
delegation from Vancouver, to
analyze and strategize. The
group participated in a demonstration against the Ameri-
dumpster-dived food, and self-
proclaimed visionaries."
At the same time as Active Resistance, Planet
Struck took place under the
Bathurst Street Bridge in Toronto. This event featured hip
hop, poetry, busking, ranting
and spray paint wars. Food
was handed out for free by
the truckload. The rapidly distributed food appeared to be
stolen, I mean liberated, from
'.TY     1
can bombing of Sudan and
Afghanistan, and a "Hands
of Street Youth" rally organized by the Ontario Coalition Against Poverty. People divided into smaller groups
to plot the overthrow of global economy, plan its replacement, and create art to spread
their message. Active Resistance allowed people to connect similar ideas with others
from far-flung locations. The
downside (according to people who went): the "smelly
people and dogs,  rotten
September saw the release of the film A Place
Called Chiapas, by Nettie
Wild, at the Fifth Avenue Cinemas and on CBC-TV. This
beautifully filmed documentary explains the tumultuous
situation in Chiapas, Mexico,
beginning with the
Zapatista uprising on January 1, 1994 (not coinciden-
tally, the day NAFTA went
into effect). The film shows,
using modern media and internet tactics to further its
cause, the interesting paradox of this ancient agrarian
society. The Zapatistas are
largely indigenous Mayans
who are demanding autonomy, land reform, better
health care, and education.
In the past few years, thousands of people in Chiapas
have left their villages and
become refugees, fearing attacks from pro-government
paramilitary groups. Chiapas
is filled with official Mexican troops, some of whom
are trained by the US
Army. Close to one hundred people in Chiapas
have been killed in the
past year.
Adding to the problems of this low-level war,
Chiapas is currently experiencing disastrous floods.
Over 1.2 million people in
this already poor region
have been affected.
Zapatista leaders are accusing the Chiapas State Governor of robbing humanitarian aid, meant to help the
flood victims. The Mexico
Solidarity Network is organizing an emergency relief campaign to bring food,
shelter and medical aid and
can be reached at 773.
r COMIN' ^
interviews with
and more!
plus the best in
reviews (live &
• zines • books
• films • 7"s ■
^   protests  JJ
Order a chocolate martini and
bossanova to the infectious lounge
disco of Fantastic Plastic Machine's
debut LP. Tomoyuki Tanaka's
confectionary creations have been
previously heard on efforts by
Dimitri From Paris, Combustible
Edison and Towa Tei.
Welcome to the 21 st Century!
CD/LP Available Now
Aiso available from
Fantastic Plastic Machine
"Dear Mr. Salesman"' 12"
Live DJ appearances at
Much Music's "Electric Circus*
on Oct. 9th
4 Chameleon Oct. 10th
788 BURRARD STREET 604-669-2289
Emperor Norton Records 7
ffZen Master Claire says: when the task you ordinarily procrastinatejy\
over becomes your excuse to procrastinate over something else, it
11 is time to re-evaluate the nature of time. JJ
We begin this
month's cata
logue of miniature records with a very cute
release from the LOW NUMBERS. These unabashedly pop
boys sing as sweetly as Vatican castrati; nonetheless, 1 am
sure that "Telekom" is about the
sex lives of phone phreakers.
What else? "It's digital, my
adoration/ you're tunneling
under my hair/ digital and tunnels/wires everywhere ..." On
the flipside is a slower tune
called "Josef Albers," which
features a few lines of German. (Numeric, WPTS, address unknown)
A certain deadly combination of friends has been campaigning for my doom. On
three separate occasions dur
ing the past week, I have been
detained in close quarters and
barraged with a grand total of
almost five hours of Frank
Zappa. The fact that I enjoyed it is strange enough as I
usually have very low tolerance for anything involving
musical skill. Moreover, these
little impromptu gatherings are
seriously impeding my critical
relationship with other forms of
music. For example, when listening to "Swelling Violins" by
RAYMOND, I kept wishing
that Frank would come back
and kick all of our asses for
putting up with the blandness
and lack of creative vision that
overwhelms the underground
rock world. Oh, God, what
does one do when the realization that 99% of everything
is completely worthless finally
hits? Moreover, when dullness
is an aesthetic, does creativity
become uncool? To be fair to
Raymond, "Use Lye" is a superior tune and, like everything, gets better with proximity. Use headphones, kids.
(First Love, 150 5th Ave. #3,
Brooklyn, NY, 1 1217)
want to Take You Higherl Their
single, on the no-doubt-soon-
to-be-trendy label 10-in-l, is
very loud, proud and boozy
'70s-style rock — straight up.
In fact, it's a little too authentically sweaty for me. The Olympia music scene is getting
more and more confusing
every day. I think all the respect
and adulation (both due and
undue) has gone to their
heads. (10-in-l, 508 Legion
Way #4, Olympia, WA,
Speaking of Olympia, the
latest of a seemingly endless
parade of Dub Narcotic Disco
Platters features a band called
sound just like you'd imagine.
"Jail" is scratchy, stompy,
staticky fun with a rhythm section to die for. "Office Building" sets out to shame the devil
and does a pretty righteous job
of it. Is this cultural appropriation? (K, PO Box 7154, Olympia, WA, 98507)
Japanese garage punkers
PANTHER manage to make
squealy, kicky, rough and
shaky fun out of Broken Rock
N Roll Blaster, despite the single's rather poor recording quality. The band's lady vocalist
sounds like a petulant three-year-
old after an aspartame overdose, but childish amusement is
frequently better than adult ennui. (Twist Like This, PO Box
540995, Houston TX, 77254)
Both songs on the BUNNY
7" seem to have chronic depression as their topic of discussion, the more specific content being a combination of
empathy for and advice to the
miserable parly. It's not working! I don't feel any better!
"Break Out" is droney and useless, kind of like my life;
"What's With This" is sort of better, but I don't care. I'm going
to go stare at the ceiling for a
few more hours. (Punk In My Vitamins, PO Box 2283, Olympia, WA, 98507)
"Das Knaben Wunderhorn"
is a very lovely song from the
band COTILUON. I call it audio hot chocolate: beautiful wall
of guitar; soaring, operatic
vocal lines; quality that toes the
delicate balance between slick
professionalism and indie
credibility. "The Buildup" has
bouncing bass and scrape-guitar uncertainty, "Sabotage" is
the obligatory slow track, "FN"
is more upbeat. (Turnbuckle,
163 3rd Ave. #435, New
York City, NY, 10003)
Russian accents,
unplaceable rocksteady beats,
surf-a-billy guitar and excellent
production all feature prominently in THE RED ELVISES
contribution to the Six String
Samurai movie soundtrack.
The film is as yet unknown to
me beyond this 7"; if the packaging is to be believed, it deals
with a nerdy-looking vagabond playing his Martin
hoilowbody in the desert and
performing decapitations with
a rather unconvincing Japanese sword. The Red Elvises
have names like Igor, Zhenya,
and Oleg, and they sing about
Jesus asking our protagonist to
do the "boogie woogie" on the
beach. Is anyone else having
Leningrad Cowboys flashbacks? Do I ask too many rhetorical questions? (Rykodisc
USA, Shetland Park, 27 Congress St., Salem, MA, 01970)
Our last two releases for
this month are both from
eMpTy Records and have
both been acting as doorstops for the past month or
so. I just recently pulled them
out from under the door, replaced them with Anarcho-
Pacifism: Questions and Answers and Vegetarian Meals,
and am glad I did so.
ROOM 41 mixes garage
smarts with punk '78 style for
two fast, snappy, superbly
executed rock songs on the
Brain Shake single. THE
DRAGS are a bunch of nasty
greasers, it's so obvious. One
of fheir songs is called "I Killed
Rock N Roll." Strange that they
would want to kill something
so obviously close to their
hearts. "Blacklight" is the same
flavour of mag wheel screwdriver stomp. Both songs feature a bizarre vocal filter which
provides the impression that
the vocalist is shouting into a
tin can. (eMpTy, PO Box
12034, Seattle, WA,
ZINES • BY MiMiC <mmmcross@hotmail.com>
A welcome salute to fine staplegunslingers every
where! This, as you hopefully noticed, is the
newly resuscitated and revamped zine review
column for everyone's favourite magazine. I didn't have
time to introduce myself last month as I made a flying
leap into the column at the last minute, so I thought I'd
take a moment now. I have been reading zines for five
years and writing them for three. In fact, Discorder's
zine column I Can Read (then handled by Trish Kelly)
was one of my first resources for zines outside my town.
On that note, I must confess I'm not a local yokel. I hail
from the Interior, Kamloops specifically. However, the
zine community is so devoid of geographical boundaries that I don't see any problem with this. Last issue, in
keeping with the theme, I focused on Vanzines. This
month I'll attempt to broaden your zine palette with a
smattering of works from various corners of the planet.
#1, free or trade, 8 1/2
XII,  62 pages
Everyone was pretty blown
away to find an Australian
zinester sitting at the VanCon
zine fair this August. Known
to us only as Grebo, Mi-a<ho-
air is the thick result of his first
attempt at zining. Nothing
revolutionary here: punk, politics and sex all lassoo'ed up
in cut V paste tradition. A lot
of strong opinions fall short
due to the sloppy, dull, ranting format. There are some
strong reprint selections, but
what's most redeeming about
this zine is the visual element.
Grebo's choice of graphics,
comics, collages and general
layout are appropriate and
satisfying. Recommended for
the adolescent punk readership who want to kick back
with light reading that's nice
to look at. (c/o Grebo, PO
Box 1191, North Richmond,
Victoria, Australia, 3121,
the zine about surviving
exposure to the mainstream
#1, $1, 8 1/2X5 1/2,
20 pages
This is the first zine of Jim's
that I've come across. In his
own words, "I've spent eight
years happily burrowing in
the underground making
zines and finding more than
enough to keep me well fed,
creatively speaking." The big
news is that Jim's novel was
recently accepted for publication by HarperCollins. This
raises the fundamental question of selling out — can a
happy medium be found, ethically and financially, between
the "little league" and the
"major league" of publishing? Jim has obviously put a
lot of thought into this, and
HitS is an invitation to consider things his way, tying it
together with the metaphor of
mainstream as an exotic holiday destination. His writing
gleams with forethought, insight, and charm. Jim does
not idealize either end of the
spectrum for you — each
packs its pros and cons, as
he presents. A belief does
shine through, however, that
we contented moles of the underground can find a happy
medium between grassroots
and mega-commercialism. To
keep HitS ziney, Jim interviews Ninjalicious of the
lovely Toronto zine Infiltration,
who had his 15 minutes in the
sun and came out with a nice
tan and no desire to go back
next year. The highlight for me
was a reprint of Jim's article
for the DIY section of Punk
Planet, the totally, down to
earth and inspiring "DIY
Novel Writing." This zine is
like a nice fragrant sunscreen
with a good SPF. For a risk-
free look at potential destination points of the publishing
world, book your Holiday in
the Sun today, (c/o Jim
Munroe, lOTrellanock Ave.,
Toronto, ON, MIC 5B5)
one-shot, $1 US, 8 1/2
X5 1/2, 16 pages
Kelli Williams has made a
name for herself in the zine
scene with her long running
zines, Twenty Bus (alternately
charming and horrifying true
stories of her public transit
experiences) and That Girl (a
well-written perzine, often
very intense). This one-shot is
a total departure from her
regular zine output in every
way — except the excellence!
