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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-09-01

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THAT   MAGAZINE   F R 04g]\ C IT R ^TO 1 . 9   FV
mUeluetK *>Chiclet      „p*« _
tunning protestor of    dropping sclent* for
Dr.Blue Jugor Cookies
(of Blue Rodeo, ex-Wilco)
.peolal Ku..U (°f BlU6  RodOO)
The Frames
doves Gomez Istring
,""•>>    I with special guests lAlirrOr
WITH SPECIAL GUESTS M-J^l ' 11    H ■   ■   \t"
'ilh special guests
»    , sPECIALouests
When you p urchase a ticket for die show
you will be able to hear an delusive
preview of the complete new album called
General admission show
2 September 2002 DiSCORDER
Issue 233 • September 2002 • That Butt-Rock Magazine From CiTR 101 .9fM
Local Music Directory Pull-Out
Coal, Mach Tiver by Evan Symons p.l 1
Dream on Dreary by Breezy Blast p. 13
Spreadeagle by Black Diamond p. 14
Flying Folk Army by Brian Disagree p. 15
Bangs by Chris Eng p. 16
SHiNDiG by Michael Schwandt p. 1 8
What's Wrong by Chris Eng p. 19
Vancouver Special pA
Fucking Bullshit pA
Strut, Fret & Flicker p£
Over My Shoulder p.5
Radio Free Press p.6
Kill Your Boyfriend p.7
7  p.10
Panarticon p.10
Under Review p.20
Real Live Action p.22
Charts p.27
On the Dial p.28
Kickaround p.29
Datebook p^30
This month we were lucky enough to have the
world-renowned web-designer Russ Davidson
( make our cover. Russ is not only
talented and handsome, he's also the master of the
crooked grind.
Chris "Fast Dan" Eng
ad rep:
Steve "Where's the
Love" DiPo
art director:
Lori Kiessling
production manager:
Ali Boulala
editorial assistant:
Donovan Schaefer
real live action editor:
Duncan McHugh
website design:
layout and design:
Lori, Duncan, Russ
Lori, Joe Denardo, Dan
Siney, Lyndsay Sung
Keith "Tejano" Turkowski,
on the dial:
Bryce Dunn
Luke Meat
Tom Penny
Matt Steffich
us distro:
Richard Trimble
Linda Scholten
"DiSCORDER" 2002 by the Student Radio Society of the University of British Columbia. All rights
d. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
(to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the October issue is September 18th. Ad space is available until
August 25th and can be booked by calling Steve at 604.822.301 7 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other
unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send
email to DiSCORDER at
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through
all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at:, visit our web site at or just
pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
printed in canada
Royal Hot-' "n
INTERPOL [MatadorRecords
iunday betd Hi
Royal Hotel [10:
plus guests
Royal Hotel [1029 Granv
THE GOSSIP [KitlRockStars
A LUNA RED [ActionDri
va w% c o live r apcciqi
local reviews by Janis McKenzie
Parts Unknown
Mr. Plow is a guy with a throat-
ripping, growly voice, an
acoustic guitar, something of a
bad attitude, and a long list of
(very) late-adolescent complaints. For the most part his
songs are about women, but Mr.
Plow doesn't limit himself to the
usual range of girlfriend problems. Instead he sings about
girls who expect an engagement ring, who won't go out
with him, who won't leave him
alone, who think they're rock
stars, who don't eat meat, and
who get farted on when performing oral sex. Some of the
tracks are very funny, many are
angry, and one (the last) is a clip
from The Simpsons that
explains the origin of Plow's
moniker. A lot of the songs
verge on bad taste, as you might
have already guessed, but one,
the bonus track that's probably
called "Fish Fuck," really does
cross the line. Look out for the
"Leaky Dink super mega mix" of
the nasty "Rock Star," which—
shocking!—adds a drum track
to the plain vanilla version.
The R*A*D*I*0*
The Disclosure Project
The Disclosure Project is really
two separate 7-song CDs,
called In the Beginning and The
Final Chapter? At first this was
enough to make me nervous—
was I going to have to listen to
the modern-day equivalent of
a 1970s double concept album
with a gatefold sleeve?—but
the CDs didn't turn out to be
scary at all. Rather than prog-
rock (at least the kind that
gives me the heebie jeebies),
the r*a*d*i*o* seems to be
inspired by '60s baroque rock,
garage-tinged space rock, ironic Japanese dance pop, and
early '70s British post-folk. On
In the Beginning there is one
song, "Skin," which takes elements of Jean-Micheljarre and
Vince Guaraldi (the guy who
did the Peanuts .piano music)
and throws them together with
female Japanese vocals.
The second CD, The Final
Chapter?, feels more dominated
by slow Syd Barrett-flavoured
and calliope/circus keyboard
tracks. The r*a*d*i*o* is this
month's pleasant surprise.
My Came
If the Ramones had grown up
playing hockey in Canada,
would they sound like the
Hanson Brothers? Not surprisingly, the Hansons' whole
sound is speedy old-fashioned
punk (the band would say
"puck") rock in the straight-
ahead Ramones tradition. But
instead of writing lyrics about
eating refried beans in Queens
and innumerable other New
York themes, this band mostly sings about hockey and
hockey players. There are even
pitches for both a Hanson
Brothers hockey camp and a
beer-making kit in the CD.
Does it get any more Canadian
than this?
(PO Box 21628, 1850
Commercial Drive, Vancouver,
EARLY SHOW! doors 4.30.
sday oefW^
Sonar [66 Water]
the electroclash
plus guests
Tickets available at TICKET MASTER, SCRATCH, ZUI
bullshit by Christa Min
In 1568, beards in England
were taxed according to
their length. Do you know
what that means? Good, 'cause
I have NO IDEA. I'm guessing
that the longer the beard, the
more taxes you had to pay. Do
you know what that is?
Discrimination! Perhaps this
was the beginning of what I call
beardism or beard profiling.
Unlike racism and homophobia
in the last 500 years, the prob-
smooth, clean faces like their
own. They like men who look
like women. It is clear that if a
woman doesn't like facial hair,
she is a LESBIAN. Which is just
fine, but why hide your true
self? You should be proud of
who you are.
I should clear something up
here. A beard can be in any
shape or length. The only
requirement is that no parts of
the face  may be shaven. A
It's a little known fact that Verve
refused to sign the Velvet
Underground until Lou Reed shaved
off his beard.
lem   has   only  been  getting
Only 1 out of every 100
men in North America between
the ages of 20-40 has a beard.
The beard occurrence is higher
in the older, fatter men sector.
The number one reason why
men shave is so they can pick
up hot chicks. Most broads
don't like beards. They like
beard is where it grows.
Goatees, sideburns, chin
straps, and such (the moustache has a different story—it
looks a little sleazy and suspicious, and it takes a solid pair
of nuts to go around with one)
are signs of intense vanity.
Who the fuck has the time to
MANICURE their facial hair
into some kind of retarded
shape every morning?
Obviously any cheap variation
of the beard is only worn by
someone who is too much of a
pussy to stand up to the discrimination and hatred that
may come with a full face of
It's a little known fact that
Verve refused to sign the
Velvet Underground until Lou
Reed shaved off his beard. He
had a full beard his entire time
at Syracuse University. He liked
to rub it when he was writing
poetry. Reed once said "my
thoughts disappeared, just as
the beard." It's TRUE! Could you
imagine how good his lyrics
would have been if those
beardist motherfuckers at
Verve didn't ruin him? I mean,
he did okay without the beard,
but imagine what could've
We must band together to
stop beardism. We have to
teach our children the difference between right and wrong.
The next time you see a beard,
give it a little stroke or two.
And give the brave and beautiful man a hug. •
4 September 2002 /strut, fret
& flicker
over mv
performance/art by Penelope Mulligan
Tuesday, August 6
The Blinding Light!!
There's enough going on in this
cinematic deluge to keep one's
brain babbling to itself for
days. Its creators have called it
"the last film ever made"—and
the proclamation isn't as bolshy and hubristic as it might
sound. The implications of this
kind of filmmaking are huge.
The feature takes its name
from a novel written by Isodore
Ducasse in 1868 under the nom
de plume Comte de Lautrea-
mont. Through his protagonist
and alter-ego, Maldoror, the
author vomits up visions of
visions of horror and beauty in
order to demonstrate the
inherent evil and hypocrisy of
Vendome to Trafalgar Square).
A few episodes unfold in
succulent colour, others are
monochrome dreams that
seem lit by a torch with dying
batteries; segments morph
from live-action to animation
and back again as gangrenous
angels ascend to heaven and
mechanical dogs rip an unseen
child to shreds. Some films
were so deeply atmospheric
that you could only breathe
your way through them.
Simultaneously strange and
familiar, the images felt like
they might be coming loose
from your own psyche.
The ghost of Derek Jarman
treads softly through a lot of
this—and that feels very right.
After all, he was one of the
A few episodes unfold in succulent colour,
others are monochrome dreams that seem
lit by a torch with dying batteries
humankind. Dying at 24,
Ducasse not only snipped out
before seeing his work
acclaimed by other writers and
artists (Blaise Cendrars and the
early Surrealists were fans),
but he also missed one glorious
fucker of a screen adaptation.
The project began in 1998
when members of two underground film collectives—the
UK's London Exploding Cinema
and Germany's Filmgruppe
Chaos—extracted 15 episodes
from the book's six cantos and
distributed them among 15 of
their filmmaking comrades
with the proviso that they
shoot on Super-8 and fund the
work themselves. By 2000, 12
had delivered, post-production
funding (all £2000 of it) had
been raised and the films
enlarged to 16mm. Maldoror
premiered in Germany that
Although the filmmakers
were all given hits from the
same state-inducing book,
their responses are as individual as the techniques they
employ. Virtually dialogue free,
the collection is blanketed by
the voice-over from a single
narrator. Some interpretations
are more impressionistic than
literal, while others take a single event or image from the
text and run with that. Thus,
the mention of an omnibus on
a deserted street becomes a
brilliant claymation display of
a surreal bus journey, and the
unforgettable closing segment,
"The Spectacular Murder of
Mervyn," meticulously recreates the end of a protracted
saga in which a young man
foolishly trusts the malevolent
Maldoror (and relocates his
hideous death from the Place
most resolutely underground
of Britain's better-known filmmakers. The mesmeric pull of
the voice-over and the apocalyptic bleakness of the images
recall scenes from The Garden
and Last of England.
The makers of Maldoror
are justifiably chuffed with
what they've accomplished on
about a week's worth of
Spielberg's lunch money—or,
as they put it, making "a cult
movie for the price of a second-hand car." Of course
there's no virtue in involuntary
poverty, but where passion and
talent exist, it seems to beat
Dogma for stying pure.
Resilient as cockroaches in a
nuclear holocaust, these filmmakers answer to nothing but
their own vision.
Now in its third year, SWARM
has become a regular on the
first Friday of September, with
simultaineous events at artist-
run centres and independent
galleries in the Downtown
Eastside and beyond. All happenings are free and continue
through the evening of
September 6 until late, so use
your legs or your bike to ricochet among them at will.
The number of participating galleries has grown from 15
to 19 and a welcome addition
to the circuit is First Nations
Creations (20 Water Street),
where Random Indian Acts will
explore tradition and identity
within a modern context. Also
try to check in at The Butcher
Shop Gallery (194 East 26th
Avenue), a new space just off
Main which opened in
February. It will host vaoue-
andsilly, a collaborative instal
lation involving forts and tunnels which I'm hoping we can
play in.
One of the places I'll be
stopping for sure is The
Blinding Light!! (36 Powell
Street—as if 1 need to tell you),
where Laura Madera's piece
Private Moments in Public
Spaces will feature a station
wagon with tinted windows
parked outside. You climb in
and watch a video screened on
the front windshield. Now that
drive-in movies are all but
extinct, this could become the
last cry in customizing big old
cars. Inside the cinema, David
Yonge will try to turn us all
back into foetuses with his
sound and image work, Colour.
At Gallery Gachet (88 E.
Cordova Street), there will be
an exhibition on the theme of
employment entitled Working
Like Crazy. Featuring the work
of artists who have tangoed
with the mental health system,
the show is curated by self-
described crazy-person, Persimmon Blackbridge.
This year's mobile event is
a CIRCUIT VAN equipped with a
video recording and projection
unit. Not only will it film the
goings-on at one gallery and
screen them while parked at
the next, but it will also record
the view from the front of the
van while driving and project it
onto a screen mounted at the
rear of the vehicle. That should
be enough to scare some
motorists off their cellphones.
New this year is co//ectiVe
echoes, an outdoor installation
which stays up all month. A
group of socially aware artists
will have their work on billboards, bus shelters and in
malls to challenge the use of
public spaces for corporate
advertising. Not as subversive
and culture-jamming, but it
could provoke some worthwhile thought.
That's only a taste, so for
the full SWARM III menu, pick
up a list of venues or call the
grunt gallery (875-9516) for
more info. •
book reviews by Dorito
(As Doretta was unable to get
her column to us on time this
month, we, the editorial staff at
DiSCORDER, were forced to
imagine what it would be like if
she actually sent it in. Enjoy.)
It's not very often that 1 look
back on my teenage years. 1 try
not to since they generally
don't contribute anything more
September evening and told
me she didn't want to go to
Dan's house alone, I was forced
to accompany her. So on
through the night and the suburbs we went, until the concrete stopped and we kept
going. Ten minutes later we
turned up a rough gravel driveway and two minutes after that
we found the house, surrounded    by    dozens    of    drunk
On any given Saturday night, you'd probably find me at home cross-legged in front of
the stereo blaring Belle and Sebastian
through puffy headphones and scribbling
frantically in spiral-bound notebooks. And
that was fine. There was nothing that a beer-
bong was going to teach me about the world
that I couldn't learn from The Boy With The
Arab Strap.
than debilitating flashbacks.
There are occasions, however,
when its heady flashes of wisdom, fleetingly imparted
through the bottom of a bottle,
demand acknowledgement.
Like last week, for
instance. As I stood slack-jawed
at the PNE, doling out cotton
candy to children slobbering
like Pavlovian dogs and uncer-
ould   go   another
t alo
e fiv
think I might have left my body
and returned to a different
point in my life: Dan Taylor's
Grade lOkegger.
To the best of my knowledge in every school there's one
guy who has the in on all the
cool parties. Every weekend, all
anyone would need to do was
check in with him and they'd
have the confidential dirt on
where the action was. And once
or twice a year, or maybe once
a month, his parents would
leave town and he'd throw his
own parties, sending half the
school population into the
depths of Pilsner-soaked
debauchery. At my school, that
guy was Dan Taylor and he didn't throw parties, he threw
Legends. Not that I was ever
invited to them. On any given
Saturday night, you'd probably
find me at home cross-legged
in front of the stereo blaring
Belle and Sebastian through
puffy headphones and scribbling frantically in spiral-bound
notebooks. And that was fine.
There was nothing that a beer-
bong was going to teach me
about the world that I couldn't
learn from The Boy With The
Arab Strap.
But now and again I'm
forced to do things for my
friends that I wouldn't otherwise and when my friend Janis
called   me   up   on   a    late-
teenagers sharing plastic cups
and falling over. I was loath to
get out of the car, but, after a
minute or two of needling from
Janis, I relented and, pulling my
cardigan tight around me,
stepped into the cool forest air.
The inside of the house
writhed like a sweaty beast and
it took a considerable amount
of effort to force our way into
the living room where AC/DC
had presumably been shaking
the floorboards all night long. I
ended up next to a guy named
Steve who was hunched protectively in front of the stereo
like a denim-clad troll waiting
for someone to trip-trop over
his bridge. Within 30 seconds
the CD ended and Steve looked
up at me for the first time.
"Fuckin' A," he grinned. "What
should I play next?"
1 shrugged nervously and in
a moment of weak indecision,
passed him my Discman.
Cracking it open, he dropped
the CD into the house stereo
and twisted the volume knob to
nine. I stood in mute amazement as Pavement's "We
Dance" poured out of the
speakers at levels unheard outside of outdoor concerts.
The party stopped. Everyone stared at me. Everyone.
Seconds trickled by. The music
stopped and suddenly Dan was
standing in front of me. He
sipped a can of Kokanee as he
sized me up. "No wuss music in
my stereo. Steve, put in some
'Tallica." Steve obeyed and, as
something harsh started blaring from where Stephen
Malkmus's dulcet tones had
been only moments before,
Dan put his arm around my
shoulders and shouted, "This
girl is fucking wicked! Get her
something to drink, right?!" A
bottle was passed hand to hand
across the room and I suddenly
found it in mine. "That's ballsy,
girl," he said to me. "Most people wouldn't put their own
music into the stereo at someone else's party. Not someone
they don't know, anyways.
Drink up."
Whether it was due to the
acceptance I felt or the overwhelming pressure around my
shoulders, I did. Bottoms up. I
chugged it down. And I felt
good. I don't remember all of
the next 12 hours, but what I
remember was good. What I
can still remember through the
smoke and JB and chronic and
'shrooms was pure gold.
And as I stood there at the
fair, handing flossed sugar to
bloated youngsters with a rictus-smile on my face, I remembered the lessons of Dan
I took off on my lunch-
break and got shit-faced in the
parking lot with my old friend
Jack Daniels.
The Dirt: Confessions of the
World's Most Notorious Rock
(Regan Books)
An autobiography by Motley
Crue should include certain
salient information about the
band, most notably who they
slept with, who they screwed-
over and how much cocaine (or
"krell," as they call it) they consumed along the way. Luckily,
The Dirt contains all of these.
Chock full of every piece of
unsavory goings-on in the Crue
camp from Day One, The Dirt is
not a bad piece of writing.
Trashy and sensational in all
the good ways, Tommy, Vince,
Mick and Nikki inject a degree
of pathos into their taleand
emerge like tragic figures that
tasted the heights of power
and the nadirs of defeat. It's a
rock and roll morality tale
beyond any previously seen,
and that's good because the
book couldn't possibly sustain
itself for 400 pages otherwise,
and it certainly wouldn't have
ended up the page-turner that
5 DiSCORDER 2    O    O    2
Tuesdays at the Railway Club,
579 Dunsmuir @ Seymour
first round
ImyTIoject: bl|e|
presented by
second round
sponsors include
electronics chart strssghi
MGllOek        WHAP! SEAT STSEtT
Black Dog Video
I'm writing this on a Compaq
1200 that I recently spent
over $700 to repair, and
with every keystroke I wonder
if it will be the last. Sometimes
it shuts down without reason
and other times it won't start
up. My external hardware
became "enemy combatants"
for a while upon upgrading to
Windows XP. I hate computers
,but with all my responsibilities—column writing, CD burning, illustration scanning and
plain ol' e-mailing—I can hardly live without the little Loki. I
realize that I've lost perspective
here. Only 1% of the world has
a computer. The rest are competing for food,  fighting  in
zines. etc. by Bleek
this zine plays off hetero fears,
giving the enemy more ammo
than they can lift and destroying coyness or self-loathing
which keep these wonderful
folks from absolute personal
acceptance. At times Faggo is
frighteningly audacious but
down deep very courageous.
One of the few local zines
from the '90s that still survives
today is Steve Richard's
SOCKAMAGEE which reached
issue 14 this year. That's a long
ride for a zine. Once again
we're invited into the editor's
psyche and his retro-bizarre
fixations (umm.... this works for
zines, dig?). Some of the ingredients listed on the front are
Onlyl% of the world has a computer. The
rest are competing for food, fighting in some
war, or being exploited in some way or other,
and /can't live without this thing that
torments my soul.
some war, or being exploited in
some way or other, and / can't
live without this thing that torments my soul. Let's see if it
works this time.
Hands-down the zine with
the most local societal impact
has to be FAGGO (a punk and
queer zine) #3. Editor Kim
Kinakin has really moved this
indie project to incredible
heights, both in substance and
style. This issue brings it all
back home with local writers
and content, offering encouragement and entertainment to
the queer community. Faggo
takes liberties out for a test
drive—trying tolerance, taboos
and even patience—going
beyond what most established
mags can even consider. While
plenty of it is confrontational
and more punk than yer little
brother, it's actually damn
good. What I find deliciously
nasty and victorious is the way
"Actress Debra Pageant
Profiled, Spike Milligan
Remembered, Meet the Black
Stools, Manowar!, The Rolling
Stones—enough already!
[What we all want to tell them,
right?], Santos" and creative
writing, reviews and comics by
Colin Upton fill the tank. I
expect to run across
Sockamagee "when I'm 64."
On the pile of scratch-my-
head publications sits LAST
This thick zine is a loaded diaper of competent collages,
illustrations and quotes which
obviously mean something to
the author and point toward an
overall expose of man vs.
machine, or even man as
machine or vice versa. A long
essay on quantum physics may
be full of interesting information but may be better communicated through the pen of a
humourist. The whole of LCOTC
ranges from the ridiculous to
the mundane and over to the
Liber-cerebral. A hodgepodge of
differing images and type that
leave me with more questions
than answers, but who am 1 to
talk? I'm a proponent of radio-
art for god's sake.
After a year's absence,
back—older and wiser—looking more like the zines from the
mid '90s. Nobody told Nettie
that zines are dead, so she continues in the perzine (personal
zine) format and it kicks some
serious booty. There are plenty
of perzines that just seem dull,
cliche and not particularly well
thought-out. QOTU is fun,
smart and intimately revealing.
Among the intimate news of
relationship woes and living
quarters, Nettie has added
some good zine, music and
show reviews plus an interview
with the Austin, Texas band
Knife in the Water. (Which
starts out with the question
"Why does Austin, Texas seem
like such a cool place? Is it really?" Where'd that come from
Nettie? I've spent a bad week in
Austin. Sheesh.) A great and
much missed old skool-style
read. I'm gonna start stalking
Nettie now.
Hey zine dorks, you're
invited to be a guest on Radio
Free Press, the radio version. If
you have anything to say and
some cool music to expose, I
want you to contact me at
and we'll talk. This requires you
to have a Wednesday afternoon to waste here at CiTR,
where waste is our middle
name. If you can't make it but
have something recorded that's
zine related, send it here to
#233-6138 Sub Blvd.,
Vancouver, BC V6T 1Z1.
