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 That cast
^tlfc^____^
M0UST1CS F
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SomSR '99
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1 2S-JUN
RETAMA PARK
SELMA
TX
1  26-JUN
ASTRO ARENA LOT
HOUSTON
TX
27-JUN
ARTISTS SQUARE
OALLAS
TX
29-JUN
CELEBRITY THEATRE
PHOENIX
AZ
30-JUN
DEL MAR ARENA
DEL MAR
CA
1-JUL
ORANGE PAVILLION
SAN BERNADINO
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2-JUL
ORANGE PAVILLION
SAN BERNADINO
CA
CA
4-JUL
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TAHOE
NV
6-JUL
PORTLAND MEADOWS
PORTLAND
OR
7-JUL
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8-JUL
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SEATTLE
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9-JUL
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ID
10 JUL
FAIRGROUNDS
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CO
13 JUL
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14-JUL
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15-JUL
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QUE
ONT
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PHOENIX CENTER
PONTIAC
Ml
27-JUL
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WASHINGTON
DC
29-JUL
30-JUL
LAKEWOOD AMPITHEATRE
CENTRAL FL FAIRGROUNDS
ATLANTA
ORLANDO
GA
FL
I 31-JUL
POMPANO BEACH
MIAMI
FL
WARPED
tour a a
Sgg VA IrJ DA PITH!
itaph.com   www.hell-cat.c Features
Molestics
Bratmobile
Garage Shock "99
Cannanes
Neotropic
9
11
15
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18
Columns
editrix:
barbara andersen
art director:
robert horsman
ad rep:
maren hancock
production manager:
tristan winch
production manager's
body double:
miko hoffman
graphic design/layout:
rob h, chad christie, mike
josephson, cam barker
production: julie colero,
anna friz, andrea gin, ann
goncalves, brian Johnson,
rowan lipkovits, christa min,
shane van der meer, heidi
wuttke, kirsten weisenberger
photography &
illustrations: julie colero,
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davey, ann goncalves, pat
graham, mary hosick, tobias
van veen
contributors: barbara a,
Jeremy b, scot b, brady c,
chris c, julie c, max c, mike c,
val c, bryce d, robin f, jovian
f, trevor f, steve g, hancunt,
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m, janis m, Julian m, ken p,
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Jerome y
programme guide:
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charts: julie colero
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distribution:matt steffich
us distribution:
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discorder on-line:
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publisher:
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Interview Hell 5
Vancouver Special 6
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7" 13
VlDEOPHILTER 16
Printed matters 20
Louder Than A Bomb 21
Kill Your Boyfriend 21
Palinkas Eats 22
Under Review 23
Real Live Action 25
Charts 27
On the Dial 28
July Datebook 30
Comics
Good Tasty Comic (via fui)      27
Cover
That's actually Riz Maslen, aka
neotropic, star of our sort-of-centre
spread (don't ask). Trippy photo by
Tobias Van Veen. Design by Rob.
© "DiSCORDER" 1999 by the Student Radio Society of
the University of British Columbia. All rights reserved.
Circulation 15 000.
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are $ 15 for one year, to residents of the USA are $ 15 US;
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in type. As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable
systems in the Lower Mainland, except Shaw in White Rock.
Call Ihe 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, email us at: citrradio@mail.ams.ubc.ca, visit our
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goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC,
V6T1Z1, CANADA.
Printed In Canada .\\d^bZ_^Jdy_.
j> INflNIT-E PR0DUCTieNSA
and IlluHUuKulpresent
TUESD^JULO?
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cyAbs-h5Sr
^^P-A^CHYINTHEU.SA.
house
techno
music.We corry US &
domestic
imports from around the
~A\   In   addition   to
a forge b
uiiy lOQdS Of Ubw
We   occomodal
customers with
featuri
^     HOI    I"
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MURPHY'S LAW
ANTI-HEROES ^~
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and Ticketmaster. ON SALE NOW!
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TRICKY WOO
SOMETIMES I CRY &«s
j€* BecDmin-g iamous for then explosive live shows, Tricky Woo's new album sets
ISSSS^ precedence for the -full-cut garage posiked-up. rock n' roil, bum down t$\& bam
treakout. guitar waiiin', shake aawo other bands only strive to achieve!
r.
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■ r<.\, *'*.:
MAYOR M'CA . weicosM re smaiaso
SON C UNYON RECORD NG COMPANY
*,*.* Radio
Inter
view
Scott: guitar, Rhodes piano, vocal.
Dion: drum, vocal.
Is your singer, Scott Walker, named after or related to
the legendary Scott Walker of the Walker Brothers (and
his later brilliant lengthy solo career)?
Scott Although I do own a copy of "Boy Child" on vinyl, there is no
connection between myself and that English singer. I did use to get
phone calls for a player on the Vancouver Canucks though. His drunk
buddies used to call from Toronto and get the time difference wrong.
A lot of local  bands don't get the recognition they
deserve. Pick Zumpano and two other bands and sing
their praises.
Zumpano is the band that gave us the nerve to play pop. The only
local band that the three of us can agree on is King. As far as strength
in songwriting, musicianship, and performance goes, they are simply
excellent, I don't however, think that anyone in our band would say
the Bocephus King style of music is our favourite. They're just
that genre doesn't matter. You actually care about every song and
are curious as to what will happen next in their show. Young and
Sexy are another amazing band.
How does the touring line-up of the Salteens differ from
the unit that gigs locally?
Due to job commitments and sonic needs sometimes our friends join
us on stage. On tour, and at home we have been joined by Kevin
Cooper, Rob Calder, and Greg Macdonald. They are our favourite
band in Vancouver.
Why does your bassist occasionally wear a red cape on
stage? What comic books does she read?
n that Megan wears a red cape on stage is that she likes the
colour red. She thinks comic books smell funny.
What's wrong with the paint job on yer amazing flying V
guitar?
My guitar looks like a hippie painted it.
How did you hook up with Endearing Records out of
Winnipeg? Please explain '
We played a show at the Railway Club one night. It was a battle of
us vs. ourselves; our rock vs. our pop. Blair was in the audi
introduced to us, although I don't think I actually heard him say
anything, or rather, didn't let him get a word in. Lots of e-mail later,
we sent out a recording, and Blair said he wanted to put it out. Blair
works really hard and is very straightforward. He just likes
and likes to put out records. The fact that he has a decent day job
also impresses us. He's a pharmacist. We should have a split 7" with
Plumtr** ,(rom Halifax) out by the end of the summer (incidentally,
rock '      r pop by a narrow margin).
On s night of December 31, 1998, one Robert Dayton
ra' icked and laid carnage to the Anza Club stage while
y were playing. Robert doesn't remember that much.
Please, for his sanity, describe in detail the incidents that
took place.
Robert who?
Ask yourself TWO questions.
What do you feel about Satan?
We fight Satan effectively.
Why the Salteens?
Young and spicy!
Contact:
. 5361 Crescent Drive, Delta, BC, V4K 2E2 ,
FORECASTS FAREWELL'
BAKED ALASKA
Who are you (names, ages, instruments played)?
Forecasts Farewell: Thor Larson, 21, bass and guitar; Laura
Mitchell, 21, guitar and keyboards; Chris Corday, 21, drums and
vocals; Shawn Labrecque, 20, bass and keyboards.
Baked Alaska: John Henville, 18, drums, vocals, guitar, harmony
phone; Chris Corday, 21, guitar, vocals harmony phone.
Please describe the genesis of Forecasts Farewell from
bands such as Slough of Despond and the Eh Team.
One member of Slough of Despond, Jack, joined a band called the
Measure, and now plays in Radio Berlin, so that was the end to that
band. Our voices were hoarse from those bands, so we threw away
our microphone and concentrated on atmosphere.
And, speaking of bands, tonight on Thunderbird Radio
Hell, a side project of yours, Baked Alaska, also
performed. What can you tell us about them? Are all
Baked Alaska's songs about Alaska? How come you
have no songs about polar bears and extreme skiers?
Baked Alaska is Chris' singing/songwriting outlet away from the
mainly instrumental jams kicked out in Forecasts Farewell. It is also
John Henville's "eleclric" outlet away from the wonderfully quiet,
acoustic campfire songs he plays while in the excellent local band
Fridge Art Tiara Our songs are either about Alaska, the North or
about "ice-y" relationships we've had. Instead of about polar bears
and skiing, some lyrics are about the Iditarod, Yellowknife, NWT, the
Bering Strait and freezing to death in the last frontier, our home away
Furthermore, explain how the Malchiks and a Melody
Horn play into the Baked Alaska equation.
John's brother happens to be Frank Henville, a founding member of
that local ska band. The Melody horn, for people who don't know
what that is, is a small keyboard with a long tube attached that you
must blow into in order to force out a nice little sound. Shawn from
Forecasts Farewell bought it at Value Village for a mere $30, and it
has fast become our favourite instrument to play.
What happened at Shindig 98? Please elaborate.
We were "out rocked" by a band called Jet Set in the first round. We
feel we should not expand on what else happened on that night in
order to not alienate ourselves from some people in the up-and-up at
CiTR whose respect we value.
Have you abandoned "punk rock" and what do you
think is emerging as its replacement? Could it be the
psychedelic revival? Who do you see as your
contemporaries?
There is no way we have abandoned our punk roots. Thei
anger in our music, but itis not conveyed as up front
screaming in your face, or by guitar amps with the distortion turned
up to 10. And we very much miss going to Strain concerts and
getting drunk. As for contemporaries, stuff like Aerial M, Godspeed
You Black Emperor, the Dirty Three, and props/common influences to
local bands Secret Three, the Beans and Citroen. For Baked Alaska,
contemporaries are everything from Joan of Arc to Shotmaker.
Ask yourself two questions and then answer them.
What does Forecasts Farewell really tote around with
them in their guitar cases?
Many large guns, just like Desperado.
What do Baked Alaska and Forecasts Farewell have in
common?
An affinity for bubble tea.
Anything else to add?
If anyone out there knows why the local rock outfit Liquid Amber
called us an "ice cube band" on stage before our Music Waste
performance last year, please give us a call. Any information leading
the apprehension of these outlaws will receive a night out to bubble
tea with our friendly band. And thanks to Team Strike Force and
Closed Caption Radio for their help, love, hugs, kisses and support
for our band.
Discography:
Forecasts Farewell:
-demo tape
-To Savard with Love, 10-song cassette
Contact:
5070 Arbutus St., Vancouver, BC, V6M 3W2 (send $3 and SASE for
newest Forecasts tape.)
604.837.6644 (Laura)
604.882.2751 (Shawn)
\ithor@interchange.ubc.ca . Vancouver
Special
'W"W^
BY JANIS McKENZIE & CHRISTA MIN
local CDs!
SATURNHEAD
Saturnhead California
(Vast)
The follow-up to Saturnhead's
much-praised debut (called
Arizona's Thin Mistake — do I
detect a theme here?), this CD
is a collection of 22 finely
crafted pop songs, ranging from
pensive to quirky to driven.
There are lots of hooks and
wonderful bells
and
JACK TRIPPER
Jack Tripper
(Independent)
Serious musicians, these guys
also play in bands wilh the likes
of Sarah McLachlan and
Veda Hille, and they
demonstrate quite a few of their
hard-earned chops on this 7-
song CD. "Sounds Fai
the big
anther
s the
-chord   |
lergetic
"Nov
rill)  c
and  other  fun
guitar riffs lhaf are uncannily
George   Harrison esque,
whether from the Revolver era
or the last days of the Beatles
You can't help but enjoy these
cotton-candy-sweet songs while
you're listening to them, and it
is hard not to admire the way
the CD bumps you along
jauntily from one to the next, but
considering the length (almost an
hour!), you might just feel like
you've had too much of a good
thing. (Vast, 2400 NW80th St.,
Ste 152, Seattle, WA, 98117-
4449 USA)
bonus psychedelic freak-ou1
the end), and the lasl track,
"Paynes Grey," is pleasantly
swirly and more than nine
minutes long Alas, some might
call the rest of the songs dirgy
(dare I say "grunge"?) ballads,
but they do make you
appreciate the brighter offerings
here Since this CD is now
going on two years old and Ms.