Kelli dives uninhibited into
the realm of Kurt Cobain
death conspiracy theories to
bring you this hilarious yet
frighteningly logical zine, that
traces every Cobain pain you
can imagine back to the digestion problem known bitterly to the afflicted as lactose
intolerance. No joke. Picking
apart his lyrics, behavioural
tendencies, pains mentioned
in interviews and even the
scansion of his name (!), Kelli
will make you want to smack
yourself for not having sent
Kurt a box of Lactaid before
that fateful day in '94. To
quote Miss Williams: "I heard
your screams, Kurt, but it was
too late. I raise my glass of
chocolate rice milk and salute
you. You will not be forgotten." This is one of those
quirky, brilliant studies that
could only be published in
zine form, and if you recognize that, you'll take the time
to request it! (c/o Kelli
Williams, POBox 170612, San
Francisco, CA, 94117-0612,
920 Pine Street,
Kamloops, BC,
reviews, no one gets
slaggs>! What woud a
zine be without lots of
bad reviews backing it
20   Ociosa 1778 . Notes from
c-^&i    the VIFF
Last Sunday, video columnist Tania Bolskaya was
found babbling an incoherent melange of French, Hindi,
Spanish, German, Icelandic,
and Walloon in the lobby of
the Caprice Theatre. A professional was brought in to assist
in the matter. According to his
translation, she was demanding a bucket of Vrroom Triple-
Berry Ginseng Punch and a
time machine. It seemed that
Ms. Bolskaya's plan was to return to the September 26,h
Opening Night Gala, armed
with said punch, with the intention of ascertaining a bottle of Silent Sam Vodka and
"mixing her own damn
crantini's." She was taken
from the Caprice Theatre to
an undisclosed mental health
facility where she is now, at
the wishes of her family, undergoing a lobotomy. The following scribblings were found
in a notebook that was on her
person at the time of her descent into madness.
Warning: These notes were
written by a person now clearly
insane. Reader discretion is advised. Not suitable for those
easily offended by obscene language, mad ravings, bad spelling or misplaced modifiers.
Saturday, Sept. 19
10:00 AM
It's finally here! The Bible, the
Koran, the Torah, the TV Guide
contain not a fraction of the wisdom of the Vancouver International Film Festival Program
Guide. I can't wait to get
started on my schedule. The
LSAT has no logic problem as
complicated as this!
Sunday, Sept. 20
11:37 PM
It's finally done. My brain is
cramping, but I've got my 52-
movie slate complete. Longest
Ridge stretch? 4 hours and
42 minutes. Sorry, butt, it's
for a good cause. Looking forward to:
Surrender Dorothy— Who
can't love a movie about a
busboy who takes in a young
heroin-addicted lad and makes
him into the girl of his dreams?
Temmink — Danish gladiators
of the near future fight to the
Sitcom — French comedy
about incest, sexual perversion,
and a rat.
Affliction — Paul Schroder
[Taxi Driver, Cat People) directing James Coburn, Willem
Dafoe and Nick Nolte?
Gotta go!
Portland Street Blues —
Confession: I have a weak spot
for movies about lesbian triad
Razor Blade Smile— 'Lilith
is a contract killer ... is there a
better profession for a vampire
who can out-dress Catwoman
and fight like Emma Peel?"
Uh, nope. Mee-ow.
Bellini's Drive — Finally, a
solo project for Kids in the Hall
scribe Paul Bellini. It's billed
as the touching story of a man,
once the most famous non-
hockey personage from
Timmins, Ontario, coming to
grips with the eclipse of his fame
by Shania Twain Poetry.
Bombay Boys — Naveen
Andrews, a personal favorite
I've never been a die-hard Hal
Hartley fan because, in my
opinion, he's never been able to
see a film through from start to
finish. Even my favourite Hartley
films only pay off about 80-90%
of the time. But I was pretty
primed for Henry Fool — the
word in the air was that he'd
achieved his most mature, most
accomplished work and I was
ready to believe it.
Instead, Henry Fool started
out slow for me and never really
went anywhere. The premise —
that of a loser/garbageman who
meets an artiste/poet/charlatan
and has his life transformed, the
vmg ii
of the acting was just off and the
Works of art about art and
artistic creation which discuss/
mention/hint at what would characterize GREAT ART but then fail
to deliver on this promise, strike
me as somewhat pathetic. Not
only is it a cop out, but it just
serves to draw attention to the
inferiority of the very work of art
which is raising these issues in
the first place. And what's with
Hartley's sudden brutalist edge?
Is this his Kids?
Another highly-touted American
"indie," another fuckin' hype job.
Everything about this film ended
up getting on my nerves by the
end — its pseudo-intellectualism,
its "daring" cinematography, its
lack of discipline, its "intense"
central performance, its limp-ass
drum 'n' bass. My friend Elissa
was glad that she wasn't the only
one who'd reacted adversely to
77— everyone else she'd talked
to about it was singing its praises
.on high. Suckers. 77 just really
couldn't decide what it wanted
to be — meditative arthouse fare,
lo-fi sci-fi, psychothriller, action/
thriller, Taxi Driver, Raiders of the
Lost Ark, etc. — and it ended up
just being ridiculous, a weak excuse for "indie" arthouse fare
posing as the real thing. See
Johnny run for his multi-picture
In many ways, the least promis
ing of these three films; in many
ways, the best of these three films.
Vincent Gallo's debut feature
is indebted to the nouvelle vague
in many ways — in its credits, its
tography, its celebration of the
auteur, its skimpy script (think A
Bout de Souffle), its sense of style,
etc. — but it never feels like some
kind of stiff homage. Instead, the
film is able to move from the hilarious, to the ludicrous, to the
campy, to even the poignant with
relative ease while constantly
mixing things up, transforming an
utterly banal premise into something that is consistently
To be sure, Christina Ricci
gets an unbelievable 2-D role (if
you don't think she can act, take
another look at The Ice Storm)
with very little edge to it, but in
some ways, that ends up making
her tapdance showcase all the
more fascinating. The real
showstopper for me, though, was
Ben Gazzara's musical number
— maybe the most arresting musical number since Dean
Stockwell's rendition of "In
Dreams" in Blue Velvet.
since his Buddha of Suburbia
days, co-stars in a three-guys-
on-the-town romp.
Rainy Dog — Asian men with
big guns. Brain stay at home.
Tania no need tonight.
Innovations — Canadian
shorts aren't something fleecy
you wear to the beach in summer. Fellow UBC students made
the big-time with
Young Turkeys at the
Montreal Film Festi-
val. Let's see what
they've got.
Sonic        Acts/
Modulations —
The latest documentary rage?
Electronica. At least
the soundtrack  is
Staying away from:
Kurt and
Courtney  —   I
thought Courtney
Love was the biggest media
whore ever ... until I saw a
Nick Broomfield "documentary."
The Herd— Guy drives Reindeer across Arctic ... for two
hours. Could be great. Will be
shown without me.
The Vancouver Centre concession. Corporate popcorn at corporate prices.
People who spend their hours
in the pass-holders line pontificating in loud voices about their
meager grasp on the film world.
Everyone's entitled to their own
opinion — at a whisper.
Thursday, Sept. 25,7:00 PM
I'm off to the Opening Gala. I
can't wait to rub elbows and spill
drinks on famous people!
Friday, Sept. 25, 2:05 AM
Fuckin' grat party. Sam vodka
sreelly exellent, who cant eat
orderves all night Terry David
fuckingMulligan! He wont be
showing his smug mug in this
city anymore, motherfucker ...
12:06 PM
Damn! I missed the Josephine
Baker movie, Princess Tam-
Tam. Last night I either murdered TDM, or I puked on his
$500 shoes. I suspect the latter.
Well, let's get this baby off the
ground. First day movies are al
ways AWESOME ...
Saturday, Sept. 26,9:00 AM
... And this year is no exception. The Baby Dance (originally made for American cable
station Showtime) is exquisitely
sad and not the middle-aged
yawn fest that the plot — an
older couple who can't conceive
pay white trash
couple for their
unborn baby —
would have you
believe. Laura
Dern is one of
the best actresses
out there right
now. It's foo bad
that the studios
don't make
enough movies
with great parts
for women and
she's forced to
strut her stuff on
cable. Jeanne
and the Perfect Guy is a daz-
zlingly funny musical comedy
about true love and AIDS and
very perky breasts. The best
news of the day? No annoying
commercials! Finally, the festival
organizers have taken pity on us
poor pass-holding fools who had
to sit through their "hilarious" 30-
second promos. Silence is sanity. Speaking of which, tomorrow
is a six-movie day, culminating
with Beast Cops at the Caprice. I hope I can keep my composure to the bitter-sweet end ...»
OCTOBER 16 - VANCOUVER, BC <5> starfish room w/ make up / blonde redhead
OCTOBER 31 - VANCOUVER, BC @ starfish room w/ archers of loaf
Something's Gotta Give
After a long break, Agnostic
Front has released its latest album of screaming straight-edge
hardcore. As a youth in Salmon
Arm, BC, I was in my own
hardcore band. We played
poorly and we never performed
outside my friend's basement,
but we strove to sound like the
Front. I would drive around town
in my pick-up truck, stereo
cranked, assaulting the sensibilities of the local folk and generally making my presence known.
Since those wild and carefree
days of my youth, my tastes have
changed and I had all but forgotten my hardcore past until,
one day, I came across the latest release from Agnostic Front
and curiosity killed the cat. After one listen, it all came flooding back to me: the sparse
chords, distortion rich riffs, the
all-but-indistinguishable lyrics,
and the rapid pace of every
song. I long for a youth spent in
crowded halls and dank base-
Shane Vander Meer
(Grand Royal)
Just my luck. The new Bis release
isn't new at all. Intendo is a compilation of all the hard-to-find B-
sides and demos from way back
when, the very tracks I spent all
my allowance money on. Grand
Royal is cashing in on the power
of the Teen-C Nation, trying to
keep us all satisfied until the new
full-length comes out.
If you don't have all the B-
sides already, however, this is
worth getting, as it's got really
good songs like "Clockwork
Punk" and "Cookie Cutter Kid."
If you're a diehard fan like myself, you'll just have to keep on
waiting ...
