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Discorder CITR-FM (Radio station : Vancouver, B.C.) Feb 1, 1994

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  F!@K
THAT
BULLS* !T
INTRODUCING
A NOISE
SUPREME
MARK LANEGAN-
Whiskey For The Holy Ghost
Passionate, dark, rich and
Intimate ... all describe "Whiskey
For The Holy Ghost", the second
album from Screaming Treee
vocallet/lyricist Mark Lanegan...
let it under your skin, (features
contributions from Mike
Johnson and J. Mascis
(Dinosaur Jr.), Dan Peters
(Mudhoney), Tad Doyle (Tad),
and others.
CKOW&AR
The self-titled
eophomore Ip from U.S.
metal terrorists
Crowbar, is abrasive,
unrelenting, adventurous,
and... has no guitar
solos! (Not to be
confused with those high
school-dance vets!).
THE CONNELLS-Ring
Chiming melodies, subtle and lasting
hooks, insightful lyrics and a
passionate delivery... North Carolina's
The Connells have delivered all of the
things that make an album great.
Includes " '74-'75","Running Mary" and
"Slackjawed".
,"1
^
$***
^
jale's first release for Sub Pop, the "Promise", "3
Days" 7" is out in February. Long player this
summer!
Huevos Pancheros on tour! (Van Mar 3 Uf3C Pit Pub,
Mar 4 Hungry Eye; Victoria Mar 7 Harpos) See Hazel
Feb 13 Van (Starfish Room); Feb 14 Victoria (Harpos). TABOO
TRIBAL WARE
Body piercings and Branding by
Mike Bear Walsh
trained by Fakir Musafar
Taboo Tribal Ware   By   Appt.   Only
is in the process of       _
relocating, and will r    II     ^                         I
temporarily be working rUlIV  VjUdrCin teed
o-n a house call basis. '
We'r.e sorry for anv ft   ft   7    •    ft   1    QQ
inconvenience. WVlwV±0O
COMM.TTED-
ON SALE THIS MONTH:
STEEL POLE BATH TUB ° S9ne(W$i#e$te $8.7810- $&58cass $io.96 co
ROYAL TRUX • km Infinitives $9.65 LP/cass $13.60 CO
THINKING FELLERS UNION LOCAL 282 r3# $ns4co
STAR PIMP o Seraphim $8.78 LP/cass $13.60 CO
PORK QUEEN/NOGGIN* s^ um $7.46 lp
UNSANE ■ foal destruction $9.65 LP/cass $14.92 CO
INTERNATIONAL SECULAR ATAVISM . («*<*. $io.$<co
BRATMOBLILE ■ itie Real im\k $6.58 ep $7.90 co
BIAFRA AND PLAINFIELD^ m »a m Mm ....$7.46 ep $10.96 co
LAG WAGON 0 \<m $9.65 LP/cass $14.92 co
MEXICAN POWER AUTHORITY
StmtFtoaEndvik
lOsoagr
THINKING FELLERS UNION LOCAL 282
fog* CD
n**i<l<rit*M,liiciS«riatf&li rose chronicle?
the    debut    a I b u
The sound: noisy guitars and a rhythm section that provokes massive
movement blended with a vocal that can conjure up visions of angels
and in an instant turn beautifully demonic.
i|n)e TTWERK
NOW ON SALE EVERYWHERE. IN CONCERT FEZ 12 THE TOWN PUMP
Manufactured & Marketed by Nettwerk Productions, Box 330-1755 Robson St., Vancouver, BC, Canada. V6G 3B7 • TEL 604-654-2929 • FAX: 604-654-1993 • e.mail: nettwerk@mindlink.bc.ca • NETTWERK BBS: 604-731-7007 S&ue/is cFb/tac(tsG...
1
DCOMPACTKD
QTAPESMAGAZINESD
QVIDEO8-B0OK8D
Will You Be Our
MACHINES
OF LOVING GRACE
APPEARING    LIVE
2003w.pave.vmc.739-95111 WEDNESDAY FED. 23
THE    TOWN    PUMP
THE BEST IN LIVE     I TICKETS ON SALE NOW-ONLY $10
RHYTHM & BLUES
EACH NIGHT
1300 GRANVILLE (AT DRAKE)
FOR MORE INFORMATION CALL
681-YALE
mm
Jan. 31 - ONE NIGHT ONLY!
ANSON FUNDERBURGH with
THE ROCKETS and SAM MEYERS
Tickets $10 at the bar
Feb. 1-5   DAVE WELD and the IMPERIAL FLAMES
Feb. 7&21   OLIVER & THE ELEMENTS
Feb. 8-12   JOANNA CONNORS
Feb. 14 - VALENTINE'S DAY SPECIAL
SMOKIN  JOE KUBEK from Texas
Feb. 15-19  WILLIAM CLARKE from SF
Feb. 22-26   LITTLE MIKE and the TORNADOS
Feb. 28 - ONE NIGHT ONL Y
CHARLIE MUSSELWHITE
POUT 'IBS ME JACOBS' MS:
SATURDAY 3-8 PM / SUNDAY BLUES MARATHON JAM 3PM-MIDNIGHT
MIKE JACOBS' JAMS ARE SPONSORED BY MOTHERS MUSIC AND THE DRUM SHOP
OPEN EACH NIGHT FROM 9:30 PM TO 1:30 AM OPEN WEEKDAYS FROM 11:30 AM
New Release Concentration Now Available!
P
568 SEYMOUR  ST. ONLY ~&
v>
C/O 6138 SUB blvd.
Vancouver B.C.
V6T 1Z1.
\ff
AIRHEAD
Well, the ballot box is closed and
we have our winners. In the December [#131] issue of Discorder
we gave you the opportunity to win
some okay pri zes, courtesy of MCA
records, in exchange for some imaginative artwork/answers to a
skill-testing question. The prizes:
copies of Teenage Fanclub's latest
CD release, 13, and one autographed copy of Urge Overkill's
Saturation, on limited edition orange vinyl! The question: If Urge
Overkill drummer, BlackieOnassis
was in front of you, wearing only a
smile and his medallion, and you
had a big wad of chewed Trident
Sugarless™ bubblegum, where
would you stick it?
Our winner, Blair Davis, of
Burnaby, B.C. replied: "I'd stick il
over the ugly red hue of his neck,
because what he did was inexcusable, no matter how many martinis
he had." What won it for Blair,
however, was the diagram he included and we've reproduced....
Congratulations also go out
to G.D. of Richmond, B.C. ("I'd
pay to see Nate, scissors in hand,
cutting gum from his [Blackie's]
SMMB
THERAPY?
MEDICINE
Monday, February 14
Commodore Ballroom
Doors 8:30 pm • Show 9:00 pm
, hair."), Ryan Markovitz of Richmond, B.C. (who, after punching
Blackie in the mouth would quip,
"Don't worry, Sugarless Trident
doesn't stick to dental work...")
and to..."Sister Havana," of Van-
FAMILIAR NAMES,
FARAWAY PLACES
Dear Airhead,
I'm Darek Kapala from Student
Radio "C" in Rzeszow (Poland).
Sorry I took so long get back to
you. Please forgive the delay in
replying. First of all thank you very
much for Discorder you sent me.
Really enjoyed. I think it's unusual, very good magazine. Thatfan-
tastic you can publish your own
magazine.
One of my favourite "regulars" is
"Airhead." Next is "Real Live Action." Well, I can't see this bands
on concerts in Poland, but when I
read paragraph about "Sugar" or
"Living Colours," it's the same!
"Comics" are funny; especially I
liked "Everything's Ducky."
Very helpful for me were
"Charts" especially "Long Grooves
50" and Shortie Grooves 35." I
don't know many of bands from
yours "charts" (but they're also my
favourite hands) so if you can send
me some music (tapes, LPs, EPs) it
will be great. Unfortunately it's
impossible to get this music in Poland actually. Polish music I'll send
you soon (Promise).
Sorry, I don't renew your
Discorder...]'d like lo very much
but... we haven't much money, our
Radio budget is too small, so unfortunately... I'm deeply grateful
for this issues from 1992 and 1993
and wish you success in 1994.
Thanks again for help, I hope
you write back.
Sincerely,
Darek Kapala
SRRC Music Director
VL. Akademicka 6
35-084 Rzeszow
Poland
Just think of it as a little loan,
Darek, but one that we're not overly
concerned about you making good
on. Your 1994 Discorder subscription has been renewed. Oh, did I
forget to mention that, in return, all
we ask of you is a floor to sleep on
when we come over to do the "In
Discorder
Ahoytharmaties.tis' Iole' Excubus
diggi ng flowers in the Garden City,
Victoria. Just thought I'd fill yain,
it's been so long since I've written.
Well, on January 8th, after my traditional post-holiday hangover had
calmed to a dull roar, I was escorted by a gaggle o'vixen to Club
A-Go-Go, to watch them ogle Steve
McBean of "Gus." I have followed
McBean n' Co. throughout all of
their musical mood swings
(M.O.C., Onionhouse...) and gosh
darn-it they "rocked." Yes, I said
it, "rocked." I'd heard both tiieir
tape and '45, and now live. You
can't lose. Okay, I sound like some
goofy fan, but ole' Excubus, Master of Cynicism was truly im
pressed. I didn't stay for the other
bands, Sparkmarker n' something
else, but then again I subscribe to
the Ned Nugent school of political
correctness and there wasn't any
booze being served, so Idon'tthink
I would've fit in. The following
Monday presented B anana Roy ale,
POWER AND THE GLORY
Dear Discorder,
My name is Andrew Power, and I
am from a band in Toronto called
REVERSE. I am interested in making a CD compilation with a bunch
of strange and interesting bands.
/&?■*«*
Fidget and yer another band I can't
remember who played punk rock,
but I was drunk and a $4 cover for
three bands brought back moshing
memories of childhood. Wednesday delivered Bum, Everclear and
Flop at Harpo's. Talk about power,
punk, pop, 7-11, 16-year-old wet
dream, salt and vinegar chip night.
Hey, that's good, and as my 3-
year-old buddy Alex quipped about
Bum as I played my CD on one of
his visits: "wicked rock gods."
Strangely for a 3-year-old, he's
damn accurate. Other news, Scott
Henderson has been recording
aplenty and we can look forward to
random releases of inbred genius
in the next few months. The
Vinaigrettes have recorded and
mixed a bevy of new tunes and are
planning a prairie tourish sort o'
thing in March. Bum may also be
hitting the road and there are talks
in the rumour mill of a European
tour... Groovy, dig it Daddy-O.
Doomklaxun have songs together
and are waiting patiently to record.
Jesus Bonehead's dog has a skin
ittitation from fleas and my Mom
says "hi." And finally in closing I
have pigeonholed ole' Hank, for I
have realized that "Henry Rollins
is the Bob Hope of punk rock."
Pushin' daisies in the capital,
Excubus Manslaughter
Victoria, B.C.
Excubus, during a better time in
his life, was a columnist for the
pages of Discorder ("Dialin' For
Celebrities"). He now resides in
the Geratol™ playground of Victoria, a curse becoming of all
Discorder columnists. You 've been
warned.
e of the bands on
se - kind of like
to Tom Waits at
;: bands send us
Reverse will be i
the CD, and ou
word/melodic n
Fugazi running
high speed.
The rules
their music, and if they are accepted they aic flown tiut to beautiful Toionto put in $200 and a
DAT copy (which is returned).
Then, through the magic of modern technology, they get 50 CDs.
The $200 all goes toward the making of the CDs, Reverse gets no
profits (which really isn't new). I
included another page which gives
all of the info.
Since I am making no money
off of this deal, I was wondering if
you would help me out and slip the
word somewhere into your mag. I
would be very greatful if you could
help me out. I promise I'll send a
copy when it
Big big thanks,
Andrew Power
R.R. #1 Bradford
Bradford, Ontario
L3Z 2A4
Hey-
This will be printed in Allegro, out
Jan.22:
"UBC Students can get information about VSO performances
in CiTR's monthly newspaper,
DISCORDER. UBC Student John
Brunstien is doing an impressive
job with his new column, Classical
Beat. Remember — student rush
seats available day of the performance*, only $14.00 at all
Ticketmaster outlets or the VSO
Box Office at the Granville Street
entrance to the Orpheum.
*Personal shopping only, sold
out performances and special events
Devon Hanley
Editor, Allegro
P.S. Stuff we listened to while
putting Allegro together: Haydn
String Quartets and REM.
Allegro is the informative magazine/schedule/newsletter of the
Vancouver Symphony Orchestra.
Dear Discorder
I saw your ad in the Factsheet Five
#48. Actually I am familiar with
your publication since I attended
school at UBC for 2 years. You
guys kick ass on the lame student
press at my current university.
Carleton. Anyways, I'm sending
you a complimentary issue of my
first zine Gunk. You can review it
if desired and can print exerpLs
including art for such a review.
You may also print my address if
desired. Keep up the cool work!
Sincerely,
Craig
Gunk
2833 Springland
OtXa\
, Ont.
K1V9S7
P.S. I submitted 2 comics to you
guys @ 3 yrs. ago - 3 Tough Guys
Plumbing. Some guy phoned me
but I never go back to him. Anyways
they're probably filed under "G".
Just adding a redundant anecdote
in closing!
What's one more redundant anecdote in a magazine full of them?
SLACKERS
NEEDED
Half-ass pathetic
indie label looking for
half-baked cellar
dwellers.
Feedback optional.
Send demo, tape, etc. to:
NATION
UNDERGROUND
305-68 WATER ST.
VANCOUVER, B.C.
V6B 1A4
en^gsm^rM^ OPENING MOTHER
JONES' MAIL
Dear Editor,
As we experience a development
of faster communication and increased interdependence between
all people — It is time to realize
that our knowledge become more
and more abstract, being based upon
apparently objective information
and secondhand descriptions.
To successfully meet the challenge of the future it is essential
that we can act from personal expe-
People to People Friendship
Association (non-profit, non-partisan) is working for information
on a subjective level, through a
network of people sharing knowledge by speaking from their hearts.
Letter exchange is one way to
get firsthand information about life
in other parts of this planet. That's
why PPFA also is connecting people on a personal level (North/South
penpal links). For an International
Reply Coupon, contact is provided
to Africa America Asia and Oceania
So — Reach out your hand to
the world. Let us get to know each
other, join in friendship and take
care of our planet, to create a com-
P.P.F.A.
c/o Soren Groth
Nya Adalen.
Salta Arbetsskola
15300 Jarna
SWEDEN
That's exactly what we 've been trying to do for years: to get to know
one another, to take care of our
planet, and to create a common
future. By the way, do you have the
address for any of the ABBA mem-
Dear Editor,
A horse of no different colour. It
has been said that the Emperor
Caligula made his horse governor
of one of the states of the Roman
Not to be outdone Mike
Harcourt buys fifty million dollars
worth of MacMillan-Bloedel shares
and then claims he is being cornered by the environmentalists —
but you have to hand it to the guy
— with all the tree farm licences he
has to hand out and all the people
he's sending to jail, he still finds
the time to turn up for an environmental achievement award.
Perhaps he has something in
common with another Roman emperor — one who was on the fiddle
while Rome burned.
lone Winters
Port Moody, B.C.
/ got lost somewhere, lone, what
colour did you say the horse was
HEAR NO EVIL, SPEND
NO EVIL, SPELL NO EVIL
Dear Discorder,
In regards to the Vancouver Special column in the December issue
[#131]: the glitter was silver, not
gold.
Thank you,
Mr. Shawn
do Glamourous Glue
P.O. Box 41023
2529 Shaughnessy St.
Port Coquitlam, B.C.
V3C 3G1
Discorder,
Could you please, please, please
send me any issues of your 'zine
possible. I've never seen it before.
Sorry i have not sent any cash but
i'm broke right now.
Camille Viveiros
Somerset, MA
U.S.A.
Proof that we do print every letter
Esteemed Sir or Madam,
I have if yet yr Publication is a
worthy Source on various Purveyors of underground Music, &
thought to write for Informatn & a
Sample. I remain,
yr humble Servant,
Number Thirteen
Beaconsfield, Quebec
Okay, Thirteen. When you learn
how to, be sure to write us and ask
for a copy of the magazine. Perhaps if you read Darek's letter
above, you '11 get a better understanding of how to properly write a
letter we can understand.
fovfcRfcrfES, ovefcsexeD; amd \>mpe& contract. • •
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(£^1331 MICHAEL AU5MEMKER1
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rr>\£ VNlftONjfr THREE WoRD5/ a here! Last year I
was motoring around the American countryside, gawking at the
sheer, ludicrous tackiness of a land
full of mobile homes, God, and
cheap alcohol. February 1994
finds me tied to the dreary modern reality of three jobs (two of
them the same kind of work I' ve
been doing since high school despite my degree and personal
charm) and a mound o' debt. My
one solace in this weary existence, besides copious amounts of
booze, is the wonderful world of
film. Thankfully the two go well
together.
February is teeming with exciting reasons to kick back with a
good escapist flick. Valentine's
Day, Mardi Gras, and American
Spring Break all fall in this shortest
of months. Not one to be tied to any
one theme, I've decided to delve
into all of them with equal abandon.
Dating has gone way out of fashion in recent years as Relationships
have become the norm amongst
Vancouverites. Everyone seems to
be on a one date schedule wherein
if things are a bust the first night
(he runs into his jock friends and
ignores you so to compensate for
the good time you're supposed to
be having you order six too many G
& Ts and throw up on his
naugahyde cow-print car upholstery) you never call each other
again but if things are swinging
(though your date started at the
Cambie for a few beers it ended up
at the MGM Grand in Vegas where
your number came up 10 times in a
row and you won a suite for a
week) you are officially and exclusively "seeing each other" if you're
not already engaged.