Otherwise keep sending zines
for scrutiny. •
DiSCORDER is looking for an Art Director.
You should have experience
with Quark Xpress, Photoshop,
and Illustrator, but most importantly, you must have a good
design sense. This is a volunteer
position with an honorarium.
For more information, call
604.822.301 7 ext. 3 or email
with the subject heading "I am
an Art Fag."
I     9
6 September 2002 Li 11
your bov
Hi, my name is Robin, and I
read porn comics. I mean
adult comics. I can't help
it. When I see a fine line here, a
soft brush stroke there, the
sweat, the ink, 1 become a slobbering pervert and I just have to
have it. The comic. But you
won't see me brown-bagging
it—I'll proudly display my adult
comics because—you know
what? Some of them are good.
There are a couple of things
I look for in adult comics. First
off, they have to be well drawn.
Sadly, there are a lot of adult
comics out there that only get
published because of the content and, consequently, you
really have to dig to find decent
art. Secondly, there has to be a
plot. I'm sorry, but I'm a girl and
I require more from my porn. It
can be a thinly-veiled plot; short,
unbelievable or confusing, but
there has to be a reason for me
to get into it. Thirdly, and perhaps most importantly, the one
thing that grabs me every time
is humour. There's got to be a
fair amount of truth to the
funny guy getting the girl
because all my favourite porn
comics make me laugh.
With that in mind, then,
here are a few I guarantee will
be a hit with the mister and the
Firstly, anything by Michael
Manning. He was my first. His
art style is as fluid, simple, delicate and intricate as woodblock
prints. You'll spend hours fol-
Ml- Orabhm
comics and graphic art by Robin
every taboo so well. At times,
I've found his plots confusing,
but that's only because he never
finishes them. My favourite storyline, which starts with SPIDER
GARDEN and continues through
HYDROPHIDIAN, mostly concerns court politics, intrigue,
espionage and sex. Manning has
also done a slew of short stories
in Cathaxis and Lumangerie, in
which you can see him grow as
an artist, refine his jagged edge
and slowly but surely capture
life and fantasy onto paper. And
it never ceases to be a turn-on.
Sometimes I find Ho Che
Anderson's art in the strangest
of places. Versatile in the
extreme, he's done kids' books,
revolutionary biography comics
and stories of young hoods in
love. What a lot of people don't
know is that one of his first
comics was / WANNA BE YOUR
DOG—a sex comic with heart.
Full of real people, real lives and
real women (and, boy, are we
talking REAL women—big
women, strong women, dominating women and women who
just want it), this book is about
power and the girls have it all.
Dark and interesting, it forces
you to enter their lives body and
soul and ultimately question
what the various relationships
found in life will make you do for
the thrill of sex. It's all about the
mind fuck and it's hard to put
down. The art oozes anger and
agony so raw it screams. It
faithfully delivers every slap,
■ pw# H ^coKa ■ pwts crn^ ^m tem».
Helpful hints from Diary of a Domantrix
lowing each design-heavy line,
each dramatic and symmetrical
loop, trying to discern where it
all begins and ends, because
Manning is very much about
blurring the line—every line.
Hermaphrodites, snake-people,
horsepeople—his characters
flaunt their androgyny; everyone is constrained with leather
and chains, molding themselves
to becoming someone else. He
illustrates   the   breaching  of
every sting, every line of
remorse, every streak of tear.
Dirty, cramped images of city
and dungeon are divided by pure
white, sexual bodies in motion,
creating a startling juxtaposition that, if nothing else, succeeds in getting you hot. And, to
top it all off, Ho Che Anderson
continues his characters from
book to book, so keep reading
his stuff to find out exactly what
happens to these beautiful, tem
pestuous women.
Girls not only do great porn,
they're also the best at making
me laugh. Molly Kiely's DIARY
OF A DOMINATRIX is unswervingly the first sex comic I recommend  to the  uninitiated.
on Showcase. The
goofy, funny, honest and
ly   don't   require   any   large
stretches of the imagination.
While flawed, the characters all
share one thing in common—a
healthy appreciation  of sex.
A Bitch in Heat shares
With a slew of short stories and
some hands-on experience, she
teaches you how to make and
bake yourself into the best dom-
inatrix a girl can be. How can
you not love a comic that dispels
the beauty myth so firmly and
Kiely's work has such a ballsy sense of humour and is so
damn charming, you can't help
but like it. Girlie money shots,
role-reversing road trips, pinup
darlings and bondage tips—her
art style is a great little fantasy
world, very cute and hardly
anorexic, Bunny Yeager with
ink. If that appeals, then I would
highly recommend two of her
other books, That Kind of Girl,
and Tecopajane—a pair of sexy
desert love stories. A weird fascination for a Canadian girl, perhaps, but who knew trips to the
hardware store could be so fun?
The last in porn comics 101
is BITCH IN HEAT. Don't let the
title put you off—this is one
sweet-ass comic illustrated by
Italian beauty Giovanna
Casotto, who, like Kiely, injects
her own likeness into brief erotic tales and slathers every damn
page of this book with sexiness.
Her toes—hot, her ankles—
sexy, her calves—drool-inducing, her legs—slobber-rific. I
covet her sleek, taut, curvaceous belly; the entirety of her
gorgeous divine body that she
contorts and draws so well.
Initially published in Italy,
Casotto's storytelling is reminiscent of late night '70s Europorn
a touching moment
With a touch of humour, she
makes you laugh at the sheer
humanity of their situations;
moreover, she makes you wish
you were participating instead
of just sitting there reading. And
the art, oh dear lord, the art.
Thick pencil strokes, deep lead,
everything shaded just so. She
doesn't have to go through the
effort of coming up with
and punch line endings—her art
alone is erotic enough. Hair
splayed on pillows, pendulous
breasts begging to be touched—
her women are steamy like
Sophia Lauren; earthy and
warm, they are always the main
characters. Her men differ from
Kiely's pretty-boys with great
fashion sense; Casottos's stand
big and burly, young and taunt.
Usually portrayed as clueless
tools, it's hard not to find them
appealing. And in any case, the
women always steal the show,
so 1 don't have to pay much
attention to the men. With
women like Giovanna Casotto
gracing the page, I keep my eyes
on the prize.
Oh yes, my copy of Bitch In
Heat is well thumbed through.
I could tell you about so many
more, but we've delved far
enough in the "too much information about Robin" realm.
People have always had sex and
people will always have sex. We
have to go beyond this anti-porn
comic taboo. We have to get
over it. Comic porn—safer than
safe sex, if you can get it. •
7 DiSCORDER Downtown Vancouver: 556 Seymour St. 687-5837 / South Vancouver: 732 SW Marine Drive 321-5112
East Vancouver: 3433 E. Hastings St. 298-0464 / Burnaby: 4568 Kingsway 439-0223 / Surrey: 10280 135th. St. 589-7500
Langley: 20460 Langley Bypass 533-8600 / Abbotsford: 2369 McCallum Rd. 859-4200 / Coquitlam: 2739 Barnet Hwy. 468-1111  mcl
Don't be surprised if you
see the column take a
different turn over the
next few months—7"s haven't
been getting much l-o-v-e
lately, so yours truly has had
to get his fix elsewhere. Be
prepared for a variety of stimulants to be injected into
these lines, rock and roll to
save the soul.
Starting off with what 7"s
did come across the desk this
month, a local entry shared by
BOMB gives me a reason to
take notice. Pretty interesting
cover art first of all; kinda
reminiscent of Robert
Williams' sexually metaphoric
imagery meeting Mark
Ryden's knack for overemphasizing physical human features. Whoa, I'm getting too
artsy now, somebody slap me.
I got confused at first spin as
to who I was listening to, cuz
the labels are mixed up, but
Frog Eyes contribute a slightly
Tom Waits-inspired dirge,
that drunkenly plods along,
but doesn't get too slow, like
it's about to fall flat. Jerk With
by Bryce Dunn
the sound of spectacle by tobia
A Bomb sneak out two cuts,
the latter "Knife Fight, But
Why?" has a cool, bouncy
Casio rhythm track that punks
things up for this normally
sedate duo. Worth checking
out. (Global Symphonic, 7624
Sussex Ave., Burnaby, BC V5J
Vinyl Warning, a fresh
new label outta Portland,
Oregon, gives birth to two
hometown groups, THE
In the case of The Diskords,
this clever use of wordplay
bears irony in that all four
members have just hit puberty. But don't let their age fool
you: these kids breathe life
into punk by letting their
influences—from the raspy
Stiv Bators snarl of lead
vocalist Teddy Boy, to the less-
is-more rhythm section of
Nick and Dee Dee, and the
Ramones style guitar of Ryan
(no last names please, that's
not punk)—shape the songs
without making them seem
too contrived. I could see
"Heart Full Of Napalm" blasting from the study hall speak
ers, seeing as how these guys
probably catch shit from their
teachers and the clueless, this
could be the best form of
revenge, and with many years
of punk rock yet to uncover,
they can only get better.
Electric Eye are the more
seasoned of the pair, with a
pedigree that stretches seemingly quite far in the Portland
scene. What struck me right
off, though, was the vocal ability of the Austin transplant,
August. This guy shreds, and if
"Muscle" is the first example of
what this guy is capable of, I'm
wanting to hear more. So I'm
flipping over to the B-side and
getting a slice of tried and true
Texas-style garage (the
Motards come to mind) with
"Gonna Get My Way": huge,
chunky guitar and crashing
drums all over the damn place.
Everything wraps up with
"High Energy," a steady buildup ignites this rocket and away
it goes! Impressive debut from
both bands and a label to
watch, for sure. (Vinyl Warning,
PO Box 2991, Portland, OR USA
97208-2991). •
2.3,'Jo ■ Mt/M 0tmt 6(M.S74.9773
The United States is edging closer to a new style of fragmented
and partially secret internal
authoritarianism by creating a
new denizen: the "enemy combatant." This Enemy is not found
on the battlefield but, like all
paranoid signs of fascism and
the rise of the police state, at
home and within. Unlike the
Japanese Internment Camps of
World War II, this fascism operates upon a micro-scale, a micro-
endo-colonisation for the select
denizen; and like Stalin's Purges,
operates with secrecy and mostly beyond the public eye.
l. The suspect's Constitutional
Rights in the US are stripped,
thereby allowing the suspect to
be held without charge for any
length of time. No evidence is
necessary for this stripping of all
Rights and Citizenship (a Federal
Judge was recently denied such
evidence in the case of Yaser
Esam Hamdi).
2. The suspect, if even
named or acknowledged, is held
in prison, and subject to any
means necessary to obtain information, i.e. torture. The Geneva
Convention no longer holds; and
no lawyer or judge can attain
confirmation of the suspect's
existence within government
3. The suspect may be
indefinitetly interned at a new
invention of Att. Gen. John
Ashcroft: the Camp for Enemy
Combatants—if indeed the suspect is not demurely executed
through a secret military tribunal.
Throughout, the suspect
receives neither lawyer, judge,
nor jury. Prof. Jonathan Turley
of George Washington
University, writing in the Los
Angeles Times ("Camps for
Citizens: Ashcroft's Hellish
Vision, Aug. 14,2002), says that
"Ashcroft's plan... would allow
him to order the indefinite
incarceration of US citizens and
summarily strip them of their
constitutional rights and access
to the courts by declaring them
enemy combatants... The proposed camp plan should trigger
immediate congressional hearings and reconsideration of
Ashcroft's fitness for this important office,"
[See <>, click
on "Before," scroll to "Jeremy
Turner."] Vancouver artist
Jeremy Turner offers new
sounds and the question: how to
differentiate between a theory-
based and considered creation
of sound and the product of a
VST plug-in? While Turner does
not explicitly consider this rela
tionship in his attempt to create
Tonic, post-Schenkerian sound—
following the sculptors Donald
judd, Carl Andre, and Robert
Morris, the object of sound
could "be itself," outside of a
"goal" oriented composition—
the final end-result of sound—a
quick burst of sound, perhaps
"noise," ambiguous in "content"—resembles and is indistinct from the average product
of a VST-plug-in. If I had not
read the accompanying theory,
which, interestingly enough,
neglects to mention Russolo,
Cage, Varese, or Musique
Concrete, I would not have
known the difference: "I have
composed pieces that do not
seem to be 'composed' out of a
hierarchical set of relationships
even though they actually were
composed by interlocking hundreds of anthropomorphic samples at the macro-scale and
then compressing the total
composition down to size.
Regardless of the process, both
the perceived content and
traces of programmatic composition have been deliberately
cropped from each specific
audio object in the post-production phase." That hierarchy is
overdetermined in the moment
of theoretical exegesis, inadvertantly embraced through the
secret of process, the creation
of form, and the crutch of theory, is not so much lost on Turner
insofar as it forms the basis for
a degree zero art. For Turner, an
exegesis naming the "obvious"
influences (as he puts it), i.e. the
Futurists and Musique Concrete,
would delimit the process of
"personification" that originates
each piece. To historicise the
sculptors draws attention to a
personal beyond the limits of
normative history. For why go to
all the trouble of taking entire
albums, zipping them down to
one-second samples, and stacking them, when a VST plug-in
would do the same in less time?
The exegetical gesture of—
"regardless of"—process surfaces several possibilies.
1. Process becomes art, conjuring Cage; yet, "regardless;"
2. Process becomes Zen;
work approaches degree zero art;
3. Process becomes Calvinist:
work means personal salvation.
That process remains hidden save for the exegesis speaks
a particular, secret relation
between work/world, word/
sound, to create a personified
history that, through its absence
of reference to that which is
obvious, hints at a secret, personal level of explanation—or,
the troubling absence thereof.
Even theoretical exegesis fails to
crutch the sound, for it, too,
betrays the ambiguous presence
of a secret lack.
Has Turner succeeded in
creating a discrete, sonic object?
It is his goal: and yet, as he
explains, he wishes to compose
goal-less sound, discrete from
Dominant teleological composition. That he cannot create
what he desires, and cannot create without desire, forms a
ceaseless paradox. After discussing these problematics with
Turner, I discovered that each
piece has a secret meaning and
a secret name that only Turner
knows. A hidden Dominance?
Whereas Cage proposed to "let
sound be itself," Turner carefully encrypts sound to be itself in
his own sonic image, which is a
secret gift to the Other.
Turner proposes that "Each
of my pieces are only meant to
exclusively contain the Tonic.
The whole is something other
than the sum of its parts." In this
search for aimless purity, the
telelogical returns in the
attempt to create, through
painstaking process, that which
is non-compositional, displacing
the compositional teleology into
process and its exegesis, into
post-production where ail evidence of process is removed—
except for the theory explaining
the process of removing
process, non-process as a meta-
process of sound-processing—
and a secret, a lack in the
exegesis, which gestures
towards the presence of a secret
document explaining the secret
names of each discrete object.
This document exists. What
does this mean?
Why "remove" that which
signifies, and leave only the
trace? If one desires—for the
teleology is inescapable, as Cage
found, silence unattainable—a
movement beyond Schenkerian
composition, then we edge closer to chaos, fractalising simulacra. Heard without theoretical
explanation, these sounds are
indistinguishable from VST-
plug-in burps—"glitches." And
yet, they have been infused with
so much significance, enough
for me now to write sentences
and paragraphs, composed and
Does not this sound lend
itself to discourse, discourse
becoming the sound of sound
itself as itself? Is discourse a
deferring of the Dominant or
its erotic doppelganger? Is the
discourse surrounding the
small sonic object the sculptural "base," becoming art
itself? Unless Turner simply
lied, telling me that it took
time, creating a history for
simulated sounds. We cannot
know. There must be an ethics
here, and therefore a politics,
not in the usual sense, but in
some affect of force, some
affective aesthetic. •
Until Ashcroft Goes Camping...!
10 September 2002 DiSCORDER: Who is Coal today and where is the Coal of yesterday
Nicole Steen-vocals, guitar.
Jon Wood-lead guitar, various instruments.
Marcus Rogers-bass, sometimes French horn.
Ian Tiles-drums, percussion.
Marc L'Esperance-temp. drummer and svengali.
Yesterday's Coal has been star studded with guitarists galore: Stevo
(Last Sex on Earth, Wunderbred), Kevin Rose (The Wongs,
Tankhog,Wheelie), Ryan Ogg (Squeeky,the Mach Ill's) and Brad
Lambert (Sarcastic Mannequins, Problematics, Real McKenzies) on
drums. All are living well on the coast somewhere, except Brad. He
is living the rock 'n' roll life with the RMs.
Describe your sound using only metaphors relating to machinery
and religion.
"Runs like a well-oiled machine." "All fire and brimstone." This is
Are there recurring topics in your lyrics?
Unfulfilled desire and fire and water.
Describe the experience of making the film The Widower. Has it
helped Coal? Was anything learned from the all-star cast (list
some of them...)? Did you make any new friends, life-long friends?
Where can you see it?
Making The Widower was a complex process involving hundreds of
people including Nardwuar, Jello Biafra and Joey Shithead, and close
to 20 local bands on the soundtrack. We have a good sense of
humor and Coal was perfect for the band that plays in the bar as
"Milton" (the Widower) hallucinates back and forth in time. We're
kind of dreamy and sad like The Widower as well, it can't really hurt
a band to have a performing role in a feature, and they even played
the video on MuchMusic. The film is available right now at Rogers
Video across Canada and will be appearing at indie video stores
soon as well as on cable. We also have a web site with tons of video
at Check out the behind the scenes of The
Widower clip with the director's notes.
What can be found a t the Tart Gallery and how does it relate to
It used to be that the Tart Gallery had four red walls, flame pillars
and cool art. Now it is a website ( and an
ongoing concept... to be continued. Nicole and Vicki M run it and
they met at the Brickyard where Coal played the first PopTarts art
How many videos have Coal made and who has shown them?
We have six so far (all produced and paid for by our own little
selves, all directed by Marcus Rogers). MuchMusic, Bravo and CMT
have all played them many times. We are blessed.
What was the topic of the best conversation you ever had at the
Railway Club after 1:00am?
That would be Robert Dayton's great legs!
Did Coal cover "House of the Rising Sun" as a guilty pleasure or
because the words apply to at least someone in the band? Should
it be nominated for the song of the 20th century? Did you know it
was originally written about a female prostitute? Is it better than
Leonard Cohen when you are drunk and depressed? Why or why
We thought we would do the obvious—cover the "most covered"
song in history. So sure, we'd nominate it. The house does sound
like it's a brothel. "Sin and misery." We are pretty sober all of the
time... so I think it is better than LC because he can't really carry a
Ask each other questions you've been dying to ask.
Nicole: Who is your all time favorite guitar player?
Jon: George Harrison
Marcus: Will you make me some tea?
Nicole: No. •
1992-s/t CD/cassette (Zulu Records)
1993-Dare to Be Aware CD V/A
1993-The Mint is Still a Terrible Thing to Taste-CDEP V/A (Mint
\995-Nightlines cassette (Live on CBC Radio)
1998-Up Periscope CD V/A (Stardust Music)
1998-One Track Mind CD (Coal Music/Factor)
1998-South Hill Candy Shop CD V/A (Stompy Records)
2000-Northern Lights CD V/A (Tinderbox)
2000-COALESCENTVHS Video (Coal Music/Cinestir)
2001 -Beautiful Afterburn CD (Coal Music)
2002-SHOWDOWN; 22 Nuggets from Vancouver and Victoria
RANCH Compilation
Who are you (names, instruments, hometowns, preferred mode
of transport)?
Adam: Bass and vocals. Grew up in Brighton, Ontario. 1 like driving.
Shannon: Drums and vocals. Grew up in Brighton, Ontario. I like
walking and taking trains.
How many times has Mach Tiver been on tour and where have you
We have toured five times, going pretty much everywhere in
Canada and about half the United States. We have played every
province in Canada except Nova Scotia and played around 20-25
states in the US.
Tell us some interesting stories about playing small towns in
Well we haven't played too many shows in small towns in Ontario
except our own. A couple of good stories come to mind, though. The
first one: we did a show for a band, the Dinks. After the show there
were a couple of rowdy kids left over milling about. They were
harmless enough, they just wanted to hang out for awhile. Anyway,
they left, we packed up all the gear and all of us headed out to our
house for some sleep. On the way we stopped at a variety store and
met up with the same rowdy kids. They liked the Dinks so much
that they went back into the store and stole them a bunch of porn
magazines. Threw the magazines into the Dinks' car and ran off
screaming down the street.
The second story: we played a show with our friends Three
Penny Opera in Wooler. After the show we cleared out the hall and
put up hockey nets and had a good ole fashioned floor hockey game
to close out the night. Three Penny Opera-10, Mach Tiver and
Are there any punk or hardcore bars left in Toronto?
After the Elmo closed down, there are a couple less noteworthy ones
left. The Qbar, where we have played a few shows and Planet
Kensington, where we have not.
Mach Tiver
Discuss bands who have stickers in the urinal at Sneaky Dees in
There are always stickers in the urinals at Sneaky Dees including
stickers of our good friends, Lungbutter. I was kind of thinking that
it is a little gross to be putting stickers in urinals, but I guess it is free
advertising and they are dirty hippies (just kidding, maybe).
Bubble about bands who bring you beyond.
There are a couple bands that .we have been listening to for quite
awhile, and I don't think we will ever stop loving. Shotmaker is the
first, and the Mountain Goats is the second. There are a few bands
though that have our attention right now. The Desaparecidos,
Andre's Last Chance, Neil Diamond and Pretty Girls Make Graves.
If you were an architect, what would you build for us?
We would build the punk rock academy. A great complex that would
include an all ages show space, recording studio and some rooms
for touring and recording bands.
We noticed that there wasn't a keyboard player in your band. Any
particular reason?
We don't have any more siblings to join the band.
How much work was it to get nearly 2000 plays on
It isn't much work at all. Most of the plays are from us sending out
the link during the time when we are booking tours. Booking tours
is very hard, so maybe getting those plays is kind of hard work.
grandmothers and the people you most admire were all listening.