Julie Colero
The End is High
(Mutant Sound System)
For those of you who haven't
heard of Irish group Blink,
they're the reason why punkers
Blink 182 have that number
in their name. Blink is difficult
to categorize, musically. I'd
have to say that they're a combination of pop, rock and
techno. These guys would
roughly fall in the same category as British group Space
Monkeys, except that Blink is
more electronically influenced.
Furthermore, vocalist Dermot
Lambert sounds kinda like
Richard McNevin-Duff of Space
Monkeys, except less talented.
Blink has the ability to hypnotize its listeners through repeti
tive but pleasing drum loops and
Dermont's monotono,us voice.
"Dead Little Bird" is my favourite song because of its dynamic
contrast: the type of soft verse/
loud chorus combination that
helped make Nirvana famous.
One slightly misleading track is
"This One is Wild:" opening
with a cool synthesizer intro that
raises one's expectations, it turns
out to be another mediocre track
that takes up space. "Sky Land
Scraper Paper Fly" is what I
would describe as really cool
electronica; however, Dermot
provides crappy vocals and the
song is rendered less effective
than it could have been. Blink
ends the CD on a solid note with
"I'm Not Sorry Now," a song
that ought to be released as a
single, and "Fundamentally
Loveable Creature," a hyper
closing track that gets listeners
Jerome Yang
(Tuff Gong International)
Boukman Eksperyans avoid
all subtlety with the title of their
new album, Revolution. This
band has never been quiet in
their musical quest for change
with the consistent struggle in
their home country of Haiti. Their
name comes from the Vodou
priest Boukman, who led the
slaves in the uprising against
French colonized Haiti, creating
the first Black republic in the
world. They are considered a
radical threat to their government and their revolution-sparking
lyrics bans much of their music from
the Haitian airwaves. Internationally, they have found success in
their three previous full-length releases and found acknowledgement with their Grammy-nominated song, "Kalfou Danjere,"
in 1991. This ten piece band
recently played in Vancouver for
the Under the Volcano Festival.
Their live show is a vivid,
powerful celebration of compassionate, colourful, choreographed chaos.
Revolution, released on
Tuff Gong International, (the label which found success through
Bob Marley) is a mosaic of
reggae, Vodou jaz, hip hop and
Caribbean sounds. The group
j  the
f the
language with
Haitian street slang to create
their unique, unyielding musical
Three things to keep in mind:
this is not indie-pop; Boukman
Eksperyans is battling an important struggle within the true musical essence of the strong Haitian people; and, last, their dynamic, rhythmic, melodious
sound might just get your dust
Cookie Flashboy
Long Walk Back
It was a showdown at the OK
Coral, but everything wasn't
okay. The oldest-school country
outlaw this side of San Antone
had just released a new album,
Long Walk Bock. The sun was
climbing in the sky faster than
Jesse James on the quick draw
and I was afraid —really afraid.
This dude had a reputation in
these parts. The cowboys said
he was special, a Billy the Kid
of sorts. They said he had "True
Grit." I didn't buy it. I clicked my
spurs as I stared the country boy
down. Like buzzards, the
townsfolk lined the streets anticipating the outcome of our duel.
The clock struck high noon and,
after a blaze of down-home ditties, only one of us was left standing. Junior had put me to sleep.
David Evans
Another Dollar, Another
Closed Door
If that phenomenon called the
"punk-voice" twists your stomach
around in a good way, ihen Channel 99 is screaming at you to come
listen. I suggest starting with the tenlh
track, "45 Fast." The enraged
chants of this anthem are more ad-
dictive than good heroin or
McDonald's fries. Leave this song
on repeat until you're ready for
detox and then start again with the
rest of the album.
There are several different
sounds offered by Channel 99:
"General Public" stands out as
a very fine example of good ska-
punk that doesn't take it too far.
Other tracks betray this band's
metal influence with longish musical interludes between vocals.
Oddly, these segments do not
detract from the beautiful punk;
rather, they manage to showcase
the talent oozing from these
guys. My only complaint with the
band is that their releases are
traditionally ong with a punk-
voice like that?
DJ Kicks
DJ Cam pleases to no end with
this disc of finely, subtly mixed
French and New York underground downtempo-jazzy and
loungey hip hop, which eventually branches into more hard-up
excursions of word trickery with
Jeru the Damaja and Rasco.
All the way throughout Cam's
soulful scratching, his sampling
and mixing style is displayed
with incredible prowess. He is
not a scratch dj — be forewarned — his talent is far more
in the old hip hop school vein of
the dj behind the MC. Furthermore, many of the tracks on DJ
Kicks are produced by Cam himself, so the disc also showcases
his own funky production style,
full of enough soul for a bowl of
downtempo crispee-o bucket of
The latest release from California's foremost cyber metal is also
its best. On their last original album, Demanufacture (not counting the remixed Remanufacture),
they had achieved a sound unheard before. Combining extreme metal with digital technology, the result was a maelstrom
of aggression that could be used
as a soundtrack to a future battlefield. The reason that Obsolete is such an improvement is
that it is much more listenable.
The songs have their own character and the band has learned
to use dynamics to make the
heavy parts more effective. The
addition of Vancouver's own
Rhys Fulber as producer has
made the music more atmospheric with the use of keyboards
and an effective string chorus.
This album definitely shows that
Fear Factory deserves to stand
on even footing with the great
metal bands of the world, like
Machinehead and Pantera.
Don Bourassa
(Drag City)
Telescopic, the second release
by Edith Frost, has a certain
way of growing on you. On first
listen, the mix of folk and post-
psychedelia synth didn't really
catch me, but I was caught by
the lovely lyrics and the voice
delivering them. The lyrics speak
of lost/broken love and trust, as
seen in the last song, "Are you
sure?" — "Will you make me
cry/Will you make me sorry I
ever loved you." After the musical side of Telescopic is adjusted,
this is a good album to sit back
and wallow in the blues.
Tired of pop-punk monotony?
Sick of Fat Mike ripoffs? Looking for something a little different? This Amsterdam quartet has
one of the most original sounds
going. Peter Zirschky's distinguishing vocals backed by raw
but tight musicianship have set
Funeral Oration apart from
the punk menagerie since '83.
Their third North American full-
length is a little poppier than previous albums, but no less infectious; "You Will" and "Upstream,
Downstream" will have you singing along in no time flat. Survival
is 15 short, catchy melodies
guaranteed to brighten your day.
David Evans
Park Avenue EP
GvsB's first major label album
finds them adopting an even
"sleeker," "sexier" set of postures
than before. There's something
even strangely kind of U2-ish
about the posturing here: the
slick graphics, the cars, the
gloss, the shades, etc. Luckily,
GvsB isn't nearly as ridiculous,
as middle-age-crazy as U2, so
much of this is solid material.
Nonetheless, there's a sense of
polish and artifice present on this
album that I've found strangely
off-putting. My favourite tunes
here have tended to be the sadder, minor key numbers (like
"Roxy"), songs that seem to gain
something from the coldness of
the production.
A more interesting release,
in my opinion, is their Park Avenue EP which, once you get
past the title track, has a looser,
more experimental feel to it, and
even some forays into Miami
bass (always with their fingers
to the pulse, these lads). Of particular interest is "450 Degrees
of Boom Boom (Speedway)",
which is loud, raunchy and raggedy, and features some frenetic
scratching. Dope.
Cruel Yet Fair
John Korsrud's Hard Rubber
Orchestra, arguably one of the
greatest Vancouver contributions
to music, create sonic jazz fusion with myriad sounds and
rhythms blended together to create a resounding, thrashing
boom. This debut CD, with compositions by Korsrud and featuring 23 musicians, lives up to
what fans who have seen the
Orchestra live want: layers and
textures of sound that raise the
heart rate, quicken the breath,
and send electric tingles over the
These compositions (accurately described as "complex orchestral music" in the liner notes)
are filled with tribal percussion,
crescendoing horns, haunting
strings, and so much more. The
musicians, clever and talented
improvisers all, bring to the Orchestra their own unique tastes
and specialties. Korsrud has
managed to organize them all
into a most beautiful chaos.
Hard Rubber Orchestra is the
future of music. Cruel Yet Fair is
(Sonic Unyon/Capitol)
Somewhere between the realms
of metal, '70s rock 'n' roll and
Sonic Youth's experimental-discordant-noise-pop lies a niche
carved out by The Jesus Lizard. 8/ue represents a voyage
into the stream-of-conscious, an
album full of obscure lyrics that
detail seemingly mundane
events. The precise execution of
guitar and bass lines at speeds
in excess of 90mph leaves no
doubt about the technical prowess of The Jesus Lizard. Despite
the positive aspects of this album, the fact remains that it is
not easy to listen to, either actively or as background music.
With the exception of the samples used on "Needles For Teeth"
and the instrumental
"Terremoto," there are no features of the music which grabbed
my attention and made me want
to listen to this album on a regular basis. It doesn't work, perhaps because it isn't aggressive
enough to be metal, it isn't
charged enough to be rock 'n'
roll, and it isn't melodic enough
to be pop. The indeterminate
genre of the music is indicative
of its merit; not good, but not
bad. And that's not good enough
for me.
Patrick Gross
(Beggars Banquet)
This young but experienced producer guides us through a "perfect" example of the darker side
of drum and bass — here called
tech step — and he does a bang-
up job. While not as dark or
aggressive as anything on Praxis
or DHR, Johnny L is still nightmarish compared to the airy
Good Looking camp, and much
starker than most Metalheadz
product. Like Photek, Johnny L
favours snappy, discrete percussion, simple melodic lines, very
clean, super deep bass, and the
odd "scary" sound or vocal sample for character. Again like
Photek, Johnny L is also primarily concerned with the careful
arrangement of very refined
sounds. Accordingly, Johnny L's
stuff sounds big and rich —
Sawtooth is, without a doubt,
extremely well produced. Of
course, Sawtooth also endures
the common problem of much
dance-centred music: it's really
not that distinct, either from others' work or internally (with the
exception of one "tribute to my
roots" track that incorporates
old-school drum sounds, for cool
Sure, Sawtooth purposely
has an obvious utility function
and necessary Legoland style. It
is for dance floor use, after all.
But, even with this in mind, Johnny
L's tracks still have that "by the template" feel. In this way, his work
almost has a didactic quality, like
Bach's Well Tempered Clavier.
This may only be a problem for
total nonbelievers of any loose,
dancecentred ethos, such as is represented by white labels, dub-
plates and popular producer's use
of multiple pseudonyms. Supposedly, any distinct identity is to be
dissolved by such tactics. Somehow, though, names and labels re-
Brady Cranfield
Heavy Metal
I've been fascinated with Killah
Priest ever since the release of
22   Oaoia- W?l the Jon Spencer Blues Explosion's Experimental
Remixes. There, Killah Priest lent
a haunting, spook-ass, apocalyptic rap to Genius' remix of
"Greyhound." It was the sparsest cut on the album — but also
the best, the most hypnotic, and
downright devastating.