Therefore, to give advice on ideas
for date flicks suitable for the month
that lends a home to the day of
lovers (Feb. 14th for all you
neandrathal boy/girlfriends out
there) is trickier than it might once
have been. If you're with someone,
chances are you already know and
enjoy their tastes. However, if it's
that all important, do or die, modern first date situation, here's some
suggestions you can play it safe
with, yet still be entertained. Heck,
maybe you'll even launch yourselves into the dialogue of a life-
Director James Ivory and Producer
Ismail Merchant, thought of by
most of the casual movie going
public as Merchant Ivory like my
dad thinks of Monty Python - as
one guy - have proven their mettle
not only as quality filmmakers but
as great date-moviemakers. Room
with a View and Howard's End
should have a guarantee stamped
on their boxes stating that any couple that doesn't feel like making
out in a lush Italian/English coun
try setting after viewing the films
will get $25 towards the purchase
Previous to their widespread critical kudos and subsequent media
exposure for Room Merchant,
Ivory, and their outstanding
screenwriter, Ruth Prawer-
Jhab vala teamed up on a number of
other feature length and television
projects. Their fascination with
British author E.M. Forster {Room
, Howard's End , and Maurice )
was preceded by a shorter fascination with American ex-patriot
writer Henry James. The
Bostonians and The Europeans
were released very slightly before
the big art-house boom of recent
years. Both show very definite indications of the mastery of their
makers yet their box office totals
would have scared most American
directors intopermanently eschewing art and literature for teen-slasher
I have yet to watch The Bo
, a well-reviewed affair from 1984
that stars Christopher Reeve (seen
recently giving a super performance in the latest M-I project Remains of the Day) but I did manage
to flit away 90 minutes of my busy
schedule in 19th century New England as I wallowed in The Europeans . Made in 1979, The Europeans
is not as visually or wittily stunning as the Forster adaptations but
viewed as an entity unto itself is a
great flick nonetheless.
Into the life of the Wentworths, a
staid Protestant family, comes European sophistication personified
in the guise of two long lost cous
ins, Felix and Eugenie, who have
come for an extended visit. The
elder Wentworth daughter,
Gertrude, has been ardently wooed
by the local minister, the kind of
guy who would read Song of Solomon to beat off if he could ever
overcome his fear of sin long
enough to get it up. Fearing to be
trapped in the seriously religious
life her father, sister, and suitor
have planned for her, Gertrude se.es
in her cousin Felix a chance to
unleash forever her desire to experience pleasure. A second story
centres on Eugenie's inability to
exist as the dazzling lady of the
salon in this honest back-water
community.
If an alternative lifestyles date is
on your agenda, I've been informed
by my pal Gilbert (who has impeccable taste in everything from fine
actors to fine tomes to fine ways to
lay about the house doing nothing)
that My Own Private Idaho is the
perfect gay men's date movie.
"If the guy you're with is intelligent, you can spend the post-film
hours discussing Gus' great metaphorical insight. If he's not, at least
there are a lot of studly young bodies up on the screen to keep you
amused."
Though an important screen event,
this tale of two hustlers is not suitable, in most cases, for parental
viewing. However, if your dad, like
Gilbert's, is uncomfortable with
Idaho 's subject matter, perhaps
he'll enjoy the pics chosen as February's second theme: American
College Spring Break, MAN!
In the second month of every year
the sunny climes of Florida and
California are polluted by often
hideous and always fun-loving
gangs of college kids searching for
the perfect ten day vacation. This
perfect vacation's prime objective
is to drink so much and do so many
drugs that when daddy asks how
one teenager could rack up a $ 1000
Visa bill in less than two weeks, the
answer can truthfully be, "Idunno."
Undergraduates take over every
town they visit with their frat-boy
antics and sorority-girl hardbodies,
usually proceeding to make everybody disgusted by their crass materialism and extreme bimboism (of
both the male and female variety).
Thank the god of 7-11 and pink
scooters that some Hollywood
marketing whiz had the genius to
suggest capturing the essense of
this American tradition on film.
In the beginning there were plots
and big-name actors. National Lampoon 's Animal House was
humourous in an asinine sort of
way and, more importantly, it made
alot of money. Streamlining was
the next advancement in the advent
of teen-exploitation movies. By
getting rid of the quality actors and
any semblance of originality in the
plot, films like Porky's (and
sequals) and Spring Break could
maximise their box office intake.
Since the audiences were only in
the theatre to see beaches and T& A,
extra (expensive) accoutrements
like talent were unnecessary.
By the late 1980's, teen exploitation flicks were gi ving way in popularity to ultra-violent action pics
but not until the three films I viewed
4«&&eM£»
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*    X^^.	
8 E^°GKj£2 (strictly for the purposes of this
column!) were made.
If there is one lesson I learned
while reviewing Bottom's Up ,
Homework, and Hardbodies it's
that not only do the producers of
said movies get what they paid for,
the audience also gets what the
producers paid for.
Bottoms Up had a very professional looking box. I have a suspicion the entire budget
for Bottom's Up went
into the box because
the film looked like it
was made by a couple
of pre-pubescent
males who'd stolen
their parents' equipment. Slapstick humour was the main
ingredient inthis most
horrible of uses for
celluloid while
Beachside sexiness
(promised to the
viewer by the aforementioned box) was
at a minimum. There
was a plot but as a
summary of it would
perhaps entice you to
rent the film, I will
decline to expostulate
on it here. My cat has
had better looking and
smelling things than
Bottom's Up come out
of her ass.  Enough
evident in the fact that it had the
most and best looking naked
women and a comparatively complicated plot. The 1992-93 edition
of Movies and TV on Videocassette
sums Hardbodies up exactly to my
"Three horny middle-aged
Romeos with the moolah to finance
their infantile desires hire a stud to
snow them the ropes of girl-get-
i 1983
Homework
blockbuster starring
Joan Collins was next
in my odyssey of quality T&A/surf
entertainment. Though not technically a spring break movie (the
kids are in highschool and there is
no beach), I thought it would at
least be a member of the teen-exploitation subgroup "Losing It to
an Older Woman - Preferably
Someone's Mother or a Teacher".
It's plot qualified as the main character, a horny senior, does finally
get it on with Ms. Collins, his
friend's mom and there was quite a
bit of the requisite female nudity.
However, I was shocked to find out
the Homework actually had a realistic moral base somewhat akin to
Fast Times at Ridgemont High .
The youngsters were forever being warned of the hazards of catching sexually transmitted diseases
through casual sex. Of course, in
pre-AIDS diagnosed 1983 these
diseases were only Gonorrhoea,
Crabs, and Herpes, but risks they
were, and they are touted as such in
the movie. The adverse effects of a
rampant and satisfied teen male
libido are very rarely discussed in a
movie of this ilk and credit must be
given to the makers of Homework
for the humourous, less lhan didactic manner chosen to do so. To
quote, "A rose by any other name
would still be Gonorrhoea." Besides the funny bits about diseases,
Homework was a pretty bad movie,
although it's charm was much more
in evidence after being tortured
through Bottom's Up.
Hardbodies , was easily the
best of these films. It must be allowed, however, that best is a relative term and the competition was
extremely pathetic. It definitely had
the biggest budget of the three,
ting. Softheaded muck."
Unlike my December foray into
the realm of directors with breast
fetishes, I have no kind words to
say to the makers of teen-exploita-
tion films. You were scumbags and
I hope all that money you made
bought you a nasty drug habit.
To abruptly leave an undesirable
topic and venture into a much cooler
one, for me February is now first
and foremost the month of March
Gras. A more swinging time cannot be had than in New Orleans,
Louisiana during the two weeks
preceding Lent unless you happen
to be in Rio de Janiero. The two
most famous of religious hoe-
downs differ greatly in execution
but similarly celebrate the last days
of festivity before the dour 40 days
leading up to Easter begin.
In Brazil, and many surrounding
South American countries, the
event is dominated by the Samba
clubs. In costumes that would look
too flashy in Vegas, the members
of these dance organizations wiggle their hips and spin their booty
down a parade route followed by
corps of musicians, mostly drummers, laying down a funky beat.
There are also traditional characters in bizarre get-ups that intermingle with the dancers.
The New Orleans party has been,
like everything else American,
much commercialized. Tins has
done surprisingly little to detract
from its overall spirit because, as
Dennis Quaid so susinctly put it,
"This is the Big Easy, darlin'." If
there is one place in the USA where
anything goes, in public as well as
private, it is N'awlins.
There is no movie in my ken that
so perfectly conveys the spookier
qualities of New Orleans than the
1987 Alan Parker noir-thriller Angel Heart. As confusing, initially,
as it is creepy, Parker opted for style
with a story (such a rarity in Hollywood) when creating this delicious
danse macabre.
Detective Harry Angel, (Mickey
Rourke before he got annoying in a
shockingly Bogie-esque performance) is hired by mysterious Louis Cyphre
(Robert deNiro only
slightly before he became a god in the eyes
of the American movie
industry) to track down
a 1930's crooner,
Johnny Favorite. As
it's now 1955 and
Johnny hasn't been
seen since 1943, Angel has some work
ahead of him. The trail,
as Roger Ebert describes it "full of stale
leads and fresh
corpses," soon leads
our dick to Algiers,
the river from New
Orleans. It becomes
quickly apparent to
Angel that Johnny was
weird shit." Specifically, it was voodoo/
devil worship shit.
Things get more nightmarish and, before he
knows it, Angel is the
prime suspect in three
murders and he still can't find
Favorite.
Angel Heart is one of the best
atmosphered films I've ever seen.
Like a pulse, scenes of fans spinning backwards, blood being
scrubbed off of walls, nuns climbing stairs, and elevators going down
beat on the screen giving Angel
Heart that intangible quality of
suspense and fear without excessively graphic displays of gore.
Though Angel Heart adnurably
captures the popular conception, and
a bit of the reality, of New Orleans'
atmosphere, its depictions of Voodoo are somewhat insultingly off
the mark. Voodoo and Satanism are
synonymous in the movie but not in
actuality. Afascinating film description of the truth about Voodoo rituals can be found in Divine Horsemen), a documentary featuring the
work of anthropologist Maya Deren.
Filmed between 1947 and 1951 on
the island of Haiti, Divine Horsemen consists only of b&w footage
of the most important Voodoo rites
and a voice over narration, taken
directly from Deren's book of the
same name, describing the gods to
whom these ceremonies were dedicated and the intent of the actions of
Ihe participants. Completely objective, the documentary aptly displays
the beauty and intricacies of the
pagan religion it showcases.
If dating, March Gras, or American
spring break don't titillate you
video-renting tastes, have no fear.
February is the shortest month and
soon gives way to the unbridled
sexuality of spring, the season that
suggest'! but one topic: Coming of
Age in France. Join me there in
IjjR
avvv^vi
FEBUARY Q Uncle Tupelo has been described as
being at the forefront of a resurgence in
country music in the American underground. Despite receiving astounding
reviews for their latest and first major
label release, Anodyne, and their featured appearance on the benefit for
AIDS compilation, No Alternative ,
beside such luminaries as Nirvana and
Sonic Youth, Uncle Tupelo is very down
to earth.
When asked how they
feel about being described
as purveyors of nouveau
country-rock, Uncle Tupelo
(Jay Farrar, vocals/guitar;
Jeff Tweedy, vocals/bass;
Ken Coomer, drums; John
Stuart, guitar; and fiddler
Alex) sighs and says,
"Well, that's an opinion
but we don't agree with it."
In fact, Uncle Tupelo
prefers to not describe itself
as anything. "Let music just
be music," Jeff poetically
says. Whatever they say,
the tag is, inevitably, going
to stick. If s even been sug-
ested that, God forbid,
lis Country and Western
scene might turn into the
new grunge.  However,
ncle Tupelo
Uncle Tupelo rejects any
suggestions that such scene
even exists.
"We do know guys
from some of the other
bands (one of the
Jayhawks played on their
second album, Still Feel
Gone) but there's no real
sense of a community. We
don't have these big meetings where we decide how
an image isn't fair to Uncle
Tupelo or country music in
general. Country can be
cool. Just look at the undeniably country-tinged music
of groups like the
Lemonheads or American
Music Club. In fact, Uncle
Tupelo's music, though they
refute the comparison, is
reminiscent of American
Music Club. Particularly
their dolefully cynical lyrics
(witness the title track of
Anodyne: "Fingers on the
by  Simon   H emel ryk
£
we're going to promote this
thing."
This may be true but
you can't help but think that
they're just trying to get
away from the C&W
label—visions of men and
women in big hats and
names like Hank and
Wynona Wanker Jr.. Such
trigger break the heart of
any day/foolish to believe
that it would turn out
okay").
"We're not nearly as
cerebral and pretentious as
Mark Eitzel. We're just
depressed about life in general," says Jay Farrar, hinting at the inspiration for all
ofthe pained lyrics.
Uncle Tupelo has recently left the indie label
Rockville for a signing with
the major label Reprise. "We
needed a change," they say,
"and we wanted more efficient distribution."
Suggesting that despite the
la id-tack approach to their
music, they do indeed have
sincere ambitions for it. The
major label base and the
press attention they've been
getting will, hopehjlly, lead
to really big things.
However, if this does happen
is it such a good thing? Sure,
Unde Tupelo is a fine band
but do we really need another so obviously influenced by
the past glories of acts like
Gram Parsons and Dinosaur
Jr.? Shouldn't there be more
bands who are genuinely
looking to the future...who
are prepared to experiment
with something more than
the traditional guitar/drums
combination?
"I dunno," says Tweedy,
"who's to say what the future
is supposed to be like. The
guitar is still a viable way to
communicate. Just trying to
find a combination of things
that  haven't  been   done
before doesn't necessarily
make for better music."
Even so, Uncle
Tupelo should be admired
and the American underground should be proud of
the rheumy-eyed greatness
that is Anodyne
ROCK FOR CHOICE,
JJMll
- a cassette compilation supporting a woman's right to choose
nmim   featuring
CUB       FRACAS
10 DAYS LAU
TICKLE TRUNK1
KREVISS
VINAIGRETTES
INSULT TO INJURY
NOW AVAILABLE AT SAM'S 4 ZULU
ALL PROCEEDS QO TO EVERYWOMAN'S HEALTH CENTRE
^^m^p^m^-^ slick
Would always tape the best ones. Web*d this big c:
of them on [the end of the album]
e full of them and we just decided tc
^£ .3 ? 3    ^ls:->
Do yon do many all-ages shows? A lot of those messages were talking about all-ages shows.
Jenny: We try lo do about half-and-half, we like doing all-ages shows. For some reason a lot of
ibepeople who like Tsunami seerntobe under twenty-one. But it's hard because the all-ages shows
are often not as organized as the club setup. You know, clubs are willing to pay guarantees, or feed
bands, and have good sound systems with monitor mixes and stuff like that. When you're touring
it's very disheartening to play in halls that have bad equipment and terrible acoustics and are not
very well organized: promotion for the show, being payed at the end of the night. We try to work
with responsible people and not with anyone who's been notoriously dicky in any way. We're
lucky cause Andrew tours with Superchunk. He gets to see a lot of clubs around the country before
lo go out there and play them. For the most part, whenever we know of a really well
organized all-ages space we try to play there
support their newspapers or support their arts programs you'll find
the places that have the really cool newspapers or art programs are
the ones where the kids can actually get in there and earn credit and
work to become, say, reporters or something. But my school doesn't
respect that kind of creativity. It's much more standard in its liberal
arts. So anybody who was really creative, enthusiastic or energetic
about stuff outside of the pre-business programs at the university
seemed to fall into this very jaded, depressed group. A lot of that
creativity turned inward and destructive. Obviously, skinny has
something to do with women and eating disorders which run rampant on college campuses, but it's also a metaphor for other ways
that you can make yourself skinny.
Is Tsunami's songwriting a collective process or do you write
most of the lyrics, Jenny?
Jenny: Whoever sings the song usually writes the lyrics. So Andrew
has sung a couple and Kristen has sung a couple songs.
How was the Simple Machines label started?
Jenny: My friend Brad, who was living with me
n Arlington, about three years ago, got
to pul out a record. And 1 was in a band called
about two albums worth of stuff, but without an
out, so we decided that we were going to put a re
try and put out a compilation seven inch becai
wouldn't have to sell on Geek's wide-ranging f,
shoulder the burden among a number of bands a
audience. Then we decided we would do a couple
singles. Obviously, the first one would be hard tc
jist one rolled around we'd have a better idea of whethei
was something we'd like to keep doing. After two rece
back to college and Kristin moved back into the house, I
into his place. Ever since then it's been me and Kristen ru
What bands are on Simple Machines?
Jenny. There are only three bands that
Machines: Tsunami, Scrawl, and Grenadine
You had seven-inch singh
Jenny: Each one titled...
So why did you call your new release Deep End
Jenny: Because we found that cool photograph
great album title and it'd be a nice album covi
John: It's a concept album, really.
The end of Deep End
answering machine. What
chine?
Jenny: Well, the songs don't really make reference to Ihe answering
machine itself, it was just Kristen and I were working full-time jobs, ami
we wouldn't get home until six in the afternoon, and we'd have like
fifteen messages on Ihe answering machine. Since they were all there al
one time we had this wealth of stupid answering machine messages. So
What is your song "Skinny" about?
Jenny: It's about a bunch of stuff I wrote it mostly out of the numhnes
of college, in some way. I wen! to a really high pressure, high profile Ea:
Coast, bullying academic college and ihe college wasn't very suppi
of any creative activities; things like student newspapers you wouldn'
gel credit for. I bet that if you look a check of all Ihe universities that
FEBUARY  0 "Difficult music" is a curious concept Difficult for whom? I think if s perhaps best to I **y *oie
Emissions has been that of a person who makesmusic, not thatof a person running in afieltfAperson'sexpenenceofmus*
dependsonwhatfjiatpersonbringstothatmusicandhasalottoctowtththeirownpfec lt£      H««
music may make more intellectual or emotional demands than others but the continuum of music includes: the postman
whistling on his daily round, the babbling of infants, the song ofbirds.the accompaniment to Morns dances, Luigi Russolo,
sacred music ofthe Native Americans, the neoert^ re -Ji»        p-        Drebe
_: _j .:_:__::__!--  _:i:i i--_j_..-t-  ii-_»__^^   ...u_i u n_a_v,  n r> r> r-    _"'»_    r-i__i. - t:__
games. c the top 40, whale song, Harry Partch C.C.C.C, etc. I don't see a sep
in what Nocturnal Emissions does from that continuum, nor do I think it's all difficult!
I've used the name Nocturnal Emissions as an umbrella for various activities since 1979. In 1979 it was appropriate
(for various reasons of personal security) to have a degree of anonymity. This has kept Nocturnal Emissions' music an
underground thing cause Nocturnal Emissions is soil perceived of as rude by the normal people of Straightville—meaning
so it means I don't have to deal with them so much, which suits me. Of course, for the occasional posh events where genteel
folk are present I politely use my own name, Nigel Ayers.