It can be said that there are no ridiculous questions. All questions
are worthy of being answered. Their validity and relevance may
fluctuate from person to person, though this fluctuation by no
means decreases their inherent value. Such a concept is taught to
school age children in an attempt to increase their confidence in
their ability to learn and also to value brainstorming as a method of
problem solving. However, over the years this approach falls by the
wayside as we reach adulthood and become too embarrassed of
our ignorance to ask questions or think that there is no need since
we believe that we already know everything that we need to. (Or
maybe we just don't like to have fun anymore and take ourselves
way too seriously. That felt enough like a university lecture to qualify as an important answer. •
1998-S/t 7"
1998-s/t demo cassette
1999-...Summer Ends Too Soon CD
2000-Thi's Paper Airplane Doesn't Fly So Well Anymore CD
2001 -s/t CD
2001-Rock Fight of the Century split CD w/ Eighteen Hundred and
Faked Their Own Death.
Coming Soon:
Split 7" w/the Creature
Split 7" w/five stars for failure
New album.
Ask yourself a ridiculous question and answer it as though your      <>
11 DiSCORDER THE MAIN    Seiiteinliefi
Thurs Sept 5 god* folk duo The Last Pen Sick Sow
Fri Sept 6 W.W.D. Presents... Julian Who, Paul K. and Tyler Mounteney
Sat Sept 7 The Human Hi-Lite Reel, they rule'
Fri Sept 13 back by popular demand... Jani Jackovic
Thur Sept 19 melodic popsters... Ask Nora
Sat Sept 21 imfay blues grass w/ Butch Murphy & Scott Smith
I     ot IIIK f d
* Rockabilly * Surf * Country * Punk * Canadiana *
* Lounge * Hillbilly * Garage * Psychedelic * Indie Rock *
* Bluegrass * Swing * Spaghetti-Western * Roadhouse *
* Roots * Roots Rock * Rock N Roll * R n B * Unclassifiable *
Sat Sept 28 accordion madness w/Victoria's DaVld P. Smith
and tots of Local Music
4210 Main St. Vancouver BC 604 709 8555
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12 September 2002 We take turns breaking each other's hearts...
An interview with Dream On Dreary
By Breezy Blast
Girl, boy, girl, boy, like a 1950s cocktail party. Dream
On Dreary was a little golden treasure sticking out of
the sand. Each song they created was like a perfectly
formed cupcake, only there was an ant or a soiled
nickel in the middle, or even a prune. Each member
brought integral parts together to form the sound of
the band; seemingly "off" elements making a very
right sound, crackling and low-humming like an old
record. There was a warm piano (the kind where you
can feel the yellowed keys being plonked in your
teeth), sometimes a nursery toy, sometimes fledgling
and "wrong" guitar, kick-bucket garbage pail drums
(as if the person playing them was about to fall off
the stool), and a voice that toppled the tight rope
between country haven and church hymn.
Roger Harris-guitar
Jim Risbey-electric piano, drums, guitar, vocals
Sarah Truman-bass, piano, drums
Amber Webber-vocals
DiSCORDER: Okay. Let's start with the dream-related questions.
Tell me about a weird dream each of you has had recently.
Roger: There was this brick building that I was in, and a staircase
going down. There was something saying the word "uncle" and
there was a HUGE barrel of monkeys there, it was a wooden barrel
of monkeys, and I was looking down at myself and I was shitting
and puking at the same time. I picked up these monkeys and they
were just huge and wooden.
Jim: I was drowning in a really deep lake with my friend Cam and he
was laughing all the way down. I kept thinking I was hitting the bottom but it was always just big fish. I woke up when I couldn't
Sarah: I dreamt my work burned down with everyone inside, and it
was my fault. They all emerged from the rubble and I felt so awful
about it, and none of them even noticed it had happened.
Amber: I dreamt that monsters were eating my brain. Mr. Peanut
was eating my brains too. He was wearing his wretched top hat and
monocle. They cut my head open from the top and they were eating my brain.
Who would be your dream bill to play with, dead or alive?
Roger: Definitely Talking Heads!
Interesting... because you remind me very much of David Byrne.
Your little idiosyncrasies, posture, vocal intonations. Totally
David Byrne in True Stories when he's walking around in the mall.
Jim: Right now at this point in time, probably Adult, Numbers and
Kraftwerk. 1981 Kraftwerk that is.
Sarah: Probably Numbers, Peaches and Ladytron... but I'd also love
to see The Smiths live.
Amber: Willie Nelson. I love that guy!
What Vancouver bands do you find dreamy?
Roger: The Organ. I think they're the best!
Jim: The Organ, Radio Berlin, Jerk With A Bomb, Destroyer... too
many to mention!
Sarah: Jerk With A Bomb, Three Inches Of Blood, Operation
Makeout, Bakelite.
Amber: JWAB again, P:ano, Three Inches... Spreadeagle!
Jim, your organ. The one with the keys... tell us about it.
Jim: It's a Wurlitzer electric piano I got really cheap at an auction. I
just like the sound of it. I think it's got an eerie sound, especially
since it's out of tune on three very important keys.
Roger, where does your guitar-playing style come from?
Roger: I don't really know... I guess it was from my neighborhood.
Because we'd just all play and feed off of each other. It's the Maple
Ridge special. I did a lot of playing by myself. You know, you put
your ear up to the guitar and just play and play for weeks on end.
The strings almost sound broken or out of tune when you plunk
around on them. But then they form this very pretty melody.
Amber: Roger's style is unorthodox! And almost sloppy. Almost
"illegal." Almost sloppy but brilliant. Like you think for a second he
can't play at all, and then all of a sudden....
How did you form this band?
Roger: Me and Amber started playing together. Jim had a shed. So
we were like, let's play in the shed. I met Amber a long time ago
and I got her to sing for me. I was stoked.
Didn't you first hear her sing a little Ani DiFranco?
Amber: NOO! Goddamn, I never went that far down the road.
Seriously! This is getting published, brutha! No, it was Black
Sabbath. Black Sabbath, "War Pig," man! I was like, come into this
room and I will sing you "War Pig."
Roger: No, I had to almost force Amber to sing. She didn't want to.
She was too shy. We locked ourselves in a room and then she sang
for me.
Jim: The band started when Roger and Amber recorded some stuff
in my shed. I liked it and added drums without them knowing. The
liked it and we started playing.
If all four of you were animals, which animal would you be, and
how does the animal you chose relate to your position in DOD?
Roger: I would have to be one of those big tree sloths.
Would you describe your guitar playing as sloth-like?
Roger: Yes!
Amber: I don't even know what a sloth is.
Roger: Sloths move very slowly. They are always late. That would
be me for sure. I would be a tree sloth... a BABY tree sloth.
Or a Grandpa tree sloth.
Jim: I would be an aye-aye. It doesn't relate to my position in the
band at all. I just like them.
Sarah: I would love to be an otter. They get to swim around all day
and they are so damn cute! I guess it sort of relates to my position
in DOD because I was always moving around to different instruments.
Amber: 1 don't have an animal. But if I were a fruit, I would be an
apple. Apples are good times and wholesome... but sometimes
they're mushy or sour and you get a bad one. Sometimes you get a
Dream On Dreary are posthumously releasing a 500-copies-only full
length vinyl, available late September through the band (some-
thing& through <>
and at finer record stores around town.
13 DiSCORDER By Black Diamond
The Spirit of moustache rock is making a comeback in Vancouver, and leading the
charge of aesthetically-correct rock and roll music is Mission's Spreadeagle.
Traveling in packs, and not straying far from its garage or glam roots, the current state of rock in this city is a bit of a timid bear, but what of the era that includes
Rainbow, Deep Purple, Mountain and even more traditional heavy rock masters such
as Judas Priest and Black Sabbath? While stoner rock revivals may elsewhere quench
the thirst for the latter, those revivals are few and far between, here.
Enter the Eagle—five music-lovers with an intense devotion to the golden era of
early '80s rock and its swinging lifestyle; rock/metal purists compromising very little in their quest to re-educate the rocking and rolling denizens of Vancouver, where
the distinction between runway style and 100% skid-dom has become blurred
Retro-based clothing stores are everywhere; heavy-metal nerds line the record
stores searching, with their ears to the ground, for the next Fucking Champs. You
see, the beast has been awoken. And, like the Champs, Spreadeagle and their vast
record collections have little trouble restoring the dirt back to its proverbial upper lip.
In a city like Vancouver, where a mulletedyoung lad adorned with a Judas Priest
back-patch and studded belt can walk into a fine eatery and order Filet Mignon with
fries, it's not surprising that Spreadeagle has emerged from the dark wooded thickets of Mission to grace the finest venues of Terminal City. The people of Vancouver
wanna rock.
DJ's of Vancouver, be warned—there is a new DJ in town. Donnie James Rio. And
he, along with 8-Ball, Juan Bad-Mutha and the rest of Spreadeagle, are issuing an
eviction notice to the boring electronica which has plagued this city and it's venues
for years.
Bruce Allen, listen up...
(This interview was conducted at 3am on a Wednesday evening at a DiSCORDER
annex located somewhere in the East of Vancouver. As there were people in slumber,
we tried to stay quiet, but when you add Juan Bad-Mutha, drunk and belligerent, to
a quiet apartment, slumber is soon traded for a rude awakening. 8-Ball joined the
conversation via phone and provided a needed translation to Juan's brand of angry
Jim Beam-English.)
Spreadeagle is:
Juan Bad-Mutha: Vocals.
8-Ball: Bass (named for the 8-Ball Jacket he wears, once the pride
of some pawn shop owner; reduced to selling crack in the ghettos
of Mission).
Oak: Drums.
Donnie James Rio: Guitar.
Mattias Stabbz: Guitar.
Let me start by asking you when and where can a person expect a
Spreadeagle full-length?
8-BaII: When does our parent's trust fund start?
Juan: When we're goddamn good and ready, that's when!
8-Ball: I dunno, when does hockey start? October?
Juan: I'm not interested in when it's coming out, to be totally honest.
8-Ball: Yeah, to tell you the truth, man, I'm more interested in gaining subscriptions.
Oh yeah, how many subscribers does Spreadeagle have currently?
Juan: Everybody who comes to our shows will be preferred subscribers.
Are there benefits to being a subscriber to Spreadeagle?
8-Ball: Damn straight!
Juan: Actually, there's no benefits. Just a helluva lot of privileges.
(Note: At this point, not two questions in, Juan's friends are already
starting to annoy me with constant interference and an apparent
need to be included in the interview. I was reminded of little kids that
crowd the background of a radical skateboard photo, waiting for
their chance to be captured in the limelight. My fear was that the
tenants of our impromptu interview setting would awaken and the
interview would turn to dust. Note to self for next interview: Take
muzzles, duct tape, shot gun. Competent and effective Leech disposal.)
What does Rainbow have to offer in Spreadeagle's opinion?
8-Ball: Red, orange, green, blue, brown, yellow....
I meant the band, Rainbow. What does it have to offer?
Juan: Dio. But I don't want to talk about other bands. They aren't
Well, with all due respect, you guys have a definite paying of rock
homage within your music and you are definitely big music fans.
What bands do you like?
Juan: What's big music? You mean like Wilson Phillips? Meatloaf?
The Fat Boys? I don't really care, man... I like Ann-Margaret.
8-BaII: I like Krokus, April Wine—you know, just everything, man.
"Everything" is too broad a term for DiSCORDER readers, buddy.
8-BaII: I dunno. Everything, man. Like Coney Hatch, Pablo Cruise...
Juan: The rest of the band would probably say Mountain and
8-BaII: Know the Marshall Tucker Band? Like poor-man's Allman
Brothers style music.
How has the summer been treating the members of Spreadeagle?
8-Ball: Fuck, it's felt fantastic, brother. In fact, I still have another
whole month to work on this tan.
Juan: [Almost incoherently] Wanna know what our favorite movies
This isn't the Smile of the Day or Cute Band Alert, pal. Are you
8-BaII: That's what happens when you put in your hours at the
Juan: Colt 45. Does it every time.
So you guys definitely like to party, we have established that...
8-Ball: Any time, any place, brother.
Juan: [Incomprehensible approval of last comment.]
Are you into any bands currently from Vancouver? What do you
think about the Vancouver music community?
8-Ball: There's a few good bands, but we don't really care, to tell
you the truth. We live in the bush so we don't have to deal with all
the bullshit.
What bullshit?
8-Ball: Everything, man. You know?
Juan: I like a handful.
A handful of what?
Juan: Vancouver shit. [Laughter all around]
So where are the rest of the members of Spreadeagle at 3am on a
Wednesday night?
8-Ball: DJ Rio, Oak, Mattias Stabbz? Mattias Stabbz and Donnie
James Rio, being brothers, own their own drywallin' business, so
they got a crew workin' night shift. They prefer to work in the dead
of night.
What about your drummer? What does she do when she's not in
Spreadeagle formation?
8-BaII: Oak? No one knows, to be honest. We don't know much
about her, friend. Or what she does.
Juan: She's a mysterious creature. With veins deeply rooted in the
art of Satanism.
Ohhh. So you guys are a satanic band?
8-Ball: Hallelujah!
Juan: We believe in the Lord. The Lord Of Beer.
8-BaII: Jesus is Bored, man.
Bored of what?
8-BaII: Being a spokesperson.
Oh, I thought you were going to say "bored of Christian metal."
You guys big Stryper fans?
8-BaII: I'm more of a Leviticus man, myself.
Finish this lyric... "the cheaper the grapes are, the _
Juan: I dunno, "the cheaper the grapes are?"
8-Ball: "The sweeter the taste of the wine."
Right. Remember that one?
8-Ball: Sure do. Great song. Kenny Rogers.
What does that mean, do you think? What do those words mean
to you guys, in relation to Spreadeagle?
Juan: I dunno; I don't care. Sounds like bullshit.
[With that, he slips in the kitchen, spills beer on something important
and all hell breaks loose in the apartment again. After things settle
down, tenants are up and fixing for a sandwich of some kind. I continue the prodding of 8-Ball.]
8-Ball: It's an 8-ball way of life, man. It means some of the best
things in life are FREE. And if they ain't FREE then they're pretty
damn cheap and that's okay with me.
What are Spreadeagles' plans in the short term? I'd imagine that
playing with the Misfits last week would top a few bands' to-do
8-BaII: To write dumber and dumber songs. You know, people complain about the state of music here, but I think it can still get a
whole lot dumber.
Juan: A provincial as well as state-to-state tour, then a whole World
Rock-A-Thon tour.
8-Ball: We're going to start our tour in the Fraser Valley and work
our way west to Coquitlam, then Port Moody, then Whalley, maybe
New Westminster. That should be everything. That should cover
an extensive tour.
Juan: Campbell River. The Island, maybe.
8-BaII: That's right. Conquer everywhere. Today, Mission; tomorrow, Comox.
Where can Spreadeagle be contacted about CD's, shows, tours and
the like?
8-BaII: •
14 September 2002 Flying Folk Army
By Brian Disagree
The Flying Folk Army creates one of the greatest musical sounds that
anyone can dance to. They are relatively unknown beyond activist
circles, as they all lead full lives and use the part-time project as an
extension of their hearts, playing mostly at protests for like-minded
folk. But that isn't to say people who aren't activists can't listen to
them. The Flying Folk Army is more than a folk musical protest and
is more than just for the tight knit community called Activism. They
play political songs, but they do it in a way that isn't preachy—it's
fun. One of their main goals is to hopefully add more future activists
to the world or even just people to help create a more loving community in their town or city. The Flying Folk Army holds community
next to their hearts and they'd like everyone to enjoy their music and
hope you'll join them at their shows.
Your song "What Side Are You On?" reminds me of my physically
handicapped father who has been severely poor for the last 15
years. He supports the BC Liberals agenda and he supports capitalism. Why do you think he supports the very same people who'd
like to see him living in the street?
Alison: Well, I guess that's probably not what they sold to him. I
think they wrap it up in a very attractive package [and] a lot of people go for that because they don't see what's underneath it and
they don't see what effect it's going to have once the stuff is actually implemented. I think a lot of people have reacted that way
since the Liberals came into power [and] are getting that kind of
reaction of like, "Oh, wait a minute. We didn't actually vote for all
this stuff, we thought we were getting one thing and we were actually getting another thing." People are only getting fed one view all
the time. They don't realize there could even be another. There's
not another ideology out there unless they really look for it.
Megan: I think it's a deeper problem of, like, why do people continue to support the systems that keep them down? Making six dollars an hour, or taking away funding for ADHD kids in schools or
whatever. It's just this internalized belief that nothing can ever
really change.
Alison: You have to give people something else. You can't just
resist; you have to say, "Well, here's what we could actually do."
So do you think the media, corporations and capitalists are
putting people under a mind control kind of thing 'cause the
right-wing ideologies control pretty much all the mainstream
Shawn: Mind control? Well, TV is pretty much the greatest mind
control device ever devised, really. We've gotta get on TV; we could
seriously control some minds. [Alison laughs] Well, nah, we wouldn't do that well on TV. We're not TV friendly, that's the problem.
We could pay somebody to go on TV for us and advance our ideas,
but you can't really play that game, either.
What about bands like Chumbawamba or Rage Against The
Machine that have been on TV? Do you think that Chumbawamba
thing where they have some kind of a message on their chest on
MTV or some talk show makes a difference?
Megan: No, because it's that whole thing of co-optation absorbing
counter-culture. Rage Against The Machine is a really good example of that. They have big shows; thousands of people come to their
shows; thousands of kids come to their shows. I think it's really
great that they are doing what they are doing and I think
Chumbawamba is an awesome band. But in terms of, like, does it
have an overall impact? Not really, because this system of capitalism has this amazing ability to sort of ingest that and use it for its
own ends.
Alison: Chumbawamba was the flavor of the month for that one
song which was probably the least protest of any of their songs.
Megan: Now the cool thing about Rage Against The Machine and
Chumbawamba particularly [was] they were bands that made a lot
of money. I know from experience that they actually donate quite
a lot of money to different political campaigns and stuff. Rage
Against The Machine is really well known for supporting the
Chiapas resistance movement and Chumbwamba, when they play
in Canada, give money to Anti-Racist Action and shit like that. So,
as far as it goes, if artists have the ability to obtain that kind of
money and fame and if they use some of it for good ends, I think
that's a really positive thing. So there's a positive contribution to
Alison: If bands like that that are taking their proceeds and just
donating them and not making a big media thing about it, then
that's a very honest thing to do. That's the most honest thing you
can do, to take your profits and donate them quietly and not say,
"Oh look at us... we're being activists so we're giving our money to
this cause," and use it as another selling point.
What about bands like Rage Against The Machine? Say they lived
in million dollar mansions. Are they actually activists if they are
living the high life?
Alison: I don't think you want to go and live in a cardboard box just
to make a statement. You also don't want to be driving around in
limos and consuming mindlessly because then that would totally
negate what you were singing about.
Megan: I don't know how the members of Rage Against The
Machine or Chumbawamba live. I think that Chumbawamba probably still live collectively 'cause they always did for a really long
time, and I heard that they still do that to a degree. So, obviously,
if their politics are really like what they're about, one would hope
that those people that are political would continue to live in a way
that is conscious. Again, you don't have to live in a cardboard box
Shawn: And being broke and not having anything doesn't really
make you necessarily righteous in any way, either. I suppose if Rage
Against The Machine and Chumbawamba are contributing something or they're firing people up or they're pushing people or they're
making them ask questions that they haven't before maybe that's
their day's work done.
Alison: It's the best you can do.
In regards to your song "Uncle Sam," could you explain who Uncle
Sam is and why you are against the war he creates?
Shawn: Uncle Sam is the whole machine. That machine that all the
kids are raging against. That's who he is.
Megan: Dwayne wrote that song in 1991 during the first Gulf War,
actually. He didn't think it was a political song, he just wrote it. He
was some 18-year-old kid and we're all old, as you can tell. We were
all 18 during the first Gulf War. For us as a group, it's one of our big
songs we do that we've done since the very beginning 'cause it's
about fighting the war machine. Really, the whole Uncle Sam concept—the cultural, economic, imperialist concept; Uncle Sam is
everywhere. You go to any country and there is an influence there.
Alison: And it gets more and more relevant. Which is really too
bad. I really wish that song would cease to be relevant.
When people come to see the Flying Folk Army live, what can they
Megan: FUN!
Alison: Noise.
Shawn: They can expect to get my sweat on them, probably, if they
get too close.
Alison: And they might come away with a few more political opinions than they had before, hopefully. And, maybe they'll absorb
some of that.
Shawn: They'll meet some happy, funny, awesome people in the
crowds, too. We always get great people coming out to our shows.
That's why they are so good, too.
Alison: I don't think we would still be going and still be popular if
we just sat up there and hit people over the head. There's a lot of
really depressing stuff happening in the world and we're trying to
write about it, but we're also trying to make people have a good
time while they are questioning society. •
15 DiSCORDER Despite the fact that Moggie Vail and Sarah Utter of Bongs
are two of the friendliest mild-mannered people you might
hope to meet in the back hallway of a club or packing up
their stuff on-stage, there are still a few compliments that it
would behoove you not to pay them.
"Pretty good for a girl band," is one of them.
"Pretty good rock," would be a better way to put it, or,
perhaps, "Best friggin' rock 'n' roll I've heard since Robin
lander, Randy Rhodes ond Jimi Hendrix all jammed together
during my last mescaline high. "Because once the short-sighted look post the fact that the bond is fronted by two women,
they might see that the straight-ahead, high-octane rock they
play is not only on-pat with any of their male contemporaries, it often surpasses them. And the fact thot it's not
performed by Ony Osboume, biting the heads off bats
because they look like chicken-wings through his bleary-eyed
PCP haze, or Hikki Sixx, coked to the gills and believing that
he really is Satan incarnate, makes it that much better,
because it means you might actually get to go up and talk
to the band without them trying to randomly murder you.
Just be sure to choose your compliments carefully.
DiSCORDER: Your music has definitely evolved over the past five
years, but it's been a gradual process as opposed to re-inventing
yourselves from album to album. How do you see it?