McLachlan says she's going to
be taking some time off, I can
only imagine we'll be hearing
more from Jack Tripper soon,
and who knows what they'll
sound like by then? (Jack Tripper
c/o Granville Park, PO Box
60584, Vancouver, BC, V6H
4B9)
THE SPECIAL GUESTS
Everybody Rock
(Independent)
Right from the "Tips for Teens"
clean-cut couple posing with their
milkshakes and portable record-
player in the cover photo, you
know what you're getting here:
unabashedly (cynical critics might
say "shamelessly") early '60s-
flavoured pop with a noisy edge
Almost all of these eight songs are
irresistibly catchy, carefully
constructed, cheerfully harmony-
laden little gems II says a lot that
the one cover, Tommy Roe's
"Sweet Pea," sounds just a little
limp in comparison This is so
darned poppy that you just might
hurt yourself (3820 Miramontes
Drive, Victoria, BC, V8N 4K9
<www,n.ro.ca/tsg>).
local demos!
There are two kinds of demo
tapes: the secret document kind
that come in weird packages
containing 700 minute unmarked
tapes, and the advertising kind
V L
IM VALUE VINTAGE
Y
710 Robson Street
"Downstairs!"
ne with six-page bios,
ossies, and three copies
3me tape. Either way, I
erything except for the
LES SAINTS c
Montreal, and my French is
really bad, so I can't tell you
what they're singing about I
can tell you that they sound kind
of like a French, male
Cadallaca. Maybe it's just the
organ that makes me say that.
(No contact. Secret document
type demo).
I'm confused THE RADIO'S
demo sounds like six different
bands. They sound like Bob
Dylan in one song and then all of
a sudden they turn
effects and synths.
simulation of the c
where each song i:
band.(Address obsci
I believe that NEW
ELECTRIC RIOT is the Go-
Devils with a different name,
and yes, they are new and
improved. Natalie's songs are
louder and more rockin' than
before.     Her
better, too.
Must be those
genius guys at
JCDC studios
(#201-2775
Pine Street,
Vancouver,
BC, V6J 4T5)
SAL
VOLATILE,
aka        Lome
MacDonald, is
one  of those
moody types.
His   voice   is
slow and deep
on the
experimental
tracks,   and when  he  sings
"She's Got Ways," he sounds
convincingly tormented.
(#7-910       E.       Broadway,
Vancouver, BC, V5T 1Y4)
Because ADRI uses
technology to make sounds for
her, it's difficult to tell whether
or not she's filled with angst I
feel kind of nervous listening to
the sound of a dripping tap, and
I can't predict what other noises
Adri's going to pull out of her
electro-hat, but it's not scary, it's
like a science fiction movie.
<www.mineralmusic.com>
After listening to the second
tape I received from BELLE BETE,
they sound a lot better than the
first time I heard them. I think it's
probably because of all the junk I
listened to in between the two
sessions, but I guess it's also
because Adam writes some nice
indie pop tunes.
<thehive@axionet.com>
Feel free to send your scary,
terrible, screaming demo tapes to
me, but keep your pictures and
life stories to yourselves until I write
you a fan letter asking for your
autograph.•
n the sound
I guess it's a
a different
re).
OOOOOOQOO     by
You know
you're alone when
you can't find anyone in
yourself.
miyu
juiyie-wiSECiyUflai
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^
ALL AGES - EARLY SHOW
Tix 5$ Advance 7$ Door - Free admission with \
our OZZFest
ticket stub!!!!!!!!!
i July 99 #23 TURBULENCE
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PLAYLAND
ISEASON PASSl
HOLDER
*±AMM*iHx^W
COIVICERTS
Sunday July 4 (§§§£
The Special Guests
Glimmer
Rymes With Orange
Nickelback
Monday July 5 kJQKl
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Temperance
Jacynthe
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ADMISSION INCLUDES CONCERTS AND ACCESS TO 25 RIDES
TAKE ACTION!
A PUNK ROCK SAMPLER BENEFITTING THE FOUNDATION FIGHTING BLINDNESS
IKSUBCITYCt
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SC001-CD SAMPLER
EN FYP HECKLE ALGEBRA ONE KID DYNAMIT
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sl$m
I^SUBCITY^ SCRATCH RECORDS MOVING SALE!
20-90% OFF EVERYTHING!
MONDAY JULY 19 THROUGH SATURDAY JULY 24
AFTER 12 YEARS WE'VE DECIDED TO REWARD OURSELVES AND OUR CUSTOMERS WITH A NICER
NEIGHBOURHOOD. LOOK FOR US IN AUGUST AT
726 RICHARDS STREET, BETWEEN ROBSON AND
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EVERYTHING'S ON SALE!
CLOSED SUNDAY AND MONDAY THE 25™ AND 26TI
RE-OPENING ON RICHARDS STREET JULY 27™
RECENT Um ON
S'CRHCU!
Bugskull
Distracted Snowflake |
[Vol.2   CD
Murder City Devils
Empty Bottles,
Broken Hearts    LP/CD
Coming Soon!
Lonnie James - DEE-0 CD
Jungle - Long Time, No See CD
available at fine stores everywhere
mm
109 West Cordova Street
604.687.6355
/N
v
I Want Some kli>92
available now!
mnKEUP
You can check out the Make Up live
at The Starfish Room
July 20th 1999
keep your heart open for a new make up record due out this winter!
V)) <f-
P.O. BOX 7154 OLYMPIA, WA 98507 usa   360.786.1594 FAX:360.786.5024 http://www.kpiink.com *Y QUENTIN WRIGHT
According to
weekly listings magazines, the quality
of Vancouver's nightlife has taken a
nosedive recently. Although seemingly
refuted by events sections which list tons of
gigs, festivals, etc., it is certainly true that the
city has lost some great live venues With old
folks still grumbling at the closure of the
(yawn) Commodore, local musicians miss
venues like the Niagara, the Malcolm Lowry
Room, the Press Club, the Glass Slipper, the
Hungry Eye, the Town Pump, and the Gate —
gone since the Ballroom shut its doors.
Apparently the Molestics have had enough.
Vancouver's celebrated purveyors of deep
By playing about one hundred gigs a year
and conducting band business themselves, the
Molestics are fairly unusual in that they are
•able to make a living from music. Apart from
the recent lack of venues, Mike explained how
the attitude of some club owners leaves many
bands feeling short-changed and may have
contributed to the speedy demise of Lounge.
Of course, it was not only the bands that were
left feeling ripped off by the Lounge scene.
Lounge originally provided a platform for an
eclectic and crazy collection of bands, djs,
comedians and general extroverts; however,
customers stampeded for the exit when the
of   the   Swing    Nazis   saw   the
fried trad jazz and musical hokum ar
relocating en masse to Toronto, in search of
climate   more   favourable   to   profe
Guitarist Sam Petite explains: "We're
leaving because there's no gigs here. That's
the number one reason. We knew that staying
in Vancouver was going to be a problem
eventually because it just wasn't a good
enough town for bands." Although claiming
that his personal reason for the move east is
flight from lost love, vocalist and trumpeter
Mike Soret concurs with his bandmate:
"There's been a huge decrease in the amount
of showbars. There's been waves of places
shutting down and no new places opening
up."
"anything goes" formula of jazz, kitsch pop,
film music, and easy listening replaced by a
totalitarian regime of jump blues and dance
Along with the Colorifics and Ray Condo
and the Ricochets, the Molestics'
philosophically irreverent yet musically sincere
attitude defined Vancouver's lamented lounge
scene. As an insider, Mike's take on the death
of lounge is spot-on. "I always compared it to
the origins of punk. I don't know what the real
origins of punk were in England, but in
Winnipeg [his home town], at first it was 'Oh,
Punk! It means you can do anything you
want!' and you'd have all these kind of
Dadaist bands who would come out and do
the most bizarre stuff. Then later it was, 'No,
no, this is what punk is — everyone has to
play like this.' And everyone did. But swing
was a little quicker for getting orthodox
because it was fuelled by the patrons rather
than the artists. That was kind of a shame — it
would've been nice if it had stayed bizarre.
The swing franchise includes 100 typical CDs
and that's all. It's all Frank Sinatra, Cherry
Poppin' Daddies, Big Bad Voodoo Daddy and
five or six other daddies. No Count Basie, no
Duke Ellington, and no Benny Goodman."
Fortunately, by not aligning themselves
with any music scene in particular, the
Molestics draw possibly fhe broadest range of
fans in town. However, although they
beautifully re-create the pre-war jazz
stomp our great-grandparents fell in
love to, the Molestics' presentation
— which lurches from lighthearted
to anarchic — finds little favour with
the jazz fraternity. Sam: "Everyone
in the band shared feelings of
wanting to play jazz in an
unpretentious way, as the popular
music it was in the '20s and '30s
rather than the intellectual music it
became in the '40s and '50s. We
learn directly off those old records
and we don't try to modernize [but]
we've had some terrible gigs with
jazz fans. We opened for Kate
Hammet Vaughn once at the Austin
Hotel [now the Ramada Inn] and we
didn't go over well with her fans or
with her." "Well, she said she liked
us but we didn't believe her,"
continues Mike. "We couldn't buy a
jazz gig now. Slim Gaillard [scat
singer, musician and comedian who
appeared in Kerouac's On The
Road] was totally ignored by the
jazz scene because he had a sense
of humour, but he and his sidemen
played with Charlie Parker. The
musicians didn't mind — it was the academics
that came along afterwards." "Some people
want to push Cab Calloway out of the canon
too," says Sam, "and he's an unparalleled
singer." "Must be the Hi-de-hi-de-hi's," guessed
Mike. "We don't get the big write ups in the
paper — we get ignored by the press. The
Straight just wrote some catty thing about us:
something like that. That was so ill-informed
and so annoying."
"The writers are hippies," reckons Sam.
"Most people in the press had a bad attitude
to lounge and swing when it came along
because it was a threat to rock — not sincere
enough or something. Also, we were
perceived as  being a cover band.  Well,
there's not going to be a cover of [Bob Wills']
'Spanish Two-Step' from anyone else in town.
All bands used to be cover bands to a certain
extent. Before recorded music, every place
that wanted to have music had to have a band
and the band had to learn the hundred or so
tunes that everyone wanted to hear. Then they
would gradually learn to play their own tunes,
rather than sitting in a basement with three of
your friends trying to come up with music that
nobody's ever played before. I think that's an
unnatural way to do things."
This is an issue which the Molestics are
more than qualified to comment on. Their
formidable repertoire consists of around one
hundred and twenty songs, of which thirty are
originals. Of course, most of the covers will
be totally unfamiliar to all but the most rabid
fans of early jazz, ragtime, hillbilly or calypso.
Mike explains their approach to
songwriting: "You can't just sit in your
basement and become an original
philosopher or an illiterate writer. It's an
unreasonable expectation, and you come up
with things out of your ass — it ends up being
less original. You have to look into your genre
and research the field. What the hell's wrong
with being a research band anyway? Aren't
there enough boring originals out there?"