If you're not familiar with
Killah Priest's lyrical style, the
best term I can use to describe it
is "ecstatic." Priest styles himself
as some kind of prophet/mes-
siah figure, which would be incredibly tedious and pretentious
if his lyrics/delivery didn't actually live up to his aspirations.
Priest's experiences, etc., and his
delivery are so ecstatic, so authoritative, so thoroughly convincing that he's able to fulfil the
role to a certain extent (let's face
it, he's communicating all of his
wisdom, all of this insight to us
courtesy of David Geffen). This
role-adoption on Priest's part is
no schtick either: the man is a
Believer. Proof? Well, on the inside cover we find Mr. Priest
crouched next to the ground,
looking up towards the viewer/
camera through a triangular
shape made from his two hands;
this is nearly the same pose that
the Rev. H.D. Dennis struck up
for my camera when I was passing through Vicksburg, MS a few
years ago. The Rev. Dennis told
me at the time that it was the
pose that Martha (Lazarus' wife)
adopted before Jesus, indicating
that he was indeed the messiah.
The Rev. Dennis, who has built
a "New Ark of the Covenant"
out of found materials in anticipation of the Lord's imminent return. Need I say more? Anyway,
you take all of this and you combine it with the solid production
typical of Wu-Tang-related
projects and you've got yourself
a bad mother.
tony stampano
Scraps At Midnight
Overcome By Happiness
(Sub Pop)
Let's delve into a couple of recent releases from a couple of
moody Sub Pop artists:
First up is the third solo album from Screaming Trees
vocalist Mark Lanegan and
it's downright dreary in a Nick
Cave/Doors kind of way. It's
a sharp but pleasant contrast to
the overproduced, big rock
Lanegan, along with counterpart
Mike Johnson, produce a good,
natural sounding album of droney,
atmospheric psychedelica.
Lanegan's vocals are perhaps better suited to this lype of stuff than
to a more straightforward rock
band, but his gruff voice is still
an acquired taste.
Compared to Lanegan, The
Pernice Brothers are plain
cheery. The main difference between Joe Pernice's former
band, The Scud Mountain
Boys, and his new group is that
he replaced the Scud's trademark lap steel with strings. And
while that's certainly an oversim
plification, it is an accurate a
The Pernice Brothers are generally pretty sombre and
loungey, but they do have their
more upbeat moments as well.
They actually sound a little bit
like Teenage Fanclub here
and there, particularly evident
on the opening track, "Crestfallen," which seems patterned
after the first cut, "The Concept,"
on ihe Fanclub's Bandwagonesque
album. Both songs are mid-paced
pop tunes and both die at the
end and then come back to life
with a slow, droning, repeating
string part.
Joe Pernice's crooning is still
as mournful as always, though
it's a bit too melodramatic and
pretentious for my liking. Overcome by Happiness is still a very
well written, clean, stripped
down pop album.
Both will be good albums to
accompany the cold, rainy season that'll soon be upon us.
Fred derF
(Blue Note)
Well, the three most important
cats in new jazz are back at it
again. And for all you indie rock
kids who think that avant-garde
jazz is something that UBC trumpet professors practice at home
but can never play live cuz it's
so damn boring, you're right. Except for this CD. It integrates the
bizarre decks of DJ Logic and
the spoken word sty I i n' s of veteran Steve Cannon with the
standard drums/bass/keys lineup of MMW. Medeski's keyboards are even more obscure
and weird than Money Mark's
and Billy Martin's percussion incorporates things that sound like
electronic rainsticks and analog
Rice Krispie boxes. So blast yer
last stick of Tangier tea, sit down
to finish that novel you're writing, and don't forget to point
your speaker cabinets out the
window to let Medeski, Martin and Wood blow out over
the slender night.
Captain Ahab
(Sonic Unyon)
The New Grand, another fine
member of Hamilton, Ontario's
Sonic Unyon label, emerge with
their debut disc and immediately
challenge Sloan's recent admission of being "Canada's last
pop-rock hopefuls." Harmonies,
hooks, and chops pervade this
young band's release, boding
well for a long and prosperous
career. Pick up this album to witness the birth of a great new
Canadian band.
Steve Guimond
Jam On This! The Best of
Celebrate ten cuts of reissued
vintage Newcleus plus a
" 1997 Party Mix" of their seminal    "Jam    On    It"    single.
Newcleus' blend of early hiphop techno (a la Kraftwerk)
and sci-fi fixations were a powerful influence on me as a teenager, but it wasn't until I picked
up Jam On This! that I got turned
on to a whole lot of later, lesser-
known Newcleus such as "Computer Age (Push This Button),"
"Automan," "Destination Earth
(1999)," "Space is the Place,"
and "I Wanna Be a B-Boy," much
of which is similarly impressive
stuff. And it wasn't until I picked
up Jam On This! that I found the
origins of Newcleus' trademark
"wikki-wikki-wikki-wikki!": onomatopoeia for the sound of
"scratching" that they picked up
from some guy at a Brooklyn
sound war, apparently. As the
French say: a must.
"Cool" Disco Dan
Black/Rich Music
(Drag City)
This one's a strange one. I've
known about these recordings
for quite a while because they
were released in England two
years ago as a freebie included
with Arise Therefore. At that time,
they were known as Palace
Soundtrack: Songs Put Together for (The Broken Giant),
and they were explicitly described as being the soundtrack
to a film called The Broken Giant by Estep Nagy. Two years
later, the same recordings have
been released by Drag City as
Black/Rich Music and there is no
mention of any film. Who
knows? In any case, the present
release has got a beautiful double exposure photograph cover
and a nifty quote from the Book
of Job on the inside cover, and
the music is real nice with or
without the film. I'm particularly
fond of the organ tunes, a nice
change from what we've come
to "expect" from Will Oldham.
Somehow, I don't find this as vital as other recent releases from
Mr. Oldham, but it's slowly getting under my skin.
Sonny Chisolm
Turnstyles and Junkpiles
(Thrill Jockey)
This is a very smooth record and
so darned easy to listen to. Fully
acoustic and very minimalist, it
seems like it was intended to
give off the sweet sound of a
bunch of talented guys sitting in
a room with the doors shut, their
eyes closed and ears open, and
then they jam out some nice
tunes on their guitars. This album
was recorded live to an analog
two-track in a Chicago loft on a
day in November 1997, and
was played by a star-studded
cast of Chicago area post-rock
celebrities, such as Doug
McCombs, Bundy K. Brown,
Chris Brokaw, Curtis Harvey,
and David Pajo.
The 14 songs on this album
never escape their intended live
feel and always give off a certain mood, be it cheerful, sad,
or downright depressing. It's
music to reminisce the old times
with, to think back fondly or
bleakly about days gone by,
what might have been, and what
it actually was.
The guitars gently weave in
and out of each other, bouncing
fantastic melodies from one guitar off of quiet chords or melodies from another guitar. Once
you get attached to a little
melody and it becomes fixated
in your head, it changes altogether and the entire song ends,
pushing you headfirst into another batch of mood swings
within a totally different polished, acoustic song.
Pullman has pulled off this
album of mood-music without a
single complaint to be heard
from me.
Chris Corday
Everything's O.K. EP
There are no surprises on this
four track release by the punk
world's premier surf-punk artists;
four catchy tunes that honestly
sound like every other Queers
song that I've ever heard. I'm not
saying that the EP is bad — it
certainly isn't. The songs, in particular the title track, are cute and
melodic. If you're looking for
driving beats and socially conscious lyrics, you should look
elsewhere. And if you like The
Queers or just surf-punk in general, I'd suggest that you buy
The Queers' Don't Back Down
LP and wait for these songs to
appear on a compilation of
s EPs.
fare well
Sounding like a cheapened
Skydiggers, Uma is another
two guitar and drums band with
a country folk (sorry, roots rock)
sound. Nothing ground-breaking
in terms of lyrics or instrumentation, so although the melodies
are pleasing to the ear, fare well
doesn't warrant a space on the
Blaine Kyllo
Occupational Hazard
(Relapse Records)
This is yet another Korn/Tool
influenced, short hair metal
band with yelled and distorted
vocals. Unsane produces
heavy music that is very repetitive, but does include appropriate guitar wanking. On the
third track, "Over Me," Unsane
starts with a semi-interesting
drum track that suggests that
they were listening to Harvest.
The lyrics are a poor attempt fo
rhyme and be poetic and, really, they don't manage to say
anything of interest.
Hell Among The Yearlings
(Almo Sounds)
This is the sound of true country,
not new country. Pain, heartache, tears, abuse, death, alcohol, and all of love's incarnations
are visited by singer/songwriter
Gillian Welch on her second
release. With little more than two
acoustic guitars, Welch, longtime sidekick David Rowlings,
and famed producer T-Bone
Burnett, weave musical journeys that encapsulate the listener, from one tale to the next.
This is pure music at its best.
Steve Guimond
A Compilation of Warped
Punks and skaters galore! That's
what the Warped Tour is mostly
about and this CD tries to recapture the high energy of the increasingly popular annual concert. Featuring 25 tracks by 25
groups, Warped Music is a
unique CD that marks the resurrection of punk and ska in the
It kicks off with high speed
"Morkovian Process," by punk
rock legends Bad Religion.
Expecting a groovin' ska tune by
the Mighty Mighty
Bosstones, I was caught off
guard by "Wake Up Call,"
which is a simple, fast punk tune.
There are "feel good" songs by
All and Swingin' Utters.
Royal Crown Revue adds
great variety to the compilation
with their swingin' "Zip Gun
98." Fans who are into skankin'
ought to check out "Farewell" by
The Smooths. The most hyper
tracks are provided by Sick of
it All and The Bouncing
Where are the women? Female touch is added to this
rockin' album by Dance Hall
Crashers, Tilt and Red Five.
Warped Music ends on a great
note with No Knife's wonderful "Charades."
Jerome Yang
Le Carburant Du Cerveau
(Cup of Tea/Iron Music)
This wonderful French language
release of some of the best stuff
put-out by Cup Of Tea Records
is a must have. Many of Cup of
Tea's best acts submitted tracks
to this compilation, including the
Invisible Pair of Hands,
Purple Penguin, Receiver,
Statik Sound System and
Jaz Klash. The range of musical style slowly goes from French-
flavoured trip hop to jazzy drum
V bass in a logical manner, with
bits of blues guitar licks, porn-
film-esque bass lines and straight
hip hop drumming. Horn section
loops are tossed in for good
The one thing which differentiates this compilation from its
less notable predecessors is the
order of songs. On a compilation, the order of songs is crucial because a poorly chosen
song order leads to a lack of
flow between different artists. In
this case. Cup of Tea Records
has done their best work yet; the
album flows from one artist to
another without discrepancies
between styles or sounds, and
thus seems more like an album
by a single artist than a compi
lation containing fhe work of ten
Patrick Gross
MOFUNK Collection
Vancouver-based jazz/
downtempo/funk/house label
MoFunk has assembled a disc
of their recent funky excursions
from a majority of their artists,
including Jazz Pharmacy,
One Step Beyond and
Millenium Project. The label
and their artists have been gaining international acclaim for
their individual, non-brand style
of downtempo, which ranges
from the jazzy lounges of
Mezzoforte and Jazz Pharmacy to the uptempo movie
theme jams of One Step Beyond.