Sarah Utter: I think that's accurate. I think every drummer helps a
little bit with their own style, so there's always that. When Maggie
and I started playing music together at first, we didn't really know
each other very well. I think it's been a matter of getting to know
each other better over the years and getting more confident with
songwriting and also just being more confident to tell each other
our ideas.
Maggie Vail: Also, I didn't play bass until our first practice, so it's
taken me awhile to learn my instrument.
Sarah: But I think you were always good at it. It's not like you were
just learning. You definitely had a natural flair.
Maggie: I've played guitar. I've taken guitar lessons and played
When did you start playing instruments?
Sarah: I played violin. I started when I was four and a half and I
played 'til I was ten. Then I quit and I didn't play music until I was
17—I got a guitar for my 17th birthday.
Maggie: I started playing cello and clarinet in school—4th grade,
then I started taking guitar lessons when I was 14. My dad played
music and there was always a drumset in the living room and we
had a practice room. My friend Brenda and I, we had a silly band
called the Geoducks and we didn't even try to play our instruments.
We'd just bang on things and make weird songs about Smokey the
Cow Horse or weird library books that we saw.
Bangs firmly embraces the heavier end of '70s rock, but sits comfortably in the present as well. What, if anything, do you think
you owe to the past, musically?
Sarah: Well, that's where I get a lot of my inspiration from, guitar-
wise. All of my favourite guitar players—Tony lommi, Jimmy Page—
are from the '70s classic rock era. So when I started really getting
into electric guitar when I was 19, that's what I was listening to
mostly all the time. Now I'm sort of burned out on it. There's only
so much of that music that you can listen to before you go crazy. I
re-discover it every once in a while.
Maggie: Only so much Zep?
Sarah: Well, actually, for the last six months I've been super-
obsessed with Led Zeppelin III. I really want to write a new song
that has an open-tuning on it because that's mostly what the guitar is on that album. But, yeah, I get a lot of my inspiration for guitar and singing and just performing from the classic rock era in the
late '70s.
You both hit your late teens in the early '90s, right at the point
when Olympia punk was at its zenith, Riot Grrrl was a force to be
reckoned with and, for that matter, Maggie, your sister drummed
for the preeminent Riot Grrrl band. What was that like?
Maggie: Insane.
Sarah: Great! It was my favourite time of going to punk shows. It
was right when I started going to them, so I was brand new to the
whole thing—this idea that you could pick an instrument and start
a band, and you didn't have to be on MTV to be in a band. I didn't
really know any that existed until I went to a show sort of by accident when I was 16. That was such a great time because there were
so many venues at that point. They were mostly all-ages and there
were so many shows and so many great bands coming through
town; everybody was really excited and maybe it was because I
was younger and I was more excited, but it just seemed like there
was so much energy in the air and so many people doing things—
putting out records and having shows at their house. Tons of house
parties with bands playing in the basement.
Maggie: That still exists—there's a really strong community at
work. Still, it's not quite what it used to be.
Sarah: There was something about that time where it was breaking or brand new. It's always been happening, but at that time
there was so much going on.
Maggie: Well, the possibilities were wide open, I think.
Sarah: I didn't really have anything to do with the Riot Grrrl scene,
though. I didn't really connect with it at all, even though I was probably the prime age for something like that. 1 think it's because,
growing up as a girl, my parents raised me with the idea that I could
do whatever I wanted. If I wanted to be an artist or a musician or
whatever, that was fine. It wasn't about gender or anything like
that. 1 wasn't even really thinking about things like that at that
time; I was just thinking, "I want to see bands play; I want to go to
a party; I want to have a really good time; I want to pick up an
t and learn it." I wasn't really involved with the political
side of it at all. But I have to say that I think more about those
things now than I did at that time. Now that Riot Grrrl isn't this
actual, physical presence, like it was; now it's just this ideology
that's evolved. I think more about a lot of those things now that
I'm older than 1 did when I was a teenager. They make more sense
to me.
Are guys scared of you, Maggie?
Maggie: Yes, they are, but I don't really know why!
Sarah: It's really weird. At shows—and I've noticed it more recently—boys will come up to me and ask me if it's okay if they talk to
Maggie, or if I'd tell her that she played a good show because they're
nervous to talk to her, and I always laugh. I think it's really funny,
because you're really friendly and approachable, I think.
Maggie: Well, I think, in the past, I've always been approached.
Sarah: I remember I always used to be like, "Everybody always
talks to you! Why am I so unapproachable?" and now, all of a sudden, I'm like the band ambassador.
Maggie: I don't know what it is.
It's because you have tattoos.
Sarah: Yeah, you're just all tatted out. Maybe it's because I'm single and you have a date?
Maggie: What? Sixteen year-old boys can just sense that in the air?
Sarah: Yeah.
You've never been afraid to deliver 10 songs in only 20 minutes.
Do you feel that brevity is the source of wit or, alternately, that
less is more?
Maggie: Yes, less is always more. Leave them wanting more.
Sarah: Yeah, never outstay your welcome.
Maggie: The best bands should only play for 15 minutes. Somebody
told me that when I was 17 and I believed it for so long. Then I was
like, "Wait a second—if Cheap Trick was playing, I'd want them to
play for more than 15 minutes!"
Sarah: I think, for us, short and sweet is way better than making a
long, crazy concept album which sort of drags. Other people are
great at it but, for us, I think it's short bursts of energy.
Maggie: No filler.
Skate or die?
16 September 2002 Leah Abramson
Melodic art-folk
(604) 438-7740
The All Purpose
Experimental post-pop for
ages 5 and up.
Jon Lipton
#1109-865 View St.,
Victoria, BC V8W 3E8
(250) 382-1313
Ask Nora
Singer/songwriter meets
retro/experimental rock gathered together in a cave, grooving with a Moog.
Jeffrey Mettlewsky
#800-15355 24th Ave., #469
White Rock, BC V4A 2H9
(604) 597-2425
The Basement Sweets
Subterranean jangley pop.
1624 E.Georgia St.,
Vancouver, BC
(604) 709-8226
Bel Riose
Two man bass and drum indie
(604) 605-0450
Vancouver's rock 'n' roll trio.
Big Bottom
Experiments in instrumental-
ism (hip hop/funk).
Justin Frost or Scott
Blind Driver
Blindingly Loud.
Dr. Frog Rx
(604) 875-1287
Blood Meridian
Hard Rock Band.
Prog folk art rock.
2503 West Broadway St.,
Vancouver, BC V3W 8L4
(604) 253-6543
Quirk pop bubble machines
Kevan Ellis
309-1738 Alberni St.,
Vancouver, BC V6G 1B2
Crop Circle
A dynamic blend of heavy
hard hitting energy and
smooth flowing melodic lines.
(604) 526-0672 or (604) 793-
Allison Crowe
Beautifully moody or riotously
Adrian du Plessis (mgr.)
PO Box 227, Ganges, Salt
Spring Island, BC V8K 2V9
(250) 537-1286
The Deadcats
Not yer Grandma's rockabilly!
New CD and vinyl LP Bad
Pussy on Germany's Crazy
Love Records.
East Van, some Cat house
(604) 298-5573
A spectre is haunting Europe...
it is music to die to... avant-
Davor, Paul, Reggie, Rory.
The Epidemic
Post modernfuck.
Troy and Davey
(604) 263-5906 for Davey,
(604) 737-6946 for Troy
Melinda Gidaly
Singer-songwriter with intelligent, intriguing lyrics and delicate, catchy guitar melodies.
Latest CD: This Mortal Lust.
(604) 215-5585
The High School Populars
Why buy a mattress anywhere
(604) 263-5906
Ethereal with a rock sensibility, Hinterland's music swings
from ambient drones to walls
of reverberating guitar.
A fluctuating method of music
the band refers to as
"metalliska" for simplicity's
Chad Norman (mgr.)
#1-2223 Victoria Drive,
Vancouver, BC
(604) 431-5451
Walls of experimental
upheavals, jabbed ears grinding fuzz + speed noize
mantras—screaming fucking
noize fest!!!
606 E. 26th Avenue,
Vancouver, BC V5Z 2H7
(604) 708-2297 for Nic or
Freya, (604) 709-6244 for
Kick in the Eye
"A full-tilt boogie blues band if
ever there was one."—CFRO
Marian Lochrie
POBox 3192,
Mission, BC V2V 4J4
(604) 878-KICK
A Luna Red
A female fronted treat, with a
delicious semi-sweet
center surrounded with hard,
crunchy rock.
Michael Breen
(604) 873-6476
The Metic
Cary and Darcy
Thank you Vancouver for voting for Motorama as
Vancouver's most approachable band!
Marcus Lander
6341 Beatrice St., Vancouver,
BC V5P 3R5
(604) 874-6667
Nagasaki Fondue
Raping the sonic spectrum
from ultraviolent decayed
power electronics to sub-
ambient static.
Smiling Nihilist
Nasty On
A Rock 'n* Roll Band
Allen or Jason
#25-2830 Hemlock St.,
Vancouver, BC V6H 2V9
(604) 709-9166 or (604) 733-
Operation Makeout
The Organ
Ska-rock with funk inflections
and a dose of unabashed
Ryan Eugene Newman
#223-7340 Moffatt Road,
Richmond, BC V6Y 1X8
(604) 448-1336
Perpetual Dream Theory
Eclectic Acoustic Electric.
New Wave Dark Folk
Alternative Pop music.
(604) 520-1892
A local band that sounds like
Weezer/Ozma—at least that's
what my sister tells me.
Louie Dickens
20-12055 Greenland Drive,
Richmond, BC
(604) 644-6936
Adrienne Pierce
Mazzy Star on speed with a
touch of Lou Reed.
Noisy instrumentais for 3-
string drone bass and scrap
metal percussion.
RCJohnson/Ed Frey
948 Keil St.,
White Rock, BC V4B 4V7
(604) 538-7203
Radio Berlin
The Rain and the Sidewalk
Moody semi-electronic post-
post-punk art-pop (formerly
#151-2416 Main St.,
Vancouver, BC V5T 3E2
(604) 875-8841
Pernell Reichert
Non-whiny folk singer/songwriter.
7-1730 E. Pender St.,
Vancouver, BC
(604) 612-1738
Philippe Roulston
Solo musician, acoustic guitar
and vocals, performing locally
for about four years. Recent CD.
102-2352 West Broadway,
Vancouver, BC V6K 2E5
(604) 737-2085
The Secret Three
SK Robot
Terry David Mulligan once told
us to "Shut the FUCK up!"
Dennis Pyo
831 East 14th Avenue,
Vancouver, BC V5T 2N5
Description: Tribal dance
grooves. Delerium's ethereal
sweetness meets the Tea
Party's middle-eastern rock.
Joyelle Brandt
(604) 916-1395 The River 03
The Stunts
Overthrow cockrock with cunning pop-punk melodies courtesy of this merciless yet
melodic power trio of Eastside
Ten Days Late...
New and Improved!!!... Now
With 20% Less Fat!!!
#162-916 W.Broadway,
Vancouver, BC V5Z 1K7
(604) 733-6313
Three Inches of Blood
Trail Vs Russia
Waltz Darling
Commie Pop Extravaganza,
Join the Party!
Pop/rock with infectious hooks
and harmonies.
Trent Shumay
3 - 2475 West 3rd Avenue,
Vancouver, BC V6K1L6
(604) 307-7359
Swaggering electronic punk
dashed with sharp wit and
broken dreams. Vancouver's
Terminal City 1.
Mr! Erik
304-1110 West 10th Avenue,
Vancouver, BC V6H 1J1
The Winks
An electrified cello and
mandolin duet that sing
theatrical songs to slice your
esophagus to.
616 Lonsdale Ave,
North Vancouver, BC
(604) 986-7182
Pop-Surf-Twang. B-52's meet
Wall of Voodoo
Kevin O'Brien
48765 Bentall Centre,
Vancouver, BC V5Y 2A3
604 874-8282
Wreck In Progress (WIP)
Blues, rock.
Harvey/Tong (mgr.)
(604) 435-1496 (Franki)
Four fabulous fun females who
play it loud, fast and heavy.
Xeroxed brotheR
Experimental Nausea.
Emil Chervatin
(604) 331-1451
Young and Sexy
Whap! Productions
webzine/ webdeisgn/ booking
Radio Program:
Local Kids Make Good
llam-lpm, alt. Mondays
Local Michael and Local Dave
bring it to you localstyle. the
very newest in music from
Vancouver and nearby, with
news and guest co-hosts from
local bands.
Ache Records
Capital P
Corporate rock
2503 West Broadway St.,
Vancouver, BC V3W 8L4
Copperspine Records
*New Music for an Old World*
Promoting and recording
GOOD independent music.
Anne Kayal
20-14th Avenue West,
Vancouver, BC V5Y 1W6
(604) 709-3124
Flying Saucer Records
Rockabilly/Psychobilly label,
importer, and distributor, also
mail-order. Psychobilly CD
imports, t-shirts.
Box 7-4425 Halifax St.,
Burnaby, BC V5C 6P2
(604) 298-5573
Hive-Fi Recordings
Imprint label of The Hive
Studios. Out now: p:ano and The
Secret Three. Look for the Hive
.5 limited release collection.
POBox 21689-1850
Commercial Drive,
Vancouver, BC V5N 1Y5
(604) 216-HIVE
Blood Meridian
The Cinch
Three Inches of Blood
Operation Makeout 04
One Gold Ruble Records
198-1917 West 4th Ave,
Vancouver, BCV6J1M7
Deer and Bird
Pale Horse Records
Solarbaby... All Tribe's
Mission... Marq Desouza... we
don't know these people.
Pale Horse Records
PO Box 74507, Vancouver, BC
V6K 4P4
Stutter Records
A Rock 'n' Roll Label
Allen or Jason
#25-2830 Hemlock St.,
Vancouver, BC V6H 2V9
(604) 733-2579
Teenage Rampage Records
Store: 19 E. Broadway,
Vancouver, BC
Third Nipple World
Serving up hot slabs of mediocrity since 1993. Responsible
for Wiggler and Rats Eat
Mr! Erik
304-1110 West 10th Avenue,
Vancouver, BCV6H1J1
Hive Studios
16 Channel Analog | 24 channel digital recording
(RADAR)— Destroyer, Radio
Berlin, Beans, p:ano. We also
record live shows—Fugazi, The
Walkmen, Beans 48 hours.
Documenting the scene since
POBox 21689-1850
Commercial Drive,
Vancouver, BC V5N 1Y5
Terraform Multimedia
Video editing and production,
specializing in band EPKs/ audio
engineering and mastering.
Corey MacGregor
4954 Victoria Drive,
Vancouver, BC V5P 3T6
29 Productions Inc.
Full service recording studio.
Call us with any questions.
Great rates, professional.
Produce your demo!
Jory or Micah
#301-1062 Homer St.,
Vancouver, BC
(604) 689-2910
That's Info-tainment!
An online, daily commentary.
It's better to be a smartass
than a dumbass.
Mr! Erik
304-1110 West 10th Avenue,
Vancouver, BC V6H 1J1
BC Music Industry
Foundation and Museum
An incorporated, non-profit,
volunteer-run and registered
charitable organization.
Donald R. Aikens (Pres.),
L Balla (Vice-Pres.)
PO Box 56002,
Vancouver, BC V5L 5E2
(604) 299-7201
Cinistir/AM Productions
High quality music videos and
concert films. Any genre, any
budget, grant support, etc.
Marcus Hutchings, Marcus
48 E. 6th Avenue,
Vancouver, BC
(604) 875-9927, ext. 23
Red Cat Records
Rockabilly * Surf * Country *
Punk * Canadiana * Lounge *
Hillbilly * Garage * Rawk *
....and TONS of local stuff!!!!!
4305 Main St.,
Vancouver, BC V5V 3R1
(604) 708-9425
Trom Designs
Music posters, CD layout, web
sites, things to stick on your
face and bum....
616 Lonsdale Ave, North
Vancouver, BC
(604) 986-7182
Western Front New Music
Our New Music Program
includes artist residencies,
workshops, concert presentations, and webcasts in computer music, electronics,
installations, improvisation,
chamber music, and world
DB Bokyo, Music Curator
(604) 876-9343
Mecca Normal by Chris Eng
Sarah: Skate! Yeah, everyone in Olympia's obsessed with that
movie Dogtown and Z-Boys because it came to the film society.
Maggie: Tobi got a copy of it on DVD; we watched it the other night.
Sarah: We went skateboarding afterward on our big old skateboards from the '80s. I went home and I put on my old Vans and
my stupid hat that I was trying to look like Tony Alva in and went
Maggie: It's all about big skateboards. It's not about new fangled
skateboards with little wheels.
Sarah: Big wheels and little pants, not big pants and little wheels.
You still got your fat decks?
Maggie: Yeah.
Sarah: Yeah.
Are you good?
Sarah: I get pretty radical.
Maggie: I tried for years to learn how to ollie in this one church
parking lot and i could never do it.
Sarah: I just cruise around. It's more of a mode of transportation.
Maggie: Going fast is really fun, but the older I get, the more scared
I get. There's this hill in Olympia and when I was younger we would
start at the top and just coast down to downtown, then you had to
hang this really sharp corner by the park, but that sort of stuff's
too dangerous for me now, so I just cruise around the neighbourhood late at night and pretend I'm living in 1985.
Maggie, your vocal presence has definitely increased since Tiger
Beat. Are you feeling more confident now?
Maggie: Yes. Feeling much more confident about everything since
Tiger Beat. Voice, bass-playing, playing live, going on tour—all that
kind of stuff. On the last tour, I was having a lot of anxiety about
travelling, but, for some reason, I wasn't anxious playing shows.
Everything else about tour was freaking me out, but every time I
played I was totally fine.
Sarah: It's so weird; I get so stressed out and nervous when we get
to the club and are setting up equipment or sound-checking, but as
soon as we start playing, as long as there's no technical difficulties, I feel totally relaxed and comfortable. It's really strange. 1
never thought that I would feel like that before I started being in a
band. I was never the kind of person that liked to... I didn't hate it,
but I didn't like getting up in front of the class and doing some kind
of presentation. I think it's just having confidence and knowing
that you can do something well. I feel comfortable playing guitar, I
think. If I didn't have a guitar to hide behind, I'd feel a lot different.
If I just had to be a singerrl'd be a lot more nervous. But I think my
actual singing ability has gotten better because of practicing. When
we first started the band, I sang because Maggie didn't really want
to and there was nobody else. Jesse wasn't gonna sing, so... I didn't
mind it, but I've never really thought of myself as a singer. I've
always just thought of myself as a guitar-player; but the more I've
done it over the years it's gotten a lot better—not that I'm born
with some great talent for singing. I'll always be a punk singer; I'll
never be one of the world's great trained vocalists, but I've learned
a few things from friends that are actually good singers about
doing little warm-ups before you sing live and stuff. Those've
helped a lot.
Most of your songs, even the upbeat ones, are tinged with a bit
of venom, lyrically. Is that intentional?
Sarah: I think it must just be how I am.
Maggie: Yeah. I don't really write when I'm happy. I write when I'm
Sarah: It's hard to write when you're feeling really good about
everything. It's much easier to write when you have something you
want to vent.
Maggie: Right. And I'm not necessarily very good at talking to people about stuff.
Sarah: Exactly! That's what I was thinking.
Maggie: I totally hate confrontation—both Sarah and I do—and I
don't like arguing with people. I just walk away.
Sarah: Soon we'll be writing songs to each other. "Stop chewing
with your mouth ooooopennnnnn!" Just kidding. You don't do that.
Maggie: Yeah. Okay. [Whispering] Sarah's a total jerk.
Sarah: But yeah, I think that's why all the songs are like that.
Because I'm totally non-confrontational in my day-to-day life.
Doing it and singing it in a song is much easier because I definitely
have a different feeling of who I am when I'm playing than I do
when I'm at home or walking down the street or at work. It just
feels like a different person; you can be whatever kind of person
you want to be. •
"The Great Bangs Tour Extravaganza/Debacle 2002!*
By Sarah Utter
1) The Makers. Our tour mates, partners in crime, wrestling opponents, personal stylists, guitar techs and amp wranglers. A lot of people asked, "Why are
YOU touring with THEM?" I guess it does seem like an odd match—us in our t-
shirts, jeans and unstylish haircuts opening for a bunch of fancy-boys with
concept albums. I think it's the Eastern Washington/Western Washington
connection or maybe our shared love of thrift stores and bouncy balls, I don't
know—but it works. Makers/Bangs TLA!
2) Peter David Connelly. Our new drummer and a youngster at 22 years. Peter
is a rock 'n' roll animal behind the drums, but he had never really left
Washington State and didn't know how to operate a calling card. We had a lot
to teach him. Skills he learned during our trip: how to use a motel phone, how
to do laundry at a laundromat, how to close the van door, how to pump gas—
next tour maybe we will teach him how to drive!
3)Jessica "Energy Drinks" Orr. Our roadie, with a penchant for gas station hot
dogs and Red Bull. I think we decided at the end of the trip (after sampling 50
different kinds) that Rockstar is the best tasting of all the varieties of energy
drink, despite its bad packaging and slogan ("Party Like A Rockstar"). Jessica
is off hot dogs now after an especially evil one at a 7-11 in Denver made her
violently ill (although it might have had something to do with the three Red
Bulls she drank, followed by a fit of running around the motel at 3am, knocking on people's doors and then running away with her accomplice, Jay, the
Makers' drummer).
4) The Dodge Ram. Our van! Maggie and 1 have never officially owned a van
before, though we've been playing together for five years. The van did an
excellent job, with only one de-railment in the industrial wasteland of
Hammond, Indiana...