It goes without saying that the Molestics
have always been one of the most unique
bands in the city and it was to Vancouver's
credit that such a strange and wonderful band
could form and flourish here. Their departure
is perhaps one of the most telling signs that
our live music scene is not what it once was,
and without the mighty Molestics, it will
continue to sicken. Still, we must thank them
for four years of fabulous music and many
great nights. They have always been number
one in a field of one, and there is no doubt
that, in Toronto, their freak flag will continue to
fly alone. Their absence in Vancouver will be
felt by music fans and musicians across the
board. Brooding on the breakup of a long-
term relationship, however, Mike does not
quite see it that way: "My sole and only
reason for leaving is lost love — this is a good
way to run away. I think the scene is getting a
little bored of us and people will be glad to
see the back of us and that's fine. We'll do
our routine somewhere else. The policy is that
it's good to travel, but I'm not going to die for
this stuff. If it ever stops making money I'm not
going to do it. It's fun to do for a living and it's
fun to be popular but if it's not popular and
it's not making a living then it will stop. It's too
bad about all the clubs closing. A society can't
survive without its culture. If you pull up all the
weeds then the fish will go away and that's
what's happening in Vancouver."*
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TONIGHTI
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SATURDAY, JULY 3
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SUNDAY, JULY 4
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WEDNESDAY, JULY 7
THE PORKERS
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MANEATERS
THURSDAY, JULY 8
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RETREADS
MINNESOTA NOTHING
FRIDAY, JULY 9
APPLES IN STEREO
DRESSY BESSY
MOUNTAIN GOATS
SATURDAY, JULY 10
JOHN FORD
BOCEPHUS KING
AUBURN
SUNDAY, JULY 11
LOOPER
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MONDAY, JULY 12
FUCK
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TUESDAY, JULY 13
THE LILYS
BEACHWOOD SPARKS
THURSDAY, JULY 15
SHIHAD
ARTURO
FRIDAY, JULY 16
HEMEON
SLOT 9
RAW
SATURDAY, JULY 17
THE SUBHUMANS
TUESDAY, JULY 20
THE MAKEUP
GOLDEN
WEDNESDAY, JULY 21
PLEASURE
VIBROLUX
BRUNDLEFLY
THURSDAY, JULY 22
KINGPINS
SKAVOOVIE
DUCKY BOYS
FRIDAY, JULY 23
GOD AWAKENS
PETRIFIED
SATURDAY, JULY 24
TIBETAN FREEDOM
CONCERT
WEDNESDAY, JULY 28
GUIDED BY VOICES
THURSDAY, JULY 29
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FRIDAY, JULY 30
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SATURDAY, JULY 31
ZIMMER'S HOLE
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Brand New 11 Sona CD
UtiLJER TTIAN YOU"
J jv _ A|| u songs are solid rockers,,, and lead singer
Gisele's awesome riot grrrl snarl has been stuck
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IN STORES EVERYWHERE
— Or Buy On-line at: —
www^JjidiepooLcom/hissyfit
Or Call: 1-888-88-INDIE (toll-free) GROWING UP with..
by the invisible claire
When Molly Neuman, Erin Smith and Allison Wolfe played their first show as Bratmobile in February of
1991 (with Bikini Kill and Some Velvet Sidewalk}, they were in their late teens and early twenties. It was
a crazy time to be young, female, and idealistic: when the media latched on to riot grrrl and its
associated fanzine network (which included, at that time, Molly and Allison's GM Germs and Erin's Action Teen),
Bratmobile became something more than three university students trying to have fun playing primitive, energetic
punk pop. Misrepresentation, oversimplification, and excess hype ensued. The media feeding frenzy was not,
however, completely negative in its effects; Pottymouth, released by Kill Rock Stars in 1993, was the first
independent record I ever bought. Like many other teenaged girls, I was turned on to Bratmobile and, incidentally,
to independent music and "third wave" feminism by the influential (and now defunct) teen mag Sassy. I've grown
up; so have the members of Bratmobile. After a hiatus of several years (during which Molly drummed for the
Peechees and Allison and Erin kicked out the jams with the Cold Cold Hearts), the Brats are back togetht
touring and writing songs. I had the briefest of brief chats with Molly about Bratmobile's past, present, and futui
DiSCORDER: I was wondering what your
motivation was for getting Bratmobile
back together now as opposed to
before or later?
Molly: Well, our other bands had broken up,
so we were all kind of left wondering what we
were going to do, and we just happened to be in
the right place at the right time, and the spirit
was right. When we started talking about it in a
kind of kidding, joking way, it turned into an
actual reasonable idea. So basically we just
decided to take it slow and see how it went. We
had a meeting, and then we got together in
February to practise and try to write songs That
was one of the main things we wanted to do,
was to make up new songs, work on having —
since we've all kind of grown as musicians and
le — to push the boundaries a little bit.
music was kind of specific to a period in
our lives and we wanted to make [our new
music] reflective of where we are now, too.
So the  Peechees and the Cold  Cold
Hearts have broken up?
I know a problem for you in the past
was that you all lived in different parts
of the country. Are you all [together
now]?
No. Well, they [Allison and Erir
and I'm not. But that's all right, it
They live in Washington, DC.
Have you noticed that you're getting a bit
of a different reception these days than
you used to back in the early '90s?
We haven't really played that many shows yet to
be able to say for sure. Everything's been pretty
positive so far.
[In] The Real Janelle liner notes you talk
about being represented and
misrepresented in the media and how
that was a big obstacle for you and [how]
the only way you really had a voice was
by putting out records and doing shows.
What did you mean by
misrepresentation?
Well that was also a specific time where things had
taken on their own life force... It was so strange
and it just didn't come from our own [mouths],
there was just this big .reduction of what we thought
we were doing into little compartments and boxes.
That was really not totally accurate of what we
were, of who we were as people. It was because
people were excited that girls were doing music,
and it was kind of controversial that we were
talking about political ideas or whatever.
What were some of the things that you
were focused on then that maybe you
aren't as focused on these days, in
songwriting?
I don't know, that might be a little hard to answer.
We're not really thinking in those terms, like
"what we did then versus what we do now."
We're just trying to do what we're doing now in
a really honest way for ourselves in a way that is
enjoyable versus conflicted. We were young and
it was our first band and we had to learn a lot of
things that nobody told us. We had to figure
everything out for ourselves. Part of that was our
own doing — we wanted to be in charge of what
we were learning. We wanted to be in total
control, but the negative side of that was that we
had to figure all of these things out on our own,
and we made a lot of mistakes and struggled
through a lot of emotional situations that [were]
really just, like, growing up, but it was public
because we were a band. But now, it's not really
so much of a concern because we're older, more
competent, we understand the industry better, and
we understand what we're trying to achieve
better — which is just really simple. We're not
trying to tour or be huge, we're trying to have fun
and do what seems smart. Those are the
differences, not like any kind of agenda. The
agenda, I guess, is different in that way, but it's
maybe a little less intense or lofty.
So you've changed, but has your
audience changed? Is it perhaps a little
older now?
No, they're not. A lot of the people who went to
our shows on the east coast were, like, really
young. People that didn't get to see us when we
were [first] around, because we didn't tour very
much anyway.
You toured England several years ago, I
believe. What was that like?
That was wild, we toured with Huggy Bear and
Heavenly, it was romantic and sad and drunk and
sober (I was sober, they were drunk!)
All you Sassy-reading, gum<hewing former teen
goddesses will have a chance to pretend you're
15 again when Bratmobile play the Pic Pub in
Vancouver (with the Evaporators and Tennessee
Twin) on July I lth. Oh yes. RES
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Located in the Student Union Building at UBC,
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Ike t^-rfftnk!     / Hi, I'm Julie. I'm new. I promise to do my utmost to keep
you folks informed of all the latest wax creations making waves at the station and other distant rock arenas
(my living room, for example). If you don't take my written
word for it, you can listen to me play all this stuff on alternate
Wednesdays at 7:30 pm on CiTR 101.9 fM. Like any good
aspiring inaie-rockster (I try hard), I like to dance to the crazy
fly sounds coming from my stereo; I just hate slowing up every
3-5 minutes to flip sides. I hope you will all get to shaking
your bits to some of these new records, but remember — Jceep
the vibe in check, so as not to make the record skip!
THE CATHETERS are a pack of
young hooligans who showcase
their stuff on a three-song release
for Northwest label Empty. Derek
from the Murder City Devils
played with these guys at one
point (and makes sure to wear
their T-shirts a lot) so they must be
cool, right? Right. Fresh out of
high school, these boys know
how to kick out the jams. The B-
side, "The Kids Know How To
Rock," is a gritty, catchy song that
proves that, even if something has
been done a million times, it can
still be done well. (Empty, PO Box
12034, Seattle, WA, 98102)
And  now,  some classy
copycats. Oh, maybe that's not
the nicest way to introdi
w NORTH OF AMERICA 7
the
but
ern-Canadia
with squeeky-boy vocals and a
surplus of good feelings flowing
freely all over the record player.
This record is my ideal picnic disc;
I could take it out, enjoy it with
some friends, and then let it melt
in the sun! All we'd be left with
would be pleasant memories of
thought these Ea:
boys sounded Ii
when I heard their full-length, and
this new offering hasn't done
much to alter either the sound or
my opinion. Maybe it's just the
vocals. This band does play
around with dynamics on the
songs offered up here, and has
some excellent start V stall type
tunes with a touch of the weepies
to them. (Montesano, PO Box
243, Bellingham, WA, 98227-
0243)
Bring   on   the   pop!
TRINITONE is an upbeat band
a record we didn't have a chance
to get sick of. (Drive-In, PO Box
888211, Grand Rapids, Ml,
49588)
Next up on the Wheel O Pop
(that's the turntable, silly I) is THE
LUCKSMITHS. These Australian
popsters have gained a bit of a
following here after showcasing
their "songs for thinkers" a few
times in the flesh. The clever pop
they play has been compared to
Belle & Sebastian, but I beg
to differ. The Lucksmiths are
awfully slow at times, and the
songs tend to border on the
tedious. They're cute, but not
nearly catchy enough. I demand
perfection — or, at the very least,
a memorable chorus! The best
song on this release is "Beer
Nut," a pub chant tune with a
bit of backbone and some fun
to it. The other two songs, in my
opin
t too V
jssy.
(Matinee,   PO   Box   76302
Washington DC 20013)
And now, two fine bands
which illustrate perfectly my
newly invented musical term —
dre(a)mo. THE HADES KICK
do it like the best of the boys with
their Compass Leads 7":
shouting and breathing funny
and trying to win the hearts of
the wealthy suburban "punk"
girls in the front row. These kids
need to learn how to play
their instruments a bit better
before they put anything else out,
though. (Thick As Thieves, PO
Box 7774, Austin, TX, 78713)
Better dre(a)mo is brought to
you by READYMADE on their
The Block Alone release, out
recently on Winnipeg's
Endearing Records. The A-side is
a dreamy pop tune with muffled
drums and strange reverb, while
the B-side is a dynamic
instrumental with a bit too much
synth weirdness at the end. This
at times felt like the
Magnetic Fields without all
the good bits — still, definitely
better than most things I've
listened to lately. (Endearing, PO
Box 69009, Winnipeg, MB, R3P
2G9)
THE CHUBBIES are two girls
who certainly know how to rock
it; their new single proves they've
got style. "When I Was Your
Girlfriend" is a fun, fast garage
rock song with alternately gruff
and sweet vocals — this is good.
The
side, hov
better. These girls do a great
cover of a tune from the '70s that
I recognized from my old Dazed
and Confused soundtrack tape,
a little something called "Fox on
the Run"(possibly, probably by
Sweet). This is the best song I've
ever heard the Chubbies do —
and they've done many. They're
on Sympathy For The Record
Industry, the record label that just
keeps on giving. Another bonus
is the stellar artwork, done by
Chubbie Christene. (Remedial,
PO Box 84811, Austin, TX,
78768)
THE ESSEX GREEN is a
band comprised of some
Ladybug Transistor kids, and
they make poptastic sounds.
Good, good music. Genuine
pop, the way it's supposed to
sound and feel. The four songs
on this release are quite diverse:
at times goofy, at times sly and
sexy, but always very, very cool.
You gain mad indie cred points if
you like this stuff. That's why I like
it — I've been running low on
cred this last while, thanks to my
new Backstreet Boys
mousepad! Essex Green are neat.
That's what I heard. (Sudden
Shame, 2 Cypress Lane, Essex Jet.