Discorder: Do you still have your own
label?
Yes. One of the first decisions I made was
that I wanted control over what I released
and how it was represented. This, basically, holds true today. Also, I see the work
I am involved in is essentially an integrated multimedia one, in that it encompasses music, film, literature, art objects,
theatre and whatever else takes my fancy.
So having my own "label" to suck on the
products of these activities is very useful.
What was the extent of your visit to
North America two years ago? Your
victories? Your disappointmi
We did performances in Toronto, Mon
treal and Ottawa. We got a good response
and spent a lot of time doing radio interviews. My main disappointment is how
much the guy who promoted the Canadian shows lied to us, messed us about
and lost us money. So a bigger and better
organized tour of the USA we set up with
someone else had to be cancelled. However, we also did live music for a large
scale dance performance at La MaMa, in
New York, with Poppo and the Go Go
Boys, which sold out every night of its 2
week run and a one-off NYC gig. I hope
to be performing again in North America
show consist of?
Music, films, slides, videos, s
dancers, banners and artwork of great
beauty. What happens varies greatly from
show to show — and a lot of it seems to
go on inside the mind of the audience.
You have to be there, really.
Is there any kind of Nocturnal Emissions philosophy or objective in terms
of providing a sonic experience?
Yes, of course, there is a body of ideas
behind what I do with music and ho w I go
about it. I don't have the space here to
describe what is a very complex subject,
and likely to be trivialized in a magazine
format, instead 111 refer you to v;
Catheth
discontinuation) of the early Nocturnal
sound and how does Blasphemous Rumours compare?
In its earlier form, the music had more to
do with punk rock and mainstream "dance"
music. We were getting included on compilations with New Order, Tackhead, etc..
By 1989 I reached the conclusion that
although these were ways of making a
living they were creative dead ends. So
then I gave up the idea of even bothering
slightly to get across to a wide audience
and concentrated more on music which I
personally wanted to hear. So you'll note
a difference in approach in the recordings
from Spiritflesh onwards. Cathedral was
deconstructed mostly from already existing music from commercially available
recordings. Blasphemous Rumours was
deconstructed from specially commissioned acoustic music played by Charlotte Bill. They're both brilliant.
If I'm not mistaken, you were involved
with the packaging of the Cathedral
release. Is this something you've always
taken part in?
Yes, I understand some makers of i
don't do this. There must be something
What was your favou rite t(
y My parents gave me a tin c
to play '■i'h. 'Mp^
Back to your label...you must receive
demo tapes from all over the world.
Aside from the changing technology,
how has the music you've been receiving since the early days of Earthly
Delights differed from that you're receiving today?
Yes, we do receive tapes from all over
the world. Yes, technology has changed.
But I think technological change follows social change and there have been
tremendous social upheavals in the last
ten years or so—especially here in Europe—and this has greatly affected the
making of music.
Further info: Earthly Delights, PO Box
2, Lostwithiel, PL22 OYY, Cornwall,
UK Soleilmoon, PO Box 83296, Portland, OR, 97283
Selective listening:
Spiritflesh CD (Earthly Delights)
Cathedral   CD   (Musica   Maxima
Magnetica)
Blasphemous Rumours CD (Soleilmoon) Discorder: The last time I spoke with you, you really didn't have an idea of how the
record was doing. No w that/our has been out for some time how have the reviews been
con^ta?
Aaron Siauffer: The reviews have been really good. People seem to perceive the record,
mostly, in ihe way I do. Thai' s good They 've figured it out, they s»em to tegettujg the point
And it's selling fine, i supposc„-beae«*aii Weak. You always nope fox it to do bettor than
it witt. 1 hoped thatit would totally explode. We haven't goaeoa tour by ourselves yet, so I
can't really judge how the American crowd has reacted to it
As far as the recordiag and performance goes, oux part of it, I' m totally happy. I think
we' ve written the best songs we've- ever written. I like about 80% of the material on it and
I'm usually pretty negative about Seaweed stuff, especially after a record comes out. 1 can't
even listen fo Weak: I don't like the production al all in comparison to this record; we played
too fast on Weak.
I noticed a very large amount of progression from Weak to four. What happened
between Weak and four to cause this?
We wrote Weak really quickly—we spent a large amount of time writing four. We just
decided that we wanted to make more melodic songs. I'm in another band with Ken
(StringfeHow) from the Posies and Steve Fisk— we're not really a band so much as we're a
recording project—and because of that I spent a lot of time singing melodically. By singing
in another band and singing in other ways I've related that to Seaweed and, I think, diversified
We 've been abandlonger no w too. And we toured a lot We never did back to back tours
until after Weak came out. We did three tours: aseven- week European lour and twofive- week
American tours, all in about a six-month span. After doing our first tour, playing each and
every night, it just clicked. At the end of all the Weak touring we were tight We were finally
and completely tight as a unit We were ready to write real songs and we didn't just have to
worry about being tight And I'm only 22. When we wrote Weak we were still pretty young.
We were always just concerned about being really fast I don' t think that' s very i mportantany
more. The structure and what goes into the song are more important. We' ve broadened our
influences a little more.
I think the fact that we produced/our ourselves had alot to do with it as well. Ken was
in the studio with us and that was really nice. He really put some thought into recording my
voice. We were so concerned about hitting every note that a lot of the times we v, oukf miss
really cool performances. If you do everything completely "Mutt Lange" perfect you miss a
lot Quirks are cool. I went back and listened to the demos of Weak and BpaRzed that I really
liked the little places where I sounded quirky.
Performance is ultimately important A great performance will overcome bad sound.
Everybody always said Seaweed was a live band. The reasoaali ve sound is so cool is because
it's spontaneous; it captures a moment I felt that we should use that philosophy in the
With the release of
their third full-
length album, four,
on Seattle's Sub Pop
label, Seaweed have
defined themselves.
Their sound has progressed and matured, thrusting
them into the ranks
of truly great bands.
Surely one of the
busiest working
bands around, Seaweed's schedule is
intense. Their touring is constant and
this has helped to
make them one of the
most energetic and
exciting live bands
you could ever see.
Special thanks to
Seaweed and their
ever-present road
manager, Ron, for
being such great
friends and making
this interview happen.
a new record I always freak out "Oh God, we're going to suck!" There's a point where every
band starts to suck. Pmalways afraid that we'vereached that point. I'm really glad because
I think we' ve gone to a new leyel. I'm really excited about writing songs and singing.
I think everyone id Seaweed has reafiy teamed what they are doing now. Whereas, in
the past, it was. perhaps, more haphazard. You seem to have more control over what
ywr*re doing and the ability to say, "I warn it to sound this way" and know how to make
it sound that way.
Wheal started singing in Seaweed I couldn't sing for Ait There are songs that we recorded
Oft certain records that Icoulda'tsiag live. The stuff rmsingkig now I could have never sung
ft year agoi think it comes from tourmg. You learn how to pky songs; you miss the note so
many times that eventually you hit ft!
I heard a rumour that for the next Seaweed album Clint wants to go for the big
production, with a big studio and a big producer, and really do it the next big time.
I think we want to do that. We made our own record, and we're really proud of it, but now
we want to make a big rock record. We like the sounds of big rock records, that's what we
grew up on. 1 love the sound of Danzig records, they sound great! I like the sound of the
Smashing Pumpkins record even though I'm not a huge Butch Vig fan. It's not like we're
going to write big rock songs or we' re all of a sudden going to be a big rock band. People are
going to go "you made this record in your basement it sounds really great why would you
do that?". It's because we did that and it's cool and we're psyched on it, but if we go and do
trial again it's justgoing tobe compared to "four". Why not have aloud sound- why not sound
like fuckin' Slayer!
So you're going out on tour again, for another six weeks, this time with Quicksand.
Right Then we take two weeks off before we go on our own headlining tour. I think Fluf is
going to support us. We went to Japan, that was really rad. It's hard to explain but the punk
rockers were really gracious. When you're there it's a totally different world. Europe is very
similar to North America. Most Americans and Canadians came from Europe at one point,
for the most part, and if you didn't you' ve probably been assimilated into western culture. So
it's weird to go to Asia, which is so totally different. I would walk down the street with $300
in my pocket and it wouldn't be weird. 1 wouldn't be afraid that it would be stolen because
it's so dishonourable to be a thief. I could never do that in an American city.
It's also really weird because there are only Japanese people in Japan. It's a totally
homogeneous society. If you walk down the street and you look like roe you are a minority.
In America there are so many different types of minorities. I had just come from New York,
as well, where you w%Jk down the street and hear twenty different languages. In Japan it's just
Japanese people and foreigners.
What sort of attendances were you getting in Japan?
recording dfour, ^k
It was recorded in Clint's (Werner, Seaweed guitarist) studio wasn't it?
Clint built the studib between Weak mdfour and while he was building the stiidiohe thought
about how he was going to use the studio to record the record. He thought a lot about thi ngs
he wanted to do. four was the first record that we spent a lot of time using different guitars
and amps to get different sounds on...lots of guitar overdubs and weird bttle things. We never
did mat type ol stuff before but Soundgardea's Badmolarfingerit&xA really influenced us
because it'sgoi all of tlwse cool quirks on it. We were Bee, "Oh. we're a punk band we
afcouldn'ido that son of stuff." 1 mink you eaadtofeat yourself a kit of the times by creating
all of these rules for what kind of band you are. We did whatever we wanted to.
You had three months to record? No pressure?
Five weeks. That was more than twice the time we'd ever spent [on recording] before. It all
came right down right to the end, though. We threw out the first week because we didn't like
it There was pressure, though, as far as the pressure to deli ver it on time. Every time we write
"There's a
point where
every hand,
starts to suck.
I'm always
afraid that
we've reached
that point."
300 was the smallest and 800 was the biggest. They were really packed and everyone was
totally into it, singing along and dancing.
Isn't Sub Pop licensed or distributed by Sony in Japan?
Yeah; Sony is our record label there. You can not understand how corporate everything is in
*'Japan. In America most people that work at record labels, these days, even if they're major
labels. came up through working at a record store, working al a college radio station, etc. You
work your way up, it's a passion. Io Japan we'd be talkingto our reps, who are really cool,
and it would be "how did you get this job?", figuring a really Cool story would erupt fromk,
and they'd be like "I looked in the paper and got it"       SH|pMk1 JHaNMMi 'frill mil
At the front of the Sony office is this bigSubPop logo. It's so fucking weird. It was re ally
ridiculous. I felt like we had kind of tricked these people into believing we were superstars—
one of the more ridiculous things I've done in my life. We were staying in five star hotels,
everyone had their own room, it was decadent rock and roll. It wasn't punk rock at all but at
the same time it was kind of punk rock because we'd fooled these people into getting us five
star hotels. Punk rock means nothing in 1994, it means big record
© YO LATENGO
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interview wasn t going fp fake pbce, I left, promising to return
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•ass. vocals and guitar). Their newalbur
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interruptions, I was happy,
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and
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iful is out on
mce to listen to
e most beautiful records I ve Discorder: How is your tour
going so far?
Georgia: Good.
Ira: This is another average night
on tour with us.
That bad?
Ira: No, no, no. Fine, fine.
Georgia: Things are pretty crazy.
Ira: I still prefer this to LA in a
second...as long as it's not dull,
and this is definitely not dull.
Everything is so crazy here.
Have you been playing mainly
smaller venues on this tour?
Last time you were in Vancouver you played at the Commodore Ballroom?
Ira: Yeah, well, smaller than the
Commodore(1100+) . . .
Georgia: This is the smallest
place yet.
Do you find a difference between playing in Canada and
playing in the States?
Georgia: Yeah, we do find a dif-
ira: This is a different country,
there's no doubt. I was just saying to James that this is, what
playing Europe would be like if
we were fluent in another language. If I spoke French this is, 1
think, what playing France would
be like. It's almost indescribable
because the most dramatic
change, usually, is the language
change but, obviously, we don't
have that problem. But even the
South can feel like a different
country.
What's  different,
the audience or...?
Georgia: Not necessarily the
audience,  it's just that you
the border and you know
e in another place.
was it getting across the
Ira: It was very smooth.
James: The guy at Immigration
was uncharacteristically friendly,
so...helpful. He made us feel
great about crossing the border.
Ira: I hate to jinx it by saying this
but we' ve never had one of those
horror stories that we' ve all heard
about.
Canadian bands
who have opened for vou. Or
have there been any?
Ira: None.
Ira: We've never headlined a Canadian  show  before.  We've
Georgia: Yes, in Toronto.
Ira: We didn't headline.
Georgia: Oh, no, that was their
night.
Ira: Yeah, their night. We've
played in Toronto twice and this
will be our second time in Vancouver and all three times we
were the opening group, prior to
tonight.
Who were you playing with that
is Canadian?
Ira: The Clarks? They're very
popular now, right? You' ve never
heard of the Clarks?
No.
Ira: Well, I was led to believe
that The Clarks are legendary. I
don't know. We did this show in
James: No, The Waltons!
Oh, The Waltons! Yeah, I know
The Waltons.
Ira: OK, there you go.
Georgia: The legendary Waltons
Ira: We were booked at the last
minute to open for them one night
at this club in Toronto where
they were really, I think, used to
treating the opening acts like sort
of like the way you treat a cigarette butt on the carpet. And we
were booked to not be treated
that way. It took some convincing to get the club guys to realize
that but we ended up having a
great show. It's just thai when
you spend as much time as it
takes to cross the border, to get
there and have some creep from
some club just be really bored
with you before he's even met
you, it's just like... [give him a]
crack over the head with a
Moosehead bottle.
I've read that you're really
popular in Europe but not as
popular  in  England.  Is  that
Georgia: I don't know if we're
really popular. We might be a
little more popular there than in
Ira: I think that what we have to
say about England would be very
self-serving. You could say that
they're so discerning only the
English see through how bad we
are. We prefer to look at the
English press as very, oh, trend-
oriented. They like bands that they
can explain in three words with
some easy little hook and since
our band is more difficult, we're
that style of band.
proposit
nof
li ke to go to S alvation Armies and
buy really screwy versions of 60's
songs. The most amazing, 1 think,
was the Sandpipers doing "Louie
Louie." It sounded so much like
Spectrum.
Georgia: I thought it was
Stereolab.
Ira: It was amazing. The Sandpipers, you know, total muzak
group, their version of "Louie
Louie" was incredible. It was so
good. And Georgia had a tape...
Georgia: Young Woo (sic)
Ira: Yeah, and, well, a lot of different stuff. What have we bought
lately? We went record shopping
in San Francisco. I bought some
Impulse jazz records on CD and
some other stuff. I bought the Neil
Young feedback record [Arc] that
"When property values in
the '80's went totally berserk
in New York, a lot of people
wanted to move to Hoboken.
Hoboken took on all this new
kind of wealth and interest in
it and, really, was not very
systematic about community
planning. As a result...."
Yo La Tengo
I know Yo La Tengo is compared to the Velvet Underground a lot. How do you feel
about that?
Ira. Well, 1 think everyone wants
to be thought of as wildly original
and innovative, you know. So being compared to somebody is
never like the best part of your
life. I think we'd all rather be
compared to the Velvet Underground than, you know...
Georgia: ...Blind Melon.
Ira: Blind Melon or The Mighty
Lemon Drops.
James: Yeah, that would really be
horrible.
Ira: We were recently referred to
as a cross between The Mighty
Lemon Drops and the Velvet Underground but, we figured, isn't
everybody?
Whatm
right n<
sic are you listening to
f? What is in your car
Georgia: Some weird tape James
Ira: On the way up we heard an
Israeli surf band.
Georgia: Is thai what that was?
Ira: Yeah, an Israeli surf band. I
I never owned before. Our box set
list is getting longer. We want to
get the Soft Boys box, the Richard
ami Linda Thompson box and the
Beach Boys box. Those are some
of the things we like listening to.
In your new CD, Painful, there
is a letter in the liner notes. What
is the story behind that letter?
Ira: Well, I sorta think James wrote
that letter to us. His handwriting
on this note he wrote the other day
was kind of similar...
James: Ha! You'll never know.
Ira: The letter was sent to our
house when we used to have mail
sent to our house. That was definitely a contributing factor to no
longer having mail sent to our
Why did you decide to include
the letter in your liner notes?
Georgia: It was Ira's idea
Ira: My idea. Thai was an unsigned letter. It was printed in its
entirety because I felt that person
said things they wouldn't [normally] say if they had signed the
letter. No one would know who
did it and it would be a secret. By
exposing it I felt, sort of cosmi-
cally, it would cause, well cosmic humiliation to that person.
Why did you decide to call the
new album Painfull
Georgia: Chris Knox drew the
cartoon that is on there and we
needed a name. It just fit.
Ira: Georgia had already taken
the photo and it seemed like the
cartoon, in conjunction with the
pholo, seemed to fit in some nebulous way. Some nebulous, feedback, bullshit way.
You're from Hoboken, New
Jersey?
Ira: Georgia and I are, James is
from Brooklyn, New York.
So, what's the best place to eat
in Hoboken? I've heard that its
Schnakenburgs.
Georgia: I don't know if you'd
want to eat there.
Ira:  Schnakenburg's  is  a nice
place to visit but you might not
It's like a time machine.
That's what I heard. The fried
egg sandwiches  are  like  .80
Ira: Yeah, it's really a cool place,
I'm not sure if the food's any
good. The best thing to do is to
buy a loaf of bread from either
Marie's or Dum's (sic), and then
gotoFiori's(sic), buy some moz-
zarella and make your own sandwich. That's the best food in the
whole world.
Isn't Hoboken famous for being the birthplace of baseball?
Ira: That's a matter of some contention. A lot of places want to
claim to being the birthplace, but
Hoboken has taken on a very aggressive posture.
Is it true that Yo La Tengo, the
band name, came from a
shortstop for the M el s who used
to yell "Yo La Tengo" whenever he caught the ball?
Ira: Well, that's a story and it's
sorlalrue. You've got a couple of
details right, a couple wrong. It's
a very unimportant story. We just
liked the words and didn't really
care what it meant. We didn't
think or realize that nobody
would agree with our not caring
about not what h means—every-
What do you think of the
gentrification that's going on
in Hoboken, or do you think
it's a problem?