5) Hammond, Indiana. After sitting forever in The Worst Traffic In America
(a.k.a. Chicago rush hour), the van started to act a little funny—uh oh. Double
uh oh because none of us are mechanically-inclined in the least. I usually like
to say "check the fuel filter," 'cuz it sounds like I know what I'm doing, but this
time something seemed to be wrong with the steering. By some twist of fate
we pulled into the Cas-A-Roooo, located down the street from Universal
Trucking, home of Bosko and the gang. Jessica used her amazing skill of
blending in with the locals to befriend our savior, Bosko the Serbian. He stole
the part we needed off of his boss's identical Dodge van and didn't charge us a
penny. Crazy! If you're ever in Hammond, make sure to visit Bosko and send
6) Action Dan. We stayed in Brooklyn with Jessica's friend, Adam, who is hilarious and has an impressive Homie collection. He also had something else on
his wall that I became obsessed with—Action Dan. He was an action figure
from the dollar store down the street, with a mysterious identity. The drawing
of him on the package seemed to depict some sort ofAl-Qaeda fighter dressed
in camo, but the actual doll looked like Ken dressed in a white skiing outfit.
What? Adam generously donated Action Dan to us and he became the unofficial fifth member of the tour gang, and though he lost a boot in Toledo (sorry,
Dan) and one of his ski-poles somewhere else, I think he had a good time.
7) Toledo, Ohio. We had a sort of depressing show, so we made up for it by
staying up all night jumping on the beds and going nuts. Somehow we got a
room that was two rooms—the sweet suite! We felt like royalty. Peter put on
Maggie's slip and posed for some boudouir shots on the bed, smoking a cigarette and reading Jessica's copy of Hollywood Wives—The New Generation.
Jessica's obsession with this book peaked, I think, ii
at 7am to find her reading and she shouted out,
Greg!" After she finished HWTNC, she bought sc
a detective in Las Vegas.
8) The Squeeze Breeze. Our form of air-conditioning. Our van's A/C didn't
seem to really work—good thing I had planned ahead and bought the best
product ever invented for summertime touring: The Squeeze Breeze. Besides
the catchy name, it comes with a carrying strap so you can wear it around
your neck, like if you're at an art museum or a demolition derby and you need
a spritz. The Squeeze Breeze is basically a spray bottle with a motorized fan
attached to it, but you have to make sure you don't start to nod off when
you're operating it or else your lips will get caught in the blades.
9) Wrestling Teams. The Makers are obsessed with developing their own
wrestling team. They all have their own wrestling alter-egos: Michael, singer-
"Baby Lemonade"; Donny, bass-"Samsonite";Jay, drums-"Squatch"; Tim, gui-
tar-"Big Buffet"; Kyle, roadie-"Honeybucket"; Jamie, guitar-"The Controller"
(he's the manager). We decided they needed some competition, and
established our own group. Introducing: "The Noggin" (Maggie), "Garden Sin-
Sation" (Peter), "Bruce, the Great Dame" (Jessica, the manager) and "The Ice
Machine" (me, although I think I'm better suited to choreography or costume
design). We haven't had a rumble (yet), but my money's on Baby Lemonade
getting his ass kicked by the Noggin, or Squatch handing out a pummeling to
Garden Sin-Sation, or the Controller and Bruce getting involved with folding
n Cleveland when I woke up
isa's back together with
•e book about a cat that was
10) Trivia Wizards. No one cares that I scored a billion points on Trivia Whiz in
Lincoln, Nebraska. I think Michael even told me I was extra boring if I was
good at trivia—/ disagree! Lincoln also involved Jessica taking off her bra to
throw at the Makers during their set, me and Jessica drinking Jdgermeister
out of a tiny metal boot to celebrate the Germans' loss in the World Cup, eating really bad sushi and laying on the sidewalk after the show, blasting world
music out of the boombox Peter had picked up at a thrift store. After the show,
I sat down in a grassy field by the motel and got chiggers! Gotta love tour. •
17 DiSCORDER History Lesson: SHiNDiG!
By Michael Schwandt
Photos by Dan Siney
What do Three Inches of Blood and the Salteens have in common?
Not a lot, you might suggest, and you might be right. But both
Vancouver bands share the distinction of having won SHiNDiG!,
CiTR's annual battle of the bands.
For about 20 years (it's a SHiNDiG! fact that NOBODY knows
the inaugural year exactly), local musicians have spent the cold
autumn months fighting it out to be SHiNDiG! champions. The
Railway Club is the host venue for the weekly skirmishes, which run
from September until December.
Bands are selected from a pool of entries submitted to CiTR.
It's a long and difficult process to choose the best of the best
entries, and to make sure that a variety of musical styles are included. Once the 27 competitors are chosen, 3 bands play each week in
an opening round. The winners of these preliminary rounds then
compete in semifinals, from which SHiNDiGI's finalists are selected.
Last year, on a cold misty night, the finals came down to the
six-piece heavy metal juggernaut known as Three Inches of Blood,
young punk rockers My Buddy Dave, and unclassifiable one-man
band Motorcycle Man. Each of the wildly different bands brought
impressive musicianship to the stage, but Three Inches of Blood had
the presence and charisma to win over the crowd and judges alike.
They had scream-alongs about slaying ores, one of their singers had
his mic attached to a gigantic sword, and frankly the other finalists
could only hope to fight for second place.
By their last SHiNDiG! show, Three Inches of Blood had gained
a reputation as a band—perhaps THE band—to see live in
Vancouver, and many fans who had been won over by the Three
Inches live show eagerly waited for the release of the band's first
full-length CD. Battlecry Under a Winter Sun, recorded in part with
studio time won in SHiNDiG!, ended up going to #1 on the CiTR
As well as the exposure to a new audience, SHiNDiG! offers
large prizes of rehearsal and recording time at Vancouver studios
(this year, Mushroom, the Hive, Backline, Bean Brothers, CBC Radio
3, Fireball Productions, and Video In donated prizes), as well as air-
time on CBC's Radiosonic (with Grant Lawrence!) and a spot on just- And, every band that plays at SHiNDiG! is invited to
play on CiTR's local music institution Thunderbird Radio Hell.
Judges are volunteers from CiTR/DiSCORDER, and they are
extremely qualified, the qualification being enthusiasm to watch
bands that often come as complete unknowns. At a given SHiNDiG!
show, five different judges busily scribble notes and try to rank the
evening's bands. It's a tough gig. Compensated only with free beer
for their efforts, and often dealing with the wrath of eliminated
bands, tireless SHiNDiG! judges are valued by the contest's organizers. (Contact for information on this fun opportunity.)
Any history of SHiNDiG! would be shamefully incomplete without a mention of Jokes For Beer. At every show, the intermission
between the second and third band is a chance to win beer by subjecting your best jokes to the scrutiny of the cruel, cruel SHiNDiG!
crowd. Get on stage, spit out the knee-slapper you overheard on
the bus ride to the venue, and if the crowd is pleased, you win. Jokes
For Beer. It's like gladiatorial combat for masochistic extroverts,
except the spectators show less mercy. Last year a Stephen
Hawking impression got a prize, so check your most classy witticisms at the door.
Fans of local music have been flocking to SHiNDiG! for years,
and for good reason. Many Vancouver favourites played their very
earliest shows at the event, such as past winners like Clover Honey,
Readymade, the Cinch and the Radio. The SHiNDiG! stage has also
been given a beating over the years by a long list of bands including
The Nasty On, Witness Protection Program, Trail vs. Russia,
Operation Makeout, the Organ and the Riff Randells.
This year, the first round starts on September 10, and continues
every Tuesday until December 10. All shows are at the Railway Club,
and the first band goes on at 9:00. •
Last Year's Winners: Three Inches of Blood
18 September 2002 ii
What   s Right
Two new comic  collections get
freaky  on  Canada  Customs
by  Chris  Eng
"You know, during the last trial, Little Sister's needed to get the
books that were confiscated for the defense, but every time they'd
import them, they'd get busted. So, you know what they did? They
went to Celia Duthie. She got all of them, no problem."
Robin Fisher is leaning over a plate of European food wearing a
t-shirt that bears a picture of her namesake, the on-again/off-again
sidekick of Batman. This alone should be proof enough of her devotion to the comic world for most people but, for the non-believers,
the fact that she more-or-less single-handedly assembled a book-
size collection of comics (soon to be two) as a fundraiser for the
Little Sister's Bookstore's fight against censorship should allay any
outstanding concerns.
The well-documented trouble between Little Sister's and
Canada Customs started years ago and culminated in 2000 with
the ruling that Customs had not only unreasonably delayed and held
much of Little Sister's imported merchandise, but also that they did
it through "systematic targeting" of materials bound for their store.
It turned out, however, to be a hollow victory.
In February of next year, they will be forced to go through all of
it all over again when they take Customs back to the docket, this
time over two collections of gay comics, Meatmen #18 and #24.
While each of the issues is partially a collection of erotica for the
gay community, Meatmen is also about half-filled with cartoonish
commentaries on the gay community as a whole. The offending
comics were, however, special S&M issues and no amount of witty
observations or arguing for artistic expression were getting those
past customs. Not even in this post-lawsuit Canada, and apparently not even when your government agency was brought to task on
a similar charge only two years previous. Perhaps especially not
"Basically, what happened was when they won the trial, Canada
obscene." Fisher is trying to eat, but she's animated at the same
time and while it makes for an interesting show, not much of the
food is going in her mouth. Still, she doesn't really seem to notice.
"Before, the supplier or the seller or the [purchaser] had to prove
that what they were buying wasn't obscene; now customs has to
prove that it is. They confiscated Meatmen and had 30 days to
return them and explain why they're obscene and they never did.
They kept them for months and months, and Little Sister's did
everything the proper way; did the appeals the right way, and nothing. So, they were just,'You know what? You're breaking the law.
The Supreme Court of Canada says you have to do this and you're
not doing it. It's illegal.' And they're taking them back to court and
hoping that when people start dictating what we read—because
obviously they feel it's necessary, whether what's getting put in is
obscene or not—it should be somebody who takes the time and the
effort to read it, to put it in context, to know what they're talking
about; it should be an educated mind. It shouldn't be some overworked customs guy flipping through it, seeing anal penetration,
getting all freaked-out about it and saying, 'This is offensive.'"
Which is about the point when Fisher hooked up with Little
Sister's. Having worked at a come store for a number of years, she
was more than a little familiar with Canada Customs' various "procedures" they would implement when dealing with the adult
comics—holding on to things for months without notifying anyone,
not giving any reasons for the delays, and bureaucratic runarounds
revolving around works that often weren't obscene in any qualifi-
able sense. "So, when I read about Little Sister's going back to court
with the two Meatmen anthologies, I was like, 'Well, i should go over
and meet them and talk to them about this, because I have experience and this is my cause.' So, I went and met Mark McDonald-
he's the book-buyer at Little Sister's. He was getting into comics
and we really hit it off and I just thought, 'Well, why don't we do a
comic book to raise money for this?' And then I said, 'You know,'—
famous last words—'I have a really big mouth, so I'm pretty sure I
can get the word out there and get people interested enough to do
That something has turned into a pair of books that have logged
• her countless hours on the phone—and countless hours of long-distance bills—putting together a collection of art that at once showcases human sexuality and simultaneously takes apart the censors
that try and keep the art from us. What's Wrong?, the first of the
two books, is a collection of strips that shares much in common
with the Meatmen collections. Filled with frankly honest, but often
X-rated, stories and commentaries, it peers into the sexual side of
the debate, flaunting the exact things that the border-guards want
to keep from society, showcasing various critiques of their policies
and celebrating sexuality in general.
"Well, the way it came about is there are a lot of people who
wanted to submit sex stories, right?" Fisher takes a deep breath,
fires a bite of schnitzel into her mouth and keeps going. "And I don't
have a problem with that. I, in fact, enjoy that, but I knew that a lot
of other people would have a conflict of interest because of the content, so I wanted the artists to have the option of doing a more G-
rated story. That's why I decided to do two books. So, What's
Wrong? basically pokes fun at customs, embodies what Canada
Customs censors, and pokes fun at censors as well. What Right? is
just specific stories of censorship—whether it's Canada Customs
censorship or just censorship in general—because I really feel this
is a topic that most people should know about, given the opportunity. The next book is G-rated because I want little old ladies to
read it; I want 8 year-old boys to read it; I want everybody to read
it and not get hung up on anything in it. You know what I mean? I
don't want anything in that book to stop people looking at it."
So, she set out, contacting all the artists she's met over the
years and putting the call out on internet message-boards and
through mass emails. And slowly the responses began to trickle in;
a trickle which turned into a deluge which burst into a flood. "The
book was going to be 90 pages; we got 200 pages and we jumped it
up to 160, so I still had to cut 40 pages." Startled by the response,
she went so far as to attach a warning to the solicitation for What
Right? "I said that on the press release: 'We have 157 pages to fill—
the exact amount. So, please don't be offended if you get cut.'"
And at some point—one that Fisher isn't 100% sure the origins
of—Arsenal Pulp Press selflessly signed on as the publisher.
"Actually, I didn't even go to Arsenal. They came to me, which is
really surprising. 1 guess they'd been talking to people at Little
Sister's. You know, I honestly don't know how it happened, but all
of a sudden Mark was like, "Arsenal's gonna publish it," and I was
ing and late ii
treat them w
her book w
like, "Sweet! I don't have to sell it or anything! It's done." But, I
guess, you know, they really believe in the cause; and they really
took it on, because they had to get stuff really cheap and they managed to find the cheap stuff, but they made the book look excellent. Like it's a beautiful, beautiful book, i could never ask for a
better book, seriously."
Fisher lays her cutlery down on her plate, a satisfied look on
her face. Somewhere along the line, in-between excited bursts of
talking, she managed to consume all the food in front of her without paying it any mind. Still, that's how it is for her: food is food,
but comics are the air she breathes. She thinks of them in the morn-
o the night, and she just wishes that people would
vith a little more respect and tolerance—and she hopes
II help foster that in the world at large as well as aid a
worthy cause.
"i hope it educates. I think that a lot of people don't know
what's going on. It's just appalling to think that someone's telling
you what to read. My parents don't tell me what to read, so why is
some government official doing it? I'm an adult—1 can read whatever I want. So, I hope with this book people start becoming more
aware and angry enough that they want to do something. I also
hope it raises money because trials are expensive and Little Sister's
doesn't have that dough just lying around. This is something I really think that Canada needs to address. It's something that's been
kept under wraps and it's not the way the law should be. Finally
somebody's doing something about it and I'm glad that I'm helping.
I've wanted to help for a long time." •
(What's Wrong? is available now from Arsenal Pulp Press. What
Right? will be released in November. Robin Fisher's comic-oriented
radio show, The Onomatopoeia Show, airs on CiTR every Thursday
from 2-3pm. Her column, Kill Your Boyfriend, can be found elsewhere
in this magazine.)
f y v
19 DiSCORDER dcr*
Black Letter Days
Devil's Workshop
(Sonic Unyon)
The Pixies influenced almost
every meritable guitar-rock
band that came in their
wake—and never got the credit they deserved. Why?
Because the Pixies had the
integrity to not buy into the
system of marketed melodrama that fuels pop music.
Thus, although every serious
guitar guy I've ever talked to
knows and reveres them, their
genius is lost on the A&B
Sound-engorged masses.
Although Frank Black's work
with his Catholics doesn't
quite come up to the level of
intensity of his former group,
he's still made consistently
good records in keeping with
the spirit that has worked for
him all along. Even on his
more mournful tracks—
almost invariably the best on
these albums—there's an
inflection of sarcasm that prevents them from spilling over
into feeble, my-scene-is-dead-
row sentimentality—as was
my concern in picking these
up. Some elements here may
seem a bit roots rock bandwagon at this point, but all-in-
all these are excellent, and a
talented mix-tapist could create something even better
taking the best of them. They
were released together on
August 20; if you only want
one, get Black Letter Days: it
has more tracks and better
quality once you get past the
first song.
In the Red
(Ninja Tune)
Ninja Tune have done it right
with Dynamic Syncopation
Productions' new release and
it's worthy to be brought to
the attention of those who are
enjoying Blackalicious' new
album from several months
ago. UK producers, Johnny
Cuba and the Loop Professor
bring together a potent combination of skill-laden MCs
along with funky musical
arrangements with great success. From the MC side of
things, Phi-Life Cypher,
Eve.On and Dell Wells all
make important contributions, and it helps that this
album could have been worth
listening to if it was an instrumental album. Having said
this, I found Chill Rob G's
"Bullshit" track to be verging
on rant rather than clever bat-
20 September 2002
recorded media
tie rhyme. It's a fine collection
of "true-school" songs, and
worthy of a spin at any house
party. For those who are fans
of the Herbaliser, Nightmares
on Wax, or DJ Food, 1 suppose
all this talk is pointless
because you have the album
Samuel Kim
(Dead Daisy)
Despite my usual disgust for
the Top 40, I still really like
pop music. It's happy dammit.
So, it's a great thing to find a
good indie pop album. At least
until everyone else discovers it
Ontario singer-songwriter
Emm Gryner has updated herself with this latest offering of
piano-driven pop. Spiked with
a handful of new sounds,
Asianblue is polished and summer-sweet. The album kicks
off with strong, sparkly numbers that are radio-friendly
yet original-sounding. "Young
Rebel" best represents
Gryner's growth as an artist in
the last two years: rhythmically layered and laced with
snaky computer sound effects,
this song strays furthest from
the artist's formally acoustic
stylings. Gryner's glittering
pop sensibility starts to blur
by the seventh track, however, as the solid songwriting of
the initial tracks fades.
The pace of the album
slows, thankfully, in its last
third, with songs that are
more akin to Gryner's earlier
releases. Here, her lyrics are a
particular weak point, her talent being more musical than
literary. They tend to weaken
rather than bolster her simpler, acoustic songs, especially in "Green Goodnight."
However, the delicate, ethereal "Christopher," written to
commemorate astronaut Chris
Hadfield's first free-float in
space, is a genuinely pleasing
surprise. Lyrically, this is the
best song on the album (perhaps because it's not about
love), and the gloss that shimmers over the first tracks
lingers on this one as well. It's
gratifying to see that Gryner
can still handle the slow songs,
especially after 2000's Girl
Versions, a fairly painful cover
album that transformed the
likes of Blur and Thrush
Hermit into slow-dragging,
mock-Tori Amos piano syrup.
It's great to find a good
indie pop album. Unfortunately, if this summer's trend of
piano-girl pop (Sarah Slean,
Vanessa Carlton) continues,
this album might just catapult
Gryner into the mainstream
charts. Which would be good
for her but sad for me. 'Cause I
don't want to share.
Born a Lion
For anyone who hasn't heard
Danko Jones yet, imagine
what it would sound like if
Muddy Waters had grown up
listening to Led Zeppelin. That
might be simplifying matters a
great deal, but it gives you the
general idea. I've always liked
Danko Jones' attitude of just
playing good old hard blues
rock for fun and not being a
pretentious preachy politicized
bastard like so many rock
stars become. Born a Lion carries on this tradition of simple
yet powerfully hooked songs
honed to a razor sharpness
during live performances. Like
Danko's previous work, most
of these songs are related to
sex and love, especially lost
love, and they all have that
typical Danko feel of tightly
written songs with no excess
fat on them, slick yet retaining
a raw feeling.
Christa Min once wrote
about rock needing more
hard-ons to liven things up a
little and get it back into the
gutter. Danko Jones delivers
on this idea, although, like his
older work, the songs on Born
a Lion are more suggestive
rather than explicit, leaving a
certain amount up to the listener's imagination. Danko
always manages to keep
things sleazy enough to keep
his songs appealing without
being technically obscene, a
combination pretty much
guaranteed to sell CDs in a
sex-crazed yet sex-fearful
society like the one below us.
As his first major label release,
Born a Lion has Danko poised
at the brink of major stardom
in the USA. Let's just hope he
keeps things fun, crude and
lewd when that happens.
Vampyra Draculea
At Sixes and Sevens
(Sub Pop)
Everyone has a favorite
Sebadoh member, in the same
way that everyone liked a different cast member from Jem,
the girl-rock cartoon from the
'80s. 1 always loved Stormer,
the nice Misfit who was mistreated by her nasty band-
mates. In the same way, I
always appreciated the underdog Jason Loewenstein, whom
I felt never got the props he
deserved for picking up the
creative slack left by Lou
Barlow on the last few
Sebadoh albums.   In contrast
to the democracy that characterized the work of the seminal alt-rock band, At Sixes and
Sevens is a megalomaniacal
project. In J-Lo's own words,
"I wrote the songs, played the
instruments, schlepped the
gear and pressed the record
button ALL BY MYSELF!"
Anticipating this album, I wondered how well Jason would be
able to effectively replicate a
four-piece rock sound solo.
Would his playing be weaker
on any particular instrument?
Would the songs sound sterile,
the way solitary, studio-based
efforts sometimes do? The
answer is a decisive no.
There is not a single dud in
this collection of beautiful,
catchy, quality rock tunes.
Jason's guitar work is incredible, alternating between lightning-fast sharpness and fuzzy,
bendy, distorted deliriousness
(esp. "Casserole" and "I'm a
Shit"). His vocals have also
progressed to the next level
(falsetto on "Roswell to
Jerulsalem" and "Circles").
Jason's lyrics remain at the
same high calibre we had
come to expect from his work
with Sebadoh, demanding
attention and thought on the
part of the listener, while still
being pretty to listen to. At
Sixes and Sevens is an alt-rock
tour de force. Until Sebadoh
reawakens ("It's not dead, just
sleeping"), I think we all have
a lot to look forward to from
Jason. Although I still think he
should have gone with the "J-
Lo" title.
Susy Webb
Five Dollar Bill
(Stony Plain Recording
Just because you like the
Smalls, doesn't mean youire
going to like the Corb Lund
Band, which is fronted by the
now defunct Smalls' bassist,
Corb Lund.
His new album Five Dollar
Bill is pure country music,
without even a tip of the hat
to the punkrockmetal that
flowed through his massive
fingers for the past decade.
With songs like "Time to
Switch to Whiskey," "Roughest
Neck Around" and "Daughter
Don't You Marry No Guitar
Picker," Lund wrangles up a
new posse of listeners who
probably appreciate Johnny
Cash and Merle Haggard more
than Maynard from Tool. But
what seems like a 180 degree
artistic turn is a mere shifting
of focus for Lund, who grew up
in Lethbridge, Alberta and followed in the footsteps of his
father and became a rodeo
cowboy. In 1981, when he was
15, the steer he was riding
bucked him off and stomped
on his head. Shortly thereafter, he discovered rock and
roll, and left his country roots
in the dust. Now, with help
from Nickelback drummer,
Ryan Vikedal, and a herd of
other professional musicians,
Lund is back in the saddle, and
so far there's been no mention
of riding off into the sunset.