VT 05452) •
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After the smoke cleared and the dust settled from 1997's tenth anniversary blowout, was Estrus Records and the town of Bellingham ready for yet another global
invasion of rock and roll bands (and their equally rabid fans) terrrorizing the locals, drinking their beer, and stealing their women? Well, it took a while to re-group,
but over the May long weekend eighteen combos broke the sound barrier, shocking and amazing those of us fortunate enough to make the journey from as far away
as Japan and as near as Vancouver. What follows is a detailed account of what transpired, so put your hands together for the rock V roll riot and enjoy the showl
My intrepid photographer Mory and I spent a nearly sleepless Thursday night trying to figure out why our lovely automobile decided to call it a day, sending us
into a state of panic. By 9:30 am Friday we solved that crisis but were soon faced with another: getting to Bellingham by 11:30 am so that we could join the throngs
already lined up, ready lo buy tickets for the first night's festivities. We picked up our still-drunk-from-lhe-night-before-and-paying-for-it-now travelling companion
Sean and, by the grace of God, rolled in front of the fabulous 3-B Tavern at noon, purchased our tickets and breathed a collective sigh of relief. We saw some old
faces from England, Spain, San Francisco and Green Bay while meeting some new faces from Chicago, Germany, and Seattle. After the introductions we chowed
down on some great Mexican food, then rested in our motel until showtime.
First on tonight's bill was THUNDERCRACK from France. These guys definitely pack a wollop with their R&B based garage punk, continuing the fine legacy of
bands making a mark from that country lately. Toward the end of their set the lead guitarist had enough of his guitar, flung it down in a rage and picked up a
harmonica to wail on like a man possessed. Next were Calgary via Bavaria brats the VON ZIPPERS who scorched the stage wilh their patented '77-slyle punk
sntal thai
ircus
is
rock'n'roll. No keyboard antics from the honorary Von Zipper known simply as 'Tomb'; rafhei
dismantling of 'Summertime Blues' closed out their boot-stomping party. It seemed eerily coincid
Newcastle, England's bruisers the COYOTEMEN played next, considering they shared the sam
taste, but no matter. The masked men pounded out a quick set of tunes lhat had the impact of a flying elbow
off the top rope and was over before you could do the three-count. Just in time too, because up next was the
MONKEYWRENCH, a surprise addition lo the show — and what a treat it was. The last time ihey got
together was seven (I) years ago, but you wouldn't have known it as they cranked out maximum punk V
blues hits like 'Call My Body Home', 'Look Back' and Redd Kross' 'Notes And Chords Mean Nothing To Me'
which took on a whole new meaning when guitarist Tim Kerr played half their set with his unknowingly busted
amplifier! Speaking of maximum punk V blues, the band you don't want to meet in a dark alley, San
Francisco's ZEN GUERRILLA was positively on with scissor-kickin', wailin' preacher-like vocalist Marcus
Durant in full 7'0" form (and that's including his hair). Not to be outdone, guitarist Rich Millman sprayed a
of licks upon the salivating crowd and the rhythm section of Carl Home and Andy Duvall held the fort shut
a steel trap, no beats were getting in 'cuz they were all coming out of Zen Guerrilla. Closing Friday's spect<
were tfie sci-fi surf sounds of Man...or Astro-man? and of all the times that I've seen ihem they'
blistered through a set like they did here. They later conceded to me lhat copious amounts of Earth beer
buzzing through fheir tiny alien bodies acted like a kind of jet propulsion system, making mem (and me) blast
off into the night.
Landing back on solid ground the next morning, many of us spent Saturday scouring the town's cool record
shops, thrift stores, enjoying the sights or chillin' in our respective cribs. We were certainly going to need the
rest, as tonight was considered by many to have the strongest line-up of the weekend. Kickslarting the dance
party was Helsinki, Finland's FLAMING SIDEBURNS who had everybody moving to the big boss sounds. The
singer had this Sonics-meets-Prince thing going on vocally and stylistically, and at one point in the show had
the entire audience crouched down until he gave the signal to rise and respect the rock. Instantly I thought: Nardwuar,
you've met your motch! The SEWERGROOVES, from Stockholm, took tfie stage next with a familiar face behind the
drumkit (that being Robert Hellacopter), and they rocked in a good Kiss/Motorhead kind of way. Their songs seemed
a lot faster than I remembered from their record, Three Time Losers. Returning to American soil were the INSOMNIACS,
whose set wasn't as memorable as their 1997 show, but they still proved to be the masters of mod-pop. After their set,
the bassist from the Sewergrooves saw me in the washroom and, mistaking me for one of the Insomniacs, almost tried
to kiss me as he drunkenly slurred, "You guys are the beshttt!" Yikes! I escaped just in Hme for SUGAR SHACK. The
Houston, Texas powerhouse could do no wrong. These guys [and gal, who astounded more than a few people by
beating her drums into oblivion) do garage punk right: straight-ahead, no-nonsense and full of hooks. Showcasing some
new tunes as well as old faves, Sugar Shack had Sean & I wiggin' out like wildmen, and with two more bands still to
play, it was getting hotter by the second. So, a quick breath of fresh air ond back in time for the NOMADS. A more
solid rock and roll band you will not find. The Nomads belong to that rare breed of band which can hit the stage
without schtick, gimmicks or fanfare and just simply blow you away. With over ten years of consistently good rock
under their belts, it's a sure thing to have their latest testament of good times, Big Sound 2000, in your collection. With
the HELLACOPTERS on lost, I was ready to exert my last remaining ounce of energy on them so I planted myself right
at the front. It was sonic bliss from beginning to end. Rock moves were traded, hair was flailed, and hands were
constantly in the air. Those who survived the onslaught went home happy, with ears ringing like church bells.
I awoke Sunday morning wifh my ears still burning, but capable of picking out sounds from the TV. Mary had
woken early with the Cartoon Network blaring, and I didn't mind one bit. After checking out of our incredibly comfy digs
we attempted to check out a vintage car show down by the bay, but, with traffic snarled due to so many tourist-types leaving, we bailed and settled for the relative quiet in
front of the club. Sunday's turnout had thinned a little bit but there were definitely bands on this bill worth sticking around for. Unfortunately, WATTS was not one of them. This
band is made up of ex-Mono Men crew and, suffice it to say, I wasn't lhal thrilled by them. Next was Japan's ESTRELLA 20/20. I never thought I'd say this aboul Japanese
rock 'n' roll, but these guys should hove stayed home. I ordinarily love bands that can do the whole lo-fi Gories-style primitive slop, but this trio needs some fine tuning. The
GIMMICKS strutted on up and proceeded to let no one forget their name, screaming it out every chance the singer got. Got it the first time, thanks pal. After three songs that sounded
the same and an awful version of the Rolling Stones' classic "Brown Sugar," I walked out. Thank God for the FIREBALLS OF FREEDOM. Super-charged from the get-go, this is
a band that puts on a stellar live show: guitar jams and all the bombastic bass and drums you can handle, they lifted my spirits quite nicely. Nothing, and I mean absolutely nothing
would have prepared me for what I was about to witness next. The QUADRAJETS came, saw, and left a pile of shattered rubble that used to be a club behind. These guys were a
freakin' circus, not a band. Three guitars, a man-mountain for a bassist, and a drummer who could not keep still even if you crazy-glued him to his drum stool, blasting out Southern-fried
rock V roll. It was sheer pandemonium. No Quadrajets members were actually left on slage by the end as they all had jettisoned themselves off — to be replaced by members of some
of the other bands that had played prior to the volcanic eruption thai spat out those Alabama demons. It was crazy! Finally, the LORD HIGH FIXERS clambered on to the remains of the
stage and busted out the greatest bluesy, garage rock noise I've been lucky enough fo witness. Fun was of tfie utmost importance to them and they had me hook, line and sinker. I was going
positively ape-shit, singing every word, holding up guitarist Tim Kerr and singer Mike Caroll whenever they fell into the audience, and I narrowly missed getting decked in the head by Tim's
guitar when he threw it like a missile into fhe crowd. Now that's what rock'n'roll is all about: taking your lumps but coming away with the knowledge that you have done something fo
participate, you have added to the energy, passion and excitement that was Garageshock '99. Video Philter
BY TANIA BOLSKAYA
/ seemed every nighl to descend,
not metaphorically, bul literally to
descend, inlo chasms and sunless
abysses, depths below depths,
from which il seemed hopeless
that I could ever re-ascend. . This
I do not dwell upon, because the
stale of doom which attended
these gorgeous spectacles ...
cannot be approached by words
— Confessions of an English
Opium Eater, Thomas
DeQuincey, 1821
Whether drawn into
spiking the needle
home ourselves or
just taking a vicarious joyride, the
drug lifestyle has long been a part
of our decadent culture. Early
cinema, operating with no
restrictions except the tastes of the
theatre-going public and the
occasional protest by "concerned
citizens", dove into drugs as
lustily as it did into bathing
beauties, sex, larceny, and other
Hollywood vices. After the Hays
Production Code made up all
those rules, smack, blow, and
maryjane took a lengthy hiatus
from the silver screen. Once in a
while, a morality tale was
allowed to sneak its hilariously
)ught self through and into
theatres, but no one openly had
snorting or popping for over three
cinematic decades. In life, there
is always a glorious irony, and
in this story it can be found in the
fact that the Hays Code was lifted
in fhe 1960s, just when America
was learning how to Freak Out,
Baby! en masse
Since the supposed nirvana of
those heady Summer-of-Drug
times, there's been a helluva lot
of illegal substance abuse in the
name of cinematic art. From the
doom-and-gloom of Rush to the
of
The
Basketball Diaries
space trip of Easy Rider to the
squirm of Trainspotting to the
joyride of Drugstore Cowboy,
drugs have gone full frontal in the
Already on the shelves is a
handy heroin double bill I recently
rented from my man. GIA and
ANOTHER DAY IN PARADISE
provide a whopping four hours of
monkeys, backs and other
assorted problems. The "true
story" of a 1980's heroin-addicted
punk lesbian supermodel, Gia
was originally an HBO made-for-
cable movie and it won its star,
Angelina Jolie, a Golden
Globe Award. I was hoping for
something more than the usual
morality lesson, in this case, the
"more" seemed to involve softly
lit lesbian sex scenes and an
performance by Jolie. In films of
this subject matter, an over-the-fop
performance is not always out of
place, here the director's
MTV jump-cut addiction
overshadowed poor Gia's horse
trouble. The result is the opposite
of the obviously intended hard-
edged realism. Equally out of
place were montage sequences
which used lighting and film stock
seemingly lifted from a
Whitesnake video. By contrast,
Larry Clark's Another Day in
Paradise — the sweet tale of an
older, junkie couple who "adopt"
a younger, more mildly addicted
twosome and teach them the ways
of thieving, boozing and shooting
(both guns and up) — comes
across as the rational parent to
Gia's star-struck teen. Nothing
seems inexplicable or strained,
and the performances, especially
by maligned ex-starlet Melanie
Griffith    and   the   always-
*UsttOHs
8'30pMt
|   PLAYING IN JULY
1 DRUGS AND DEVIANTS    6/7
Ij BY08 OLD SCHOOL       8
/ TODD verow's SHUCKING THE CURVE  915
®™ARK: BRINGING IT TO YOU!   16-18
NEW YORK STORIES: FILMS BY JEM COHEN 20/21
MARK STREET IN PERSON    22
CRAIG BALDWIN'S INDUSTRIAL'S AMOK 23-25
SUPERSTAR THE KAREN CARPENTER STORY 27-28 |
PHASE 3: THE MULTIPLEX GRAND    29
THE BIG ANNIVERSARY PARTY...      30
UNDERGROUNDEXPERIMENTALOBSCURE
EYE  CANDY  FOR  THE  NON   MASSES  6  NIGHTS  A  WEEK
CAFFEINE.   BAKED   GOODS  _  MORE  ALL  DAY
watchable, ever-creepy James
Woods, are superb. This was all
to be expected given Clark's filmic
debut, Kids, and his own long
relationship wifh the needle. What
was unexpected, and received
with dismay, was the cliched,
drug-movie ending I hate to give
away endings, even bad ones, so
I'll just get you to imagine what
happens Rent the movie for the
lead performances and watch
If you're built for speed and
find all those needles a little too
phallic, the tinsel-town "expose"
HURLYBURLY is another flawed-
but-inleresting drug journey Kevin
Space*/ and Sean Penn are
Hollywood players who also
happen to be coke fiends into sex
with teenaged runaways. The
biggest shock is (gasp!) they're
shallow. Spacey and Penn make
this a no-brainer rent for a quick, if
sometimes painful, insider tour of
Southern   California   sleaze.