High production quality and
original sound pervade the collection, with Jazz Pharmacy
stealing the best track with their
"Different Life." This has a Van-
couver-su n-brea king-th roug h-the-
rain feel and funk.
A Song for Eurotrash
At first, I thought that the Rapido
people were being facetious
with the title. In actuality, I think
there has never been a more
aptly titled compilation. A Song
for Eurotrash is exactly that:
trashy songs sung by
Eurocheese-dogs to be listened
to by people who may or may
nof know the difference. This is
fromage, folks, but at least they
know it. It looked harmless
enough on the surface: Edwyn
Collins, Terry Hall, Dubstar,
Kenickie ... Okay, I admit it,
things started to seem a little
funny with the names Dean
Martin and Eva Henger (of
"Boogie Voogie" fame). All of
the songs, however, are fun and
entirely tongue-in-cheek (well,
except for Bananarama's
cover of Abba's "Waterloo"). It
is worth a listen if only to guffaw at the ridiculous disco/
dance title track, "A Song for
Eurotrash." My favourite sample
lyric (imagine an exaggerated
French accent and an unfathomable, smarmy deep voice): "If
you want peace, come stroke my
olive branch." Yup, this little gem
is going into the player at all my
Shock Revolt: Music to Improve Your Game
This compilation features almost
20 of Australia's finest punk rock
bands — and they've got plenty!
Great stuff from Frenzal
Rhomb, Toe to Toe, and
Bodyjar complement relative
unknowns (to me) like Cretins
Puddle, H-Black, and 28
Days, all of whom are fine examples of better-than-fine punk
rock. This is a cross section of
Shock Records' impressive roster and I urge you to check it out.
Trevor Fielding
iiji^s^mm. Real Live
Wednesday, August 19
Starfish Room
A warm night found the Starfish
Room well attended for the avant
pop-rock show.
It was totally on the ball. But
then again, it's easy to please me.
All you need is a group of people on the stage that want to be
there, have them play music that
they seem to find interesting and
to see them seem to enjoy what
they're doing. All three bands
did just that.
And, guilty pleasure or not,
it doesn't hurt a soul to play a
little Metallica during one's
doug ppp
Thursday, August 20
Richard's on Richards
The musical display was as diverse as the audience, and all
were complementary.
The evening began with a
dj named Science who delivered some solid hip hop. I was
most pleased with Freestyle
Fellowship, Gang Starr,
EPMD, Slick Rick and I nearly
choked when I heard "Truly
Yours" (Cool G Rap and DJ
Polo) somewhere other than
my Walkman.
Ottobon performed first. A
mix of drums, bass, keyboards
and turntables, with a fashionably late guitar arriving for the
second song. The set made
smooth transitions from a pure
funk beginning, rising in melody
to a high tempo centre, to a wrap
up of straight drum and bass.
Altered auto images accompanied these eight fine songs.
Circlesquare presented a
certain soothing sensation
through a solemn sonic landscape, with some smooth scratching to boot. One observer commented on her "epiphanical musical experience." Visual projections were geometrical and infinite. I found myself too busted up
to bust a move.
Remedy assisted
circlesquare on stage with sound
production and assisted the audience proceeding the show, with
a set of hard-hitting, jungle-style
Lauren Burrows
Thursday, August 17
Richards on Richards
Are the Rheostatics millionaires? They seem to fit the description: legions of loyal fans, greatest hits albums, and all the crappy
24   Oaoza 1778
Canadian bands weai
Rheostatics T-shirts on TV. Their
sound is excessively rich as well;
quirky, but not too cracked-out
voices, nicely tuned guitars and,
together, they are woven like a
designer picnic basket. Only two
things stop them from being Canadian superstars in America:
they're not all that cute and
Sunday, August 30
Starfish Room
I really liked ... no, let's start
again. I couldn't have expected
a worse ... um, still not quite capturing the evening. I liked David
Grubbs punk rawkin' whilst
Red Krayola-ing. There. Per-
Saturday, September 5
It was a strange experience walking to the Squirrel Nut Zippers show Page and Plant,
the former members of Led Zeppelin whose "Stairway to
Heaven" ended many a high
school dance, were playing
nearby. At times during the Zippers show, it seemed as though
some of the Zep fans had stumbled into the wrong venue.
Openers Bio Ritmo were a
revelation. They are a large ensemble with a goodly number of
horns and two very enthusiastic
frontmen. One was of Latin de-
Secret Three let us in on how to play guitars and drums
in a rousing set at the Starfish Room. Don't tell.
they're actually pretty good. I
wasn't overwhelmed with emotion when they played, but everyone else was in ecstasy as if
God was descending or something. I give the Rheostatics extra points because drummer
Don Kerr and bass player Tim
Vesely backed the untouchable
Ron Sexsmith on his tour.
The Local Rabbits are
sex symbols in the making. A
stage of tight T-shirts, full heads
of hair, sweat, and perfect teeth
won them some new fans. Ben
Gunning wishes he were
Ywngie Malmsteen. Bass
player King Johnny Star played
his decapitated four-string like
it was an extension of his penis. At times, I felt like my hair
wasn't big enough, especially
when Neko Case joined the
boys for a number. The Local
Rabbits ended their set with
their ode to metal, "Stomp Your
British Knights Down." Ben
screwed up the opening riff and
they attempted to end the song
in grand rock opera style. It
kind of worked. They were
pretty scared of me because I
couldn't stop bearing my big
buck teeth at them the whole
Christa Min
Julie Colero
Monday, August 31
Starfish Room
I can't figure out what everybody
loves about Jimmy Eat World
They're emo; I guess that's all it
takes to be a hit with the kids right
now. Recently signed to Capitol,
this evening's headliners were just
too boring and testosterone-powered to provide me with much
enjoyment. Someone told me that
they read about "emo" in Teen
People and Jimmy Eat World
could probably fit right into a
magazine like that.
No Knife, on the other hand,
may never be alerted by Sassy
as a "cute band," but they
played brilliantly. The emo spotlight doesn't suit this band, for
whom music plays a much more
important role than the vocals.
No Knife were everything that
is good about this post-hardcore
emo scene. It's too bad they
were overshadowed by the
crowned kings of not-so-hot emo.
And now, I will never use that
word again. Never.
Julie Colero
scent and hearing rumba and
salsa sung in Spanish added extra piquancy to the already hot
mix. He and his cohort did some
stylin' moves with maracas, a
sign of greatness if there ever was
one. Besides having lots of energy, Bio Ritmo did their own
compositions, which modernize
the styles of music they perform.
The Zippers could've been
zippier getting on stage, but
when they did arrive, the behaviour of some of the audience
members was a tad puzzling. A
woman next to me who reeked
of Exclamation! kept, er, exclaiming, "Oh, my God! I'm going to
quit my job and follow this band
from city to city!" We're talking
about a Dixieland band here, not
a bad '70s rock band. A fellow
decided that vocalist/banjo
player Katherine Whalen was his
dream woman and it was hard
to disagree with his choice because she is a compelling stage
presence. She was dressed in a
classy strapless dress and she
danced and sang languidly with
an enigmatic smile. At the end
of each song, she acknowledged her fellow musicians by
gesturing at them like a magician's assistant.
The Zippers love the music
they play and respect each other
as musicians; enthusiasm is not
a bad word to them. They cover
musical styles from the '20s and
'30s, but they mostly write their
own songs and aren't afraid to
throw in influences like klezmer.
The seven piece Zippers received
tumultuous acclaim and many of
the crowd sang along with their
favourite songs, especially "Hell."
It was pretty jarring to hear the
DJ announce "Didn't the Zippers
rock?! Now it's time for the Z95.3
live broadcast!" For Chrissakes,
this isn't the Page and Plant show.
June Scudeler
Friday, September 4-Mon-
day, September 7
Seattle, WA
Everybody from The
Posies to Morphine
to Bonnie Raitt to
this year's bill. Music
programming tends to
ride the
which m
ska bands became thi
year's swing bands.
No shortage of alt-
country bands, either.
But if Bumbershoot's
any indication, the next
Big Thing to come out
of Seattle's music scene
could be singer-songwriters. Mary Lou
Lord performed a
strong set in the cavernous Opera House.
New lower-case artist
H jr did an impressive
I e a r I y - J o a n
Armatrading set
backed by members of
Critters Buggin'.
John Wesley
Harding   put  in  a
poppy effort and could
reign as king, as he's just moved
to the Emerald City.
Vancouver was well-represented on the roster by Alpha
Yaya Diallo, Linda McRae
(ex Spirit of the West), Paperboys and The Corn Sisters. The latter is the latest Neko
Case project with her swingin',
gum-crackin' pardner Caroline
Mark (of The Vinaigrettes).
Their Bumbrella stage set on Saturday was hotly anticipated by
Seattle's press. Other than Neko's
annoying (but probably a nervous) tendency to stick to brush-
on-snare, two thumbs up.
A tip for future Bumbershoot-
ists: mix it up. I made a concerted
effort to check out non-music
events and was not disappointed.
Checked out a way cool Chicano
art exhibit, did a little hand drumming, painted the top of Frida
Kahlo's head on one of the collaborative murals, saw a panel
discussion called "Fish &
Chimps" with Jane Goodall, a
spoken-word performance by
Michael Franti, and more.
Another year, another Krist
Novoselic sighting. Last year it
was at the stadium before Foo
Fighters took the stage. This
year I walked by as he was loading out after performing a live
score to a recent short film he
directed/produced. Wonder
where he'll show up next year?
Musically, my highlights included smooth Southern R&B
from Marcia Ball, Texas
rockabilly by Wayne "the Train"
Hancock, real C&W from Buck
Owens, scintillating Peruvian
melodies from Susana Baca, a
sweaty mid-afternoon romp by
Quebec's La Bottine
Souriante, and a swingin' stadium set by Squirrel Nut Zippers. Biggest letdown:
Val Cormier
Tuesday, September 15
Fifth Avenue, Seattle
Finally, to see Nick Cave in his
proper setting as opposed to the
glaring sun of Cloverdale for
Lollapalooza. The Fifth Avenue is
an old movie theatre done over
in a fake Chinese style and encrusted with doodads and gee-
gaws. Baroque doesn't even be-
Openers Low made my
friend and I want to jump off a
bridge. The bass, guitar and
dreary female vocalist/drummer
played at a sprightly funereal
pace. The Goths in the crowd appreciated them, but every song
had the same beat. I was glad
when they went off the stage to
mope elsewhere.