Douglas Harrison
Terrible Hostess
This would be Mint's latest variation on the neo-country
theme. Carolyn Mark often
sounds like Natalie Merchant,
but her Roommates take her
much further toward twang
than the 10,000 Maniacs ever
went (apparently they actually
are her roommates). Some barroom swing, some plaintive
moments, and some full-on
hoe down as well.
Unfortunately, this CD just
doesn't go down as smoothly
as the inevitable comparison,
being Neko Case's recordings,
also on Mint Records. The song
structures on Terrible Hostess
are a little awkward, and
Carolyn is not always dead on. I
have heard that Carolyn is
excellent live, so I'm assuming
that she has fallen victim to the
usual poor translation to plastic pitfall. 1 hope Mint doesn't
come looking for me. I did
enjoy the Roommates. They
are a solid band.
Barry Zito is 23, 6'4" and
205lbs. He's a lefty. He's good.
But I'd bet my "Work All Week"
7" that he doesn't know who
the Mekons are. He says he
likes punk rock. His favourite
punk rock band is NOFX. He's
also into Zen, man. Barry Zito is
a fucking hippie. But do you
know what happens when the
ladies see him? They go, "Ooohl
Barry Zito!"
Christa Min
Instrumentais of Terror!
Because there are so few well-
known surf rock outfits in my
world, it is by default that I
compare these reverb-sopping
creeps to Shadowy Men on a
Shadowy Planet. I trust that
they won't be offended by my
unimaginative comparison,
considering they cover the
Shadowy Men song, "Plastics
for 500, Igor," without even
mildly interrupting the vibe of
their full-length album,
Instrumentais of Terror! By the
way, the word "terror" is not to
be taken literally in this context; most of the songs on the
album are less frightening than
'70s B-horror movies, though I
will admit that the intro riff to
"Death Comes at Midnight"
sounds like something Slayer
might use to evoke a feeling of
introspective hatred.
Fortunately or unfortunately,
depending on your taste, Mark
Brodie, the Metalunas' guitarist and prime songwriter,
quickly scooby doodles across
his fretboard to a much happier
emotional place, where he
remains for the bulk of the
album, supporting the vibe
thrown forth by the CD cover,
which displays a blue fin-
combed monster in the process
of accosting a bikini-clad
As implied by the title,
Instrumentais of Terror! avoids
the use, or over-use, of the
human voice, a daring decision
that spontaneously eliminates
90% of potential listeners.
There are several fleeting
moments on the album when
the Metalunas speak up, and
on "Go-Go Gremlin," vocals do
take the forefront. It was upon
hearing this playfully annoying
hootenanny that I praised the
Metalunas for their vocal
Douglas Harrison
Hard Rock Bottom
(Fat Wreck)
I admit that when I first
picked up the CD, I was a little
skeptical and nervous. Yes,
they are punk rock and some
argue that all punk sounds the
same. That is exactly what 1
was afraid of. Don't get me
wrong, I love punk rock a lot. I
just don't want every band to
sound like Blink 182. I don't
want to bore you so we will just
stick to talking about this CD.
Honestly, I can't tell one
song from another as they
segue into each other. It sounds
like the whole album consists
of the same four chords. I can
only see this CD as background
moshing music, nothing more.
The kids aren't going to care
about how awful it is 'cause
they are too busy beating each
other up. Besides, kids will
mosh to anything these days.
With the Cinch's EP and
CitySick by the Nasty On under
the Stutter label's young belt,
they deliver yet another excellent debut in the form of the
Notes From Underground. I'm
hearing many different bands
here and it's all good. "Mes
Amis" is Black Francis and Lou
Reed anally raping each other
(and neither of them minding),
"1 Saw Her First" is the best
song Steve Kilbey from the
Church never wrote
and "Waiting for the Light'"s
falsetto-sweet sighing with a
Mellotron tastefully in the
background is just off-kilter
enough to make ya get all
weepy and stuff. I bet these
four gentlemen don't own the
same record in their respective
collections, yet they do agree
on when to rawk, and when to
not. After seeing them live a
few times, it's a pleasure to
hear them use the fun little
goodies a studio has to offer.
The organ is a great touch,
without being too overbearing.
The only criticism is the harmonica on "Nela"... but 1 never
liked the song "Cursed Female"
anyway. So the next time ya hear some over-hip scenester
complainin' that's there's no
musical community in this
stinkin' burg, throw the entire
Stutter records catalogue their
way. Better yet, just play 'em
"Run and Hide" off of this disc,
and watch them try and stay in
a bad mood.
Luke Meat
The Only Constant Is Change
(Farway Records)
This.Saint Albert, Alberta band
advertises their music as their
own mixture of "speed, melody
and emotion." However, even
with all their melody and emotion, Preshure Point were
unable to produce a very memorable EP. Titled The Only
Constant Is Change, this EP
contains six songs that most
would classify as alternative
rock. I was torn between liking
and not liking this CD. The
lyrics are not very complex or
poetic but are very emotional
and heartfelt. The songs, especially the first track "Seventh
Day," are kind of upbeat and
the vocals of the lead singer are
strong, but I realized that after
four listens through the EP, I
still had a hard time differentiating between the songs except
for track six, "From Here On
In," because the screaming that
serves as background vocals is
not something that can be easily missed. The Only Constant is
Change is a wonderful CD for
background music at parties
where most of the people are
drunk but it's not a collection of
great songs. Preshure Point are
heading into the studios in
February 2003 to record a full-
length album. Look for that
when it comes out as this five-
person band does seem to have
some good songwriting abilities—but skip past The Only
Constant Is Change.
Wilson Wong
Let's Get Ready To Crumble
(Upper Class)
Snappy, summery synth pop
that makes my head bob. 1 taste
the flavours of Sesame Street
and the Beach Boys. It's easy to
imagine the Muppets busting a
move to these songs. One-man
band Matthew Adam Hart
writes songs that could easily
slip into the realm of annoyance,
and yet somehow never do.
Melodic to a fault, but it's okay
because I can't stop grinning. A
fine craftsman. Keyboards,
drum machine, stringed instruments and other sounds that
may or may not be electronic
make appearances (the liner
notes give no clues), with
Matthew's vocals being the constant. I like every song on this
CD. An excellent guilty pleasure
which I highly recommend.
Hot SpoVXove 2 V (12")
Future Drum & Bass anthem,
"Hot Spot," released late last
May by Total Science, is the
pattern and the cure for summer dementia. With its hyena
hook and elephantine bassline
(faintly reminiscent of
"Dumbo"—Dom & Roland's lost
masterpiece), it is the soundtrack to the circus in your sunbaked brain, still echoing after
eight hours withering in an
office. Then, weary and exploited, let "Love 2 U" on the B-side
help cool you down on those
blissful Friday evenings, when
the amount of time between
you and labour is at its maximum. Q-Project and Spinback,
together as Total Science, are
too prolific to be consistently
good, but more often than not
their techno-infused D&B style
and hip hop sense of humour
come up with something
worthwhile, this single and
their tracks on last year's
Tuned In LP eminent in that
category. I'd been enjoying
these tracks for weeks and was
ecstatic to get them both on
the same album.
The Ultimate Escape
Finally—a female-fronted, So-
Cal, pop-punk, over-produced
force of nature able to shoulder
aside all comers and take its
rightful place next to Lagwagon
and Blink 182 on the summit of
the alternapunk scene. Oh
yeah, I've been waiting for this
since 1995, and you know when
they play the Warped Tour next
year, I'll be able to die fulfilled.
Chris Eng
BiP_Hop Generation v.S
This compilation showcases a
wide variety of left-field IDM
artists from across the world. A
love for analogue synths, long
builds of sound, and a little bit of
playfulness unites these songs
together. The Canadians represent through Andrew Duke, an
artist from Nova Scotia, and
reminds everyone that Canada
has something worth contributing when it comes to electronica. I was particularly impressed
by BiP_Hop's selection of diversity in terms of artistry and cultural backgrounds. Particularly
helpful were the small bios for
each person; references to previous works; and website
addresses in order to spur you
1 to n
yourself. I suppose it's also
worth mentioning that it's an
enhanced CD with a little music
program as a bonus, and that
may interest some for novelty
value at least. However, this
album will probably not win any
newcomers to the cause of
abstract electronica—don't
come to the party if you're into
clearly defined melodies, recycled loops, and club anthems.
But for those interested in hearing sounds from other countries
in that genre, this compilation
may be worth investigating.
Samuel Kim
Location Is Everything Vol. 1
(Jade Tree)
For those who have been following Jade Tree's better
known bands, this compilation
from the Delaware label gives a
good sampling of their widely
divergent roster, as well as
offering some goodies from the
indie darlings we've come to
know and love. Notable tracks
range from the stripped down
rootsiness of Miighty Flashlight, to the quirky off-kilter
Owls, through a very cool,
quiet, piano-infused instrumental by Euphone, and over
to the strong female fronted
emo of Denali. Milemarker
impresses with their take on
'80s new wave/'90s punk
fusion. Several straight ahead
punk and hardcore tracks fall
somewhat flat in the context of
this crayon box of sounds, with
the exception of Strike
Anywhere s "SST," which kicks
my ass firmly. Pedro the Lion,
Jets to Brazil, The Promise
Ring and Girls Against Boys
are present, with a track from
an album and an unreleased
track from each. A highlight is
David Bazan at his most political and caustic in Pedro the
Lion's "Backwoods Nation," an
out-take from the Control sessions.
Jade Tree is doing mighty
fine. My sister wants to be on
this label.
Highly Evolved
I once overheard a conversation about the boom of underground-inspired rock in the
mainstream since the Strokes
have come out, and whether or
not any of those bands had
staying power. Yes, the Vines,
a new band made up of four
guys from Australia, did come
You may have heard their
single, "Get Free" or seen the
music video on MuchMusic.
Possibly you've sighted the
numerous posters and advertisements for their debut
album, Highly Evolved. Maybe
it's only because of clever promotions, but they're definitely
a band whose reputation precedes them.
Their rock sound uses the
repetition that Nirvana perfected, with vocals by Craig
Nicholls that sometimes
reminded me of Scott Weiland
and—at more brilliant times—
leaned towards the stylings of
Lennon and McCartney.
Despite a few songs that
wouldn't get out of my head,
Highly Evolved sounds too
much like everything else out
there to really impress. It got to
the point where I wondered
whether the Vines had their
own style or merely combined
other bands' styles to create a
pretty unoriginal CD.
However, it's inevitable
with any new band with this
much hype to disappoint upon
the first listening. Descriptions
in their promotions boasted
them as the new Nirvana and
compared them to the
Beatles; due to such build-up I
was expecting to be knocked
off my ass, but instead kinda...
stumbled. But once I got over
the initial disappointment, I
quite enjoyed it. It's no Hives,
but it'll do.
Parmida Zarinkamar
Teaser EP
(Teenage USA)
You know the feeling—the feeling you get when a song so
good, so unbelievably catchy
comes along and all you want
to do after hearing it for the
first time is loop it on repeat,
turn your stereo to 11 and
dance like a berserk loser on
your bed? For the summer and
fall of 2002, friends, that song
is "80's Rockstar." Coming
across like That Dog at their
most rock, Scratching Post at
their most pop or Veruca Salt
at their most accessible, The
Weekend have managed to
construct a pop song so flawlessly hook-laden that all you'll
be able to do for 12 hours after
exposure is hum it until your
vocal cords bleed. And then
you'll come back for more.
Still, better than that, the
rest of their aptly-titled EP,
Teaser, is great, too. Sure,
they're aiming for a shot in the
slick alterna-pop ranks of the
MuchMusic Countdown, and if
you're so wrapped up in your
personal security blanket of
pretension that you can't enjoy
anything that the plebian
masses might then you'll probably hate it, but for the rest of
us, we've been given a six-song
nugget of danceability.
Get the CD. Kick your
shoes off. Get up on that bed.
Get to it.
Chris Eng
S/t EP
(Touch and Go)
NYC's Yeah Yeah Yeahs are
everywhere. Not literally of
course, (Vancouverites will
have to wait until their
September 25th show with the
Jon Spencer Blues Explosion to
see them in the flesh), but
there is virtually no self-
respecting culture/music/alternative media rag that hasn't
already embraced the YYY
phenomenon. And who can
blame them? With the re-
release of their debut EP and
months of airplay in the UK,
this Brooklyn trio is establishing themselves as the flag-
bearers and trash icons of the
reborn New York City rock
Listening to the five tracks
on the EP, one is treated to a raw
combination of drums, chugging
guitar and, most notably, the
brilliantly shrill vocals of Karen
O, the band's enigmatic singer
and brazen on-stage persona.
The songs are visceral and lyrically sardonic, charged with the
sexual bravado of "Bang" ("As a
fuck, son you suck") and the
riotous cacophony of O's (perhaps) death metal-inspired
vocalizations in "Art Star." It is in
"Mystery Girl," though, that O
inadvertently captures her own
essence. "The girl hit hard like a
barracuda, baby, she floated on
air like the crest of a wave, she
was a primal institution, she
was a danger to herself." The
singer may be being ironic, but
it doesn't change the fact that,
due to the Yeah Yeah Yeahs, the
world has become a more dangerous and exciting place.
Andrew Dong
Sorry, I Wasn't Listening: Reviews of CDs I Didn't Listen To
By Chris Eng
Turn On The Bright Light
Interpol thwarts fun in the most outrageous arenas. They have task forces that combat football
hooliganism and art theft, and provide security for the G-8 leaders. The International Police force is,
quite frankly, a bunch of tired old by-the-book law-enforcers who are constantly stomping over
everything that young people see as moderately enjoyable. So, it was with no small amount of trepidation that I listened to their namesake group, a band culled from various branches of the organization. My anxiety was apparently justified. Their debut album, Turn On The Bright Light, comes
across like an indie version of the McDonaldland characters singing, "Don't do drugs." It's insincere
and no matter how good the music is, you know there's a message behind it running contrary to
everything you stand for. They say they're down for good times, but you know they mobilize anti-riot
squads; they say "Say Hello To The Angels," you know they deliver Tasers to the backs of necks; they
say, "Stella Was A Driver And She Was Always Down," but you know they're the Man. And no
of posturing is going to change that.
"Hey hey, ho ho, co-optation of indie culture by undercover police officers has got to go
(ex-members ol THt AuTuMDVMnT)
a global symphonic showcase
THE ORGAN "Sinking Hearts" CD-EP
real live actioii
live music reviews
l hraiaiimiiHiir
Wednesday, July 17
Purple Onion
For the first Readymade show
in nearly two years, an impressive crowd packed into the
Purple Onion to see the
Vancouver shoegazers. The
night started with a set by
Hinterland, another atmospheric local band. Diminutive
singer Michaela Galloway has
an absolutely stellar voice, and
her huge range contributes in
no small part to Hinterland's
soaring sound. Hinterland's
instrumentalists played comfortably though a diverse
repertoire of sounds, from rock
to curious ambient numbers.
The rhythm section was plainly
solid—but at times solidly
plain—backing the songs more
than competently, but with few
creative displays.
Toronto guests Mellonova
were Part II of space rock night.
This band's orbital path was
less of a trip than Hinterland's
cosmic ellipses; their sound is a
bit less Neptune and a bit more
down-to-earth rock. The songwriting seemed at times to be
quite straightforward, and the
vocals were not especially compelling. Very nice twinkling guitars and effects, but things
weren't really taking off.
The headlining act did not
disappoint. Rising and falling
washes of guitar, pulsing bass,
and subtle electronic elements:
all of the Readymade machine
was firing smoothly. Their set
mixed songs from throughout
the band's long history.
Guitarist/singer Arch seemed
to be enjoying his return to the
stage, and his strong delivery in
the uptempo song "Wayfind-
ing" was a high point of the
show. By the time Readymade
closed the night, and the bar,
with the chilly drone of "Cold
Lamping," all the audience
could have asked for was more
new material—the lone new
song of Readymade's set
("Going Glass") was great. It's
a testament to their chops that
Readymade is still very much
on point after such a long hiatus from live performances.
Michael Schwandt
Friday, August 2
Graceland (Seattle)
As the unchallenged contender
for "most destructive line-up"
of the year, this show carried
some pretty heavy expectations. I got to Graceland too
late for Get Hustle, but just in
time to witness the stunning
heroics of the mighty Lightning
Bolt. For whatever reason,
these brave champions chose
to eschew the elevation of the
stage for a place among the
people. In other words, while
the swirling cacophony of their
bass-and-drums assault drove
the kids into a reckless, thrashing frenzy, they actually played
on the floor, surrounded by the
crowd. They had to continually
back up and back up, pulling
their gear with them, in order
to avoid the fans that were
falling on them repeatedly.
Their set was everything I was
salivating for—a pounding, driving, gut-wrenching rhythm
hurricane laced with the distorted screams escaping from
Brian Gibson's throat mic.
When they finally got to the
title track of their colossally
awesome Ride the Skies, the
whole crowd lost their shit in
an orgiastic freakout that wasn't matched in intensity all
Arab on Radar lost a lot of
the crowd response playing
some of the most thoroughly
challenging and repulsive music
I've ever heard. It was undeniably ambitious, though—it's no
easy task to genuinely disturb
a bunch of kids that showed up
and paid money to see the
Locust, and they definitely succeeded.
The Blood Brothers were a
totally different story.
Obviously hometown favorites,
their brand of stylish, fragmented hardcore brought more
ass-shaking to the floor than
any of the other acts. They also
beat out every other band for
pure hormonal appeal, with
two sexy, sweaty (and one
shirtless) stand-up vocalists
trading off edgy, angular
screams that kept the crowd
After the mass-appeal of
the Blood Brothers, the big-
ticket band of the night was a
bit of a disappointment all-
around. Clear plastic bass guitar, emaciated limbs, and
matching hoods and short-
shorts notwithstanding, the
Locust didn't really deliver the
anticipated spectacle. Maybe it
had something to do with the
relentless heckling ("Get off the
stage, you fat fucks!" "Does
your music sound slow when
you're on all that coke?"), but
they looked pissed off and
unhappy to be there. They spat
out a few biting comebacks,
threw down some trademark
short bursts of crazed, sci-fi
thrash while standing stock-
still and then left. There was little applause and no encore.
From what 1 hear, however,
they made a killing at the
merch booth. Go figure.
Monday, August 5
Richard's on Richards
The Vines were late getting
into town for their show; we
were   late   getting   into   the
venue, and the bands were late
taking the stage. Good start to
the evening.
I never caught the name of
the opening act, but it was
catchy indie-rock with loads of
harmonies, and a keyboardist
who can play a mean trumpet...
and then came the technical
difficulties. The band did their
best to pass the repair time
with jokes and some conversation with a really wasted guy
named Craig in the balcony.
But by the time they got going
again they'd lost their momentum.
Now, I don't want to give
the Vines a bad review. Maybe
I just don't understand their
music, or them, or whatever,
but to me their entire set was
half-assed—which unfortunately left a lot of potentially
good songs sounding half-
baked. Craig Nicholls had all
the rock star moves down
(writhing around onstage,
smashing shit), but seemed
unbelievably bored doing it.
The whole band looked like onstage was the last place in the
world they wanted to be. I'm
not saying that no one enjoyed
it, but after leaving the stage,
there were no shouts for an
encore, and a good chunk of
the crowd had already started
heading for the exits.
Tuesday, August 6
Richard's on Richards
Soft blue and amber lighting
outlined spaghetti-straps and
dark suits as Richard's on
Richards filled to the brim with
a youthfully challenged crowd
one Tuesday night.
Nine musicians slipped
behind their instruments—
piano, violin, bull fiddle, trumpet, trombone, timbales,
bongos, drums, congas, even a
fish. As "Bolero" swelled, the
band leader, Thomas
Lauderdale, rode his concert
piano like Lawrence galloping
across the Arabian dunes; the
violinist intertwined notes like
rising waves of heat and the
band seethed voluptuously in a
seductive desert dance. But
seriously... These people can
play. Though individually
restrained, collectively they
were impassioned and flamboyant.
Chanteuse China Forbes
floated on for the second num
ber. Her rich and sparkling
voice carried much of the
evening, with songs from
Sympathique, reminiscent of
Piaf, to "No Man Will Ever
Reach My Cold Diamond
Heart," an ache of Porter-like
love song inspired by the 1968
Tokyo film, Black Lizard.
Pink Martini is a mix of
swing with a twist of salsa. But
it took five songs before a few
crazed zombies wandered on to
the dance floor and pretended
not to know each other. They
were stirred, not shaken, and
after a splash of vibraphone
and other exotica the dance
floor eventually filled and
stayed full all the way to the
last encore, a simple and lovely
Philipino folksong.
Exotica? I suppose. But any ■
one of their numbers would fit
perfectly on CBC. Somehow
that is the problem. Each song
is perfect and nothing is new.
The edge has been practiced
away—which, after all, is the
very essence of the "Lounge"
sound. The album, Sympathique, is the perfect Xmas present for your mother or your
teacher. They will love it. It is
lounge-core heaven.
Pink Martini's saving grace
is that they play real instruments beautifully, from tickling
the piano to searing the trumpet to shaking the gonads. It's
fantastic to see so many
accomplished musicians getting paid. There is not a sample in earshot and they will set
the candle light and wine scene
Adam & Rebecca
Friday, August 9
Commodore Ballroom
I walked into the Commodore
late and, in my attempt to
evade the mandatory bag
check, lost my friends immediately. I found myself alone in a
sea of suburban hip hoppers,
their streetwear fresh off the
Robson Street racks. Through
the swirling artificial smoke 1
could just make out the stage,
which was bare save for several corporate banners. What had
I gotten myself into? There was
a dude onstage distributing t-
shirts, handing out "Baby-T's
for the ladies first. 'Cause it's
always ladies first." Hmm. I had
no problem with that sentiment, and couldn't believe
what happened next: he
shushed the crowd, and proceeded to do a duet with an
Arabic singer. Wow. I decided to
suspend my personal stereotypes about rap and hip hop for
the rest of the show.