Ira: We come down 100% in favour of gentrification. No, we
were probably considered
gentrifiers al one tune and we
just moved out of our place to
another part of town.
When properly values in the "80s
went totally berserk in New York.
a lot of people wanted to move
to Hoboken. Hoboken took on
all this new kind of wealth and
interest in it and, really, was not
very systematic about community planning. As a result...
So, you played a Democratic
rally at Maxwell's, right?
Georgia: Oh, yeah. God, that
was bad.
Ira: It had its highlights.
Georgia: Ira's Mom sang wilh
us. That was the only good thing
about that night, I would say.
James: I had a good time at that
show.
How do you feel about how
the Democrats are doing in
the US now?
Ira: How much tape do you have
left on that thing  'cause we
could go on for a long time.
Well, I don't regret my vote. I
don't think there's... I don't feel
intelligent enough to really... 1
don'l have anything to say on
the subject that would really be
interesting, except that it might
demonstrate how stupid I am.
Which...
Georgia:  Keep  up  the  good
work.
Ira:.. I'm a little reluctant to do.
Okay. Daniel Johnston.
What's your relationship? I
know you covered his "Speeding Motorcycle" (on the
Fakebook album).
Jai
:   Didn'
The phone thing...?
Ira: That's about our relationship with him. At the time we
did the telephone thing we had
never met him and, subsequently, we met him one very
depressing afternoon the last
time we were in Austin. His
manager took us to meet him
ami it was not a lot of fun. My
impression is that he has good
days and bad days. This was not
one of the good ones.
This is your first album on
Matador, and its being distributed by Atlantic, right?
Would you ever consider signing to a major label?
Ira: We would consider anything. You know. I don't think
there's anything noble and pure
about independent records and
I don'l think there's anything
evil about big labels. 1 think a
lot of groups make a lot of bad
records on both independent and
major labels and I think a lot of
good groups make good records
for both independent and major
labels. Our record collection is
probably weighted towards independent groups but I don't
think there's any magic formula.
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m
ello readers, it's time
for this month's pe-
. rusal of the local classical music scene! After something
of a lull during the Christmas season,
there have been a large number of
conceits covering a wide range of
interests in the last few weeks. The
very variety available can in a way
even be a bttle daunting, as it may
often be a hard choice between going
to hear an old favourite or taking in
something less familiar in hopes that
the works performed (or the performers) might become new favourites. Of course, if you had the time
and the spare change you could go to
both... but since when did students
have either of the above? I personally took the middle road this month,
attending one performance in each
category.
I eing a confessed Men-
i dolssohn admirer, I was
sure to catch the VSO' s
all-Mendolssohn program, one of
their Great Composers Series concerts. Apparently the music director
for the Symphony must have thought
this would be a popular concert as
well, because three performances
were given: one each on the 8th, 9th,
and 10th of January. I attended the
last of these (having two previous
performances can I believe do nothing but improve the musicians' feel
both for the work itself, and for the
conductor's interpretation of it, leading to a better performance; besides,
I have generally found the last performance to be the least crowded,
which is worth keeping in mind when
one is trying to get tickets). Instead of
its usual conductor, the VSO was
under the leadership of Canadian-
bom Peter McCoppin as guest
conductor. I have been to several
concerts under his conductorslup
before (he was, a few years ago. the
Principle Guest Conductor for the
VSO), and I must confess that I had
found his style rather on the flamboyant side for my taste; but as the
concert proved, it can work well for
the light and lyrical works
Mendolssohn wrote during liis short
life.
Perhaps one of the tilings wluch
made his style work so well in this
concert was that a half-hour before
the concert was scheduled to begin,
Mr. McCoppin gave the few people
who were already in the hall an impromptu lecture on his interpretation
of the works to be performed. I found
this helpful in listening to die concert; contrary to what many of you
might think, the conductordoes have
a strong influence on the sound and
emotion of the performance and is
not merely there to wave a baton
about and look Get's be honest) a
little silly. It is unfortunate that the
pre-concert talk was not listed in the
schedule, as more people might have
shown up early for it
The opening work was, fittingly, an overture. The Ruy Bias
Overture was written by
Mendolssohn in 1839 as the opening
work to Victor Hugo's play of the
same name. It is a credit to its composer, combining lyricism with internal contrast in a way that perhaps
mirrored his state of mind regarding
the work. He had in fact originally
refused to write the piece, as he
thought the play was "odious;" but
when his patron suggested that he
was incapable of wriung a suitable
piece in time for the opening performance, he replied by producing
the work in only three days.
The true gem of the concert
was the second work. There are surprisingly few works in the standard
repertoire for the violin, and among
them one of the outstanding works is
surely Mendolssohn's Concerto for
Violin in E minor, Op. 64, written in
1844. In keeping with the high profile of the piece a world-class soloist,
Jaques Israelivitch. joined die
orchestra for a breathtaking perform-
While the tei
strictly means nothing more than that
a single instrument will be featured
in the work, it traditionally implies
other tilings as well, mast notably
that the work will conoid of tliree
separate movements with a short
break between each. Presumably, the
purpose of tliis break is to allow the
musicians to prepare for the change
in mood and tempo, while simultaneously queuing the audience to listen for the changes. In reality, it also
serves as a "stretch, rustling of programs, and cougliing-fit break" for
those audience members polite
enough lo refrain from the above
activities while the orchestra is playing. (Now, if diey could only program pagers only to beep during
these breaks...) As with any art form
such criteria are however open to
interpretation, and Mendolssohn specifically wrote this work to be played
without breaks, with only die musical changes in mood indicating the
separate movements. In another departure from tradition, the score calls
for the introduction of the solo violin
almost immediately instead of after
an orchestral introduction of the
The result is a work beautifully
dominated by die passionate violin
themes widi strong support from the
rest of the orchestra. Mr. Israeli vitch's
performance was inspired, and the
orchestra worked exceptionally well
with lum to produce a performance I
am sure the composer himself would
have been impressed with. At the
conclusion of the work, one of the
reasons for die close rapport between
the orchestra and die soloist became
apparent. In what would be unthinkable for many soloists who seem to
feel that it is beneadi diem to interact
with die audience or even other members of the orchestra. Mr. Israelivitch
came to the front of the stage and
after motioning his thanks to die
orchestra in general, gave a short
speech introducing a violin duo by
Hindenuth wluch he then performed
widi the orchestra's First Violin,
Robert Davidovici After a good
performance of this short work. Mr.
Israelivitch  motioned  for   Mr.
Davidovici to leave the stage first, an
act of modesty which only served to
enhance the audience's appreciation
for his performance.
Afler the i ntermission, the program concluded with Mendolssohn's
Third Symphony in A Minor, better
known as the "Scottish" symphony
afterthelandscape which inspiredits
composition in 1842. Although not
as popular as his more dramatic "Italian" symphony, the Third Symphony
is perhaps even more melodious and
evocative of the places it was written
to represent; one can hear the wild
waves of the sea crashing upon the
harsh and rocky coastline intertwining with bits of Scottish folk music in
a way which draws the listener along
from musical scene to scene. Al-
diough not as flawless as the violin
concerto, the orchestra performed
the work well to round out a wonderful concert. It was a little disappointing to see how small the audience
was (probably a little under half capacity), but perhaps the two
previous perform-
ill      dies
topic of audience attendance brings me to
the second performance
of this month's column. Having
never before gone to a concert put
on by students at the Vancouver
Academy of Music/S.K. Lee College, I was not sure what to expect
when I went to their Wind and
Brass concert, held in the academy's Koerner Recital Hall at 7:30
PM on January 13th. The program
consisted of fi ve sets of short works,
each performed by a separate ensemble of five of die student musicians: the first group performed
Milhaud's "La Che mi nee Du Roi
Rene" woodwind suite; the second
performed one movement of
MacDonald's "Tliree Miniatures,"
Bartok's "A Little Bartok Suite,"
and Gabneli's Canzona "Prima a
5;" the third performed
Hindemith's "Chamber Music for
Four Woodwinds, Op.24;" the
fourth performed Ligeti's "Six
Bagatelles for Wind Quintet;" and the fifth
Calvert's
from the Monteregian Hills." Understandably, the choice of music
was based more on range of technical skills called for than its ap-
proachability from the audience's
viewpoint; even so, the obvious
talent many of the students displayed made the works delightful.
In particular, the Bartok Suite has
the distinction of quite honestly
being the only performance of a
work by that composer which I
have enjoyed, and the works by
Ligeti and Calvert were very well
There were, however, several
problems with the performance and
sadly I feel that these were by no
means the fault of the students.
Firstly, a rather noisy ventilation
system was left on in the hall
throughout die performance; given
that this was a public performance
at a music school, someone should
have been responsible for ensuring
that it was off and, if necessary.
other measures were used lo ensure
ventilation. Secondly, although
Koerner Hall seemed to have reasonably good acoustics, most of
the pieces were played with poor
dynamics and were rather too loud;
I do not think this was the fault of
the musicians, it was rather a result
of die third and most important
problem — die almost complete
lack of an audience. Not only would
the presence of an audience of more
than about 25 people serve to
dampen sound in die room and
make it much more "playable" for
portantly change the atmosphere
from that of a practice to dial of a
performance. Certainly, the whole
concert really felt that way; people
entered andleft the hall while pieces
were being played, and two (presumably instructors) were taking
notes on the performances, and
there was a steady flow of students
into and oul of the hall as the ensembles completed their pieces and
returned to the audience. Such an
unprofessional atmosphere is inevitably detrimental to the musicians; they cannot help but feel as
though their efforts are not being
appreciated and in return have no
reason to strive for their absolute
best.
Ifindit incomprehensible that
many of die friends and family of
students at die Academy (and perhaps many odier people) would not
like to attend these perform-
ances.Why then was the turnout so
poor? The reason is most likely the
$6.00 ($3.00 for students) charged
by the Academy per ticket. It is
shameful and a disservice to the
students for die Academy lo charge
this for what is after all a student
concert. Certainly, it must be considered one of die foremost functions of the school to train the students at performing in front of a
real audience. Such experience is
invaluable.for those who do wish
to go on and attempt careers in
music, and is useful even for those
who do not. These concerts are
therefore held as much or more for
the students as for the enjoyment
of an audience, and by (obviously
unsuccessfully) attempting to make
money from them the Academy is
failing in its function. By charging
a nominal fee, say $1.00 or $2.00
per ticket, I think that not only
would a larger audience turnout be
achieved but that in the end Ihe
same amount of revenue would be
raised. Hopefully they will come
to the same conclusion and future
performances at the Academy will
be belter attended.
'swhattolookfor
concerts for the
tmondiorso. The
Friends of Chamber Music has
two concerts in February: on the
1st. die Shostakovich Quartet
from Russia will be performing the
"Unfinished Quartet of
Rachinaninov." Borodin's "Quartet No. 1." and Shostakovich's
"Quartet No. 5." This ensemble is
known for its excellent performances, so if any of the above pieces
sound interesting this would be a
great concert to attend. On the 15th
the Petersen Quartet (started in
1979 in East Berlin) will be performing Bartok's "Quartet No. 1"
and Schubert's "Op. 161," as part
of dieir first full Nordi American
tour. Both of these concerts will beat 8:00 PM at the Vancouver Play-
Early Music Vancouver is also
presenting two performances in February. On the 4di die Montreal ensemble Les Voix Humaines will
be perfoniung works from the French
Baroque repertoire, wlule on the 18th
the Toronto Consort will be performing a program of works by the
Renaissance composer Josquin
Desprez, with Terry McKenna on
lute ami Alison Melville on re
confer. Having heard McKenna and
Melville both in concert and on recordings, I would definitely recommend tins as likely being an outstanding evening of baroque music.
Bodi concerts will he held at 8:00
PM at Knox United Church at
Balaclava and W. 41st Ave.
The VSO presents one of its
Masterworks series concerts, featuring works by Coullhard. l.alo (the
Cello concerto, with Arto Noras as
soloist), and Brahms on February
19di and 20th. In Ihe Great Composers series. February's spodight is on
Liszt with Jerome Lowenlhal on piano for die "Totentanz for Piano and
Ordiestra" and die "Piano Concerto
No.l" in a concert also containing
Les Preludes."die"Mephisto Waltz
No. 1." and die popular "Hungarian
Rhapsody No. 2." If the "Pops" are
more for you, Newton Wayland
will he conducting on the 11th and
12th of February as the orchestra is
joined by Elizabeth Volpe on harp
for a program mysteriously entitled
"Sophisticated Ladies."
That's it for this exciting episode, good listening for die next
month and I hope to see some of you
at these upcoming concerts!
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^ AVAILABLE^eS SEYMOUl^ST. jD^HTOWjl)JOjI^FLOOR^ FUI(| J In with the new and out with the
old, a new year with endless possibilities and an old year that
proved to be quite fruitful. I won't
bore you with my top ten highlights but lots of fanzines and lots
of all-ages shows paint a picture
of a growing scene with lots of
potential — all participants deserve recognition.
A bright idea for the new
year might be to help some people
who are trying to organize a punk/
hardcore resource centre in Vancouver. Ideas are to have a fanzine and record library, free photocopying with supplies to make
fanzines and flyers as well as a
centre-point to connect with other
people in the "scene" — a sort of
punk/h.c. hang-out. The only thing
needed is a cheap space ($150 -
$180 a month) and lots of help,
encouragement and ideas. Call
253-2660 if you have any info.
That number, 253-2660, is also
Vancouver's new hardcore hotli ne
— a service to inform others of
what's happening in the punk/h.c.
community.
Other news is the merging
of BLAST Records and Pop —
the two are now sharing space
under the same roof at 430 W.
Pender. Check it out, records,
fanzines, magazines, and everything else.
NEW TUNES!
First off, the big hit this
month has got to be the new
Evaporators 7 ". I've heard it a
couple of times now and I'm just
singing it all day long. I'm Going
ToFranceis the best song they' ve
recorded, and is worth the price
alone, but the other songs rage as
well, a real raw punk sound has
crept into these guys - busting out
those Black Flag records perhaps?
I don't know but I hope they keep
it up.
To commemorate their Dame
change, Good Horsey (formerly
known as Horsey) have released
anew cassette. It seems thataS.F.
band has beat them to the punch
and released a record with name
Horsey, causing a bit of confusion. Good Horsey's one of my
favourite locals, but this 5 song
cassette just didn't hit me as hard
as I was hoping. Maybe they're
changing, I dunno. Noises and samples that annoyed rather than intrigued. The song "Anna" has a cool
Mecca Normal feel to it but the live
noisefest bored me. Check out the
first song and get their first demo.
(Trackshun Industries, 1285 E. 18th
Ave., Vancouver, B.C. V5V 1H3)
Keeping up with dieir early
Doughboys sound u the new
Rollcage demo entitled Head. Kill
me if I'm wrong but I think it's
actually an older recording dial's
just finally getting released now. I'd
really like to hear some newer stuff
'cause I have a feeling dial it might
be different. If you like the first one
you'll like this one. (Rollcage, P.O.
Box 1206 Main Station, Kamloops
B.C. V2C6H3)
I wonder if any one will tliink
the Kim Linekin cassette is a solo
project of mine? Read closely, diat's
"Linekin," not "Kinakin." A soft-
rock type folky blues: beautiful vocals, maybe in a Joni Mitchell, Sarah
McLachlan, Edie Brickell sort of
way. The advance cassette I heard is
something I expect to see on Much
Music. I like it and so will everybody else, probably die next top
forty tune maker. (133 West 12th
Ave. Vancouver, B.C. V5Y 1T6)
Black Eyed Susan's cassette came in an attractive flowery packaging — soft jangley rock
was inside with parts that almost
"grunge-out" but don't because
they're drowned in the pretty vocals. The vocals remind me of
those on Unrest's song "June" —
beautiful, but almost too clean
and sweet if that's possible.
(B.E.S.302-1290 West 11th Ave.
Vancouver B.C. V6H 1K5)
I think Vancouver is just a
hot bed of power-pop jangle rock
that's supposed to please everyone, but doesn't. Sometimes it
gets to be too much like pablum
for me: nothing to really chew on.
Sadly, the Shademakers fall
into that category. They are trying
to please the 54-40 and Barney
Bentall crowd, yet they don't really test any new ground. Maybe
that's what "formula/mainstream"
music sounds like and most people like that kind of stuff. I guess
I'm just not like most people. Go
figure. I see dieir posters all over
the place (the Shademakers, that
is) so I guess they're dedicated
and hardworking — I respect that,
just that their music is not my
thing. (Hooey Entertainment 3334
Nanaimo St., Vancouver B.C.,
V5N 5G6)
Though I've already reviewed the advance copy, I
thought it worthy of mentioning
the official release of 12 Eyes'
cassette entitled Family Sized
Bucket. Doughboys and Big Drill
Car are the two bands dial instantly pop to mind. Done really
well, good packaging, great sound
quality — catchy and fun. Dig it.
(12 Eyes, 934 Somerset Ave.,
Winnipeg, Manitoba R3T 1E7)
Now try remembering the
name Polytek Assimilation
Project. At first I thought it was
a band and then I realized that it
was a compilation of Polytek Systems bands that I was listening to.
Polytek is a co-operative collective that caters to the industrial
scene by helping record, manufacture and distribute industrial
music. Sounds like a great idea, I
hope they do well. This tape features Children of Atom, M. Org,
MC2, Soul Control and Bolt. I
really enjoyed Children of Atom,
sorta Ministry-like with guitars
and vocals while the rest seemed
more in die Luv-a-fair house-nux-
type industrial stuff. So check it
out if that's your thing. (Write
P.A.C.S. Distribution, 2717
Franklin St., Vancouver. B.C.
V5K 1X7)
A really weird (silly?) sense
of evil humour pervades throughout the Darkest Of The Hillside Thickets cassette, entitled
Clhulhuriffomania! (pronounce
that! Go ahead, I dare ya!). I expected die music to be death metal
from the packaging but was surprised to find it quite upbeal and
sing-a-longish, in a hardcore type
of way. I can see them playing a
show widi 10 Feet Tall — must be
that whacked sense of humour.
The comment on "No Pirating"
on the inner cassette sleeve was a
valid one, but I for one believe
that tape trading keeps the scene
alive and distributes die bands
music to a lot more people than
actually selling them, and it's
quicker. (True, but how are the bands
going to be able to afford to release
tapes if they never sell any? Buy
local! - Ed.) (Write Veritable Shrine,
6122 Glengarry Dr., Sardis, B.C.
V2R 2H9...and where the hell is
Sardis?).