The fog that hovered above
the stage was a sure sign that
Cave and Co. were going to be
on the stage shortly. At first, the
audience stayed in their seats, but
when one soul went to the front,
and with Cave's encouragement,
a stampede to the front ensued,
which included yours truly. As
usual, I ended up beside the
Witnessing Nick Cave and
the Bad Seeds live is not a normal experience, nor would I want
it to be. Because Cave is intense,
his fans tend to be also. The show
was like a religious meeting,
which is apt given Cave's obsession with the Bible. The downside
of this is the high number of flakes
he attracts, especially some of the
goths who will insist on giving
Cave the devil sign.
The Bad Seeds consisted of
uspects, including the
Einsturzende Neubauten v<
calist/guitarist Blixa Bargeld,
who may have smiled but I
missed it. Bonus points, though,
for the extremely large beret he
sported. Dirty Three violinist
Warren Ellis was a welcome contribution with his passionate playing. Cave and the Bad Seeds
covered songs from a wide variety of albums and were uniformly
Some of the high points were
rousing versions of "From Her to
Eternity" and "Tupelo, " which
were awesome in their power.
For the second encore, "Stagger
Lee," "Plain Gold Ring," and
"Where the Wild Roses Grow,"
his duet with Kylie Minogue,
were performed. Of course, she sn'tther
** regaled
by the strange sight i
ing Minogue's part. The fact that
he did it completely straight and
that he has an evocative voice
made it surprisingly, and
moveably,   plausible.   Cave
Jacob Cino of Third Eye Tribe
was infectious and good, but I
was disappointed that there was
very little new material from
Kinnie. I also began musing if
Kinnie Starr could get through a
show without talking about men-
as Julie Doiron s back up band.
Ida, on the other hand, is a
band I must register every song,
every note into my memory or
else I'll feel as if a wonderful ex-
music that's so delicate sound so
strong. I always thought Ida and
Low would make the perfect combination for a live show. I was
lucky enough to be at the right
perience passed me by. Sporadic      place at the right time, I guess,
annoying feedback during their Sorb y
Ambiguous-Genre-Guy David Grubbs Plays Guitar for the late August Avant-Crowde
hammed it up by putting his arm
around Blixa, crooning to him
and presenting him with red
roses, and then hugging him and
pecking him on the cheek at the
end. The sight of two tall, extremely thin black clad men hugging each other was a sight to
behold. Blixa may have even
smiled at it.
June Scudeler
Scrappy Bitch Tour:
Monday, September 21
Richard's on Richards
It was refreshing to attend a show
where attitude wasn't the opening act. Richard's on Richards
was filled with an attentive and
polite audience of recognizable
faces from local women's organi-
s Oh
is up
first (the three of them usually rotate their order of appearance for
each gig). Her lilting voice was
mesmerizing. All three performers did a few numbers together
and, although Kinnie Starr
looked a little bored, they
sounded really nice. During her
own set, Kinnie Starr was much
more vibrant, encircling herself
with the attention ofthe audience
by singing and dancing alongside them on the floor. Her poetry and her music mixed by
struation. Still, her portion of the
evening received a great deal of
well-deserved audience support.
Veda Hille took me by surprise. She was much more impressive live than on her still enjoyable CD. Her unique voice
makes you pay attention to the
music and then be glad that you
did. The Scrappy Bitch Tour
should not be missed by anyone
who appreciates folky music.
Seeing any one of the performers alone is a good experience,
but bringing them all together
makes for a diverse and entertaining evening, not to mention providing reams of material for bad
jokes about the bitches duking it
N Kunimoto
Wednesday, September 23
The Horseshoe Tavern, Toronto
I can enjoy The Wooden Stars
if I don't have to stand. That night,
the sounds of the Wooden Stars
were extra smooth because I had
the pleasure of sitting in a chair
with a back and armrests ... the
works, I tell ya. I'm not a big fan
of theirs, although I feel somewhat guilty saying so because
they are so talented and create
original music. But I prefer them
fine melodic tunes was distracting, but they bore the technical
imperfections and continued on,
each vocalist sensitive fo the
other two, creating a lovely balance of melody and harmony.
Elizabeth Mitchell and Dan
Littleton have a certain quality
and versatility with their voices
that you come to appreciate
even more hearing them live.
They played an excellent mix
of songs including a brand new
one (incorporating a bit of
Radioshack Ida electronica, not
their strongest song), and two of
my favourites off of two separate
obscure mail order type 7"s,
"Truxton Park" and "Shrug." The
show ranged from heartwarming,
soft arpeggiated guitar work to
louder, feedback-y electric guitar
stuff, something you may hear Ira
Kaplan doing. And topping off
their whole set was a violinist, an
unexpected treat. Unfortunately
Ida didn't introduce her so I don't
know if she's a permanent addition. Perhaps such integral members don't get acknowledged,
which may answer my question.
The stage cleared and Low
came on with minimal equipment.
The atmosphere and rapport between the three seemed more intense and serious than the family-like Ida. Their music reflected
this feeling, which mesmerized
me. They have a way of making
Wednesday, September 23
El Vez displayed decent vocal
command and reasonably but not
excessively sophisticated humour.
Songs were drawn from across
five decades and were modified
lyrically in order to emphasize
non-esoteric Mexican folk subjects and nonsectarian aspects
of Christianity-based mysticism.
Many of the songs were not directly Presley-referencing (ie,
from Prince, George Michael,
Iggy Pop, etc.) but all were performed in Elvis-like rock-gospel
style. Numerous absurd costumes (including latex pants and
white ankle-length arm frills),
well-imitated Elvis choreography and active lighting manipulation made the show as interesting to watch as it was to hear.
My guess is that this is the only
show in the world where one
can watch a man alternately
imitate "the King" in a squeaky
Hispanic accent while being
tormented by a UFO-pinata and
then do things like provide Jesus-based motives for safe sex,
actually hurling condoms into
the audience. Interaction between El Vez, his four female
backup singers, and audience
source of amusement.
Captain Cook and the
Nootka Sound filled perfectly
the function of an opening act
and only in the best sense. It was
truly amazing that, while no two
songs sounded exactly alike,
each was a shining gem
of tight, punchy '60s
retro. That is to say that
the Sound was a plausible anachronism; they
looked and sounded thoroughly as if they had
been frozen and thawed
out concurrently with Austin Powers. Hooks and
grooves reminiscent of
bands like The Animals
and The Partridge
Family were perfectly
fitted to the pure analog
sounds of guitar, bass,
drums, and organ tones
so thick I could practically
chew on them. Eighteenth
century military costumes,
including feather-sporting, three-cornered hats
combined in tasteful absurdity with the frilly go-
go style flapper skirts of
the two "Nootkettes" who
shimmied, frooged, hully-
gullied (etc. etc.) and otherwise made period-spectacle throughout the performance. I was left with
the taste of bubblegum in
Though very musical
and very funny, El Vez is
not, technically speaking,
an Elvis impersonator, his
act is not literally Gospel,
and he does not sing in
Mexican dialect (or in
Spanish at all, per se).
The performance would
have been easier for me
to mentally digest without having all my expectations dashed.
If you go to see El Vez, leave
your marketing-induced preconceptions at the door. Ultimately,
I think the show was not a huge
hit primarily because of the ambiguous way it was advertised.
If Vancouver could provide that
much demand for pseudo-religious pseudo-impersonations of
Elvis in a quasi-cross cultural
context, I think I would have
seen a bigger crowd at the last
Elvis Cantata. If local cult heroes
like the Hard Rubber Orchestra
can't turn a buck on such
semiotically challenging project-
objects, why should we expect
a relative outsider too much
better? Oh, I forgot ... you can
actually buy drinks at the Palladium.
Joshua Broyles
Appropriate Interiors art
show, ongoing
@ Artspeak Gallery, 233
Carrall Street
The press release for Zits' show
discusses his "series of exhibitions dealing with the constraints of architectural space
and the body." Yawn. In fact,
Zits' works are much more forceful, more highly charged, and
more fun than the release reveals. With rough, vague brush
strokes, Zits overlays images of
gay couples on computer generated images of architectural
advertisements. One guest
wrote that the images looked
"cheap," however, I would argue the cheap effect denies the
power of the usually slick-looking ads. Zits' works are titillating, because of the visual discourse between advertising,
domesticity and sexuality. Besides, who doesn't enjoy, on
one level or another, the colourful outline of two bodies together, on top of the tea table?
Namiko Kunimoto
Bright New Acrylics art
show, ongoing
@ Moon Base Gallery
Mark Pilon's works hold a
special place in the heart of
Discorder readers. The 1997
Discorder survey heralded
Atomos' Scooter cover as the
most popular cover of the year.
Pilon's bright paintings are reminiscent of toys, often filled with
imagery of robots, animals and
cartoon-like figures. Their sharpness and colourful contrasts are
striking and that they are
painted on wood rather than
canvas only emphasizes their
boldness. Perhaps one of the
best features of these works is
their affordability — some of the
smaller paintings go for around
$80, a far I
iwer price than any
es in the Gastown
if you can't afford
yourself, a trip to
ase gallery is time
25 E^§SS©1S It
"Gomez injects a personality, a spirit and a
youthful thrill into a tried and tired formula.
They know where it's at."
-Melody Maker
'After an hour with Gomez, you'll feel like
you've cozied up to artists ranging from
Tom Waits to Pearl Jam, The Grateful
Dead, Phish and Beck."
-Toronto Star
OCTOBER 18th, 1998
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "October" charts reflect
airplay in September). Weekly charts can be received via e-mail. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"-*
oct.   98   long   vinyl
the smugglers
the sadies
stompin' torn
the real mckenzie:
blonde redhead
11 elliott smith
12 squirrel nut zippers
13 exhaust
14 bob mould
15 uzume taiko
16 pigment vehicle
18 pedro the lion
19 julie ruin
20 suckdog
21 monkey
22 various artists
23 hard rubber orchestra
24 deadbolt
25 murder city devils
26 the undercovers
27 bikini kill
28 coal
29 bis
30 irresistible force
31 saint etienne
32 shudder to think
33 machkungfu
34 the makers
35 t.v.iris
growing up smuggler
precious moments
lash of the tartans sudden death
i an expression of... touch & go
is for insignificant sudden death
naduh! 2 lance rock
ithods of hallucination independent
and deeper e
the enemy is r
perennial favourites
the last dog & pony show
sonic unyon
every part of the
murder's only fun v
sudden death
moon ska
it's hard
onward suckdog
cruel yet hair
zulu death mask cargo
empty bottles, broken hearts   sub pop
some people moon ska
kill rock stars
tray full of lab mice
ideo pool
track r
nepalese bliss
good humor
first love, last rites
exotic exhaust
psychopathic sexualis
kill rock stars
grand royal
ninja tune
sub pop
giant claw
oct.   98   short   vinyl
1 disgusteens
2 curse of horseflesh
3 fireballs of freedom
4 panther
5 the drags
6 icu
7 run chico run
8 rizzo
9 forbidden dimension
10 themulchmen
11 politiKILL inCOREct
12 solex
13 various artists
14 the dinks
15 Sunday puncher
16 julie doiron/snailhouse
17 eric the red
18 capt. qitn.