However, if you have a
to hearing Oscar-winning former
child stars like Anna Paquin
saying things like, "So do you want
to fuck me or anything?", maybe
Hurlyburfy is not your nickel bag.
Lastly, a word of caution. There
are bad men out there who want
your money They don't care about
you, they only want to gel you
hooked and then keep you coming
back for more. Yes, I'm talking
about irresponsible documentary
filmmakers.
Nick Broomfield has made
a career out of chasing infamous
women around America for the
"true story" on their notoriety.
Recently, Mr Broomfield became
famous'himself when he decided
that his next subjects would be
everyone's favourite '90s junkies,
Kurt Cobain and Courtney Love
However, it seems that Ms. Love
was adverse to being portrayed
as either the instigator in her
husband's suicide or the culpable
party in his murder. The pressure
of a very rich woman and a legal
battle ensued — to block the film
and to make sure no Nirvana or
Hole music was used Of course,
this is used in fhe film by Broomfield
to point fingers at Love and hide
within the free speech diaper that
crap like Jerry Springer usually falls
into. To be clear, I am an advocate
of free speech, the responsible use
of drugs, and documentary film in
general. I have always thought that
Courtney Love was a big fat phony
with little or no musical talent. That
aside, KURT AND COURTNEY
i barrage of unreliable w
who     fling
speculation at the behest of a truth-
starved Englishman named Nick
Broomfield and at the expense of
a woman against whom they all
seem to have a grudge. Kurt and
Courtney is shoddy journalism
passing as media candy. Like (he
brown acid, it's bad. I recommend
you just stay away •
Southern Culture on the Skids & El Vez
Sunday July 4 at Sonar
Reverend HortOn Heat with Huevos Rancheros
Thursday July 8 at Richard's On Richards
AppleS In StereO with Dressy Bessy and the Mountain (
Friday July 9 at the Starfish Room
Looper with IQU«
Sunday July 11 at the Star
Pavement with us.Mapie
Thursday July 15 at the Vogue Theatre
Nashville Pussy with speeded
Sunday July 18 at Richard's On Richards
The Make-up & Golden
Tuesday July 20 at Starfish Room
Jon Spencer Blues Explosion with Andre wmiams
Wednesday July 21 at the Vogue Theatre
Violent Femmes with guests
Friday July 23 at the Vogue Theatre
Guided By Voices with guests
A/ednesday July 28 at the Starfish Roorr
Ween with guests
Monday August 2 at the Vogue Theatre
G Love & Special Sauce with guests
Thursday August 12 at Richard's On Richards
16 July 99 BiftM___-___■£ D__-_A_-_-___-M___-___k _-_-____i_-_-i m._U__li_l__|_t_i _____■______ _________I__U__________ ■Aillli
WJIW WWWft OK? CUMINS Of? ffltun^ lOMflt
by Scot Brewer
It has finally happened. Alter some ten or
I fifteen years of existence, fhe Cannanes are
I finally making it to Canada to play a show.
Those of us living in Vancouver are lucky
indeed, for we will have the opportunity to
see one of the finest examples of pop music
around, something no one else in Canada
will get the chance to do without venturing
south of the border to that strange and
frightening place called the USA. if you
haven't heard of the Cannanes, don't feel
bad. Il would appear that most music fans in
Australia, their home country, haven't either.
In one form or another, the Cannanes have
poiling pop fans
: for
i  would be  coming   to
> line up that
Frances  Gibs
Vancouver.
DiSCORDER: What is tl
it coming to Canada?
Well, it's myself, Stephen O'Neil [guitar and
occasional vocals], our bass player Andrew
Coffey, Adam Garcia and Adam Hervey from
Timonium oft drums and guitar respectively.
As I have mentioned, the Cannanes are from
Australia, to be more precise they ore from Sydney
(if you want to get picky they are from Newtown, but
let's not get picky, okay?)
Stephen has been tracking down all the bands
from the early '80s: Ramones in vorious
formations, Blortdie, Hugh Cornwall, the
Creatures, etc. We have seen a lot of pop music
stuff; some good, some not so hot. I think Silver
Scooter.from Texas, were my favourites. We
have been to a tot of bars and parties and spent
a lot of time on the D train to Brooklyn.
> now that we know what they have been up to,
m't you think it's about time we found out
actly what they are doing next?
been spoilir
nth their r
twelve   year
From "Bored,
Angry and
Jealous" (named
single of the year
by the NME) to
their most recent
release (a split
12" with
Timonium)   on
ihe Black Bean
and Placenta
Tape Club
label, the
Cannanes
have been
pleasing ears
wilh their
delightfully
unique and
happy pop
When it
comes to
music,
description
is almost
always
futile.
However,
To describe The Cannanes for you, in a
single image, would be this: James
Joyce in exile from his beloved
homeland writing Ulysses on scraps of
newspaper.
ichard Vogt, OTS, August '96
tricky enough. Don't even mention the ridiculous
quantity of 7"s and compilation tracks!) To help you
with your hunt, I asked them:
What do you have coming up in the future
(tours,' records, etc.)?
Well, we should have a new CD coming out in a
couple of months and another couple of records I
think two months of touring wilt do us for a while. I
just feel like going to Ihe beach and lounging
'round the house. Stephen is desperate to get back
to his recording stuff and being able to play the
guitar loudly at home.
If you have read
this far and are
thinking to
yourself"! find it
strange that the
' Cannanes sound
so    good    but
have never
^ v toured Canada
and given me the
chance   to   see
them  live,"  that
^ makes two of us I
Is this the first
time you will be
in Canada? If
so, do you have
any idea of
what you are
expecting?
Well, I did go
across the border at
Niagara Falls. I was
just going to see
what our drummer
was up to and got to
the border. The
. officials
asked us how long
ited to stay, I
Plai
about
of
Ann Powers, V/7/age Voice, March '96
Now let's talk line-up. Like I said, this is a
band lhat has been around for quite a while,
allhough by taking a quick look ot any two of
their releases you wilt find that the line up has
been in continuous flux. Band members seem
to change every other day, so I began my
e-mail   questionnaire    by   asking    vocalist
For the last six months or so Stephen and Fran
have been living it up in New York City.
Well, I have been a visiting scholar at New York
University Law School, going to court and trying
to get a handle on the US legal aid system,
which has a few crises going on at the moment,
Stephen has been desperately trying to do some
recording under difficult circumstances (i.e. no
stuff, no computer, etc.) We have been lucky
enough to do some [recording] with Steve
Hermann, who used to be in Sukpatch and is a
genius. We're hoping to have a record out on
Slobcoas a result of that and we also did some
stuff with Matt Galloway from Saturnine and
good after this or are you going to
try and stay in the States for a little
bit longer?
We've been her
almost 6 months and
Chri:
which V
home via Tokyo where we [wilt bej playing a
couple of shows. I actually wont to go home.
New York is a great city,  but Sydney is
And now that you are intrigued by the Cannanes
and their music, I can tell you'd love to find out
exactly what is happening for them in the future,
recording-wise. First, go out and buy everything you
can lay your hands on (which, I might add, is quite a
challenge, as finding all their full-length albums is
interesting.
If you aren't doing anything on the 18th of July, go
down to the Purple Onion and see them play with
the delightful Timoniumiand Vancouver's own
Bossanova. Go, see them, ond be happy for a night.
(The quotes appearing in this article were stolen
from the Cannanes homepage:
Thank you to Fran for making time in her busy, busy
schedule to answer my questions and to Mike from
Black Bean and Placenta Tape Club for his help.)
Sunday, 7/18/99. Purple Onion,
15 Water Street (Vancouver, BC) with
t and Bossanova. NEO-   COMBINING FORM  1. NEW; RECENT; A MODERN FORM OF.
-TROPIC   COMBINING FORM  1. CHANGING IN A PARTICULAR WAY IN RESPONSE TO STIMULUS.
Whether touring or waiting for a sound to emerge freshly processed
from the machines in the studio of her London flat, Riz Maslen (a.k.a.
neotropic) is always listening for the music of the environment. From
early collaborations with Future Sound of London to her releases as
Small Fish with Spine and neotropic, an intuitive understanding of
modern music and its history has provided the foundations of her alien,
often surreal sound construction. From the drifting ether of ambient to
the pumped-up bass and breakbeats of hip-hop, familiar musical
elements are disassembled and given new context. Riz keeps pushing
herself to change, to grow, to avoid categorization. "With every album
you have to reinvent your sound and yourself," she confirms. Her
music is also about change. Her success comes from infusing
challenging music with structures and sounds that suggest the
oscillations of human emotion.
Mr. Brubaker's Strawberry Alarm Clock, Riz's recent full-length on
the ntone label, is full of treacherous turns between shimmering beauty,
brooding textures, and blasts of mangled percussion. Though richly
produced and informed by new studio techniques, Mr. Brubaker's ...
is a chaotic, harsher trip than found in the murky depths and gentle
insinuations of neotropic's first LP, 1997's 15 Levels of Magnification.
A music press eager to "personalize" musicians saw the mood swing
originating from the end of Riz's seven-year relationship with Future
Sound of London cofounder Brian Dougans. Riz acknowledged the
influence as she spoke by phone from Los Angeles, but she insists
details aren't necessary to understand the music. "We all have
relationships and we all break up. I used Brubaker as kind of a therapy
session. I don't really believe in going in and see
talking about it. Emotions are very much part of the way I write.
"Anyone can sit down at a computer and write music, but it's whether
it's convincing enough and has that emotional aspect. Whatever you do
on a particular day will be channeled through the music. That's putting
you out in the open. That's what's happened with this album. I've bared
my soul a bit. A lot of positive things have come out of the breakup and
we still hang out. I'm going to go back and work with them [FSOL]. It's
going to be fun because they have an amazing studio."
She'd prefer it if journalists listened for content rather than looked
for dirt. "They have often have nothing more to say than how many
drugs somebody's consumed in a night. Magazines like NME and
Melody Maker, that I grew up with, that were my bible, have just sold
out. They're tabloids now. There are only two or three magazines that
actually talk about the music and I find that very disheartening. I think
[some British music magazines] are just an excuse to put girls in slutly
bras and fill pages with adverts. It's aimed at that mass market. I find
the American press has a higher standard right now because they're
actually concentrating on the music."
She admires artists like FSOL and Autechre for sustaining creative
focus despite fickle coverage. "They build you up and up and up, and
then when you do something that's not to their liking, they kick you in
the balls. Living somewhere like London, it's very competitive. There's
this tendency to label things and pigeonhole them and when that word
becomes passe, you become passe too. I sometimes get the trip-hop
label, or 'electronica' was a big one for a while."
by Jovian Framciy it material tc
icondary to
Dmputer and
e 1997's 15
Ten years ago the press wasn't a concern. It was the endless
hours of brewing tea and running errands in studios lhat nearly
exhausted her. She credits her contact with FSOL for giving her the
confidence and motivation to pursue electronic production. "I knew
how to use a lot of the equipment, but I was never given the
opportunity to do it. Itwas really Brian and Gary [of FSOL] who gave
me my first break." They also suggested that as a frequent listener of
radio shows by label owners Coldcut, she should subm
Ninja Tune and its offshoot, the experimental ntone.
Though technology intrigues her, gear is se
expression. Only recently did she upgrade her aging o
sampler. The rest of her studio remains unchanged sine
Levels. "I'm a bit of a knob-twiddler, but you can make music with
very little, t'm still using the same desk [mixer] I've been using for the
past seven years and it was purely built for home recording. I use
what I've got to its full potential. I've been in studios where they've
had racks and racks of stuff they don't use. I ask 'why did you buy
it?' and they say 'because it's the new thing.' Isn't that a bit silly if
Riz downplays the rarity of being a female electronic producer.