Who remembers the classic garage-punk stylings of Calgary's
long-defunct Color Me Psycho?
Featuring various Calgary scene luminaries (including the ex-Legen
dary Few vocalist and various Forbidden Dimension and ex-Color Me
Psycho members). The Choads
pump out organ-driven fuzzed-out
punk, in a Lyres/Color Me Psycho
style. Half of this tape is "studio"
and the other half is "live" but both
sides are equally raw and energetic.
The only real complaint I have is
that no recording could ever really
do justice to the energy this band
seems to pump out live on a regular
basis. Since various disruptive internal forces may postpone Ihe
chances of this band playing live
anytime soon, this tape may be the
only chance you have to introduce
yourself to their wildly choatic and
energetic sound. (Write to: The
Choads, c/o King Louie, P.O. Box
64252, Calgary, AB, T2K 6J1 - 12
song-cassette, $6.00 ppd.)
FANZINES!
Random Thoughts #1
(5 1/2x8 1/2- 12 pgs.)
A bunch of thoughts, ideas and
essays on things like "is skateboarding acri me?," sex-respect and rape,
info on workers rights (which is
quite cool, so you know if your
work is screwing you more than
they should be able to) and "should
I defend myself?" Hey, they like
Red Sugar, dial alone makes me
relate. Free if you find it. (P.O. Box
33, 345 E. Broadway Vancouver,
B.C. V5T1W5)
Kinder Nacht 05
(1/2 x 10 1/2(7) -28 pgs.)
A really good indie comic from
Victoria. I haven't really read many
comics lately but I find this one
enjoyable. A gang of young scooter
riding skas — I hate to expound on
my vast comic knowledge but
maybe a modern-day Archie comic
wilh a more detective type theme.
, entertaining widi re
ally good artwork. (Island Easel
Imaginations, #205-730 Vancouver St., Victoria, B.C. V8V 3V3 - it
costs $2 so maybe add $ 1 for postage - that's just a guess)
Cockroach #1 & #2
(8 1/2 x 11 32-56 pgs.)
Holy shit — I can hardly believe
something this amazingly cool and
informative could come out of Vancouver. Not that I have low expectations, it's just that the editors at
Cockroach must have high standards. Put out by the people at the
Environmental Youth Alliance, this
'zine, printed on recycled paper
with vegetable based inks, covers
topics that many of us do not see as
being interconnected. And they
present it in an easily digestible fun
way. Infoondumpster diving, natural tampons, corporate company
control, effects of pesticides on food
THE
new 6 song cassette available at...
BLACK SWAN. BLAST. BOGARTS. BOOM TRACK
BROADWAY RECORDS AND TAPES. SCRATCH. ZULU.
HIGHLIFE. HMV (RICHMOND). FUNHOUSE (VICTORIA B.C.).
SAM'S (SEYMOUR). A & B (SEYMOUR & VICTORIA B.C.).
FEBUARY |J) 4^^<\S
BY GRANT LAWRENCE
I've often mentioned that wee garden gnome Nardwuar in these
lines as he is both a terrible influence on my opinions and an age-
old friend. Quite possibly the only
difference between he and I is
that I am not a crazed man-child
bent on all that is conspiratic. It's
rare that I actually have a chance
to critique the little dork, but my
(second) opportunity has arrived
in the form of the spanking new
Evaporators 7" I'm Going To
France. For the uninitiated,
Nardwuar fronts the mighty
Evaporators, quite possibly one
of Vancouver's longest-running
bands to date (seven or eight years
now) even though they actually
hail from West Vancouver. And
this record certainly doth not disappoint cuz basically it's the musical version of Nardwuar...
crazed, ferociously fast, and
chocked to Ihe gills with humour,
spite, and of course, Canadiana.
And it totally rocks in the Northwest way. The Nardwuar packaging once again sparkles wilh a
full-colour cover, extensive liner
notes, embarrassing photos and
the between-song Nardwuar interviews, this time documenting
his run-in with Dr. Mikhail
Gorbachev. Six songs, tiny price,
big reward. Get it. (Nardwuar
Records, P.O. Box 27021, 1395
Marine Dr., West Vancouver, BC
V7T2X8).
The latest offering in C/Z
Records long-running Teriyaki
Asthma series confirms that Vancouver's Carl Newman is "hot!"
Carl's band, Superconductor.
20Eft^oSn£ifa
kick off volume nine with an absolute, eight-man perfected incredible pop recording in the form
of The La's' "There She Goes."
I'm telling you, one listen to
Carl's sugary falsetto will make
ya weep for mercy! Superconductor, for a bunch o' pathetic
sacks a' shit, you make us proud!
Stymie follow up the Men with a
quickie-rocker that at least makes
it interesting enough to get the
needle to the end of side
two... eMpTy Records'
pop-sons Crackerbash
sling in the mod-rocker
"Head Like A
Weedeater," and like most
of their tunes, it rocks.
And  of course, there's
gotta  be  some speedy,
mindless punk in any and
all comps these days, so
Trash Can School finish the bill with "Hobgoblins." Hey, didn't TAD
have a tune with that title? Oh, and fine cover art
by Mr. Ed Fotheringham...
(C/Z,  1407 E. Madison,
#41, Seattle, WA 98122, USA).
The local surprise of the
month comes from the "creative
genius" of more Superconductor Jackie;
"performing"       a:
noise-meister:
Twerdocleb on a fh
song  EP from  Bel
gium! What the fuck'
Somebody enjoys thi;
crazy bullshit? As y<
formance is there, but for me, the
sound ain't (Lance Rock, 1223
College Dr., Nanaimo, BC V9R
5Z5).
My pick o' the month goes
to Seaweed's incredibly hot-
rockin' new 45 on Sub Pop, the
highlight being their awesome,
astounding, asinine cover of
Fleetwood Mac's "Go Your Own
Way." Wait'til you hear this! It's
hot! The vocals and guitar solo
knocked me down, and the flip's
original "Losing Skin" didn't help
me get my breath back, either.
And as if I needed any more good
times, the 'Weed have also tagged
on the kick-ass Modern Lovers
classic "She Cracked," and I'm
gone! (Sub Pop).
Only the strong shall survive, so it's lucky Brooklyn's The
Devil Dogs are next in line with
their Northwest vinyl debut on
eMpTy. The Aside's "Radio
Beat" is a natural liker; a
Ramones-esque stomper with a
shout-a-long chorus. The flip's
got an equal bite with the resounding sounds of a speedrockabilly
take on that ol' chestnut "Blue
Moon Of Kentucky." Fast and
efficient, the way they oughta be.
(eMpTy, P.O. Box 12034, Seattle,
WA, 98102, USA).
Lucky Records are as busy
as the next Seattle label, as proven
with their latest release, Man Or
Astro Man?'s six songer Captain Holojoy's Space Diner. As
avid readers of this column (yeah,
right) should know, the Astro
Boys hail from the deep fried
south of Alabama, and thrive
in an instrumental
intergalaclic mayhem type o' £
way. Included on this hit-sau- ■«
ceris "Taco Wagon," (no, not J
the massive Young Fresh Fel- "•
lows hit of '90, but a Dick ^
Dale original) plus several -
other gravity-defying romps. fc
And, even though this is a full- \^
out instrumental recording, a %
detailed lyric sheet is en- 5
closed!! (Lucky, P.O. Box -
4636, Seattle, WA 98104, £
USA). *i
Let'stalkMeiceslIfirst     *|
found out about these
a totally scorchin' power-pop
cross between the Vacant Lot and
Canada's own Stand GT. Next
stop, the Meices LP.(Word of
Mouth, P.O. Box 25656, Los Angeles, CA 90025, USA).
It's often that I buy singles
right after being inspired by a
band's live set, as is the case with
seeing the boiling performance
from The Jon Spencer Blues
Explosion   at   the   Starfish
Lounge. I made my way to the
merch table to purchase a bare-
bones 7" clad only in it's paper
sleeve from Larry: merch seller,
Muff husband, and owner/chief
of the label this record is on, LA's
In The Red. The record sounds...
well, what the hell do you think it
sounds like, shit-sack? If you
said "dirty-assed-porno-soul"
yer on the right track. Oh, and
as some added stimuli, there's
some crypt-kicking sax accompanying the two guitars-
drums rock' n' roll demolition.
(In The Red, no address).
Off in the distant but always audible Washington DC,
a new group has formed from
the ashes of the Nation Of
Ulysses. They are The Cupid Car Club, M.P., and,
much the same as N.O.U.,
C.C.C.M.P. deal heavily with
overall themes  of vintage
crime and espionage as detailed on the step-by-step suicide
trainer on the sleeve. The only
real difference here is the addition of a female vocalist screaming along with Ian "Raging Bull"
Svenonius, and a more straight-
ahead rock'n'roll beat. A collector's item for sure. (Kill Rock
Stars, 120 State Ave., NE #418,
Olympia, WA 98501, USA).
Hood are not to be confused
with the now-defunct but amazing THE Hoods. Hood are an
amazingly boring British rhythmic beat-bop band of sleepyhead
proportions, sorta like Teenage
Fanclub through a 1920's gramophone. To me this record sucks
ass, but hey, you may think it's
bee-uoo-tee-ful, and if I didn't just
get off an eight-hour shift at a
take-out chicken-joint, maybe I'd
agree with you. But for now, it
sucks. They also lose points for
doing the ol'  "tuning the radio
the cupid car olub, m.p.
IM   ,
■IMM&L
gag" until their song starts.
Bullshit! (Fluff, 86 Parklands Dr.,
Loughborough, LEICS, LEU
2TD, England).
Hussy feature angry, over-
zealous female vocals that make
this creep picture a sickly cross
between Kreviss and Beat Happening. A pretty cool single, out of
Bellingham, too, but it unfortunately treads on my most hated pet
peeve: that of an overmixed drum
kick pedal! WHUMP WHUMP
WHUMP!! (Gritty Kitty, Box
5145, Bellingham, WA 98227.
USA)
Last up is a couple of 10-
inchers from the company that's
continually dominating the market, Sympathy For The Record Industry. First up is the Sympathy
Christmas  compilation  Happy
Birthday Baby Jesus featuring a
plethora of rock'n'roll hitmakers
including The New Bomb Turks,
Jacknife, Rocket From The
Crypt, The Humpers and
more, all doing their favourite
yuletide classics.  Hep, bitter,
and a needed companion for
them blue blue Christmas Days.
And    finally,    it's    The
Shitbirds!! After their smash
debut 7" on PopLlama last year,
I've been dyin' for another bite
of shit, and here she be...Oh
Joy, eight whole songs of great-
time rock'n'roll fun from the
craziest (slightly old) kids in
the USA! The amazing packaging comes complete with full
colour cover art from John K,
cartoonist/creator behind the
Ren And Stimpy Show, that perfectly captures the essence this
slobbering, dance party hysteria.
Yeeeaaaahhhhoooooo!!!! (Sympathy).
i  gues
lute garbage, but extremely collectable
(Pits Bull c/o Scratch,
317A Cambie. Vancouver, BC V6B 2N4)
punk rock record label Lance Rock has
just unharnessed a 7" by a group
of Fastbacks V friends called
Motorhoney I saw this group
live awhile back and they totally
ripped up the joint to my hopes
soared when I saw this baby on
the racks. Alas. I'm a bit disappointed by Ihe record's over-all
heavy-on-the-low-end mix/master... it's sounds sorta dill, and it
kills me to report that the per-
itaita.-,^,*.
04
humourous feature on them in
Fiz Magazine, and then had
the wow opportunity to see
them shake il live in Seattle. I
was hooked, and I needed their
rock in my possession (this
sounds vaguely homoerotic! -
ant. i'd have to agree, cool
Grant! - Id) Cut to just before
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Sat.   FEB.   5  -
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0
Ray Condo &
The Swinging Dukes
Friday, December 31,
1993
The Pitt Gallery
I must admit that I've avoided
going to any New Years' gigs
for at least ten years. Why
waste good drinking money
on inflated admission costs?
However, me and mine
decided to blow some dough
this year and the Pitt Gallery
was where we planted
ourselves for the duration.
The Swinging Dukes
play the kind of music that
goes way back to the beginnings of recorded jazz from
the 20's and 30's. Jazz is the
name it was given but the
music of that period rocked
and rolled just as well, if not
better than anything that
followed. The Dukes had the
audience up on the floor in no
time and swing they did. I
must have had a good time
because I spent all my
drinking money during and
after their set. However, as
fate would have it, I remembered that special "taxi-stash"
in my shoe. And we needed
every bit of it to work up one
hell of a sweat during Ray
Condo, whose popularity
and reputation is growing
amongst European rocka-billy
fans, needs little in the way of
introduction. He's been
spreading the good word for a
decade or more and continues
to do so in a pure and
traditional way. This night's
gig was no exception. The
joint jumped and sweat
poured on the floor, mixing in
with buckets of spilled beer
and fallen streamers. My
aerobically inclined date kept
me on my feet as we danced
well into the new year.
Fortunately, the band noticed
the possibility of the keg
running dry and insisted on
getting into the drinking
With the taxi-stash gone
and the transit buses free for
the riding, we made a vain
run for the #20. Standing on
Hastings, with a dozen or so
other revellers, we watched
the bus, packed full, drive by
with half-a-dozen privileged
riders blowing party horns
and whistles out of open
windows, leaving a mist of
salt, grime and curses in
their wake.
Norm van Rassei
Crayon
Good Horsey
The Anza Club
Saturday, January 8
The Anza Club is establishing itself as a really cool
venue for local bands.
Unfortunately, very few
people were in attendance
for this macrame-fest, hosted
by Vancouver's Trackshun
label. (Who the hell owns
macrame anyway?) Good
Horsey started late, playing
mostly new songs with the
help of their clarinet-toting
member who joined them on
their instrumentals. With
each gig. Good Horsey
seems to become more artsy
and experimental. It's
refreshing to hear something
different from Vancouver's
indie rock scene.
It was Crayon, from
Bellingham, who we
anticipated the most and
proved to be the show-
stoppers. Ten times cuter
than cub, Crayon was
dressed to impress with a
drummer donning a cat
costume complete with a
tail? Their lo-fi pop with
mega-distortion and no
attitude was music to our
earplugged ears. Watch for
their upcoming CD!
By the time Crayon
finished their set it was way
later than we had expected,
so, tired but happy, we
dragged ourselves home. All
in all, a most satisfying
night.
M & M
Flop
Everclear
Thursday, January 13
Starfish Room
Portland, Oregon's Everclear
began the night by churning
out mid-tempo, power-trio
noise that didn't keep-me interested, save for their
revved-up version of Iggy
Pop's "No Fun." I'd take Portland's other trio, Crackerbash,
any day.
Flop hit the stage without bassist Paul Schurr, which
raised a few eyebrows among
those of us there, but, nonetheless the "new guy" proved
worthy of Flop-like status.
Their set was tight and spanned
tunes past ("Anne," "Hello,"
"Circus Freak") and present
("Regrets," "Night Of The
Hunter") with a couple of
brand new songs to round
things out. Yet, however solid
their set may have been, the
members seemed a little on
the unenthusiastic side, with
guitarist Bill Campbell stand-
throughout each song and vocalist Rusty Willoughby
providing shy and unintelligible between-song banter. But,
hey, Flop are a fine band who
put on a fine show...but I
couldn't help but think how it
would have, maybe, made the
show that much better had
Crackerbash played.
Bryce Dunn
22 UlQ^uj&ZMII FEBRUARY 8
14 LONG VINY
L50
1 CUB
BETTI-COLA
MINT
2 KMFDM
ANGST
WAXTRAX
3 NEGATIVELAND
OVER THE EDGE VOL. 5
SEELAND
4 SHONEN KNIFE
BROWN MUSHROOMS AND OTHER .
VIRGIN
5 UNREST
FUCK PUSSY GALORE
MATADOR
6 LOB
STRUMPET
K RECORDS
7 FLOP
WHENEVER YOU'RE READY
FRONTIER
8 ROCKET FROM THE CRYPT
ALL SYSTEMS GO
CARGO
• NE'ER DO WELLS
GIFT Of KNOWLEDGE    r
LOOKOUT
10 TEENAGE FANCLUB
THIRTEEN
GEFFEN
11 ARCHERS OF LOAF
CKY METTLE
ALIAS
12 ERICS TRIP
LOVE TARA
SUB POP
13 VARIOUS ARTISTS
TEENBEAT FIFTI
MATADOR
14 SCREECHING WEASEL
ANTHEM FOR A NEW TOMORROW
LOOKOUT
15 PJ HARVEY
4-TRACK DEMOS
ISLAND
16 VARIOUS ARTISTS
THE MINT IS STILL A TERRIBLE THING...
MINT
17 FACEPULLER
AUDITORY SURGCAL TECHNICIANS
BANG ON
18 BIKINI KILL
PUSSY WHIPPED                             KILL ROCK STARS
19 EGOMANIACS
EGOMANIACS
SHIMMY-DISC
20 VARIOUS ARTISTS
SYNESTHESIA
DESOLATION
21 HEAVENLY
P.U.N.K. GIRL
K RECORDS
22 SEAWEED
FOUR
SUB POP
23 NEW BOMB TURKS
DRUNK ON COCK
ENGINE
24 THE NIGHTBLOOMS
24 DAYS AT CATASTROPHE CAFE
SEED
25 REVOLTING COCKS
LINGER FCKEN' GOOD...
SIRE
26 NEW KINGDOM
HEAVY LOAD
GEE STREET
27 THE SPINANES
MANOS
SUB POP
28 VARIOUS ARTISTS
VOLUME EIGHT
TOTAL
20 DEAD WORLD
THE MACHINE
CARGO
30 MEDICINE
THE BURIED LIFE
AMERICAN
31 REDD KROSS
PHASESHIFTER
THIS WAY UP
32   VARIOUS ARTISTS
DEEP DETROIT TECHNO SOUL
POWWOW
33   ENGINE KID
BEAR CATCHING FISH
C/Z
34   INSIDES
EUPHORIA
4AD
35   MECCA NORMAL
FLOOD PLAIN
K RECORDS
36   ZIPGUN
BALTIMORE
EMPTY
37    HARDSHIP POST
HACK EP
MURDER
38   ORBITAL
ORBITAL 2
FFRR
30   VARIOUS ARTISTS
CHAIRMAN Of THE BOARD
GRASS
40   TOO SHORT
I'M A PLAYER
JIVE
41   SNFU
SOMETHING   GREEN   AND   LEAFY
...   EPITAPH
42   X-103
ATLANTIS
POW WOW
43   THE SINISTER SIX
OUTTA SIGHT!
