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. • • *zstoMm*s<*m& (£^1331 MICHAEL AU5MEMKER1 />Tr,STlFFV COMPCTi BEFORE. UdG,A MAD TIRADE BLASTS THE 5UCCESS op RIVAL CARTooisI STAR* "CHlPMUMK? & Sorrels" DELIVERED BY NoN £ OTHER THAhl A.CSTlFPy HIMSgLP^Me STUP\Q ^ootNPgR AhP CHIEF... DEEP WITHIN THg GATES OP STlFpy STUDIOS, ax grteRGewcyMerwG is Neit>... WHV IS IT that 0H& TOP- RATfcD CAZrrooU LfcPPy THE LEPR^CMaUkJ, IS ^GfcTTihlGA^ ~\AssyiHippiNG BV THREE >\/£tfrvylN? £al£S FOfcOUdmEVlSloN AMD VIPEO MARKETS HAVE L&eeM PHENOMENA1^ ^AK^o^^lov5Hw?t? AND SML THEM Dowm THE MiSSlSSlPPl/THeOMLV THRee WORDS MT NEPHEW'S £v£R UTTEfc I* "CHlPWUHtfS anJd sQaifcfcrLc "/Those ARe 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£» CANADA'S LARGEST AND BEST KNOWN RECORD STORE TOOL • UNDERTOW Hammering full-on intensity with bolts of naked aggression. Check out Sober and Prison Sex. VARGA • PROTOTYPE New to the mosh-pit, Varga's sound blurs the distinctions between speed-metal, industrial and hip hop. Just listen up. Real loud. Featuring Freeze Don't Move. MONSTER VOODOO MACHINE Industrial hardcore's finest, or more specifically, the sound of six guys with an axe to grind on the proverbial spinning wheel of society's stony apathy. Check out Get On With It. On sale al jSuriE&vBHfetiftfifr 568 Seymour Street until March 19,199 6 Send in this coupon right now lor your tree Mosh in the Mush sampler featuring these F\ three artists and be eligible for other groovy prizes! afh Address *"->2 Send to BMG Music, 150 John Street, 6th Floor, Toronto, ON M5V 3C3 •Attention: Nadine * 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 ntly, arrived too early, m t v Yo La, Ten go when they adn t shown up yet. De interview Y6 Ea,Tengo when they stopper! irT Vancouver topla1 - they hadn t shown up yet. Depressed and certain that thi interview wasn t going fp fake pbce, I left, promising to return Upon returning, I patiently waited through trie sound cheeky which J finally got my chance, we sarand talked amid al confusion that w~~ the evening on which I was to -ny le ly waited trough trie spuntTclieck'after t, chance. We sarand talked amid all the was going on backstage and although the interview didn t take Dlace withoutany, 1 _ Yo La Tengo is Ira Kapte Georgia Hubley (drums,, vocals —,,.oVoc£l$antfguitar) •ass. vocals and guitar). Their newalbur . latador Records and. if you haven t had a it, give it a try. It is easily one of th interruptions, I was happy, an (guitar, vocals and organ), ■*"") and Jarnes McNew ashaj and 'ainfid is out ;e to listen mes.JN 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. BY -GAN MALLET LOOKING for some fun? OPEN 6 NIGHTS A WEEK NINE PM - TWO AM FOR INFO CALL [604] 688 - 2648 GRACELAND 1250 HICHARBS STREET VANCOUVER Big Screen Sports, Great Music, Good Eats LIVE BANDS EVERY THURSDAY NIGHT! ADMISSION IS FREEH JGGIERS BUM DXXA. and S.O.L E HARVESTERS and XXXTABEGG* ACID TEST and ZOLTY CRACKER BANDS START© 9:30 THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUIIDING, 6138 SUB BLVD. • 604-822-651. mumE 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! FEBUARY (£ 5t^r8aaj^„ SAMS CANADA'S LARGEST AND BEST KNOWN RECORD STORE f ■ *^^^mW^ ^^ ^9 mm *^ ^^^^^ M INDIE STREET Some SAM THE RECORD MAN