"I would send out tapes and not tell them that I was a woman. I
have a name that can be male or female." But as a female, she
admits assertiveness is necessary. "That's what I'm very good at,
saying 'what does that do? I'm here to learn, but I'm not here to be
patronized because I'm a woman.' I've always had this drive to
make myself be heard, but you don't get anything without putting
something in. I've been doing this for ten years and I'm still learning
new things every day. That's the beauty of the job. Women come up
and ask me how to get started. All I can say is, Get in there. Bug
these people. Get them to show you how. If you have to sit there
with a notepad and write everything down, do it.' It is intimidating
'] shops and find equipment.
re staffed by these guys who
are frustrated musicians
and they take that out
on you."
Riz was nearing the
end of her tour wilh
minimal dub
practitioner Pole when
she spoke to Discorder.
3 stint with
Ninja Tune's Stealth
roadshow, saw her set
sandwiched between
the turntable gymnastics
of hip-hop happy
Ninjas. Riz was an
outsider, anomalous for
her complex, sometimes
beatless music. "I love
hip-hop and I love what
Vadim   and   everyone
else does. I appreciate the art form but when you hear about it 24
hours a day, it's just 'oh please, shut up.' A lot of the time I play to
a more club or hip-hop crowd. It's up and down, and I'm very much
into challenging people. If people appreciate it, that's great, but if
they don't, I'm not going to force it. It's sometimes a shame that I get
lumped in with the other Ninja artists, because it isn't always the best
way of promoting myself. Ninja isn't just about hip-hop dance music.
Ntone is the little sister label that gets no promotion. I'm the only
one that's flying the flag." The response and the company, this time,
has been better. "It's nice to be on tour with someone [Pole] who
doesn't constantly ask 'do you have this break or that break?' that
turntablists' speak."
Usually cynical New York surprised her with a positive response,
and Montreal "was perfect because it was a multimedia event. I
had a huge screen, I could show the movie, I could show the slides.
Most of the crowd sat down. I love that. They're paying attention.
When you're playing you usually hear people talking and I find that
very distracting. In Montreal, the whole place was quiet. You
could've dropped a pin. We've played with a lot of classical
musicians and odd people. We did a gig with John Parish. I'm a real
fan. And the [classical] venue works because people can sit there
and engulf themselves in the visuals and the music."
Riz tries to keep performance malleable and spontaneous. "I'm
a control freak! Only the running order is predetermined, because
there is a whole visual element." At the Sonar show on June 13,
large screens glowed with mesmerizing images crafted by Riz and
Hextstatic, Coldcut's resident visualists, indicating the cinematic
scope of her music, and "with the videos and the slides it takes the
pressure off. I get nervous before every show. When that stops
happening, I'll know I'm getting tired of it."
Ultimately, film is where she'd like to hear her music. "I'm going
to be doing film stuff with some Canadian guys I met with in
Montreal. They're very into getting a group together ihot they can
take forward. They want
to encourage everyone's
input.  I'm still very much
so to have that
opportunity is really
exciting. That's probably
going ta happen towards
the end of the year."
The future is less bright
for Small Fish with Spine.
Small Fish's label,
Oxygen Music Works,
suffered poor distribution,
meaning the Ultimate
Sushi EP became a rare
delicacy for music buyers.
"For me, Small Fish has
gone back into the sea.
Unfortunately that's what
happens with  a  lot of
smaller independent labels. They're so small that they don't have
the resources to get in a promotion team."
The second half of her recent performances features friend, poet
and singer, Paul Jason Fredricks (who appears on Brubaker's "Insane
Moon"). Onstage, she and Paul have an unspoken rapport and as he
learns to temper his dramatic voice with restraint, he'll soon match the
eloquent dynamics of Riz's instrumentation. "I've known Paul for a
long time and touring has been the perfect opportunity to showcase
his voice. He's more of an interface with the audience. The second
half is very different from anything I've done before."
Riz's own voice is heard sampled throughout her own work and
in FSOL's back-catalogue. "I've been writing a lot of songs recently,
which is something I haven't done in a long time because I got
disillusioned with songwriting [and] didn't want to put myself out
there. Singing's a very personal thing for me. I really enjoy it, but I'm
more into giving other people their spotlight."
Since working with Paul, more live instrumentation has crept into
her work, "I've been lucky to find people who are very open-
minded, who'll take it all in, who aren't from a scene I've really
been involved with." The flow of ideas between live musician and
electronic composer energizes her. "\ picked up the guitar again,
which is something I haven't done since I was 15 or 16. So sitting
there, plucking a guitar, writing songs is quite alien to me, but it
opens up a lot of new directions, and to have people come in and
interact totally takes it somewhere else."
"At the end of the day, I let the music do the talking. I'm no
salesgirl. I'm not really an industry hangout person. I'd rather people
come see it and make up their own minds. I do make the effort to
speak to people who buy my records. It's nice to give them a
personality, a face to the music they listen to. I'm grateful to people
who buy my music. It's the way I was brought up. As tiring as touring
can be, I always come back full of ideas. It's very inspirational
traveling around. There's an energy I get fron experiencing other
cultures,  meeting  differ
The original Strawberry 1
Alarm Clock
hallucinogen spiked pop |
soundtracks for the 1960's.
Riz has mixed feelings about I
the drug experimentation of I
that era and the chemicals I
that inspire many 1
ipants
electr,
, but she
does approve of
experimenting with one's
perspective on politics,
medio, art and music. It's
that sense of unlimited
possibility that pervades
each composition, and
rewards those who listen
and seek the unexpected. Printed
Matters
BY KIRSTEN WEISENBURGER
CAROLYN CASSADY
Off the Road
(Penguin, 429 pp)
NEIL CASSADY
The First Third
(City Lights, 222 pp)
BRENDA KNIGHT
Women of the Beat
Generation
(Conori, 341 pp)
What can a girl do when summer
brings slavish devotion to the
service industry? Read the Beat
Poets Yes, I know, I should be
reading new, independent,
Canadian fiction and exposing
you all to the next struggling new
local star ... maybe next month.
But something about summer, and
the Beats, is inextricable. Long
irresponsibility, and I dream
about driving fast in that old
heavy car, seated snugly between
my Beat icons, Kerouac and
Cassady And when we drive
lhat car into the ground, we'll just
steal another, siphon some gas,
and keep going.
the Beat poets and realize that,
like myself, most of them were
still struggling at 28, without
money or fixed address, and I
feel better aboul my own
indirection. But I wonder, if the
Beat Poets were doing whot they
did then, now, would they
achieve the same notoriety, or
even have as much fun? Three
generations since have taken a
stab at Beatitude and the whole
lifestyle of the road has become
tired.
Indeed, when the days grow
shorter, I will shun Jack and Neil
like uncool teenage friends. I
repent my summer endorphin
rush, and it becomes apparent
to me that the Beats had too
much fun, weren't very nice to
their girlfriends and, the most
heinous Beat crime of all, some
of them turned into hippies.
But for now, let's embark into
some of the more peripheral
Beat literature and refresh our
tired souls with their raw ei
and delight.
This summer's list begin
Off the Road, by Carolyn
Cassady A strong and talented
woman, the former Mrs. Cassady
lived in the nexus of the Beat
universe. Carolyn Cassady
charts her own progress form the
naivete of a young bride to the
jaded mother who realizes that
her husband is a gregariously
charming, psychotic con man.
Much of Off the Road consists
of letters, between the Cassadys,
Kerouac, and Ginsberg The
sheer quantity, and the quality of
correspondence between these
four indicates how the early Beat
voice evolved as a means of
communication rather than (he
establishment of a distinct
identity Kerouac and Ginsberg
wrote devotedly and openly to
the Cassadys, sharing advice
and mending the occasional rift.
We are also privy, in Off ihe
Road, to samples from Neil's
letters written to Carolyn during
his absences on the road or in
Kerouac was also Carolyn
Cassady's lover, while she was
married to Neil. Interestingly, one
of her memoir's idyllic phases
transpires over several months in
San Francisco while Carolyn is
openly involved with both Beat
icons (ond doing their laundry),
while the three share a house.
Although she eventually resents
being wife and mother to bolh
men, Carolyn finds a missing
emotional link via Kerouac which
she is unable to attain with her
wayward husband. Similarly,
Kerouac becomes devoted to
Carolyn for the duration of his
life, writing her love letters and
phoning her in despair during his
last months.
Ultimately, however, Off the
Road turns strange when
Carolyn and Neil Cassady
become dedicated followers of
Edgar Cayce. Midway through
changes to a testimony of her
trials and of her new faith.
Although she finds a way to
pathologically lying psychotic,
the reader may have difficulty
remaining engaged with her
stories of past lives and psychics.
To stay with Carolyn
Cassady, however, is to observe
the Beat myth reach its logical
conclusion. Off the Road closes
with a heartbreaking loss of
vitality as Carolyn Cassady,
alone, learns of Neil Cassady's,
and then Kerouac's demise. Her
memoir ultimately, leaves behind
it immense sadness Perhaps, in
writing, she is trying to distribute
the burden of her grief.
To accompany Off the Road,
on our summer Beat reading
venture, I recommend, of course,
a reading of Kerouac's On the
Road. Read it again, for the
umpteenth time. And when taken
in tandem with Carolyn
Cassady's memoir, both books
become doubly fascinating as
we see Neil Cassady as Dean
Moriarty in his other life (and
with his other women), and of
course we then understand what
Carolyn was pining at home with
the kids.
Thirdly, pick up Neil
Cassady's autobiographical
fragment The First Third. I now
know why, as documented in Off
the Road, Kerouac and Ginsburg
constantly urged Neil Cassady
to just sit still awhile and write;
because Neil Cassady was one
Before The First Third ends -
- in mid-sentence — we are
treated to a classic piece of
1 930s Americana seen through
the perspective of a young child.
Neil Cassady and his hobo
father drift Denver and America's
soup kitchens and flop houses.
Dad drinks and Neil plays. The
First Third is grotesque (and fun)
in much the same vein as Jean-
Claude Lauzon's film Leolo: a
little boy adrift in an adult world,
enjoying his innocence in the
face of adult miseries.
Following the body of The
First Third is a treasure trove of
letters, fragments and
reminiscences found among Neil
Cassady's effects, compiled by
Carolyn Cassady. Here we read
Neil writing first hand on the
things he loved: car theft,
women, trains and Jack Kerouac.
Indeed, the many outrageous
portraits of Neil Cassady written
by others ring true when we read
him writing on himself.
And finally, so this beat
summer read isn't all about boys,
I offer up a refreshing anthology
dedicated to the women so often
on the periphery of the Beat
cannon.  Women of the Beat
compiled by Brenda Knight,
is a catalog of the lives and
writing of women who were key
figures in the scene. Each is
given a brief introduction, and
then left to speak for herself, in
fiction, poetry, letters or memoirs.
What results is a better rounded
portrait of the Beat Generation.
Although female Beats were
published less and received less
adulation as writers in their own
right, there was a series of
immensely dedicated and
independent women who found
their own kicks and were highly
influential as part of the Beat
underground. Some names will
be familiar, others fresh, but each
broke away from the constraints
of formulaic 1950s society to
work on her art and live the Beat
life- Kill Your
Boyfriend
Louder Than
A Bomb
TRINA ROBBINS
From Girls to Grrrlx
(Chronicle Press)
From Girls to Grrrlz by Trina
Robbins is divided into
four chapters, spanning from
1941 to the present and
encompassing everything female
within the world of comics, from
characters to creators. The first
thing that grabbed me was the
layout. Too many books on
comics are short on full-colour
graphics to back up their facts;
odd, considering that the comic
strip is such a visual medium. The
extensive illustrations are also a
bonus because the chances of
seeing many of these comics are
almost nil, due to the fact that
some had small print runs and
others were so popular that they
were read until they fell apart.