This was done a bit too
early, as the Rascalz were up
next. While the Rascalz began
in Vancity in '93 at the cutting
edge of the Canadian underground hip hop scene, on-stage
they seemed to have lost a lot
of that renegade energy. They
bounced around and rapped,
looking and sounding like virtually any other mainstream rap
duo. The next act was much
more exciting: Medusa, consid
ered by many to be the queen of
underground hip hop, took the
stage, commanding attention
with both her powerful presence and performance. Somewhere between Erykah Badu
and Gil Scott-Heron, her versatile voice moved from saucy rap
to powerful gospel, easily mis-
tressing both styles. I barely
had time to recover before Killa
Kela was up. A scrawny little
white guy from Manchester, has
mastered the art of multivocal-
ism. (As he told us: "That's what
we call beatboxing in Europe.")
His particular style involved
creating house tunes with his
mouth. The crowd went wild as
he mixed the chorus of Britney
Spears' "Slave 4 U" with heavy,
thumping beats. If I hadn't
been right there watching him, I
would have been sure it was a
DJ with a pair of turntables. By
this time 1 was immersed in the
crowd, getting jiggy in a sea of
basketball jerseys and loving
every minute. Finally, Rahzel
took the stage. The lights
dimmed even further, and the
world's dominant beatboxer's
booming vocal power filled the
Commodore. He sounded like
something between a dinosaur
and an earthquake. The most
prominent member of the
Roots had whipped the crowd,
myself included, into a frenzy
when the Commodore's management brought the lights up
right at two o'clock. What?!
Rahzel had to leave the stage
halfway through "If Your
Mother Only Knew," his greatest hit from 1999's soon-to-be-
classic Make The Music 2000.
Oh well. Perhaps the
Commodore's ridiculous behaviour was a good thing; in the
words of one young fan, if
Rahzel had finished, "I probably
would have blown my load on
the spot." And nobody needs
Susy Webb
Wednesday, August 14
Piccadilly Pub
Anyone who wasn't at the
Makers / Hotwire / Rumors
triple bill August 14 at The Pic
missed out on a helluva gig.
Makers fans bemoaning their
most recent effort, Strangest
Parade, were treated to many a
surprise, as they were unable
to perform a majority of the
songs from that record due to
some equipment problems
(previous shows, like their
record release show back in
Seattle at the end of April, had
them re-enacting the entire
album from start to finish).
Therefore, original guitarist
Tim Maker slashed out chords
alongside Jamie Maker, who
was on fire for the entire set
and who dueled it out with Tim
at the start of the encore.
Normally reserved and
stoic, bassist Donny was the
most animated I'd ever seen on
this night, his hands literally
flying around his bass and even
22 September 2002 cracking a smile on a couple of
occasions. Proving once again
why he's one of the best front-
men in the business, the sexy
swagger of singer Michael
Maker had the girls swooning,
and Jay Maker beating the living tar out of his drum-kit
insured that this show was
going to be remembered or
else. Musically speaking, we got
a healthy dose of new songs
("Addicted To Dying," "Laughter
Then Violence," and the ballad
"Calling Elvis, John And Jesus"),
as well as blasts from the
recent past ("Looking For A
Supergirl," "Tiger Of The Night,"
and a searing version of
"Metro"—the instrumental
segueway from Rock Star God).
They reached a little further
back for "Lover Lover" and
"Deliver Your Disease," and
sent older Makers fans through
the roof with their renditions
of "She's Going Under" and the
powerful finale of "Leopard
Print Sissy." Hotwire impressed
with their Cheap Trick power
pop meets £xi7e on Main Street-
Rolling Stones tomfoolery, and
after what may have been only
their fourth or fifth appearance, the all-female The
Rumors gained some new converts with their own sultry
brand of Runaways-inspired
rock and roll. All this on a
Wednesday night, no less.
Bryce Dunn
Friday, August 16
Blinding Light!!
In 1986,1 was in Grade 8 and a
big-ass dork. Seriously—I was
getting my picture taken with
David Suzuki and all sorts of
other seriously uncool shit, like
hanging with the camera club
geeks. Despite this, I wanted to
be cool, and there was only one
way I was going to get there—
getting rad on a phat Powell-
Peralta deck.
Know what? Never happened. There was no skateboard forthcoming under the
Christmas tree and I didn't
start earning my roadrash until
Flash forward to now.
Years have passed and
although I continue to shred
with all the finesse of a legless
monkey, I still love my deck and
look back fondly on the glory
days of the mid-'80s. It was a
golden age for me, maybe
made even more vivid by the
fact that I was cruelly deprived
of Indy trucks at such a young
So bless STREETS' collective heart for bringing back the
'80s in such a vivid and visceral
form. Every single sk8-rock lick
that I listened to in my living
room as visions of Christian
Hosoi danced in my head have
been faithfully recreated
amongst refinements of their
Playing after the quintessential '80s skate vid, The
Search For Animal Chin, at the
Blinding    Light!!,    STREETS
proved that sk8-rock is more
than just a genre of music, present or past—it's a way of life—
and the hundred-odd people
that were there to see them
play knew it too. Skaters old
and new packed out the conservatively-seated theatre and
watched, letting tears fill their
eyes and love fill their heart.
Because skating begins in the
heart, and if you can't see that,
then step over here while I
focus your deck, poseur.
Chris Eng
Saturday, August 17
Bison's loud shrieking feedback
guitars ended a long day that
had begun in the DJ booth of
CiTR with shrieks of a slightly
different sound by Diamanda
Galas. All things go in cycles.
Bison put on a pretty amusing
little show at .the Cobalt,
Saturday night, opening for
Lunchbucket. It was an
extremely loud, energetic show
for the 60 or so people there—
a decent turnout for the Cobalt.
I got the feeling that even if I
had worn earplugs it wouldn't
have mattered, as the thrashy
assault on my hearing would
have still left its impact.
They've just evicted their
former singer (well, in the case
of Bison, screamer might be
more accurate), so vocals were
mostly done by guitarist Kreg
Saturn, whose demented guttural barking of indecipherable
lyrics matched the noisiness of
their short whirlwind paced
songs perfectly—some of
which were only about 10 seconds long. Also taking up some
of the vocal slack was bassist
Jaymz 666, who has a more
"traditionally punk" (if there is
such a thing) sneering voice on
their song "I Don't Care," which
my friends and I agreed was
the highlight of the set.
The show had lots of
humorous moments too—from
Saturn calling Jaymz the prettiest one in the band (which is
certainly true), and discussions
of which band member smells
the best, to songs with lyrics
like "Let's all roll around in the
wet spot!" All in all, Bison put
on a fun, fast, furious show
that punks in Vancouver will
enjoy immensely.
Vampyra Draculea
Thursday, August 22
Piccadilly Pub
Wow, Vancouver rock fans
treated to the Misfits on two
nights in the same week! Mr.
Underbill, like the Misfits, have
a way of utilizing their enormous hair with flair and Jerry
Only would definitely approve,
only because this band has a
dangerously comparative ego.
Apparently the band has a few
fans though, judging from the
showing of goth girls and boys
that arrived en route from
Walnut Grove on the Translink
390. For a minute there, I
expected to see Peter Murphy
emerge from the backstage
area, ready to lead the kids into
black-Iipsticked revolt, but it
was just a nostalgic daydream.
This music was not for me, but
hey—I hate the Misfits, so what
do I know?
Up next was Bad Wizard
and, judging from their name, I
assumed it would be a stoner-
rock type of band. Though I'd
never heard them, my assumption was correct; I mean, can
you imagine a band named Bad
Wizard not being Sabbath,
Kyuss or Deep Purple influenced? C'mon, get off the pot,
man. This band played beer
swillin', beard rockin', ass-kicking rock and roll with enormous
ferocity and the girl on lead
guitar looked like my Aunt
Jacquie, except she looked
more like a "Jacquie" than my
Aunt does. Angel-cut bangs
curling gently around the edge
of her perfectly symmetrical
face—I imagined the singer,
with his burly beard, making a
perfect hair seal when the two
lovers met face to face for the
first time. Pure magic. She
rocked, though, and so did he,
and so did the rest of the goddamn band. If my summation
that they are the Nashville
Pussy of stoner rock is correct,
then you should be seeing this
band touring with the likes of
Andrew WK and the White
Stripes, eventually.
Incidentally, while we were
talking outside, the lead singer
actually ripped off a panhandling hooker right in front of
the Pic! It was a smooth scam,
one which had probably been
perfected on the streets of New
Jersey. She asked for change,
holding in her hand eight
loonies. Beard-Buddy gave her
a five dollar CDN bill. He then
asked her for the $4 in change,
and she was permitted to keep
the 5. Not knowing that there
were more than four loonies
there, he took the offered hand
of change, and there was the
scam. As she walked away,
doing the simple math in her
head, it didn't take long for her
to figure out that the scammer
had just been scammed.
Whether he did it intentionally
or not is still debatable, but the
woman of the street just nodded her appreciation or respect
to the Beard-Buddy as she
walked down the street in
Dalek, as Beard-Buddy
described them, were a hip hop
group breakin' down the walls
of perception. They had been
childhood friends with the Bad
Wizard members, so that
explains the show's apparent
metal/rap visage. This was not
a "Judgement Night—
Live!'"kinda' night, though, as
Dalek proved to be a most worthy hip hop complement to the
new standard in stoner-rock.
As Beard-Buddy stated earlier
outside, Dalek has a way of letting you know that they have
an immense knowledge of
every kind of music and everything in general. Intelligent, not
unlike Kool Keith or hybrids
thereof. This band has definite,
multi-genre musical influences,
and that's an appealing quality
to indie-nerds, hip hop heads,
and goth-freaks alike.
You will be hearing from
these fellas in a big way—very,
very soon.
Black Diamond
Bathroom Drawings
Sugar Refinery
Bill Hanna and Joe Barbera,
Jean Michel Basquiat and Joan
Miro have come together to
eavesdrop on what appears to
be a free-association session
underway in the bathrooms at
the Sugar Refinery. Literally
covering the walls are drawings
and text by the industrious
local doodler, Jason McLean.
Although this work at first
seems to relate only to a private, stream-of-consciousness
monologue, it refers instead
more to some commercialized,
mass unconsciousness than
strictly McLean's own. What
looks to be personal and coded
becomes uncanny and familiar,
like trivia everyone seems to
know without knowing why.
This presents an interesting challenge: the notion of the
subject is made to reveal its
inherent enigma. This challenge
comes from (at least) two
directions at once. One, that
the subject cannot be made
wholly subjective, instead withholding a surplus bound negatively to an incommensurable
other that is nonetheless nec
essary for self-definition, like
the superpowers were to each
other during the cold war. And
two, that the subject is a measure of emptiness that always
remains empty even after it is
supposedly filled in and made
subjective, like shoes that are
too big but that fit just the
same, even comfortably.
In this case, McLean's pseudo-childish characters and
deliberately naive words only
appear to proliferate without
obvious design. In fact, they're
held together by the unidentified mediation of society,
specifically (or predominately)
the influence of popular culture. Unnamed, the force of
this influence is an absent
cause, providing a seemingly
unconscious translation, a
sense of background. As such,
we always get McLean's playful
free-associations, even while
they remain outwardly mysterious. This is precisely the challenge described above: our
sense of subjectivity feels
entirely individual and
autonomous (something that is
ours alone, that we can know),
although it is also thoroughly
social and historical (something
that isn't just ours, that is also
McLean's intentional use of
pop cultural references directly
uncovers this paradox. Thus,
we can follow his free-associations even if we don't completely know how or why,
perhaps even if we don't want
to. Somehow, like an imaginary
map of the city to guide our
sense of direction, or like the
words to a song we don't
remember ever hearing, the
answers are already in our
memory. Our sense of subjectivity is in us in the same way:
totally familiar, yet totally enigmatic, too. Plus, having his
drawings in public washrooms
underscores this problematic:
they're liminal spaces designed
for intimate conduct in public,
in other words, a place to collect one's self. So, next time
you're at the Sugar Refinery,
have a pee and take a look.
Who knows what might happen? But remember: wash your
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what's being played at CiTR 101.9fm
September Long Vinyl
September Short Vinyl
September Indie Home Jobs
1 Operation Makeout
1  Frog Eyes/JWAB
split                  Global Symphonic
1 The Red Scare
Will Always Come For You
2 p:ano
When  It's  Dark.
Hive  Fi
2 New Town Animals   Fashion Fallout
2 Sharp Teeth
3 Notes From...
3 Mirah
Small Scale
3 The Department
Be Your Friend
4 Nasty On
City Sick
4 Get Hustle
Who Do You Love
4 The Feminists
Me and My Army
5 Riff Randells
5 The Riffs
Such A Bore
5 End This Week With Knives
Let's End This Here
6 The Cinch
6 Cato Salsa
Picture Disc          E
mperor Norton
6 Winks
April Fell
7 Interpol
Turn On...
7 The Spitfires
Juke Box High
7 Hinterland
Destroy Destroyer
8 Amy Honey
8 Scat Rag Boosters     Side Tracked
Zaxxon Virile
8 Collapsing Opposites
War and/or Peace
9 Mecca Normal
The Family Swan
Kill Rock Stars
9 The Cleats
Save Yourself
9 Byronic Heroes
I'm a Drunk
10 Hot Snakes
Suicide Invoice
10 VA
Modern Radio...
Modern Radio
10 Bend Sinister
11 Future Sound...
11  Kung Fu Killers
11 The Perms
So the Stories Go
12 Yeah Yeah Yeahs
Touch and Go
12 Bottles & Skulls
1 Am One...
12 Your Funeral
Wee Hours
13 Radio
The Disclosure Project            Indie
13 Gene Defcon
Baby Halleujah
Modern Radio
13 Chris Lindsay Electrorfic
Free Trade
14 Hot Hot Heat
Make Up...
Sub Pop
14 Stereo/Ultimate
14 Jordan Mackenzie
If You Were My Girl...
15 Fubar
15 Mea Culpa
Nation Empty
15 Mikey Manville
Play With Me
16 Daggers
Right Between The
Eyes        Sloth
16 The Lollies
Channel Heaven
Evil World
16 Barfburn
17 Spoon
Kill The Moonlight
17 Destroyer
The Music Lovers
Sub Pop
17 The Organizers
18 Mount Pleasant
18 Moonbabies
Standing...      A Bouncing Space
18 The Accident
Just Relax
19 Tomas Jirku
19 The Agenda
Are You Nervous?
19 Oddnoxious
Heart Races
20 Sleater-Kinney
One Beat
Kill Rock Stars
20 The Evaporators
Honk The Horn
20 Crop Circle
Mexican Cock Fight
21 Pixies
Sonic Unyon
22 Cripples
Dirty Head
23 Oxes
24 Mudhoney
25 Russian Futurists
Since We've...
Let's Get Ready...
Sub Pop
Upper Class
26 Laurie Anderson
27 Death By Chocolate
Zap The World
Jet Set
28 Future Bible Heros
Eternal Youth
The monthly cha
rts are comp
led based on the number o
f times a CD/LP
29 Comets on Fire
Field Recordings..
Bada Bing
("long vinyl"), 7"
("short vinyl"), or demo tape/CD ("indie
home jobs") on
30 Voiumizer
Gaga For Gigi
CiTR's playlist was played by
our DJs during the previous
month (ie, "Sep-
31 Billy the Kid...
33 Deadcats
Strong...           Teenage Rampage
Worms             Teenage Rampage
Bad Pussy                Flying Saucer
tember" charts reflect airplay over August). Weekly charts can be received via
email. Send mail to "" with the command: "sub-
34 DJ Spooky
Thirsty Ear
scrioe arr-cnarrs.
35 Sonic Youth
Murray Street
Advertise with DiSCORDER.
Call Steve DiPo at 604.329.3865 or email him at discorder@/
He'll be more than happy to talk to you, but if you can't reach him right away, don't
worry. He's a secret agent. That's right—he fights international criminals, shooting
around on jet-skis and romancing exotic villainesses. But he's also a fully qualified ad-
rep, and his skills in the world of espionage allow him to cope better in high-tension
advertising emergencies. His skills are legendary; his powers incalculable. You may
never see his face, but everyone witnesses his results—Steve DiPo, Agent of
27 DiSCORDER on tlie: dial
your guide to CiTR 101.9fm
9:00AM-12:00PM     All of
time is measured by its art. This
show presents the most recent
new   music   from   around   the
world. Ears open.
3:00PM   Reggae inna all styles
and fashion.
5:00PM Real-cowshit-caught-in-
yer-boots country.
5:00-6:00PM British pop music
from all decades.
SAINT   TROPEZ    alt.    5:00-
6:00PM     International    pop
(Japanese,    French,    Swedish,
British, US, etc.), '60s soundtracks
and lounge. Book your jet set holiday now!
QUEER    FM       6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features,  back-
Rhythmslndia features a wide
range of music from India, including popular music from Indian
movies from the 1930s to the present, classical music, semi-classical music such as Ghazals and
Bhajans, and also Quawwalis,
pop and regional language numbers.
FILL-IN 10:00PM-12:00AM
2:00AM Join us in practicing the
ancient art of rising above common
thought and ideas as your host, DJ
Smiley Mike lays down the latest
trance cuts to propel us into the
domain of the mystical.<trancen->
8:00 AM
BREAKFAST        WITH        THE
BROWNS    8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
11:00- 1:00PM Local Mike and
Local Dave bring you local music
of all sorts. The program most likely to play your band!
GIRLFOOD alt. 11:00-1:00PM
PARTS     UNKNOWN     1:00
3:00PM Underground pop for
the minuses with the occasioi
interview with your host Chi
FILL-IN  3:00-4:00PM
5:00PM A chance for new CiTR
DJs to flex their musical m.
Surprises galore.
6:00PM Join the sports dept. for
their coverage of the T-Birds.
CRASH THE POSE alt. 6:00
7:30PM Hardcore/punk a;
fuck from beyond the grave.
REEL TO REEL alt. 6:00-6:30PM
Movie reviews and criticism.
MY ASS alt. 6:30 7:30PM
Phelps, Albini, V me.
Celebrate the triumphant return of
DJ Vyb. Listen to DJ Vyb and
Selecta Krystabelle for your reggae education.
12:00AM Vancouver's longest
running prime time jazz program.
Hosted by the ever-suave Gavin
Walker. Features at 11.
Sept. 9: Back to school with an annual favourite—Julian "Cannonball
Adderley narrating An Introduction
to Jazz. Entertaining and educa-
Sept. 16: More of the same (see
above), but this time with Leonard
Bernstein playing and narrating
What is Jazz?
Sept. 23: In celebration of John
Coltrane's Birthday, a whole program devoted to the most influential tenor saxophonist in jazz
featuring his most famous recording A Love Supreme.
Sept. 30: Trumpeter Art Farmer and
his quintet featuring the alto saxophone and compositions of one of
jazzdom's mystery figures, Gigi
Gryce. "Philly Joe" Jones also
shows us why he was the best modern jazz drummer.
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier than
the most dangerous criminal!
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only indus-
trial-electronic-retro-goth program.
Music to schtomp to, hosted by
FILL-IN alt. 11:30AM-1:00PM
Where dead samurai can program music.
CPR 2:00-3:30PM
Buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA BOMBA 3:30-4:30PM (First
three Tuesdays of every month.)
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a focus on people
with special needs and disabilities.
chips wtthIpo I  SAINT  I Po [
PARTS      H
10,000 VOICES (Tk)
RACHEL'S     0"
AND     1 <—1
ON AIR       UL
LIVE FROM...   l~
SKA-T'S      L
| Hh
| Rts
10 '
28 September 2002
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Rg= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world THE    MEAT-EATING   VEGAN
10,000 VOICES 5:00-6:00PM
Poetry,   spoken  word,   performances, etc.
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
alt. 10:00PM-12:00AM
alt. 10:00PM-12:00 AM
and beyond! From the bedroom
to   Bombay via  Brookyln  and
back.   The   sounds   of   reality>
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
7:00 AM
7:00-9:00AM Bringing you
an entertaining and eclectic mix
of new and old music live from
the Jungle Room with your irreverent hosts Jack Velvet and Nick
. The Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
gem! <suburbanjungle@chan->
10:00AM Japanese music and
FILL-IN     10:00AM-11:30PM
ANOIZE 11:30AM-1:00PM
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM
3:00PM Zines are dead! Long
live the zine show!
"Eat, sleep, ride, listen to
Motordaddy, repeat."
Socio-political, environmental
activist news and spoken word
Sept. 4: Roswell, The Unsolved
Mystery. Hoax, truth, or cover-up?
Sept 11: The Petrified Forest. A
park tour and re-broadcast of the
radio version of the movie with
Humphrey Bogart.
Sept 18: Carlsbad Caverns. White
Sands cancer research.
Sept. 25: The Great Sand Dunes
and Dark Skies Society.
FILL-IN 6:30-7:30PM
(First Wednesday of every month.)
9:00PM Indie, new wave,
punk, and other noise.
FOLK OASIS 9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters,worldbeat, alt country
and more. Not a mirage!
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
12:00 3:00AM
11:30AM Music inspired by
Chocolate Thunder; Robert Robot
drops electro past and present,
hip hop and intergalactic
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (punk and hard-
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! www.sustainabil-
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1 962 with your snap-
pily-attired host Gary Olsen. <rip->
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11. http://www.stepan-
1:00AM An old punk rock heart
considers the oneness of all
things and presents music of
worlds near and far. Your host,
the great Daryl-ani, seeks reas-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00 AM
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
10:00 AM- 12:00PM
Email requests to <djska_t@hot-
12:00-2:00PM Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
hop, old school classics and original breaks.
2:00-3:30PM The best mix of
music, news, sports,
mentary from around the local
and international Latin American
9:00PM   David "Love" J(
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from
the world.