19 longstocking
20 sick bees
nothing personal
the fuck you say ...
viva el goto
broken rock 'n' roll blaster!
i killed rock and roll
despite the smell ...
a secretary speaks
i kiss yer shadow
all the news that's fit to si
solex all licketysplit
ship rec'd
twist like this
cher doll
teen-age powder keg
do you remember ...
life after tuesday
capt. qitn.
will you stay?
oct. 98 ind
home jobs
1        captain cook & nootka sound
i'm glad for you
2      clover honey
three four
3       full sketch
4       mark
5       prometheus
6       tickertape parade
audience with the pope
7       hounds of buskerville
blowin' off some steam
8       samsara seven
tug 0 war
9       london paris
unmatched sock
10    retreads
everybody wants something
11     dreamy angel
laundromatte queen
12    jP5
fuzzyhead pills
13    daddy's hands
statistic wigs
14    something ska
mr. roustabout
15     solution to the problem
serious about lunch hour
16    destroyer
karen is in rome
17    mizmo
18    we'cooshla
i am not a woman
19    thee goblins
golden tokens
20     kirby grips
mod boy
t    O
I     0     V
k   s
w e d n e s d
1 2
: 0
0   p
m    -
1    noto
endless loop edition
2   gas
3    exhaust
4   plastikman
5   burger/ink
las vegas
6   mouse on mars
7   current value
frequency hunt
8   autechre
no. 5
9   godspeed you
alack emperor
10 tortoise/derrick
winter remix project
"what's been
gracing your stereo
system recently,
1    diamanda galas
vena cava
2   diamanda galas
the litanies of satan
3   diamanda galas
schrei x
4   christoph de babalon
if you're not into it, i'm out of it
5   mariah carey
6   cat power
moon pix _
7   cedell davis
feel like doin' something wrong
8   dalgas 1928-1933
9   charles bukowski
tinwrnmi mmi
hvi Jason da Silva
27 E^SSSffi On The Dial
12:00PM All of time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
Reggae inna all styles and fashion.
5:00PM Reakowshit-caught-in-yer-
boots country.
WIRELESS alt. 3:00-5:00PM
QUEER FM 6.-00-8.-00PM Dedicated
to the gay, lesbian, bisexua
Vancouver and listened to b;
everyone. Lots of human intere
features, background on currei
of all sexual preferences and gendi
GEETANJAU      9:00-10:00PM
Geetanjali features a wide range of
ic from India,
■ ng cl
c, both Hindustani and Carnatic,
popular music from Indian movies
from the 1930's to thei 990's, semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, folk
songs, etc.
THESHOW 10:00PM-1:00AM Stnctly
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts
Checkmate, flip Out & J Swing on
the 1 8, 2's.
4:00AM Sit back, relax, and enjoy
the mellow sounds of the Chill-Out
Room. Hosted by DJ Decter.
8:15-11:00AM Your favourite browrv
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy eoch weekly brown plate special.
Instrumental, trance, lounge and
BLUE MONDAY all.  11:00AM-
FACTORY   all.    11:00AM-
Feeling a little french impaired?
Francophone music from around the
globe, sans Celine Dion.
4:00PM I endeavour to feature dead
air, verbal flatulence (only when I
speak), a work of music by a twentieth-
century composer — can you say
minimalist? — and whatever else
appeals to me. Fag and dyke positive.
Mail in your requests, because I am not
a humarvanswering machine.
EVIL VS. GOOD 4KI0-5.-00PM Who
will triumph? Hardcore/punk from
beyond the grave.
the Sports department for their eye
on the T-birds.
POLYFILLER all. 6:00-7:00PM
7:00pm Vivo la Robotica
Revolution. Estrogen-charged robots
on Planet Noiz.
Vancouver's longest running prime time
jazz program. Hosted by the ever-
suave Gavin Walker. Features at 11.
Oct 5: Saxophone great Sonny Stilt sits
in with the Oscar Peterson Trio.
Oct 12: The Buddy Rich Big Band: The
New One.
Oct 19: Alto saxophonist Charles
McPherson: McPfierson's Mood.
Oct 26: Spiritsville, featuring Seattle-
based trombonist Julian Priester.
4:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts —
thank fucking Christ.
8:30AM Listen carefully as Johnny
B. brings you the classical music
show featuring Canadian composers,
amateur hour and more. Radio con
fuoco for the masses.
11:30AM Torrid trash-rock, sleazy
surf and pulsalin' punk provide the perfect
scissor kick to your head every Tuesday
man. There's no second chance when
Kung-Fu is used for evil with drunken fist
Bryce. Kilfyaalll!
11:30AM- 1:00PM
1*00-2:30PM Canadiana trash rock
that you can pilot your Camaro to.
Chris and Jeff supply the rock, you
bring the Camaro.
5:00PM   Power   to   the people!
Feminist news, hiphop    tracks,
rock c
Activism, issues and fucking up the
corporate powers that be.
Hardcore and punk rock since 1989.
SAREGAMA 8:00-9:00PM
Featuring traditional (classical, light
and folk) and contemporary South-
Indian music.
LA BOMBA 9:00-10:00PM La
Bomba (the bomb] explodes with the
best salsa and merengue, with your
papi DJ Papilicious.
10:00PM-12:00AM Noise,
ambient, electronic, hip hop, free
jazz, Christian better living LP's, the
occasional amateur radio play,
10:00PM-12:00AM Join Greg in
the love den for a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here... and
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be hazardous to your health, listener discretion is advised. Ambient, ethnic,
funk, pop, dance, punk, electronic,
synth, blues, and unusual rock.
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
BOTH SIDES 10:00AM-12:00PM
Jose Luis discusses free trade and
other issues in the Americas.
LOVE SUCKS 12:00-2:00PM Music
at work. (Cut up mixed genres —
eclectic, electric included but not
MOTORDADDY 3rfX)-5:00PM "eat,
sleep, ride, listen to Motordaddy,
RACHEL'S SONG 5:10-6*00PM Info
on health and the environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainability in the urban context.
SOLID STATE alt. 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
9:00PM barbara manning, the
make-up, cat power, sushi ... these
are a few of our fave-oh-writ things, la
la la!
7:30-9:00PM Girl music of all
shapes and sizes.
FOLK OASIS 9:00-10:30PM Now 90
minutes of folk fun in the middle of
your week. Featuring the latest local
and international releases in folk/
roots/world music, phone interviews,
in-studio guests and more. Requests
always welcomed!
and Bindwa immerse you in radioactive Bhungra! "Chakkh de
phutay." Listen to all our favourite
Punjabi tunes — remixes and originals. Brraaaah!
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
AM Wake up to the sounds of Greece
with Elena and Niko.
REEL   MUSIC   8:30-10:00AM
Soundtracks and classical.
FILIBUSTER 10:00-11:30AM
Part accordion-tinged musical
meanderings, part experiemental
weirdness, with a little bad hill blood
thrown in for good measure. This
show is a genre-free zone.
1:00PM    From Tofino to Gander,
Baffin Island to Portage La Prairie. The all-
Canadian soundtrack for your midday
STEVE&MIKE 1*00-2KX)PM Crashing the
boys' club in the pit. Hard and fast, heavy
and slow. Listen to it, baby, (hardcore).
5:00PM Meat the unherd where the
unheard and the hordes of hardly
herd are heard, courtesy of host Dale
Sawyer. Herd up! New music,
independent bands.
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 rightwe have fun with it. Hosted
by Chris B.
9:00PM Roots of rock & roll.
HELL 9KJ0-11-O0PM Local muzak
from 9. Live bandz from 10-11.
SLIPPERY SLOT alt.  11:00PM-
1:00AM One step beyond logic.
4:00AM Late nightvinyl. Occasional
skips. Cheers.
Garage rock and other things.
ONE LOVE 8:30-10KX)AM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
12:00PM Listen in to win a date with
one of the co-hosts! (We're not telling
which one!)
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats,
be it old school hip-hop jams, fresh
drum and bass jump-ups, downtempo
experimental trip-hop tracks, cold
chillin 70's soul cuts or crazy-ass
white label electrofunk. Versatile at
any style.
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ 4:00-5:00PM self-tilled.
9:00PM Sounds of the transpacific
underground, from west Java to east
Detroit. Sound system operator, Don
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc. Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
LIMP SINK ait. 12:00-6:00AM
Tobias' Paradigm Shift (Rant, phone-
in and kiss your mother with the
DEAD AIR alt. 12:00AM-LATE
Exceptionally interesting girl talk.
12:00PM   Music you won't hear
anywhere else, studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
giveaways. 8-9AM: African/World
roots. 9AM-12PM: Celtic music and
ON THE CORNER 12:00-1:00PM
Vancouver's only true metal show-
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
From backwoods delta low-down
slide to urban harp honks, crooners
and tunesters in the blue degree.
Blues and blues roots with your hosts
Anna and AJ.
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal).
10:00PM-1:00AM "Live!-shows
and bands — admission $6.00 —
Performers are subject to change."
Maximum Soul.
PIPEDREAMs alt. 10:00-1:00AM
EARWAXalt. 1:00AM- DAWN "Little
bit of drum, bit of bass and a whole
lot of noize." Late-night radio
soundclash destined to fist you hard.