Robbins manages to recount
the history of girl comics and
:sdone by girls in (
'50s. For example, she includes
characters like '40s fave Little Lulu
who doesn't hesitate to bonk guys
on the head, the "Four Eves" who
discuss serious topics like
abortion and wife-abuse in the
Wimmin's Comix of the '70s, and
Action Girl, the girl- positive, boy-
friendly '90s anthology put
together by Sarah Dyer. She
also discusses the various styles
of comic art over the la
Thei
the
and  l
. She i
quick to point out the character
and the comics that are
innovative, honest and female
positive, a hard feat considering
the position and mentality of
I from the '40s and the
COMIC REVIEWS BY ROBIN
Bettie-Cola CD.) It helps that
Robbins is also a comic artist who
found her legs during the '60s
underground comic movement.
Having to hold her own wilh
peers like Robert Crumb and
Fabulous Furry Freak Brothers'
Gilbert Shelton, she started
her own movement with many
other talented women.
My only real complaint
about this book is that, because
Robbins grew up during the
'50s, half the book is devoted
to the teen and romance comics
of that decade. This could be a
problem because From Girls to
Grrrlz has the potential to get
girls and guys of all ages into
comics. People will read what
they can relate to; I feel that she
should have covered
contemporary comics a bit more.
She also ignored some of the
females writing superhero
comics, another oversight which
detracts from the book's overall
impact. Having said that, I
recommend reading her other
books, The Great Women
Superheroes, A Century of
Women Cartoonists and
Women and the Comics.*
recognizable style of Jack
Kirby, (creator of The Fantastic
Four and The Silver Surfer] from
the '50s, the mod psychedelia of
the '60s, the realism of the '70s,
the cubist art of Mary Fleener
[Slutburger] in the '80s, and
Madison Clell, an artist who
uses her multiple personalities to
engage different art styles in her
comic, Cuckoo, in the '90s.
Despite the book's title,
Robbins does make a concerted
effort to include some of the
various guys that have written
good girl comics, like Los Bros
Hernandez of Love & Rockets
fame and Archie mainstay Dan
DeCarlo. (You remember him,
he drew the cover for cub's
Is it just me or has anyone else
noticed the slow, painful death
of hip hop? This isn't some
bullshit "back in tha day" thing,
either. The entire essence of hip
hop's roots fn the struggle for
personal respect and social justice
has been pushed aside by sell-out
punks and their corporate
overlords who have no respect for
the culture. While once Kool Moe
Dee pronounced that "knowledge
is king", today ignorance and
disrespect rule. The bottom line
has been reduced to "cash,
money, hoes." The whole notion
of respect and pride has been
crushed by the powers of
corporate America. In the early
'90s, just as rappers like XGIan,
Public Enemy, KRS-One, and
Disposable Heroes of Hiphoprisy
were gaining respect and
popularity by demystifying our
bullshit racist capitalist consumer
society, our corporate masters
were beginning to discover the
power of hip hop as a medium
for marketing and social control
through the recuperation of
rebellion Many conscious rappers
suddenly lost their record contracts
despite strong and dedicated
followings; promoters shied away
from their "incendiary" (read anti-
oppression) lyrics; MTV/
MuchMusic/VHl declined to
showcase their videos. Meanwhile
the entire weight of the industry's
massive promotions machine fell
behind the two most superficial
factions in the hip hop world:
gangsta rap and R&B crossover.
By promoting certain images of
Blackness, industry executives —
patsies for the right-wing money
men who really control our
economies, thus our politics —
essentially succeeded in controlling
the direction of Black popular
culture. It is hardly surprising that
the owners/founders of The
Source, possibly the most
widespread voice of hip hop
culture, are middle-class white men.
It's all about power: keeping the
racist patriarchal hierarchy in
place. Hire a few niggers to tell
the rest what's cool; make some of
them rich and let the others imitate
these false idols; promote self-
destructive violence, ignorance,
and division. Define Black
femininity as the gold-digging
power hungry bitch, and Black
masculinity through images of
hypersexuality, violence, misogyny,
and empty wealth. Then convince
them that this is all "Black culture".
Normalise terms like nigger (nigga)
both within and outside Black
communities: "If we make them
think like niggers then we can treat
them that way and gel away with
it." In this way, the racist power
structure succeeded in co-opting
and subverting a powerful voice
of rebellion. What is "Black
culture" really when it is controlled
and defined by outside money? If
punks like fake-ass Puffy or Suge
Knight really had the power and
money they love to flaunt, maybe
they'd actually own something of
importance ... like maybe a
politician or two, or at least their
own record distribution: instead
they still have to pimp their country
asses to the big five to get paid.
Just like the "good niggers" they
really are, they rely on the Man
for their power, their identities.
While the true hip hoppers out
there still speak the truth, with few
exceptions all they get for not
being self-deluding, extravagant
pimp wannabes is disrespect. So
much for agency and equality:
Uncle Tom lives.*
Check out 75Q <%i%l Live
eveny SAtuid.A\f ajteinoon
Open mic evetif ^kuisdaif
Visit Our Website
www.bluntbros.com
phone: (604) 68-BLUNT (604)682-5868
317 West Hastings Street, Vancouver, B.C. V6B1H6 VS6
UVY16
J/      JULY 28
'6s
DJ
fo.
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bant; your drum   ^
Vnfc 604-294-0100 o
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£5-J<»ttSO.&iO./-yUr.f
open 9:00pm ft$vl
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Legends Grill & Taproom       Aural Dilations: aural@canada.com
608 Dunsmuir (downtown)       Carpementis Canada:
At corner of Seymour carpementis-acanada.com
LWe "Fv-o^k
I we (v\us\c, Conner, espres
open lofte...
Palinkas
Eats
EL NINO MEXICAN CUISINE
/ / I Alexander St.
QUE PASA MEXICAN FOODS
1637 West 5* Avenue
For the benefit of those who
missed the last installment of this
column, Mexico and its cuisine
are the focus of my attention.
This month, I wanted to go to
more than just a couple of restaurants, but finances and time
just didn't allow for it You're
going to have to make do with
I chose El Nino and Que
Pasa for a couple of reasons
Firstly, they have limited hours
of operation, making them ideal
for a quick lunch Secondly, they
are pretty unpretentious Both
are good, honest places to grab
some lunch while you are oul
The first thing you need to
know about El Nino is its unfor-
Gastown and Main Street. So,
if you find yourself walking
around Main trying to score or,
Gastown in the afternoon, you
can go to El Nino. Inside, El
Nino has quite a bit of charm,
and the cook is friendly The
menu limits itself mostly to
burritos and tacos, vegetarian
or not. Since I was starving, I
ordered a Burrito Grande,
which is supposed to have
chicken in it However, if you
are vegetarian you probably
could order il if you want because I'm not sure if there was
any chicken in it anyway. Regardless, itwas an okay burrito,
although it could have been
spicier. While providing adequate eats, El Nino is also relatively inexpensive; I think for the
burrito and a soda I paid
around six bucks.
Que Pasa has been kicking
my butt for a while now. You can
buy their pre-packaged goods at
a number of different grocery
stores around the city I don't want
to get into a big argument, but I
think their salsa is the best on the
morket. At their restaurant you can
get better quality food even
cheaper. I ordered a vegetarian
burrito on a spinach tortilla, a vegetable tamale and a soda. Total
cost: just over six dollars. I was
full and still had money in my
pocket. My only criticism of Que
Pasa is that I don't think carrots
belong in a burrito. Actually, I
know they don't Besides being a
source of excellent burritos, Que
Pasa sells all sorts of "Mexican"
items for you to take home: huge
cans of salsa, pinatas, margarita
glasses, and various other food
stuffs.
There it is. To all the restaurants
I visited over the past two months
I doff my hat. Mexico, since you
have been treated like shit by your
neighbors to the north for so long,
I think it very big of you to share
your culinary secrets with us. If we
wanted to, though, I'm sure there
is a clause in NAFTA whereby we
could sue you for them.
On a bit of a different note,
I would like to take the time to
mourn the loss of one of the
city's best eateries. Just off
Fourth and Burrard there used
to be a pizza establishment
called Unforgettable Pizza
The owners were two of the nicest people I've ever met and
they made the best pizza I have
ever had the pleasure of eating.
I will definitely miss slopping in
for a slice ond pleasant conversation   Damn sad, man.*
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is July 15,1999.
, : ; ___ 1
I YOU ARE A (Check one):
I  BAND/MUSICIAN PROMOTER
I     RECORD LABEL/DISTRIBUTOR _ LIVE MUSIC VENUE     I
[    MANAGER/AGENT STUDIO ZINE OTHER
(elaborate below)
J   NAME:	
I   DESCRIPTION (15 words or less):
CONTACT(S): _
ADDRESS
I 	
| PHONE:
I EMAIL _
I URL:
FAX:
I
| FILL THIS OUT AND MAIL/FAX IT TO US BEFORE July 15, 1999 J
!    233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax: 604.822.9364
U July 99
e> Under
Review
ALBUMS • ZINES • RECORDED MEDIA
THE BOUNCING SOULS
Hopeless Romantic
(Epitaph)
This is tongue-in-cheek at it's
finest. Songs like "Wish Me Well
(You Can go to Hell)" and "You're
So Rad" prove the Bouncing
Souls are real jokers They also
prove that they can write and sing
with the best of them on some of
the other tracks. The Bouncing
Souls make punk with a happy
go-lucky kind of altitude and I
would imagine them to be a lot
of fun on stage. This isn't the type
of album that will win any major
critical acclaim but is more suited
to be played once in a while to
familiarize yourself with the
humourous side of life.
Ken Paul
BURNING AIRLINES
Mission: Control!
(DeSoto)
Out of the ashes of Jawbox flies
Burning Airlines. I heard their
first 7" and was very
disappointed, considering how
much I liked most of Jawbox's
albums. But man, oh man, I love
their first fulHength. Rock does not
get much more dynamic than this,
with a drummer who sounds as
if he's about to lose an arm at
any moment from all those fast
fills, a bassist who obviously
knows what he's doing, and J.
Robbins' familiar soaring vocals
and super-catchy riffs all melding
together perfectly to form a whole
bunch of great songs. Listening
to this' album makes me wish
some of the bands on mainstream
rock radio could play their
instruments and write sincerely
emotional songs as well as this
band does. My personal
highlight would probably be the
Jawbreakeresque third track
"Pacific 231" with its perfect
chorus and ending that might just
break your heart. Though I tried
as hard as I could to exclude fhe
review, I have to say that if you
like Jawbox, you will love this.
Chris C.
DIXIE'S DEATH POOL
Beauty Sleep
(d/Mbulb)
If a swarm of crickets nibbled
mushrooms and spontaneously
composed a soundtrack for an
imaginary film that has to be run
backwards to be understood ...
If one recorded and amplified
the sounds of a field of
wildflowers blooming next to a
highway during rush hour ...
If a travelling minstrel,
wearing his heart on his cowboy
sleeve, meandered into a ghost
town and drank the haunted
samples and field-recorded
loops. They present the aural
world around them with twisted,
amplified giddiness. Noises are
interspersed with hushed vocals
and tremolo twang At one
moment their production is thick
with space and length, at another
moment il closes in to treat the
delicate pop at the core as an
intimate, spontaneous jam
session We, the listening
audience, are flies on the wall of
Victoria.
Technology in the hands of the
mad hatter ... thanks for sharing
the dreams.
Mr. Cavallero
DJ CHEB I SABBAH
Shri Durga
(Six Degrees)
I was hoping to pick up this release and NOT find Bill
Laswell :, fingerprints all over it.
Alas, Mr. Laswell's presence is
indeed found here albeit in the
rather subdued role of merely
supplying a few weighty
basslines to the mix.
Anyone who was impressed
with Laswell's last indo/dub/jazz
excursions on Sacred System's
Nagual Ritual should check out
DJ Cheb i Sabbah's
downtempo alchemy of "DJ science [applied] to Indian ragas as
sung and played by Hindu and
Muslim musicians." Whereas
Laswell often comes off sounding
like a bit of dilettante in whatever
musical form takes his fancy that
week, DJ Cheb i Sabbah appears
to pay sincere homage to the
original form first and foremost
while augmenting it with select
beats and samples, and even
then doing so with admirable restraint. Though not as instantly
catchy as Laswell's effort, Shri
Durga slowly works its magic into
one's consciousness in a way that
is ultimately far more satisfying.