HOMEBASS 9:00PM- 12:00AM
Hosted by DJ Noah: techno but
also some trance, acid, tribal,
etc. Guest DJs, intervi
spectives, giveaways,
HEAD 12:00-2:00AM
8:00AM Dark, sini
all genres to soothe the Dragon's
soul. Hosted by Drake.
THE        SATURDAY        EDGE
8:00AM- 12:00PM      Studio
guests, new releases, British
edy sketches, folk music calendar, and ticket giveaways.
8-9AM:     African/World  roots.
9AM-12PM: Celtic music and performances.
for a full hour of old and new
punk and Oi mayhem!
Vancouver's only true metal
show; local demo tapes, imports,
and other rarities. Gerald
Rattlehead, Dwain, and Metal
Ron do the damage.
CODE BLUE 3:00-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
SOUL TREE 6:00-9:00PM From
doo-wop to hip hop, from the
electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul music
to the nth degree.
FILL-IN 11:00PM-1:00AM
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/di
da source full force with needlz
when  I
—Guy Smiley
Hardcore dancehall reggae that
will make your mitochondria
quake. Hosted by Sister B. •
29 DiSCORDER datebook
Wyclef  Jean,   The   Gossip,   764-HER0,   Kristin   Hersh   and
more@Bumbershoot (Seattle); Royals@M's; MLB Strike Deadline
SAT 31
Sonic Youth, Quix*o*tic@The Vogue; Jonny Lang, Ani DiFranco, Lou
Reed, Roy Rogers and the Delta Rhythm Kings, Blackalicious,
Concrete Blonde, The Catheters, Alien Crime Syndicate and
more@Bumbershoot (Seattle); Wilco@Commodore; Veal@The Pic;
Mark Kleiner Power Trio, The Smugglers, Operation Makeout@The
Purple Onion, Jewel@Queen Elizabeth Theatre; Royals@M's
Modest Mouse, Sonic Youth, Everclear, Buddy and Julie Miller, Kelly
Willis, Clarence Acox Sextet, The Shins, Damien Jurado, Wesley
Holmes, Linton Kwesi Johnson, John Wesley Harding and
more@Bumbershoot (Seattle); Wilco@Commodore; Royals@M's;
The End, Ken Hope, Goat's Blood@Pic Pub
Wilco, The Minus Five, Jerry Cantrell, The Mekons, Maceo Parker,
Blonde Redhead, Jesse Sykes and the Sweet Hereafter, Marc Ribot
Trio and more@Bumbershoot (Seattle); Linton Kwesi Johnson,
Dennis Bovell Dub Band@Commodore; Tsunami Bomb@Mesa
Luna; Beachwood Sparks, Jenny Toomey, Ashley Park@Pic Pub;
Twins@M's; Tim, Darryles Grocery Bag, One Shot Left,
Luna@Richard's; Mermaid Engine, INSIPID, Rakshasa@Brickyard;
Mark Kleiner's Power Trio@Pic Pub
Shitfaced@Cobalt; Twins@M's; The Smears, Siobhan Duvall, The
Girth, The Ryecatchers, Six Block Radius@Brickyard; Notes from
the Underground@Pic Pub;
Kenny Rogers, Diamond Rio, Rebecca Lynn Howard@Pacific
Coliseum; Default@UBC; M's@Royals; Red Scare, A Virgin in
Hollywood, Cartoon Lobotamy@Brickyard; John Guliak@Sugar
Refinery; I Am Trying to Break Your Hearr@Ridge; Brundlefly, The
Way Out, Spyglass@Pic Pub
Joan Baez, Richard Shindell@Malkin Bowl; M's@Royals; Art
Damaged Cabaret #7: Latex Bride, Scott Howard and the
Attenbright Four, ARC, David Yonge, Ricardo Shiva, Zsa Zsa, Paige
Turner, Satina Saturnina@Ms. T's; Billy the Kid and the Lost
Boys@Brickyard; / Am Trying to Break Your Heart@Ridge; A Luna
Red, The Organ, My Project Blue@Pic Pub
Rush@GM Place; M's@Royals; / i
M's@Rangers; Start smoking ham, sa
TUE 10
Wire@Showbox (Seattle); M's@Rangers
WED 11
M's@Rangers; Start smoking cloves and banana peels
Flogging     Molly@Crocodile     (Seattle);     M's@Rangers;     The
International Playboys, Quincy GoId@Pic Pub
FRI 13
Slayer, Soufly, Down the Sun, In Flames@Pacific Coleseum;
Engelbert Humperdinck@Orpheum; M's@A's; Open Circuits@Or
SAT 14
STREETS, Three Inches of Blood, Black Rice@Cobalt; Karl Denson's
Tiny Universe@Commodore; Balligomingo@Richard's; Interpol,
Radio Berlin, The Organ@The Royal; M's@A's; Open Circuits@Or
SUN 15
Soledad Brothers@The Pic; Gus Gus@Sonar; M's@A's; Open
Circuits@Or Gallery; Soledad Brothers@Pic Pub
MON 16
Supertramp@Pacific Coleseum; Rangers@M's; Jerk with a Bomb,
Kepler, Snailhouse@Pic Pub;
TUE 17
Rangers@M's; Start smoking light cigarettes
30 September 2002
Trying  to  Break  Your
:urkey and gouda
WED 18
Rangers@M's; Blurtonia, Assertion@Pic Pub
Sector Seven@Cobalt; Reel Big Fish, The Starting Line@Croatian
Cultural Centre; Tragically Hip, Sam Roberts@Queen Elizabeth
Theatre; Great Big Sea@The Orpheum; Rangers@M's
FRI 20
Tragically Hip, Sam Roberts@Queen Elizabeth Theatre; Great Big
Sea@The Orpheum; Sector Seven@The Brickyard; David Gogo@The
Yale; Angels@M's; Stinkmitt@Pic Pub
SAT 21
Zubot and Dawson@Van East Cultural Centre; Mark Eitzel@EMP
(Seattle); AngeIs@M's; Start smoking American cigarettes
SUN 22
Sum 41@Commodore; Angels@M's; Vancouver Record Collectors'
Association record sale@Croatian Cultural Centre; The Volumen@Pic
MON 23
Elvis Costello, Phantom Planet@Paramount (Seattle); Not By Choice,
Glasshead@Pic Pub; Start smoking crack
TUE 24
Toshi Reagon@Vancouver East Cultural Centre; A's@M's
WED 25
Jon   Spencer   Blues   Explosion,   The   Liars,   The   Yeah   Yeah
Yeahs@Commodore; A's@M's; Freeman@Pic Pub;
Kreator, December, Cephalic Carnage@Studebakers; A's@M's
FRI 27
Buddy Guy, Shemekia Copeland@Commodore; M's@Angels
SAT 28
Sleater-Kinney, Shannon Wright@Showbox (Seattle); M's@Angels
SUN 29
Mecca Normal@CBC Plaza; Bop Kings@Marine Club; The Frames,
Young and Sexy@Richard's; Copywrite, Cage, DJ Fakts One, Mr. Lif,
EL-P, Rjd2@Sonar; M's@Angels; New Bomb Turks, Spitfires@The
MON 30
Quit, you asshole, quit
Cinerama@Crocodile (Seattle)
Bob Geldof@Commodore; Omar and the Howlers@Yale
Drive By Truckers, The North Mississippi Allstars@Richard's; Nelson
Henricks, Sate!/ite@Sugar Refinery
Detroit Cobras, KO and the Knockouts, The Dirtbombs@Crocodile
(Seattle); Les Tabernacles@Pic Pub
/special event*
The mighty Pink Flag will be flying in Seattle.
Go catch it, you fairy, and dance like a little girl.
Third annual open circuits festival is happening
September 13-15 at the Or Gallery. Five acts of
experimental electronic music a night. Latops
a-plenty. But remember to take your dancing
shoes off. Sometimes itJsgood to listen. Loscil,
+outhem acific-, DJ Aural, Pellucid, Agriculture,
and more. Five bucks. 9:30. Bring two friends.
Just kidding.
Please take a shower and wear deodorant. It's
going to be packed.
Once you stop blazin'j's and believing that
Queens of the Stone Age is a good band, you'll
come to realize that Mecca Normal is amazing.
place* to b
bassix records
217 w. hastings
railway club
579 dunsmuir
beatstreet records
3-712 robson
richard's on richards
1036 richards
black swan records
3209 west broadway
ridge cinema
3131 arbutus
blinding light!! cinem
i 36 powell
red cat records
4305 main
3611 west broadway
1029 granville
club 23
23 west cordova
scrape records
17 west broadway
917 main
scratch records
726 richards
commodore baliroorr
868 granville
518 west pender
66 water
sugar refinery
1115 granville
futunstic flavour
J020 granville
teenage ramapage
19 west broadway
highlife records
1317 commercial
lotus hotel
Vancouver playhouse
hamilton at dunsmui
the main cafe
4210 main
v,deo in studios
1965 main
mesa luna
1926 w. broadway
western front
303 east 8th
ms. t's cabaret
339 west pender
1320 richards
orpheum theatre
smithe at Seymour
WISE club
pacific cinematheque
131 howe
1300 granville
pic pub
620 west pender
zulu records
1972 west 4th
Bell   '
685 FILM
f . v i f f . o r g
ChowYun-Fat Boy Meets Brownie Girl
(South Korea, 93min.)
Nam Ki-Woong, director of last year's Teenage
Hooker..., starts to look like Korea's answer to Guy
Maddin with this follow-up, a shall-we-say idiosyncratic adaptation of the traditional folk story of a pond snail
transformed into a beautiful young girl. With Yun Jin's
short Pink Movie (South Korea, 16 mins), on the
solipsistic life of an "event girl."
(USA, 79 min.)
Miles and Roxxy
are both in their late
20s, and worried
they're getting top
old: he's making a
pretentious film featuring pussy willows, she's trying to
get her punk band
off the ground. In
Jon Moritsugu's
radical yet heartfelt lo-fi ode to the difficulty of making art today, melodrama, humorous debasement and rock n' roll commingle with terrific results.
Shanghai Panic (China, 87 min.)
Actually, several kinds of panic: AIDS panic (Bei thinks
he's HIV+), dope panic (Kika, Fifi and Casper live for
their next hit of "E"), sexual orientation panic (Bei says
he isn't gay but really wants to have sex with the reluctant Jie). Andrew Cheng's amazing DV feature might
just mark the start of a new chapter in Chinese cinema.
Dragons & Tigers Award nominee.
Demonlover (France, 129 min.)
Olivier Assayas {Irma Vep), known for more intimate,
sombre fare, throws us a marvelously subversive
change-up with this Cronenberg-influenced high-tech
puzzler, which starts as a moody corporate thriller but
then warps into the uncharted realms of a Manga-
enriched cyberhell. With Connie Nielsen and Chloe
Suicide Club
(Japan, 99 min.)
Three careworn cops investigate a wave of mass and
individual suicides spreading across Japan, which are
coming ever closer to home. Ex avant-gardist Sono
Shion reinvents himself with a wild black comedy full of
blood and mystery and with a dash of glam rock. Stars
Ishibashi Ryo, Nagase Masatoshi.
Morvern Callar
(Great Britain, 97 min.)
Adapted from Alan Warner's novel, Lynne Ramsay's
sophomore triumph explodes with a personal, poetic
vision. When a young Scottish supermarket worker
finds her would-be author boyfriend dead on the
kitchen floor, she experiences an intense dissociative
reaction, plunging herself into rave culture and empty
Gaza Strip (USA/Palestine, 74 min.)
Gaza Strip, a feature-length video by American filmmaker James Longley, is a documentary to make the
stones weep—as shameful as it is scary... even more
painful in the knowledge that current conditions are
worse... To watch [it] is to watch a ticking time bomb —
J. Hoberman, Village Voice.
The Trials of Henry Kissinger
(USA/Great Britain/Chile, 80 min.)
Is Henry Kissinger, America's revered elder statesman
and Nobel Peace Prize winner, a war criminal? That's
the question posed by this startling documentary,
which bases its accusations on Christopher Hitchens'
controversial book and Harper's articles. A chilling and
timely history lesson in realpolitik.
Gambling, Gods and LSD
(Canada/Switzerland, 180 min.)
Blending documentary observation with lyrical cinematography and expressive sound design, Peter
Mettler's {Picture of Light, VIFF 94) latest is a meditative, epic inquiry into the human pursuit of transcendence around the world, Jrom evangelism to gambling,
sexual technology to narcotics, and beyond.
Dracula: Pages from a Virgin's Diary
(Canada, 75 min.)
Guy Maddin's {Twilight of the Ice Nymphs, VIFF 97)
extravagant, gorgeous retelling of Bram Stoker's
Dracula is an unforgettable visual knockout. With striking black and white cinematography and a richly evocative score, this silent masterpiece is performed by the
Royal Winnipeg Ballet. A Special Presentation on the
big screen at the Vogue.
Biggie and Tupac (Great Britain, 107 min.)
With his trademark mix of performance art, stalking
and investigative journalism, Nick Broomfield timidly
dips his Nagra into the mire of intercoastal hip-hop
rivalries, organized crime and police corruption.
Broomfield's muckraking expose into the still unsolved
murders of superstars Tupac Shakur and Biggie Smalls
is both riveting and incisive filmmaking.
@ amazon.Ca~      GTelefilm Canada     |*\ British ia ^ ROGERS
V3-X ^—^.ndyou'redone: W  FILM %#    ■^WW"-"^«*
arts council
IfecOss   bradb.rarda   CltytV THE VANCOUVERSUN   tyztifa***** ty$Jtf*T*> CK*radi<aMe
iwew cxireus for «ml» September
Blacklisted CD
Concrete Dunes CD
We don't have to tell you
NEKO s good, but you
should be informed that this is
her best effort yet. No kidding.
As haunting an alt country
statement as Furnace Room Lullaby but with additional
instrumental richness and — goshdarnit — even better
songs. If that ain't enough to persuade you that you must
own this CD, we'd like to mention that it features guest
appearances by members of The Sadies, Calexico, Giant
Sand and Shadowy Men on a Shadowy Planet. And Mary
Margaret O'Hara. And it's awesome.
CD 14.98
Songs For The
Deaf CD
Duyuude. The uber-men of     i
stoner rock return — put
The events leading to
GRANOADOY's recent indie-
rock superstardom have been
accelerated, a journey dramatically
tense and punctuated by a few
twisted plot developments! Ah yes, it has been fun to watch
these bearded heroes stumble "Goonie" style into the halls of
ragged glory, once governed by Pavement, The Flaming Lips
and even that "bowl-smoking" chief, Beck! So now, like all
good scriptwriters, GRANDADDY bide some time before the
Big Time, and offer up a glimpse of their back-story — a collection of early materials, demos, and rarities.
Mind Elevation
One Beat CD/IP
CD 16.98
TOf^nj [tjf-YFPMii
up your Bics! Hell, wasn't the term more-or-less birthed
with this awesome Rosemary's Baby — a gruesome,
many-headed beast with raging guitars for arms and legs
made of heavy, heavy drums and bass, and oh the volume,
the badass, ear-bending volume, able to blow an ugly, dripping hole in your head large enough for a Marshall stack or
three? And get this, there's, like, freakin' superstars on the
album. Yup. For example, that big fisted skin basher, Dave
Grohl, is doing his duty. And you know why, 'cause the
Queens kick Foo Fighters overfed and over-hyped L.A.
ASSES all over the dried-up wasteland of FM radio, and
Grohl freakin' knows it, baby. Back to his roots — back to
BIG rock, mountain size, with some left over for breakfast
— for a change. 'Nuff said.
CD 16.98
Turn On The
Bright Lights
Matador Records' latest inking, INTERPOL, is from
NYC, and they've just released their debut full length, garnishing rave reviews and smart comparisons to post-punk
pioneers, Joy Division, Wire, and The Chameleons.
Furthermore, INTERPOL are well-dressed, mild mannered
and, like fellow budding stars, The Walkmen, seem intent
on pushing the East Coast rock scene further into the
flashing, buzzing limelight. Note: please do not mistake the
group for the International Police, who would be after you
if you had, by chance, recently stolen any of the world's
currently missing famous paintings, such as The
Adoration of The Magi, Virgin of the Sorrows, and Bega's
De Straatmuziekanten, amongst others. Now, if you did
steal these — GIVE THEM BACK!! And then pick up this
new masterpiece, Turn On The Bright Lights!
CD 16.98   LP 16.98
We Are Eyes, We
Are Builders CD
NYC is a concept more than just
a place. For some time it
seemed to stand in for
Modernism, even disputed, such
as it is, handily swiping continental Europe's claim to
progress and "the new." Well, grand-theft number two, a
hundred or so years later? Anyway, pointless to list the NYC
"shooting stars" — I think we alt know what's going on.
However, here's another one to leave next to your Strokes,
Interpol, ARE Weapons, and Fischerspooner. SOVIET
sound like you want them to: part '80s electro-pop, part
21st Century electro-pop. Kinda like a refurbished New
Order, never mind that New Order are still kicking it.
Perhaps a little Depeche Mode or OMD, too. Or even a little
Howard Jones or Thomas Dolby — hey, someone had to do
it. But the truth is the songs are damn catchy, sorta early
Magnetic Fields catchy. New Young Romantics, give this
import a stamp.
Black Letter Days
Devil's Woitehop
With two new records, old
Frank's coming on like Tom
Waits (and indeed, Frank even
covers Tom's Black Rider on
Black Letter Days), another
brassy icon of America's great pop
music underground, long since
sprouting into the sunny light
above the dark indie earth. And so, here he is, releasing two
heavy-hitters at once. Like tour diaries, these were supposedly recorded "on the road," the source of so much rock
Mojo. This means they're a little looser, sure, but also maybe
more edgy, which is Frank's raison d'etre, after all. With two
to choose from, whatever will his many fans do? Why, enjoy.
Yes, that's right, simply enjoy.
CD 16.98 each
MUSIC IN THE AFTERNOON: Free Performances at Zulu!
Holy shit! An in-store with "Canada's Sweetheart," VEDA HILLE - solo style!
SUNDAY, SEPTEMBER 22, AT 4:00 PM. Standing room only, boys and girls.
Vancouver's laptop destroyers, QUADRA, bring the late-night beats,
SUNDAY, SEPTEMBER 29, AT 4:00 PM. Late-night beats in the afternoon? Why yes. j
Shrouded in mystery, it's always twilight for the boys of Quadra.
George Evelyn, a.k.a.
endured the course of electronic dance music for the past 10
years! A skilled DJ and producer, Evelyn is never static. He
already has some stellar sonic moments to his credit: his
hip-hop influenced DJ Kicks session for K7; the dub-wise
bowl-packer, Smoker's Delights; and the smooth downtempo classic, Carboot Soul. So, if stoned rhythms combined
with some nice fluid jams is your elixir for a bangin' weekend, get your Mind Elevation here at Zulu! Somebody pass
CD 16.98    2LP 22.98
Phoenix CDEP
Three recordings into their
career, LA's WARLOCKS provide us with this, a teaser of
things to come. It starts off with
"Baby Blue*, certainly their most
infectious song to date, and follows it up with 70 minutes of
sheer stumbling grace and spaced-out guitar glory. Cut
quickly through the smoke, embrace the din, and head
toward the seesawing guitar buzz. Let it all come
down.. .you can pick up this perfect prescription on the
other side.
CDEP 12.98
Othey've rediscovered their
American-ness. A smart move
in a time like now. Present
crazy business aside, they've
got stuff in their collective history and general attitude to
draw on that is rich and unique. Indeed, where would pop
music be but for the old U.S. of A.? Certainly not in
Canada, eh. And leave England out, except for the occasional big flash. Maybe in Sweden? Okay, so we're pulling
your leg a bit. But the sincere point is that there's a lingering, rootsy American flavour to One Beat, and we sure like
it very much. Other places will call this record "mature,"
we'll simply call it "Full On."
■ KID606          :fmMMiimm
In the considerable wake of his      mm
I supremely naughty Action
Packed Mentalist set, the I -J
Best known for Circle, his genuinely awe-inspiring collaboration with Dose One, BOOM BU> might just be capable of
making abstract hip-hop's appeal clear to an audience that
lives above the ground. No wonder Seed to Sun is the most
anticipated instrumental hip-hop debut since DJ Shadow's
epochal Entroducing. Yeah, if there's one thing we know our
customers love, it's a big, fat, relaxing breakbeat. Dude, we
got a whole bag of 'em for you, right here.
CD 16.98    2LP 22.98
Eternal Youth CD
From the magnificent sonic stalk of The Magnetic Fields
grows numerous boughs, each carefully attended to and
diligently nurtured by the enigmatic songsmith, Stephen
Merritt. This, the second offering on the Future Bible
Heroes branch, is a collection of 16 songs written expressively for the voice of fellow Magnetic Field, Claudia
Gonson. Trademark synths are still prominent in these
infectious compositions, but Merritt also wades into the
groves of today's electronic and electro-acoustic avant-
garde to develop a more experimental extremity to further
twist his unique pop vision. Support with confidence!
CD 16.98
CD 16.98    LP 14.98
KID 606
Why I Love life
In the considerable wake of his
supremely naughty Action
Packed Mentalist set, the
kiddy cat blesses us with 20
minutes of impure audio bliss. Coming on like Boards of
Canada with Oval's bad attitude, this supef-cute three-inch
CD will provide an ideal soundtrack to the final weeks of
your long, hot summer. By turns becalming and provok-.
ing, Why I Love Life provides just the right doses of
melody, noise, rhythm, chaos and love. Put this on as a
light prelude to Ekkebard Ehlers' Plays and prepare yourself for an hour and a half of deep pleasure.
CD 12.98
ROB MAZUREK - Silver Spines CD
THE LIARS - They Threw Us in A
SOLE - Salt On Everything 12"
DJ RUPTURE - Gold Teeth Thief CD
NORIKO TUJIKO -1 Forgot the Title 12"
NOTWIST - Neon Golden CD
RJD2 - Dead Ringer CD
MICROPHONES - Song Islands
COLDPLAY - A Rush of Blood to the Head
B0N0B0 - One Off Mixes and B-Sides CD
RADIAN - Rec. Extern CD
TOBIN SPROUT- Sentimental Stations CD
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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