EMPTY
44   TAD
INHALER
GIANT
45   WONDERSTUFF
CONSTRUCTION FOR THE MODERN..
POLYDOR
46   GEORGE CLINTON
HEY MAN... SMELL MY FINGER
WARNER
47    MAZZY STAR
SO TONIGHT THAT 1 MIGHT SEE
CAPITOL
48   SLAPSHOT
BLAST FURNACE
WE BITE
40   TIGER TRAP
SOUR GRASS
CARGO
50   UNCLE TUPELO
ANODYNE
SIRE
FEBRUARY 94 INDIE HOME JOBS
FEBRUARY 94 SHORT VINYL 35
1 THE BOO RADLEYS
BARNEY. ..(AND ME) EP
COLUMBIA
2 THE BREEDERS
DIVINE HAMMER EP
4AD
3 PLUTO
PRETTY LITTLE JACKET 7'
POPGUN
4 THE EVAPORATORS
I'M GOING TO FRANCE T
NARDWUAR
5 JAWBOX
SAVORY * 3
ATLANTIC
6 SUPERCHUNK
RIBBON T
MERGE
7 RAOOUL
FRESH AND NUBILE T
LOOKOUT
8 GRENADINE
DON T FORGET THE HALO T
TEEN/SIMPLE
0 THORSEN
EGIL'S SAGA T
MEAT
10 JALE
EMMA V
DERIVATIVE
11 BIKINI KILL
NEW RADIO 7'
KILL ROCK STARS
12 AMIN1ATURE/SMUT
SPLIT T
RESTLESS/SPANISH FLY
13 BUTTERGLORY
OUR HEADS 7'
MERGE
14 CORAL
BOXTRUCK7-
MERGE
15 CAT FOOD
LOST CAUSE r
CARVING KNIFE
16 CHICKEN MILK
YOU GET NOTHING T
WHISKEY SOUR
17 FIFTH COLUMN
ALL WOMEN ARE BITCHES T
K
18 SILKWORM
INCANDUCE CALIFORNIA 7*
ROCKAMUNDO
10GUS
GUS7-
HEADRUSH
20 VARIOUS ARTISTS
4-SONG CHART FLEXI-DISK
CHART MAG
21 THEMEICES
THEMEICES 7'
WORD OF MOUTH
22 SISTER LOVERS
PAULA STOP PRETENDING 7
HORRIFYING CIRCUS
23 VARIOUS ARTISTS
THOSE  PRE-PHYLLOXERA YEARS 7'      BOX DOG
24 THE ROSE CHRONICLES
DEAD AND GONE . . .EP
NETTWERK
25 LAMBCHOP
NINE T
MERGE
26 THE JESUS LIZARD
(FLY) ON (THE WALL) T
TOUCH AND GO
27 GLUE
TIMES SQUARE 7'
NO. 6
28 VARIOUS ARTISTS
MERRY GODDAMNED XMAS 7'              ENGUARD
29 THE CAKE PEOPLE
STATUES 7'
NOVEMBER RAIN
30 THE SUPERKOOLS
IN MY WAY T
WORD OF MOUTH
31 MILK MINE
SUPER M 7-
CHOKE INC
32 DELILAH
DELILAH 7'
MEAT
33 THE STAND GT
SUGAR BUZZ T
TOP DRAWER
34 3DS
BEAUTIFUL THINGS T
MERGE
35 PANSY DIVISION
TOUCH MY JOE CAMEL 7-
LOOKOUT
Sparkmarker
Superconductor
Pluto
Hugo
Saturday, January
15
New York Theatre
The last time I was at the
York Theatre was, well,
before it became "New.''
Shows at that particular
venue always seemed to be
sporadic, at best, but I
hope this all-ages show of
local bands is an indication
of things to come. The
band selection seemed to
be well balanced: two up-
and-comers paired wilh
two well-established
Vancouver bands. Enticed
with a guest list promise I
managed to drag my sorry
ass in the door just in time
to catch Pluto's beginning,
having already missed
Hugo's set. Judging by
comments ranging from
"They rocked my world" to
"You missed absolutely
nothing," whether or not
Hugo put on a good set
seemed to be very much a
matter of persona] taste (isn't
it always?). [With "a guest
list promise" you should
have at least had the
courtesy and respect to get
there on time and exercise
your own personal taste...like
a responsible reviewer
should - Ed]
Starting their set off
with a brilliant Cars cover (it
has to be heard to be
believed). Pluto rocked in
that pop-with-an-edge kind
of way. Considering that
every song they played was
vastly superior to the songs
on their 7"—don't get me
wrong, I like the single-
Pluto seems to be a band that
will get better and better.
Superconductor put on a
fairly lacklustre set (save for
1 TIGER BEAT
BOUQUETS AND KISSES
2 SPARKMARKER
SPEAKING   OF   HEROES
3 GOOD HORSEY
HOW OSWALD BASTABLE RUINED MY LIFE
4 GOAT BOY
DEAD
5 KD CHAMPION
SEVEN  fORTY SEVEN
6 THE SURFDUSTERS
SAVE   THE   WAVES
7 MEET DAISY
SHINY
• REAL MCKENZIES
1 AM A SCOT
• THE GOOCH
COMPLEMENTARY    NACHOS
10 MARK (FROM HORSEY)
SPRING   CHICKEN
11  SISTER LOVERS
DREAMING
12 HJOULIE
PAVEDRVR
13 BLAISE PASCAL
SPOTLIGHT K1DD
14 10 DAYS LATE
UPON THE ROOf
15 BLACK SUNSHINE
IMAGES
16 HONEY
PILLOW KNIVES
17 DARKEST OF THE HILLSIDE THICKETS
TARRED AND fEATHERED
18 HUGO
TIME  Of  DAY
19 CONSPIRACY A GO-GO
MAMACITA
20 TERROR T AND THE BEAT ASSASSIN
\TOR                                     TRUE 2 THA GAME
21 CHIXDIGGIT
HIV
22 CHILDREN OF ATOM
AQUAINTED   WITH   THE   NIGHT
23 THE BIT TUBE SYRUP
SCREW YOURSELF DOWN
24 KIM LINEKIN
ALWAYS   CLEANING   UP   AFTER   YOU
2S CURTIS
JULIANA
26 THE MINSTRELS
JULIA'S  EYES
27 THE VINAIGRETTES
FISHING    FOR   A   TROUT
26 THE REDENBACHERS
NOTHING   LIKE   YOU
26 ERIC ESTRADA AND THE VELOUR NATION                                                      DORK
30 THE LEATHER UPPERS
1  DON'T LIKE YOU  (VERY MUCH)
HOME    BASS
COUNTDOWN    TO    ARMAGEDDON
,
LENNY D VS DJ EDGE
SILENCE OF ETERNITY                             EDGE/UK
2
SCAREMONGER
SOON WE ALL WILL HAVE..                 PRAXIS/UK
3
UP ABOVE THE WORLD
TRYING TO REACH YOU           EXIST DANCE/USA
4
THE RISING SONS
AFGHAN ACID                     XPERIMENTAL/USA
5
TOHUWAHOBU
FUCKING HARTCORE       HART TRACKZ/BELGIUM
«
ISA GOLD
UPSOLUTEEP                                  TENSION/USA
7
TEMPODROM
THETEMPODROM     FRANKFURTBEAT/GERMANY
8
FORCE MASS MOTDN
PANIC                            RABBIT CITY/GERMANY
TIP OF THE ICEBERG LP                        REACT/UK
10
CJ BOLLAND
CAMARGUE (REMIXES)                 R&S/BELGIUM
guest-guitanst Jean Smith's
enthusiastic leaping about) but
since it's been a couple of
years since I last saw them, I
found the endless smoke
barrage and army of guitars to .
be highly entertaining.
The band of the night
had to be Sparkmarker. who
put on an amazing sei. They
seem to get better every time
they play and their soundman
managed to give them the best
sound of the night.
It's been a long lime
since I've seen people
enjoying themselves as much
as this at a show and even
longer since I've enjoyed
myself like this at a show.
Tom Milne
FEBUARY  Q) Association Choir and John P. Kee,
to back her up.
Every essential element that
makes up a great Gospel album is
captured on this recording. Her last
album was a Grammy winner and I
wouldn't be surprised if Standstill
claims that same respect, as well.
Check it out and prepare to be
Vince Yeh
UNDER REVIEW
BIKINI KILL
Pussy Whipped
(Kill Rock Stars)
The other day on Sally Jessy
Raphael a woman on the panel was
talking about the age when she
began to distrust her own body.
She remembered being six and her
mom saying,"Don't walk like that
in front of your father." Whenever
I hear the music of Bratmobile,
Heaven's to Betsy and Bikini Kill
I think of young women renouncing
all the gender stereotyping that
starts in childhood. The music is a
reclamation of        girlish
rambunctiousness and open
sexuality suppressed at an early
age by disciplinarian parents and
too many other oppressive forces
to list. A lot of men I know don't
like this music because in their
opinion, it's too simple and sloppy.
What they're missing is that,
lyrically, this music speaks to
women first and foremost and its
loud sloppiness can sometimes
strike a nerve only in women who
are generally taught to be more
orderly, restrained and quiet dian
men. Anothercomplaintl'veheard
is that when women try to shriek
and yell they sound like little girls;
their voices aren't suited for punk
rock unless they've been heavy
drinkers and smokers and have
acquired a husky, raspy caterwaul.
It's true that Bikini Kill's Kathleen
Hanna sounds really young when
she yowls and growls but her voice
fits perfectly with the lyrical
rejection of socialization Uiat begins
when we're in diapers.
These girls are foul-moudied,
noisy and they sing about such
taboo subjects as fucking,
oppressive male sexuality and
female camaraderie. It's about girls
knowing each other better than any
male lover could. Pussy Whipped
is about boys' shortcomings and
girls' friendships. It's about sexual
and mental frustration. Don't pass
Bikini Kill off as some squawking
girl rawkband because there's a lot
more to them than that. For a long
time girls haven't been able to
completely relate to the sentiments
expressed by male punk bands so
now's the time to rock out with die
girls who can sing lyrics like: "I
Pussy Whipped is twelve
songs to remind you that you can
walk, sing, play and say anything
you wanna without fear of
recrimination. Let go of fear.
Kirsty Smith
m. I ci
1.1 a
Why?.'
SHIRLEY CAESAR
Stand Still
(Word)
Shirley Caesar defines the term
"soulful." If she ever decides to
replace die word "Jesus" in her
songs wilh the word "baby" she
could be wealthier than Aredira
Franklin and more famous than
Whitney Houston. Fortunately, no
material wealth or fame will distract
her from her devoted Gospel
singing.
While in her teens Shirley
joined die legendary gospel group,
the Caravans, which featured great
singers such as Albertina Walker.
Inez Andrew and the young crown
prince of gospel, James Cleveland.
The Caravans criss-crossed
America during the '50s and
became a symbol of excellence for
AfroAmerican music. Their style
later imitated by groups such as the
Supremes.
Currently, Shirley remains as
one of the most influential persons
in gospel. Her music blends
traditional soul singing wilh
modern funk rhythms; the roof-
raising singing and the sanctified
"backbeats "are mixed in wilh funk
accompaniments to create a
perfectly combustible gonad. Bui
when Caesar is bluesy she can truly
get down and bend those notes, and
in the next breath she can turn diose
blues into jubilant shouts. On her
new album, Standstill, she employs
a host of well know Gospel artists,
such as O'landa Draper and the
Free Snot of Jesus isn't for
everyone, that's for sure, but those
of us who are twisted, sarcastic,
disaffected and disillusioned
sickoids just might derive a little
pleasure out of this recording.
Sverd Ed
THE MEANIES
Televolution
(eMpTy Records)
INTERNATIONAL SECULAR
ATAVISM
Free Snot of Jesus
(Varmint Records)
You've no doubt seen the ads,
maybe you've have also seen the
stickers plastered around town,
now, if the desires possess you,
you can buy the CD. A word of
warning, this is not a music disc, as
such, rather a spoken-word
alternative to that which is already
found on the radio and the idiot
box. There is plenty here: social
commentary, humour,
commercialism, family values, sex.
atheism, and revelation.
Did you know that Jesus had
a tail? Do you suffer "Throntal
Disfunction"? You probably do but
don't know it. Scribes Z-Harvey-
Oswald-27-Z and J.B. are the late
co-founders of the International
Secular Atavist North American
Radio Network, which broadcasts-
weekly on CJSF and numerous
other university stations on both
sides of the 49th parallel, and on
this Free Snot of Jesus they have a
pretty healthy go at the many
"Christ-mongers" convinced that
they have the answers winch some
of us mortals seek. By using the
same basic methods that they attack,
the Scribes run the gamut of
religious commercialism and are
so bold to include some broadsides
diat they have themselves received.
The grand finale, the final word in
fact, comes courtesy of Christian
radio host Bob Larson.
Besides needing a sense of
humour to enjoy this disc an open
mind would also help. It's no
surprise that the Secular Atavists
have been threatened by those with
none of the above. Such is life. Or
i s it ? Free Snot of Jesus encourages
us to think of this and many other
"facts" that just don't hold water in
this age of virtual banality. For
example, did the body of Jesus
really rise after his death or did the
carcass somehow remain here on
earth, eventually ending up in the
larder of Scribe-Z-Harvey-Oswald-
27-Z? The Scribe asks the question.
"How do you de-bone the Jesus
carcass?" Not an easy question for
an unsuspecting store clerk at the
Christian bookstore to answer.
Nothing like the anonymity of the
telephone for talcing the mickey.
NEW BOMB TURKS
Drunk On Cock
(Engine Records)
The Meanies and the New Bomb
Turks are, indeed, two slightly
different bands that share many
similarities. As well, both bands
are in a group of many (Action
Swingers, The Devil Dogs, the
Fumes, Supersuckers and Zipgun,
to name a few) that appear to be
poised at cashing in on the
resurgence of interest in '70's-
styled punk. Televolution and
Drunk on Cock should both fit the
ticket nicely for fans of bands
mining this vein of punk rock.
In '92 the New Bomb Turks
released their debut LP, Destroy-
Oh-Boy!—wild, energetic and,
above all, raw. Rock. Real rock. A
slew of seven inch singles soon
followed and some of them even
equalled the greatness of this first
LP, but not all of them. Drunk On
Cock is similar to those seven
inches: a completely hit and miss
release. While there are exciting
moments here the formula has, for
the most part, seemingly worn thin.
The Meanies, from Australia,
face a dilemma all too similar.
While being a raw and frantic, fast-
paced, punk rock record,
Televolution fails to produce any
excitement and, ultimately, comes
across as somewhat generic and
one-dimensional.
For those unfamiliar wilh this
genre of music, picking up the New
Bomb Turks' Destroy-Oh-Boy! is
a highly recommended starter,
otherwise, both of these releases
are for the diehard fan only.
Eric FYH
BLAKE BABIES
Innocence and Experience
(Mammoth)
To be honest, up until awhile ago,
I was a bit sceptical about the whole
Juliana Hatfield bandwagon. I had
die suspicion that she was just being
heralded by the press because she
and Evan Dando make such a nice
rock star coupl-much more
attractive and wholesome than
those horrible Cobains. But any
such scepticism has been blown
away by Innocence andExperience,
a compilation of her work with the
Blake Babies (essentially, her
equivalent to Bob Mould's Hiisker
Du). The Blake Babies formed in
the mid-eighties and a large chunk
of Innocence and Experience
consists of their 1987 Earwig
album, recorded years before all
the post-Nirvana, post-Lemon-
heads,post-Dinosaur Jr. plagiarism
took place. So I can't criticize the
Blake Babies on that score. Or,
indeed, on any other score.
Innocence and Experience is
reminiscent of the Sundays' work
and Hatfield sounds very much like
that band's vocalist, Harriet
Wheeler, with a Boston twang. Like
Wheeler, Juliana also has one of
the most eminently shaggable
voices you could ever hope to hear.
It has this wonderful child-like
quality married to sharp, sassy
lyrics ("Save your spit for when
you shine my shoes"—"You Don't
Give Up") which summons up
images of a really cute eight year-
old with an axe.
Songs like "You Don't Give
Up" and "Lament" are glorious and
just prove how great indie rock can
be if it's done well. My particular
favourite is "Temptation Eyes," the
lead track on their last release, Rosy
Jack World. Full of stupid, cod-
French babblings and a hopeless
sweetness "Temptation Eyes" is
packed with so much personality
that it gets away with it.
Conclusively, Innocence and
Experience bears testament to one
of the great forgotten pop bands of
the last few years.
Simon Hemelryk
Jessica Rabbit style that makes you
want to grow a goatee, put on a
beret and say "Cool, daddy-o."
While a majority of the songs
are performed by Annie Ross and
the Low Note Quintet, a few big
names are sprinkled throughout this
release (much like Altman's
films)—featuring four songs
written by Dr. John & Doc Pomus,
one by the Bono & the Edge, and
feature performances by Iggy Pop,
Michael Stipe (R.E.M) and Terry
Adams (NRBQ). Most importantly,
none of the tunes sound like cheesy
lounge songs; these are good, dim-
lit, smokey lounge songs and well
worth checking out.
Brian Wieser
VARIOUS ARTISTS
Short Cuts: Music From
and Inspired by the Film
(Imago/BMG)
Not entirely confident about my
abilities to categorize jazz I think it
would be fair to describe the bulk
of the soundtrack to Robert
Altman's Short Cuts as cool jazz. I
don't know if it could be defined as
such but it's
certainly jazz
LES BONS A RIEN
Advienne Que Pourril
(En Guard)
In the En Guard tradition of punk
rock, Les Bons A Rien (the Good
For Nothings) offer up 17
unrestrained tracks on their first
full-length release, Advienne Que
Pourri! This is "refined
aggressiveness;" powerful, old
school punk rock, at its best,
delivered from Longueuil, Quebec.