Zine features, phat experimental
chunes, and the occasional turntable
symphony. "Money, we'll rock you
on 'til the break of dawn."— G. Smiley
LOL.9   TM
Third Time's the Charm
plays your...
every tuesday morning
93° to   113° AM
on CiTR   _Ol.9fM Datebook*
FRI OCT 2 Steve Riley & Mamou Playboys; Ray Condo & His
Ricochets@Railway; Diane Schuur, Maynard Ferguson@King Cat
Theatre, Seattle
SAT 3 Royal Trux, Zen Guerrilla, Ampitel@Starfish; Fear of
Drinking@Soutf.Hill Candy Shop
SUN 4 Voodoo Glowskulls, The Criminals, Diablotones@Starfish;
Rehab Rock: Helen's Motor, Speedbump, Wayside@Purple Onion
Cabaret; Scrambled Angst: an evening of spoken word and music,
presented by the Really Awful Poets@Sugar Refinery (8pm); Canadian Music Competitions Showcase Concert@Vancouver Playhouse;
Damo Suzuki & Michael Karoli (from CAN), James Plotkin@Fenix,
MON 5 Snowpony, Grandaddy@Starfish; Swingin' in the Pit (Pub, UBC)
Hard Rubber Orchestra@Capilano College Performing Arts Theatre; Jennifer Gibson@Chazz's Coffee Cantina (4523 E. Hastings,
Burnaby); Agnostic Fronr@RKCNDY, Seattle
WED   7     Royal  Grand   Prix,   Maow@Railway; Jim  Cuddy
Band@Richard's on Richards
THUR 8   Damien Azriel@Naam
FRI 9 Harvey Danger, Action Slacks, Death Cab for Cutie@Starfish
SAT 10   Fantastic Plastic Machine@Chameleon; Neko Case, The
Sadies@Starfish; The Shademakers@Virgin Megastore (9:30pm)
SUN  11     Promise Ring, Jets to Brazil, Pedro the Lion@Starfish;
Angelique Kidjo@Richard's on Richards
MON   12     Queens of the  Stone Age,  Monster Voodoo
Machine@Starfish; Swingin' in the Pit (Pub, UBC)
TIEFISHER@Railway; Reflections from a Cinematic Cesspool book
launch screening@Blinding Light
WED 14 No Fun@Railway; Reflections from a Cinematic Cesspool
book launch screening@Blinding Light; Portrait of Jennie, Duel in the
Sun@Pacific Cinematheque; The Make-Up, ICU, Starlight
DesperationORKCNDY, Seattle
THUR 15 Cat Power, Tren Brothers, Kimmie@Starfish; Liquid
Soul@Richard's on Richards; BY08@Blinding Light; Portrait of Jennie,
Duel in the Sun@Pacific Cinematheque
FRI 16 The Make-Up, Blonde Redhead, Tricky Woo@Starfish;
Grapes of Wrath@Railway; Duke Ellington Orchestra@Massey Thea
tre; Euro Underground@Blinding Light
SAT 17 The Good Jacket's Pop is Us!: Dixies' Death Pool, Evan
Symons, Capozzi Park, Clover Honey@Anza Club; Bob Mould,
Varnaline (EARLY SHOW)@Starfish; Fantomas (LATE
SHOW)@Starfish; Grapes of Wrath@Railway; Euro
Underground@Blinding Light
SUN 18 Die Sterne@Starfish; Bang on a Can All-Stars (performing
Brian Eno's Music lor Airports)@Aris Club Theotre; Euro
Underground@Bfinding light; AMan anda Woman, Therese@Pac\\\c
MON 19 Swingin' in-the Pit (Pub, UBC); Portrait oi Jennie, Duel in
the Sun@Pacific Cinematheque
PEPPERSANDS, STATIONA@Railway; Buried in Light: films by
Jem Cohen@Blinding Light
WED 21    CO-OP Radio Alumni Porly@Starfish; Buried in Light:
films by Jem Cohen@Blmding Light
THUR 22   Sinead Lohan, Jude@Sfarfish
FRI 23 Bughouse Five@Railway; Hoppity Goes to 7bwn@Blinding
Light; Mr. Hulat's Holiday, Cyrano De Bergerac@PaciUc
Cinematheque; Murder City Devils, Blood Brothers, Black Market
Babies, Catheters@RKCNDY, Seattle
SAT 24 Southern Culture on the Skids@Starfish; Hoppity Goes to
7bwn@Blinding Light; Ma Saison Preferee, Le Dossier 5?@Pacific
SUN 25 Soulfly@Palladium; Charles McPherson Quartel@Starfish;
Hoppity Goes to 7own@Blinding Light
MON 26 Grrrls with Guitars: Sandy Scofield, Connie Saulmer,
Neuman/Weaver, Parker-Snedker Trio@RaIlway; Swingin' in fhe Pit
(Pub, UBC); Dracula's Daughter, Son of Dracula@Pacir\c
Money Mark, Buffalo Daughter@Sonar; King of Super 8: John Porter in person!@Blinding Light
WED 28 King of Super 8: John Porter in person!@Blinding Light
THUR 29 Beauticians, Thermos@Railway; Cineworks presents: Boys
to Men@Blinding Light; The Vampire Lovers, Countess of
Dracula@Pac\f\c Cinematheque
FRI 30 Search for the moon: Halloween costume howl w/ Alpha
Ya Ya Diallo, Aldante Inferno, Necropolis@Starfish; Mary Chapin
Carpenter@Queen Elizabeth Theatre; The Fantastic P/anet@Blinding
Light; Twins of Evil, The Hunger@Pac'\r\c Cinematheque
SAT 31 Archers of Loaf, Creeper Lagoon, Tricky Woo@Starfish;
WOW: Halloween Masquerade Ball with special guests@Railway;
Parade of the Lost Souls@Grandview Park; The Fantastic
P/ane/@Blinding Light; Cronos, The Addiction@Paar\c Cinematheque
IN THE EYE, TRAILER PARK; Firewater, PW Long@Starfish
The Abyss 315 E. Broadway  (side entrance)
Anderson's Restaurant (Jazz on the Creek)
Anza Club 3 W. 8th  (Mount Pleasant)
Arts Hotline
Bassix 217 W. Hastings (at Cambie)
Backstage Lounge   1585 Johnston  (Granville Island)
Black Sheep Books 2742 W. 4th  (at MacDonald)
Blinding Light     36 Powell St.
The Brickyard 315 Carrall St.
Cafe Deux Soleils 2096 Commercial  (the Drive)
Cafe Vieux Montreal  317 E. Broadway (Mount Pleasant)
Caprice Theatre 965 Granville  (Granville Mall)
Celebrities  1022 Davie (at Burrard)
Cellar Jazz Cafe 3611 W. Broadway (downstairs)
Chameleon Urban Lounge  801 W. Georgia (Downtown)
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St.
CN Imax Theatre 999 Canada Place
Columbia Hotel 303 Columbia  (at Cordova)
Commodore Lanes  838 Granville  (Granville Mall)
Cordova Cafe 307 Cordova  (Gastown)
Denman Place Cinema   1030 Denman  (West End)
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St.
DV8  515 Davie (downtown)
Firehall Arts Centre 80 E. Cordova  (at Main)
Food Not Bombs Vancouver
Frederic Wood Theatre (UBC)
Garage Pub 2889 E. Hastings  (downtown)
Gastown Theatre  36 Powell  (Gastown)
The Gate   1176 Granville  (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main  (Mt. Pleasant)
10   Ociokz Wi
488 6219
684 3777
876 7128
684 2787
689 7734
687 1354
732 5087
878 3366
685 3978
254 1195
873 1331
683 6099
689 3180
738 1959
669 0806
687 5007
682 4629
683 3757
681 1531
683 5637
683 2201
662 3207
682 4388
689 0926
872 6719
822 2678
822 9364
684 MASK
688 8701
322 6057
Hollywood Theatre 3123 W. Broadway  (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
It's A Secret 1221 Granville St. (downtown)
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards      1216  (near Deman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (Gastown)
Lucky's 3972 Main
Luv-A-Fair  1275 Seymour (downtown)
Mars  1320 Richards  (downtown)
Maximum Blues Pub  1176 Granville  (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion     7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (gastown)
Naam Restaurant 2724 W 4th Ave (kitsilano)
Old American Pub 928 Main  (downtown)
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium (formerly Graceland) 1250 Richards (downtown)
Paradise 27 Church  (New West)
Paradise Cinema  919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Picadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery 317 W. Hastings (downtown)
Plaza Theatre 881 Granville  (Granville Mall)
Purple Onion   15 Water St. (gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge  1221 Granville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards   1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
738 3211
873 4131
688 7755
224 8007
251 6626
685 7777
875 9858
685 3288
230 MARS
688 8701
738 7151
682 3291
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
738 6311
Russian Hall 600 Campbell  (Chinatown)
Scratch Records   109 W. Cordova  (Gastown)
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Singles Going Steady 3296 Main (at 17th)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main  (at 26th)
Squish'd Knish 4470 Main (at 29th)
The Space  316 Hastings (downtown)
Starfish Room   1055 Homer  (downtown)
Starlight Cinema 935 Denman  (West End)
Station Street Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Stone Temple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout   1020 Granville  (dowtown)
Video In Studios   1965 Main  (Mt. Pleasant)
Virgin Mega Store 788 Burrard (at Robson)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre  1405 Anderson  (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall   1882Adanac (the Drive)
Women In Print 3566 W 4th  (Kitsilano)
Yale Blues Pub   1300 Granville (downtown)
Zulu Records 1869 W. 4th  (Kitsilano)
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
488 1333
683 2004
681 8915
988 2473
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
669 2289
331 7909
685 6217
876 9343
874 4687
254 5858
732 4128
681 9253
738 3232 This is not punk, this is not ska, THIS IS WAR!!
tootfo© Qiodr Stalls
JS£___£ !__?!!__■ &&*» p'&t'fi
Catch Voodoo Glow Skulls LIVE at the
Starfish Room on October 4th
Go pick up their new album "Band Geek
"Hardcore punk and third wave ska collide on Band Geek Mafia.
On "Human Pinata" and "Hit a Guy With Glasses" Voodoo Glow
Skulls add a wicked sense of humour to this lively mayhem.
Stay on the dance floor - if you can!... Regina Leader Post
"Actually, this band is kind of good, they sound like
Fishbone after they were ska (but before they sucked) or
maybe a less metal version of the Bosstones Stylus
Check out these brand new releases coming out soon on Epitaph
and Hellcat Records
UNION13 is back with a new album,Why
Are We Destroying Ourselves?   A
remarkable follow up to their debut, East
Los Presents. This album combines the old
school hardcore power with late 80's
straight edge sound. MINOR THREAT
meets GORILLA BISCUITS with political
undertones and Chicano roots. Catch them
on tour this fall.
IN STORES October 20th!
A ground breaking hardcore album. If it is
REFUSED throws emotionally charged political
lyrics into a musical montage. They combine
too many styles of music to list. This
breakthrough record will challenge the
boundaries of modern punk/hardcore music.
Catch them on tour this fall.
IN STORES Oct. 27th!
Straight from Europe come I AGAINST I.
Stevenson of the legendary So Cal punk
outfit, the DESCENDENTS. Catchy,
melodic punk songs that will remind you of
another classic epitaph band, bad
RELIGION. This is their first Epitaph
Also OUt NOW!!
Straight Faced Conditioned
Agnestic Frent "Something's Gotta Give"
Tlie Slackers — "Tlxe
Question" (October 20)
Choking Victim - "No
Gods/No Managers" (October


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