locations may have lower prices due to regular discounted pric CAN'T FIND IT? SAM'S has Western Canada's Largest Selection and Most Comprehensive Request Service | ON SALE UHTI FBI 21 at 568 Seyiour St.., Eaton Centre (Metrotown), Richmond Centre, Surrey Place Mall i If you're in a band with cd's, cass,or 7" available, we will gladly sell your product on a consignment basis. For more info, contact Rob @ 684-3722 die Street was brought to you by: I CAN'T FIND IT? SAM'S has Western Canada's Largest Selection and Most Comprehensive Request Service ^ 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 INTERNATIONAL SECULAR ATAVISM ^ INSPIRATIONAL CD compact disc out *i N^'J^AVAILABLE AT ALL ^ i COOL REC0HD STORES [you know I which ones) THIS IS not not NOT A f MUSIC CD IT IS AN INSPIRATIONAL CD (includes phone call to "BOB LARSON") Learn how to maintain a HEALTHY "HEALTHY' HEALTHY I THRONTUM! ! If BE ONE OF US/BE ONE OF (/S/BEI Wl _, 'ONE OF US! BE ONE OF US! WOW! *C.'*frj PHONE US!!! in Canada (604) 268-9952 FREE message! U.S.A. (503) 76W001 f-SHRTS OF THIS 'FREE SNOr DESIGN available at TRACK RECORDS, BOOM CDs, ZULU RECORDS, and "POP!"!!! or send $14* (cash please... we'rea rejgjon) 100%cotton, black orwhite (specify) X-large only... and SEND $5 for real real REAL (it REALLY IS REAU) "mUE/4C7U/lL»NOTBOOGERSOFOUR "LORD" the MESSIAH HOLY JESUSTHE WOW'cHRIST-TrtlNG'(ForFREEST1CK- EBS OF THE 'FREE SNOT AD send SAS.E.jWOW! IPS REALLY TRUE!!!!! SUcra0tchR^ords I **£[ TOtJtTOMM'AI fa t» '?? 6. SiMlW'A* WrJCOUVfyB. C. KC '1 Pf.. ™£S V£4f Chrisl with me, 4 bux and this record; nomine could rK&>r\K£ -jonnn rum fat *hat he Hr\s in sratz rat that p/xy. thch rw rut tTEuy IF >6u LfetEN C^Iev. » |p0s00*000^^ KflThur. FEB. 3 1 ^ -v THE 0TADFI6H DOOM c. W ""& 1055 Homer St. Vancouver, B.C. (604)682-4171 fx (604)682-1331 Sat. FEB. 5 - BNU, SINEATER, and BIG CITY GROOVE SUPERCONDUCTOR with guests C/Z Recording Artists frbrriSeajile S^KSVORM anddOOD Hp^SEX ( LsfronA$n, T^iMtra^Ordirig artist lUMIVf E DAlE GI^&ORE with guest N|QN^ \^RDEr\f lO^MegMorce recoiling- bfti^ts SWE/fTY NIipLEsfwith |uests :ordf Spectacular vlith \, I^RS,cut£ancf :^Htg- iin spec|al^uests r^r'r arj|§|6 Ji)m Portland f SpoKenkrjfd wkh Li I. EXENE CERVENKA,^ ^ ^ wj DONBAJEMALnd Pr<J| f}RIFF 17 ^iAjps rLorcjindamsirorh N. Carolina KCHtF^jfr lj(Jpl^with guests *D FAji (ffom HfihP JAPANESE) - FrVjPIP^LLER with guests "It Grimej irjm Portland" MCA recprding|rtists POND with HEATMlSfeR and SPRINGTOOTH WEDNESDAYS are Vinyl Wednesdays with DJ T-Bone and DJ Dickey-Doo FRIDAYS feature Vancouver's best DJ's in rotation with Darius, Dickey-Doo, Kilocee, Lisa, Luis, Michael, Golf, Spun-K, T-Bone, Thomas and Vernell. DRINK SPECIALS NIGHTLY! ^ THE ONLY BAR IN TOWN WITH REAL POP AND JUICE! 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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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1994-02-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1994-02-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1994_02 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 6c4e1d3d-4ed5-46c9-a21d-61408ea16033 |
DOI | 10.14288/1.0050267 |
AggregatedSourceRepository | CONTENTdm |
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