Reminiscent of the young,
aggressive sounds imported from
England but developed in North
America, circa Black Flag,
Descendants and 7 Seconds.
Advienne Que Pourri! is an
enjoyable listen. Chock full of tasty
surprises, die songs are varied and
musically adept enough to hold
interest for tracks which last close
to 4 minutes. Overall, this first
effort from Les Bons A Rien
Overall eclipses all other En Guard
releases to date.
Yup, if you like your punk
fresh and meaty, buy this album.
My only criticism is that in the
future, Les Bons A Rien will have
trouble matching the clever
consistency  achieved  on  this
Miles Davis
or Charles
Mingus I'm
the sub-
genres.   But
listen to
nothing  but
you'll have
heard this
stuff. It's that
Peggy  Lee/
HEY WEEDBAG.
Stuning array of
blunts and dopebeats
needed for smoking
indie label.
Hemp-hop and you
don't stop.
Send demo, tape, etc. to:
NATION
UNDERGROUND
305-68 WATER ST.
VANCOUVER, B.C.
*r disque. Advienne Que Pourri
leaves little room for improvement
(a good thing) but old school can
only go so far. Oh yeah, the lyrics
are composed and sung in French,
"for all you terminal Anglophones
out there," so you can decipher the
socio-political messages with your
grade school French you thought
you'd never use. Good for
something.
Skyler
ALCOHOL FUNNYCAR
Time To Make the Donuts
(C/Z)
GNOME
Fiber Glass
(C/Z)
C/Z is well known for signing
talented bands. Their new additions,
Gnome and Alcohol Funnycar, are
no exception. Both bands are
promising successors of the
American rock tradition built by
bands such as Cheap Trick, Hiisker
Du etc.- memorable melodies are
the main elements of their music.
On top of that, they cleverly spice
up their songs with catchy guitar
riffs and driving rhythm sections.
Time To Make The Donuts is
Alcohol Funny Car's second CD
release. I was quite unsatisfied after
listening to their first CD EP simply
because it was too short. This
current release contains 10 well-
crafted songs and a very full sound
despite the fact that they are a trio.
This may be attributed to every
band member sharing the vocal duty
during the choruses...
Likewise, Gnome blends
guitar noise and melodies
seamlessly in all the songs on Fiber
Glass. There is no musical
innovation on this album Gnome
does quite a good job of mixing a
bits of classic rock with pop and
plays it with a lot of punk rock
attitude.
Vince Yeh
if
VARIOUS ARTISTS
The Beavis and Butthead
Experience
(Geffen)
I read it somewhere, a long time
ago, that the intellect of the average
TV audience was that of a fifteen
year-old. Like I said, it was an old
statistic and with the rise of Beavis
and Butthead to TV-stardom, in
desperate need of revision. It has to
have at least six years lopped off of
it to accommodate these guys. The
Beavis and Butthead Experience is
exactly what you'd expect: songs
by various cool bands, a lot of
poindess laughter, stupid stories
about taking a dump on Anthrax's
tour bus, and the obligatory track.
The high points, however,
include a Steve Albini produced
Nirvana song, Iggy Pop's "Search
and Destroy" covered by the Red
Hot Chili Peppers and a great
rendition of the Beastie Boys'
"Looking Down the Barrel of a
Gun" by Anthrax.
Beavis and Butthead sum up
their Experience best themselves:
"Hey, Butthead, How come, like,
some stuff sucks but then some
stuff is pretty cool?"
"Uh (heh-heh) well (heh-
heh), if nothing sucked and
everything was cool all the time
then how would you know it was
cool?See, you need stuff that sucks
to have stuff that's cool."
Wow, I just realized that I
have a cool CD collection.
ERI
BZJAM
Welcome To Honkysville...
(Sugarshack Productions)
Talkin' 'bout local action,
Vancouver homeboy BZ Jam has
teamed up with DJ Sugar Ray for
the first hardcore rap album.
Welcome To Honkysville..., to come
out of here ever, props for that
alone! ). With a vibe somewhere
along the lines of Cypress Hill.
...Honkysville still has a rougher
street edge.
"Live @ the Shack" wuz the
first track to catch my ear, with a
funky bassline and a whole gang of
rappers gettin' ta go for theirs, and
doin' a crazy Pharcyde parody at
the end that is uncannily close to
the original. "Once Upon A One-
Time" gives a breakdown on some
of the problems BZ Jam has had
with the cops (more like the
problem they have with him) jus'
'cause they judge certain people
guilty first... In "It Ain't Greek To
Me" BZ Jam breaks it down in his
mother tongue for the Greeks out
there that got his back, and slams
on all the white homeboys tryin' to
be black ("Caucasian 'N' Proud").
In other words accept your colour
and get on with it, true to 'self, no
fakin'. Support local rap and get
the fuck out ther and buy it!
Adam Sloan
ROSE CHRONICLES
Shiver
(Nettwerk)
Just like you'd expect a studio
produced CD to sound, Shiver is
lush, ethereal ambient. Virtually
Shiver represents the Rose
Chronicles as they sound live. They
could have recorded this straight
from the soundboard at a gig and it
would have sounded pretty similar
, right down to the thick, effects-
laden guitars, flowing bass,
grooving drums and insequential
leaps of soprano vocalist Kirsty
Thirsk.
This full-length follow-up to
the Dead and Gone to Heaven EP
its predecessor. Fortunately, only
one song "Awaiting Eternity,''
appears on both CDs but the new
version has been remixed by Alan
Moulder (of Curve fame). Maybe
my ears aren't particularly acute
but I couldn't detect any significant
difference. Regardless, this is an
excellent CD and I recommend you
give it a listen.
Brian Wieser
VERTIGO
Nail Hole
(Amphetamine Reptile)
I used to frequent a friend's house,
an enormous beast of a home
complete with shag carpets and a
single room basement which we
called affectionately, the House of
Pigs. It was home to some of the
most outrageous parties, ever. I like
Nail Hole because it reminds me of
the House of Pigs. Not that it was
ever played there but because it has
some of the same qualities of that
place: cheesy and sloppy yet
comfortable and fun.
ERI
SLOWBURN
Sparked
(Velvet Artists)
Vancouver's Slowburn is the
newestembodiment of their former
self, an act called the Catherine
Wheel [Legal actions may be
pending yet again as there is also,
like this should come as any
surprise, a band from the UK
called... Slowbum. Ed] Sparkedis
the band's first full-length release.
Slowburn has a basic, clean
grunge style. Grunge without the
dirt. Kind of like those people who
buy new jeans and rip them up so
they look worn. But not quite like
that either. The changing style of
an a compilation of several different
bands, including Nirvana, Soul
Asylum, the Skydiggers, dag nasty,
and the Grapes of Wrath .However,
the constant element of their music
is soft, rhythmic and melodic. Their
music is perfectly controlled and
tight but it has no edge or raw
feelings to it.
Tricia Klein
ONE DOVE
Morning Dove White
(Boy's Own Production)
Usually, I wouldn't be into a band
with a name such as One Dove, but
I first heard their debut song,
"Fallen", two years ago. and I fell
under the spell of the trance-like
sexiness of the beats. Anyhow, back
then it was on vinyl, extremely
hard to find and hard to pay for. But
eplea
life - I didn't have ulcers, fina
problems, balding, etc... Maybe
that's what One Dove means to
me: a wonderful hazy memory.
Even if it only rekindles memories
of a fun-filled, pseudo-innocent
summer of two years ago, so be it.
As ambient house music goes
One Dove isn't anywhere near the
techno-hypnosis of the Orb, but if
you enjoy St. Etienne you'll
probably find Morning Dove White
incredible. It's, basically, well-
crafted, rumbling basslines to a
woman's post-orgasmic whisper
and, therefore, not particularly
lively. More for the armchair
crowd. Overall, impressive and
worth the two year wait.
Christian
DDDDDDDDDDDDDDDDDDDDDDOaODDDDnDDDODDDDDDODDDDDDDDODDDDODDDDDDDDDDDDDDDDDDDDDDDDDDDD
Hey, lads! Gotta start off by saying
howdy to Vadim Chay kin waaay out
in Cjurupinsk, Ukraine. Wow! The
tapes are on the way, Vadim! Same
goes for Sara in Prince George
(sorry!).
A whole spate of nasty stuff is
coming out on CD in the next month
so be sure to look out for Katy Sagal
(Peg Bundy from the used-to-be-
funnier Married With Children) taking a stab at singing, around March,
as well as soul dinosaur Lionel
Ritchie's(?!)firstthing since the '80s.
Long overdue is something from
Much Music mannequin Monika
Deol.
This month's selections contain a whole whack of CDs—for
some reason there have been some
very odd discs that have come to me
in the last few weeks. Even though
I'm a vinyl kind of guy these are
definitely are worth a mention. A last
minute parcel, dropped at my crib by
local artist Lunar Suede, saved me
from changing formats completely.
He was crazy to part with this:
RAUNO LEHTINEN
Letkiss
(RCA Victor)
At first I thought this record was
called Let's Kiss but, instead of a
smooching training LP, what Rauno
& the Finnish Letkiss Allstars deal
us is sort of a cross between a bird
dance and polka beat. It's the dance
simple enough for you to do if you
had a quart of vodka in your belly, I
reckon. Great shot of some cats
letkissing their asses off. Wacky hi-
jinx to be had!
Genre: World Beat
Checkability rating: 85
More courtesy of Lunar Suede
next month but, now, the first of two
from the ever-versatile Caroline:
RUMP
Hating Brenda
(Caroline)
Rump's CD is a real head-shaker.
Those not in the loop might not have
heard of the / Hate Brenda newsletter, an odd little 'zine solely concerned with the writers' disdain of
Beverly Hills 90210's, Brenda Walsh.
That a little one trick pony of an idea
like that can get enormously popular
enough to inspire a CD of song style
parodies shows how odd Americans
can be at times. There are some pretty
funny songs on here, though, like the
All-ish pop punk "Every Day is
Brenda Day", and "#1 College Radio Grunge Hit" among others. The
disc would have come off better if
they had turned over the vocals and
raps to more talented people. There's
a very long hidden track(s?) as well,
a kind of industnal-oom-pah-pah
thing. It's definitely worth having on
the short term, but now that Shannon
Doherty has bolted, and I don't think
Tori Spelling can carry the show, the
disc'll   disappear   along   with
Doherty's career. So pick it up now,
while it's affordable.
Genre: Phifteen minutes ofPhame
Cheezability rating: 80
NO STRINGS
ATTACHED
THE BARRY GRAY
ORCHESTRA
No Strings Attached
(Castle Classics)
Courtesy Rob Harrison
This is definitely something worth
having! A collection of theme songs
of the great Gerry Anderson TV
shows of the late '60s - early '70s.
Gerry and Sylvia Anderson pioneered
Super-Marionation (no, it's not a
Nintendo game, schmuck), a completely off the wall idea that took
puppets and passed them off as characters. I don't recall there being anything else like it, or what sort of
chemicals they used to come up with
it, but these shows flourished in Britain when they came out, and still
have enormous cult followings today. Featured on the disk are the
themes from The Thunderbirds, Captain Scarlet, The Mysterions, and
five others. The coolest cuts are Joe
90, The Theme from Stingray and a
song from The Thunderbirds, Parker
WellDone.' featuring Lady Penelope
and her servant Parker. It starts off
with a little song, then veers off 180
degrees intoa little adventure clip for
about 4 minutes, only to come back
intothesong! Odd. This disc doesn't
have cuts from the Andersons' later
series, like UFO or Space: 1999. but
those starred real humans anyway.
Genre: Puppetry In Motion
Cheezability rating:90
THEE PSYCHOSONIC PICK
O'THE MONTH!!!!
VARIOUS ARTISTS
Incredibly Strange Music
Vol. I
(Caroline)
This gem is the companion to the Re/
Search book of the same name that I
reviewed last summer. Compilers
Andrea Juno and V. Vale have served
up a cornucopia of very hard to find
music, literally riddled with drool-
inducing weirdness. Case in point:
the cut "Will to Fail".alittle number
from Katie Lee's LP of therapy
songs, called Songs Of Couch &
Consultation,' in which she comes
up with a Rosemary Clooney-ish
tale of her current neurosis. Or for
you industrial types with all those
damn holes in yer bod. check out
Dean Elliot's "Lonesome Road",
where mid-sixties muzak is augmented with car horns, metal objects, air compressors, and assorted
other machinery. It lies somewhere
between Test Department and Spike
Jones! There are thirteen tracks in
total, well worth whatever the
shops'11 gouge you for it. I only
have two beefs: The liner notes are
lacking, which is probably not their
fault (the book is more detailed, though); and I sorta
wish I had access to enough
jack to be able to put out a
CD like this, instead of my
goofy li'l tapes!
Genre: See Title!
Cheezability rating:
100
'S'all for now! Keep
those letters coming, and
of course, the goodies!
I'm redesigning the tape
covers, adding things
like legible liner notes
'n' stuff, so those of you
with tapes I'll send the
new covers out pronto. I'll have
a new address by the time you
read this, so send whatever care
of CITR at the address on the
masthead. Toodles!
© Fib. 21 -An historic event tonight... Carnegie
Hal Dec. 25,1949. Bud Powell (piano) and hisTiio.
The Sous ol Modern Jazz... Powel and his rhythm
section (Curiey Russel, bass; Max Roach, duns)
plus Miles Davis (trumpet), Bennie Green
(trombone), Somy Stilt (alio) and Serge Chatoff
(baritone sax) and Charlie Parker (alto and leader)
andhsQunkH Whal a way to spend Christmas!
Fib. 21 - The IncredMe Jazz Guitar ol Wes
Montgomery" aboulsaysil all. Wes was a man who
seemed to sum up all the developments and
establish his own style and he is sfl a mentor lor al
Ihe young Jazz guitarists today Never a drug or
drink user, Wes died tar bo young of a heart attack
on June 15,1968 at 43. Wes Ives tonight with one
of his Snest albums.
SCREAMHG INCONSISTENCIES - Part 1 12:00-
4:00m: As our tangents increase I actually think
I might be getting somewhere. Entertaining, awakening and confusing I take you on a bur of old
UAOONNA DEA THWATCH 1:00-11 MAM Bryce and
Brady babble on about bourbon and boogers.
HELEN'S HUT 11:00AM1:00PM Brrr! Its cdd out so
ON THE DIAL
herelamdrshri'ou
andWeer
SUNDAYS
ARE YOU SERIOUS? MUSK B.-O0AM-12:00PM All
of time is measured by its art Most broadcasting
shuns art tor incestuous marketmusic This show
presents the most recent new music rem around
hewortd. Ears open. Hosted by Paul Steenhuisen
andlanCruldiley.
THE ROCKERS SHOW 12:15-3:OOPM Reggae ma
al styles and fashion. Mike Cherry and Peter
SOUL CHURCH 3:00-5:00 PM Alternating Sundays
with Brent Argo. Vancouver's only program devoted entirety b African- Canadian and African-
American Gospel music. Your rotating hosts are
Hb. 27 • The Wastingbn Stab Mass Chdr
■vein concert Recorded by our engineer Adam
Soan whie they played at the SUB Balroom on
Nov. 19,1993. Tune in and sang along!
BLACK MUSK 6:0O-6:O0PM Everything from the
African-American tradition Bkies, Gospel, Jazz,
Sou". R&B, Funk, Hip Hop, and current Dance
Tracks. Mouldy vinyl b shiny CD's. You: host
Lachlan Murray.
LULU'S BACK M TOWN 8:00-S:OOPM No cotton or
even a cotton pory blend, Vinrtie Carped and
Somy Prince brng you one hour of pureighbants,
bat" hugging, crooning POLYESTER!
GEETANJAU 9tfO-10:0OPM Geetanjati is a one-
hour radio show which feabres a wide range of
music from India This includes classical music,
both Hindustani and Camatic, popular music from
Indian movies from tie1930'stothe1990,s,Semi-
dassical music such as Ghazats and Bhajans,
and also Quawwais, Foil Sengs, etc. Hosted by
J.Dhar.A.PatelandV.Ranjan.
RACK FREE AMERICA 10:00PM- 12:00AM Join
host Dave Emory and colleague Nip Tuck lor
some extraordinary poitcaf research guaranteed
to make you rink twice. Bring your tape deck and
two 090s. Originaly broadcast on KFX (Los
Altos, Catena)
MONDAYS
THE MORNING SHOW 7:30.8:15AM Wake up with
the QTR Morning Show. Al fie news, sports and
weather you need to start your day. Plus whafs
happening al UBC each day with UBC Digest a
feabre interview and more. Topped off with (he
BBC World Service News at 8.00AM. Irve Irom
London, England.
BREAKFAST WITH THE BROWNS 8:15-11MAM
Your favourite brown-sters, James and Peter,
offer a savoury blend of the famiiar and exotic in
an exciingty luscious Wend of aural defghts! Tune
in and enjoy each weekly brown plate special.
THESTUPIDRAC4OSHOW11:00AM1:00PMWith
your host, Gourd. Co-starring Rog, as that guy
who hangs around. There is no longer a noon
feabre of Crucifix in Your Ear1.
MEKANIKAL OBJEKT NOIZE 1:15-3:00PM CiTR's
only all industrial / ambient show with different
leabres every week. With your dj pals June and
Ren. Sarah is as dead as a bug can be
STRAIGHT OUTTA JALLUNDHAR 4:00-5:00PM Let
IXTs Jindwa and Bndwa immerse you in radioactive fjrHj^al-Chakkhdephutay". Listen toal our
favorite Punjabi tunes - remixes and originals.
26 n^cjSjLTT£g_n
and more. Weekdays wih host Ian Gunn.
THUNDERSTRUCK 5:3<W:0OPM CiTR's weekly
wrap-up of even/tiling anyone needs b know
about UBC Thunderbrd and intramural sports.
THE PEAKING CANUCK 7:00-9:OOPM If you are
suffering an identity crisis you may want b tune
hb this show more tian once. Your host Bob
Wriskxi ctverides Canada in 20h Century sound
every second week.
THE JAZZ SHOW 9:00PM-12:00AM Vancouver's
longest running prime lime jazz program. Hosted
by the ever-suave Gavin Walter. Feabres at 11.
Feb. 7 - Once again drummer, leader Lois
Hayes takes the spolight (he was feabred last
month) but lis time ifs his irst date under his
name. A great ine-up Nat Adderiey (comet),
Barry Harris (piano), the great Sam Jones (bass)
and most importantly Yusel Lateef on tenor
saxophone who steals the show. Check it out!
Fsb.14-Toright in honour ofValenlne's Day
a selection of balads by some of our greabst Jazz
artists. . . Somy Roths, Mies Davis. Charles
Mhgus, et. Romance h the air
BLOOD ON THE SADDLE 1:15-3:00PM Country
music b scrape he cowshit off your boots b. Will
yer host-poke Jeff Gray.
MARY TYLER MOOR E SHOW 3:0O-5:OOPM WOMEN
INMUSKANDGRRRLS IN MUSIC; TWOHOURS
OFWFOANDRAWK. YADONTNEEDA PENIS
TOBEAMUSICALGENIUS! CORAL ANDTRISH.
MEET IDA BEAN 6:00-7:OOPM Rap, hb hopand
Super Dope Lyrics- so ly hatyoull do 3-5 just for
gelling caught (stenhg to tha stuff. Request are
taken if you can get through on he phone! Ida
Bean's on he ip!
THE UNHEARD MUSIC 7:00-9:00 PM Meal tie unhad
where he unheard and the hordes of hardy herd
are heard, courtesy of host and demo drector Date
Sawyer. Herd up!
WOLF ATTHE DOOR 10:(X>PM12:00AM Alternating
Tuesdays wih Stamina Daddy. The latesth dance
music and interesting drama every second week.
Wih Lupus Ycnderboy.
STAMINA DADDY 1 CkOOPMf 2:00AM Bootsies on he
stirrups and he speculum is always warm. Wih
your hosts: Bepi Crespan and Greg. Alternating
with Wofl at the Door.
AURAL TENTACLES WDNVTE-VERY LATE Warning: This show is moody and unpredictable It
encourages insomnia and may prove b be hazard-
2:00 WWOD hosted by Pierre may not be suitable
lor he entire famiy.
WEDNESDAYS
THE YAOHTCLUBl1:30AM1:15PMAnautical lour
of he four comers of he musical world. Drop
anchor. Hosted by Matt &D J. Gav.
NOOLEY TUNES 1:154.00PM Spinning he best and
worst of CiTR's playist, only the most original
requests wil be remotely considered. Emphasis
wi be on new material from around he world,
regardless of musical classification.
NORMAN'S KITCHEN 3:00-5:00PM We've seen
Bemice Gerard in leathers! Realyl! Withyour host
the Reverend Norman, the Bemice Gerard of
RawkriRoT
ODDLY ABOUT SQUAT 5:3O-6:00PM: Roving
leabres on whatever the hell fed lie doing.
ESOTERIK 6:00-7:00PM Vitalized,
ratiogasmikrutirekore, rjost-apocatyptik musft b
pf ay Dung ecus and Dragons to. Wih Kusfckians
OPEN COUNTRY JOY 12*MKKIAMtSTWED.Cf
EVERY MONTH. Don't let he ?m?0? fodyou.
TALES FROM THE INFINITE UVMGROOM 12:00-
?:00AM 2ND, 3RD, 4TH WED. OF EVERY
MONTH. Joh Chris Pariah as he guides you
through the scapes and dream images of the
InlnileLivingroom, heonly place where the utterly
absurd meets he profoundly meaningless
THURSDAYS
SHOUR-OJMVA 7:30-9:00AM Shour-onava are
names of two mah modes of Iranian music. This
7 pop r.
lie, mystic, old and contempo-
Azerbaijani, Kurdish, Lori, etc. are covered. We
realy Ike b hear kom al of our rsteners lo be able
to gear he show towards heir tastes. Hosted by
Mohammad.
MID-MORNING COCKTAILS 10:00-11:30 AM Let he
dulcet (ones of Tartia and her superior musical
tastes ease you hb yet anoher day of existence.
CANADIAN LUNCH 11:30-1:00PM Toques, plaids,
backbaoon, beer, igloos and beavers. Eat your
lunch every Thursday with Skyler.
FILLET OF SOUL 1*0-2:00 Some of life's tastiest
soric morsels served up by Captan Kghhrier S
fismerry band of foots. Jump on board, but don't
lorget your harpoon!
SUGARLUMP 2:00-3:OOPM Paul Lump's sonic
bipops burst hrough the airwaves in Ihismodem
rendion of an al time classic.
FLEX YOUR HEAD 3.-00-5KXJPM
•—HARD ERIC—-
...-ERIC   CORE—
GET M THE RING 5:3M:00PM Join Mke and Brian
every week b hear hem tag team he issues wih
guests kom all over he political spectrum
OUT FOR KICKS 6:00-7:30PM No Birkenstocks,
nothing poitcaly correct We don'l get paid so
you're damn right we have fun wih it Hosted by
Chris B.
EDSVILLE, POP.S 7309:00PM Roots of Rook V
Rd - If you dorit get into Rock V RcJ Heaven
dart blame me! Hosted by Edtfe J.
LIVE FROM THUNDERBIRD RADIO HELL 900-
11:00PM Local muzakrem 9.
Feb. 3 -Rising Suns
FtfclO-Krtvis*
Feb. 17- Hinterland
Ftb.24-Boyc.ught
RADIO TRANSUBSTANTIATE YEA!! - Alternating Thursdays 11:00-1 AM Oyf What's your
game Sherlock Holmes? IK spread yer noz al
over yer lace, II bust you up and down these
fairgrounds, youl never rxk up your teeth wih a
broken arm, an' II tear off your legs
an'beat you over he head with'am!
SUMMER OF HATE 1:0QAt*whenever we drop
Thrilling car chases, heart-slopping fight
sequences, dashing young men h tight fitting
pan Is Yes we do our own stunts. Special thanks
to Sam OBEN, Caffehe Charle, Zev Asher, he
pest control guy, James Last, Justin Suttvan and
Mrs. Mils tor all pitching in their darndesl to make
the show a cuddy ball of tun with a sightly prickly
FRIDAYS
VENUS FLYTRAPS LOVE DEN 8:15-10:00AM Greg
is your guide on your journey lo Venus Flytrap's
world reknown love den. Getting there is hall he
fun Remember lo pack a lunch, som e candles and
maybe a wire brush. Al aboard! Love and hugs,
Greoxoxx.
I BEE NORMAL 1Cr00-11:00AM Pioneers of Radio
Sound advocating the mentary^hysKalry chal-
SUN MON XUE WED
llill
ARE YOU
SERIOUS?
MUSIC
ROCKERS
SHOW
BRENT
ARGO/
SOUL
CHURCH
IN TOWN
GEETANJAU
ONE STEP
BEYOND/
RADIO FREE
AMERICA
IN THE GRIP
OF INCOHERENCE
BREAKFAST
WITH THE
BROWNS
DON AND
GOURD'S
STUPID
RADIO SHOW
MEKANIKAL
OBJEKT
NOIZE
FLAMING
[CATERPILLAR
THE
PEAKING C.I
QDIII
THE JAZZ
SHOW
SCREAMING
INCONSISTENCIES
MADONNA
DEATH
WATCH
HELEN'S
HUT
BLOOD ON
THE
SADDLE
MARY
TYLER
MOORE
SHOW
DIGITAL
ALARM
CHRONOMETER
ISHOUR/NAVA
THE YACHT
CLUB
NOOLEY
TUNES/
LOVE SUCKS
NORMAN'S
KITCHEN
k*c"™BS»^^
MEET IDA
BEAN
UNHEARD
MUSIC
ftlTM.6
LATINO
WOLF AT
THE DOOR/
STAMINA
DADDY
AURAL
TENTACLES
AND SOMETIMES WHY
AFRICAN-
VARIETY
TALES FROM
|THE INFINITE
LIVINGROOM
THUFRI
•avu.iriiikina:
COCKTAILS
lAN/BRENDAI
CANADIAN
LUNCH
FILLET OF
SOUL
SUGARLUMP
FLEX YOUR
HEAD
OUT FOR
KICKS
LIVE FROM
THUNDERBIRD
RADIO HELL
SUMMER OF
HATE
VENUS
FLYTRAP
INTERNTL.
THE
SATURDAY
EDGE
POT 66HE
BAD
POWER
CHORD
NARDWUAR7
NOIZ SHOW
AFRICAN
SHOW
COCKTAILS
WITH DARYL
AND
SUSI
HOME
BASS
LIMP
SINK
8
9
10
11
r:i47H12
1
2
3
4
5
6
7
8
9
10
11
12
1
2
3
4
UEFF&DAVE
|HEATHER'S
SH9W
GROOVE
JUMPING/
WOZZLE
SOMETHING
NARDWUAR THE HUMAN SERVIETTE PRESENTS.. 3:30-4:OOPM Cleo! Cleo! deo!
THE CiTR DMNER REPORT 5:0O-5:2OPM Wih
The Voice of Reason,' our weekly look back at
the week in he news, tongues firmly in cheek.
ITS NOT EASY BEING GREEN 5:30 - 6:00PM
Attempting to make it on ime, Kelowna wi be
very opiniated about he stab of movies h our
lime. Guests.always.
COCKTAILS WITH DARYL AND SUSI fcOO-ftOOPM
Underground sound system-style master™ radio.
FOR THE RECORD 6:3©*4SPM Excerpts from
Dave Emory's Dado Fit America Series.
HOMEBASS 9KWPM-12: 30AM The original tive
mixed dance program h Vancouver. Hosted by
DJ Noah, he main locusol the shew is techno, but
also kicbdes some tiance, acid, tifcal, etc.. Guest
Dj"s, hbrvtews, retiospectves, giveaways, and
more are part of he lavor of homebass.
LIMP SMK UJOAMMorning: Join al of your Limp
Snk pals as hey share their social problems with
you. Hosted by the G42 players.
The Fntfrji Pat Show - Formerly he 'Fre
Pipe" and/or The Postman Pat Show" and/or
"Pars Parly" and or'UmpShk". Fritter and Path/
The Doctor Klldare Show-
Ingredients:
1 pinch of honesty
2 cups of wifcigness
1 lifetime of values
Stir constantly over medio* heat unite reduced b a
shiny texture of peaceful bfrss.
SATURDAYS
THE SATURDAY EDGE 8.O0AM-12:00PM Sow in
its 8lh year on he air, The Edge on Fok features
music you won't hear anywhere else: new releases h he realm of Celtic, Folk and Roots;
studk) guests; British comedy skefches; and British soccer results at 11:30 AM. 8-9 AM: African/
World roots. 9-12 noon: Celtic music and feature
performances.
POWERCHORD 12:15-3:00PM Vancouver's orry
hue metal show; local demo tapes, imports and
other rarities. Gerald RattJehead and Metal Ron
do he damage.
THE AFRICAN SHOW 3:004:00PM Its a music
thing from all 'Africa.' Irs an awareness ling of
self and ohers. Ifs an African house party
Stories, music, dance fun. Welcome! Your host:
Umerah and Mawete
IN EFFECT 6:00-8:00PM Two hours of fat bckin'
beats b smoke fat kjckm' Blunts b wih he
funkmanPDS.
HEATHER'S SHOW 9:00-10:00PM Dedkataled b
the gay, lesbian, bisexual, and transsexual
communities of Vancouver and listened to by
everyone. Lots of human interest features,
background on current issues and great musk
from musicians of al sexual preferences and
s. This show has ev<
icept
GROOVE JUMPING 10:00PM-1:00AM Saturdays.
Terry. Wozzfe, Jell, Warren. Who wil if be? Who
knows! Who cares! It rocks! Golgure.
SOMETHING 1:004:00AM Completely politically
correct content with the fresh and del new releases kom al he Art School sbdents that have
the balls to{ustget up there and doit Reinventing
he meaning of religion and the reintegration of
Jesus Christ our Lord hto todays youh culbre. A
woman's voice late at night, oozing pure
cocksuckhg sensually HI you rol over and go to
WHOM   &   HOW
ARTS JOHN SEMINOFF
BOARD CHAIR HARRY HERTSCHEG
CURRENT AFFAIRS ANGUS WILSON
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT CHRIS  CHEN
LIBRARIAN VINCE       YEH
MOBILE  SOUND NICK LEVENS
MUSIC JUSTIN LEIGH
PRESIDENT DRU  PAVLOV
PRODUCTION HELEN G
PROGRAMMING ADAM  SLOAN
PROMOTIONS CATHY  BADZO
SPORTS BRIAN WEISER
STATION MANAGER LINDA SCHOLTEN
VICE PRESIDENT JEREMY PRICE
VOLUNTEER COORDINATOR        JOHN RUSKN
604/822-3017
DJ UNE 604/822-2487 (UBC-CiTR)
NEWS UNE      604/822-5334  (822-JEDI)
FAX UNE 604/822-9364
ENVOY ID CITR.FM TTWERK
I
GARAGE SALE
AND BAKE SALE
SATURDAY • FEB. 26
NOON - 5 PM
1250W.6TH AVE,
(NEXT DOOR TO MUSHROOM STUDIOS)
CDS, VINYL, SHIRTS, POSTERS, VIDEOS, RARE STUFF, POSTCARDS, & MORE BY:
SARAH McLACHLAN, GINGER, ROSE CHRONICLES
MYSTERY MACHINE, SKINNY PUPPY, CONSOLIDATED
SINGLE GUN THEORY, MOEV, LAVA HAY, FRONT 242
itch, TEARGARDEN, SEVERED HEADS, DONOVAN
BEL CANTO, MC 900FT JESUS, PEACE LOVE AND PITBULLS
ETC. ETC. 1869 W 4th Ave.,
Vancouver. BC
V6J1M4
CANADA
tel 604.738.3232
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
••FEBRUARY^!   9 9 4
• WHAT'S'NEW^AT'ZUL U • • •
Jawbox
• Savory EP
Jawbox is the first band to make the jump
from the classy independent label Dischord
to the majors (Atlantic). That is reason
enough to pick up this CDEP which
preceeds their soon-to-be-released full-
length, For Your Own Special Sweetheart.
IMPORT    7.98 OEP
Meat Puppets
® Too High To Die
Announcing their victory over Alice
Cooper in the Arizona primarys for rock
longevity. The Meat Puppets' campaign is
based on a platform of cactii, sand, and
Arizona skyline, and the pitter-patter of
distant rifles and border jumpers.
Gentlemen, you're Too High To Die.
IMPORT    16.98 0     10.98 S
Shonen Knife
• Rock Animals
Hey kids, Japan's Shonen Knife have
returned! Reveered by some of the greatest
indie bands around, this all-female trio are
back to punk rock your world. Their new
release, Rock Animals, contains their new
single "Brown Mushrooms", and a lunch-
box of other trademark power-pop goodies.
IMPORT    16.98 0    10.98S
Rose Chronicles
• Shiver
Rose Chronicles make their full-length
Nettwerk Records debut with a convincing
and compelling release. Shiver amalgamates
many of the currently popular styles of
independent music. Echoes of Sarah
McLachlan, Curve, Grapes of Wrath,
Cocteau Twins, and others bounce and
melt under the expert guidance of clean
and inspired production. A world-class
release from a local band.
14.98 O 8.98 m
All prices are in effect for the month of February 1994.    O = cd H = cass
jawbreaker
® 24 Hour Revenge Therapy
The ABC's and 123's of power pop-core are
made simple for us again as these Bay-area
boys deliver their follow-up to Bivouac. 24
Hour Revenge Therapy is destined to finally
give Jawbreaker the attention that they
deserve. Watch for them live this March,
and remember, you can't sing along if you
don't know the words!
IMPORT    14.98P    9.98 m
Thinking Fellers Union Local 282
• Admonishing The Bishops EP
Hailing from the geologically unsound hills
of  San   Francisco,  The Thinking  Fellers
Union have put together another enticing
and diverse collection of songs that variously explore numerous musical styles and
directions with creative abandon, whimsy,
and thoughful purpose. Lead-off by the
beautifully melodic song "Hurricane", this
EP reveals why the Thinking Fellers are
some of the most creative kids this side of
the continent.
IMPORT    7.98 O EP
p.s. Check out the reissue of their first full-
length release Tangle on Scratch Records
12.98 0
Unsane
® Total Destruction
Promoting the anti-edification of truly
visceral noise, New York City's Unsane
recreate the frustration and alienation of
the modern experience. Seething with an
unrelenting hostility, Unsane brutaly deal
out massively thick heavyness with
pouding intensity and precise deliberate-
ness. With every wailing blast of Chris
Spencer's guitar, Unsane demand total
destruction of everything we believe to be
true. Much more than just gutter rock.
IMPORT     16.98 O     10.98Pq
St. Johnny
• Speeding is Dreaming
Signed to DGC on the recommendation of
Thurston Moore, this Conneticut foursome
play distorto-rock that is both aggressive
and full of hooks. Some people think they
sound like Pavement and others think they
owe more to Superchunk or Sonic Youth.
Pick it up and decide for yourself.
Also on sale for the same low Zulu price:
the early singles collection High As A Kite,
with Grasshopper from Mercury Rev
guesting on guitar.
IMPORT    16.98 0    10.98 m
Aphex Twin
®On EP
Aphex Twin give us a fresh outlook on
ambient, with what they refer to as "new
edge" music. The On EP is enjoyable low-fi
techno and definitely trance music for the
thinking person.
IMPORT    7.98 O EP
Uzi
® Sleep Asylum
A product of mid-80's Boston, the band Uzi
served as an early vehicle for Thalia Zedek's
particular creative impulse (now in the
band Come). Although surrounded by the
more art-rock pretentions of many
contemporaries, Uzi managed to define
their own unique creative space, exhibiting
an interest in new musical directions and
technologies — such as the clever insertion
of tape loops and found sounds. Uzi's Sleep
Asylum is somewhat representative of the
experimental style of much of the music
from the 80's, counter-balanced by Zedek's
cutting lyrics and bluesy-garage guitar
which prevents this recording from becoming a "retro" novelty and adds a contemporary sound and feel. This reissue of Uzi's
Sleep Asylum is another delight from
Matador Records and an intelligent record.
IMPORT    12.98 OEP
Efl
COMING
SOON
New full-length releases from.
?«r£u**e -tree
daytona
..on Zulu Records (the label)

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