The seven ragas found here
,t that i
the.
rith
mixology method (as opposed to
merely quoting them via short
samples). This respectful approach gives Shri Durga a distinct edge and depth over much
of what is being currently produced as a fusion between Asian
musical modes and DJ/
breakbeat science.
PC
JULIE DOIRON
Will You Still Love Me?
(Tree)
With little more than a guitar, a
bass, and various keyboard
instruments, Julie Doiron and her
.lorr
I   to
The various Dixie's
members, of which there are
many,  share the stage with
capture her listeners' hearts and
draw them into her melancholic
world for the all-too-short span of
this five song EP. The album's title
lays the basis for Julie's musings
about love, the eternal subject of
many a musician, and one that
is unlikely to be understood any
better anytime soon. Thank God,
because the end result here is
breathtaking musicianship that
will make your heart cringe.
Steve Guimond
DUBTRIBE SOUND SYSTEM
Bryant Street
(Jive)
How does one accurately
describe the musical melange that
is San Francisco's Dubtribe
Sound System? I guess you
could go with something like
"house music for hippies". Not
that this is necessarily a bad
thing, mind you. As intolerant as
I am of blind hippie naivete, there
is something to be said for the
inherently positive intent and
practice at work. This sort of
humanist collectivism is clearly
apparent on "Bryant Street".
Principal songwriters Sunshine
and Moonbeam Jones run the
gamut of musicol influences: Latin
jazz, deep house, downlempo
drumming, old skool rap (well
they Iry, anyway), and even a
smattering of dub. Their eclectic
influences clearly reflect their anli-
classist, anti-sexist, anti-racist,
anti-capitalist, etc., "let love rule"
politics. Jones and Jones draw on
an interesting and very effective
combination of instrumentation
and sampling to create iheir
unique sound, which benefits
from the ample talents of a dozen
musicians. Highlights of this
electronic love-in include "Samba
DUB", "Wednesday Night", and
"Ain't Gonna Do You No Good"
which succinctly sums up the vibe
of the whole album: "You can buy
anything you want, you can have
all of the money in the world, bul
if you ain'tgotlove, child, .it ain't
gonna do you no good." Old
fashioned do-it-yourself hippie
idealism packaged for the rave
(and post-rave) generation. I'd
give it something like seven and
a half on a scale of ten.
J.M.
ELEVATOR THROUGH
Vague Premonition
(Sub Pop)
I've heard a lot of positive things
about Elevator Through, and,
wondering what the hype was
about, I decided to give Vague
Premonition a listen. What I
heard is exactly what I had
expected — something slightly
strange, very indie, and
extremely cool. Breaking with
tradition and recording in a
studio for the first time ever,
Elevator Through have come up
with 13 tracks of grounded
psychedelia to hypnotize the
masses. With a cool drone feel
and an impressively simple mix
Vague Premonition will grab
your attention at first, but with
repeated listens, the beauty of
it becomes evident. It's all so
subtle, and I think that's what I
like most about it — while the
majority of bands try lo impress
with hooks and image, Elevator
Through provides the audience
with something much more
rewarding; they've created a
sort of sonic landscape for the
listener to wander through,
allowing them to choose their
own path to the ultimate
destination. Standout tracks
include the schizophrenic rock
masterpiece "Rain," and the
hauntingly elegant "Cut Out The
Wick."
Brian Johnson
ALEJANDRO ESCOVEDO
Bourbonitis Blues
(Bloodshot)
Alejandro Escovedo's album
titles speak volumes. Last year's
More Miles Than Money, a live
retrospective, succinctly
summed up his three decade
musical journey, while 1999's
foundation for his current crop
of offerings. Alejandro and his
orchestra (guitar, bass, drums,
cello, violin) tackle both
originals and covers that deal
with themes of alcohol, lost love,
the blues, pain, geography, and
life on the road, while an
underlying sadness permeates
the whole affair. This is most
evident in the album's slower,
acoustic ballads, where the
string section pulls at your heart
as Alejandro empties his. A
balance is created between
these numbers and the ones that
are outright rockers, containing
hints of early Rolling Stones,
boogie-woogie, Tex-Mex music,
and country rock. This is a
confident, mature record from
one of rock and roll's underdogs
and elder statesmen that
deserves to be embraced by a
much wider audience than he is
Steve Guimond
EUPHONE
The Calendar of Unlucky
Days
(Jade Tree)
I have to admit that I am pretty
confused by this album. The first
Euphone LP and EP were
awesome displays of drummer/
songwriter Ryan Rapsys'
incredible abilities behind the
"skins" which avoided sounding
self-indulgent in the process. The
songs were funky as hell (in the
best sense of the word funky) and
made for extremely fun listens, so
I was definitely looking forward
to getting my hands on this
release. On The Calendar of
Unlucky Days, Rapsys hardly
shows off his skills at all. Gone
are most of the blistering beats that
sound like only a machine could
have made them. In their place
are a bunch of decent
instrumental, post-rock tracks that
challenge the listener to
understand their whacked-out time
changes, textures, and rhythms
There are still a couple of great,
fun numbers on here —- such as
"SU 10" and "Needle and Crate"
— that could be used as the
soundtrack for a '70s car chase
or pimp daddy movie. For the
most part, though, I was kind of
upset that this record bored me
so much, showing off the new,
laid-back, not-so-funky Euphone
style.
Chris C.
DAVID HILLYARD AND THE
ROCKSTEADY SEVEN
Playtime
(Hellcat)
Let me speak of a band
Called the Rocksteady Seven
Whose music is sweet
As Manna from Heaven
Made up of Slackers and
Hepcats
Skinnerboxmen and
Skavoovies
Play Playtime for your date
Don't take them to the movies
Skankin' the rocksteady
Is what the Seven do best
With twelve tracks on this album
Twelve, and no less
Playtime is an apt title
An apt title, no doubt
'cause when these cats get playin'
you'll want to shake your ass all
about.
gibby peach
JAY JAY JOHANSON
Tattoo
(BMG Sweden)
Yum. This CD makes me believe
that love truly exists. It makes me
think of evenings that never
happen: warm summer evenings,
suave and well dressed men and
women walking around, sultry
and  slick,  each  one's eyes
across the room. Things sparkle.
The music is like sophisticated
honey, clean and jazzy, at once
deliciously Bristol Sound-esque,
and at the same time, it's like a
lonely haunting tango.
Jay Jay Johanson's sound
is thoroughly modern. Alongside
his Bristol Sound influences, he's
got some drum and bass, some
great samples, and all that DJ shit
— but so simple its almost wholly
traditional.
His occasionally falsetto voice,
underlain by simplistic synth-pop,
produces an achingly pretty effect;
it sort of reminds me of a European
Steven Merritt (of Magnetic
Fields fame). He's even got the
woman from Autour de Lucie
(Valerie Leulliot) and that's also
a really good thing.
If you need a nighl of
haunting, aching music that makes
you believe, for once, that it's a
sadly beautiful world out there, this
is the CD for you.
If you don't need that, I pity
Anthony Monday
THE LONESOME ORGANIST
Cavalcade
(Thrill Jockey)
Jeremy Jacobson is either very
lonely and feels the need to
comfort himself by sounding
like a twelve-piece band, or
he's an overly talented
musician who has to play all the
instruments because no one else
can play them like he does.
Cavalcade sounds like a
hockey arena organist on crack,
Gamelan musicians on speed or
like that grandma who played
the organ at the Simpsons'
church when Bart replaced the
hymn music with a metal epic.
The Lonesome Os hidden
voice and the echo of his
tapping foot remind me lhat this
band is only one person — a
unique, crafty, crazy person.
Christa Min
MASTTERS Of THE HEMISPHERE
Masters of the Hemisphere
(Kindercore)
Indie pop-rock.
Now, there's nothing
wrong with indie pop-rock, per
se. Some of my best friends listen
to indie pop-rock. Hell, I own lots
of indie pop-rock myself. That is
not the problem with Masters
of the Hemisphere. I can't
actually figure what about it
makes me so blase.
It could be that they kinda
sound like Luna, but that doesn't
do Luna justice. On the other
hand, is could be that there are
so many groups of four guys who
sing about emotions and do that
whole shoe-gazing schtick.
It's not thai I don't like them -
- I do, really, I do.
And, sure, they make me play
air guitar when no one's looking
so I can pretend to be some
Straight Sensitive New Age Guy
who sings his pain so prettily
The Masters of the
Hemisphere are nothing to
write home about. If you did write
home about them, it would be
unlikely that anyone would
understand what you were
talking about. And, as usual, if
you tried to explain, no one
would listen. I just don't have the
energy to try to make people
understand why I listen to these
guys. I'd rather just sit in my
room, playing air guitar.
Anthony Monday
MOTORHEAD
Everything Louder Than
Everyone Else
(CMC International)
"Don't dance to this, you'll fuck
yourself up," says Lemmy just
before ripping into "Take the
Blame", on this live double CD
release recorded in Germany. I
remember well the live heavy
metal albums of my youth: Live
After Death by Iron Maiden
and World Wide Live by the
Scorpions, to name a couple.
Those recordings had that unique
roar of a European crowd, thick
accents coming through in their
cheers and hollers. This CD is
no exception: hooligans yelling
for Lemmy and acknowledging
his every word. Just like the
video for "Ace of Spades", this
CD may scare the shit out of
you. It's live, it's Motorhead —
what did you expect?
Ken Paul
'J> NORTH OF AMERICA
These Songs Are Cursed
(Matlock)
I think that Canadian indie rock
is getting better and better every
day At least once a monlh there
is a greal new record put oul by
a Canadian band. North of
America are on the top of my
list of fellow countrymen who
completely rock my ass Yes, the
Polvo, Pavement, and
Archers of Loaf influences
definitely shine through here, but
I feel that These Songs Are Cursed
goes way beyond that scene. The
songs range from dynamic math-
rock anthems such as "Central
Part of Equal Times," to the
straight-ahead, poppy Chapel
Hill-style rock of "What a Melee,"
to wonderfully repetitive, long,
epic-sounding tracks like "Extent
of the Apse Outstretched." I really
can't find a single filler song out
of the 17 thot are on there It's
honestly such a good CD. Check
out this band; you will not regret
Chris C
PAVEMENT
Terror Twilight
(Matador)
This album has been out for a little while now, but has anyone
really noticed? What has happened lo make us all turn a blind
eye to these once-mighty quirky
songsters?
If you're like me, the distrust
of all things new and Pavement-
esque stems from that crappy
Crust Brothers show that so
many chose to ring in the New
Year with. Yuck Maybe you just
heard that goofy "Carrot Rope"
single praised one too many
times by the cash-money music
mags at home and abroad
Whatever the case may be, you
probably haven't given this album a fair chance.
Sure, on first listen, it seems
kind of sucky. Apparently, most
Pavement releases do. With repeated listens, this album begins
to get fun 'n' familiar, and you
might even find yourself singing
along to a tune or two. Steven
Malkmus' clever lyrics may be a
little less clever than usual, but
genius only stretches so thin. This
album ain't so very bad, wilh its
silly, laid-back feel. It's a friendly
jam session, certainly not in the
same league as past albums, but
I'm sure this one will impress
some people. Pavement are still
here, doing what they do in their
charming way, and you should
pay attention to them I
THE REVEREND HORTON
HEAT
Holy Roller
(Sub Pop)
Heath, Jim (alias: Heat, Horton)
Born: ?     Died: 1996
I want this to read like a eulogy
because Jim Heath and company
kicked the bucket a while back.
At c
,   the)
citing, fresh alternative to the
greasy-haired grunge hippies that
dominated Sub Pop. The
Reverend Horton Heat was
the embodiment of all things
Z4 July 99
'billy' (psycho, punka, rocka,
etcetera) but they just had to go
and sign with Inlerscope If their
last 'effort' (I use that term
loosely), the dismal Space
Heater, isn't a clear example of
how big labels can suck all the
creativity from honest bands, than
I'm not sure what is. And now fhe
Heat crew has done the
unthinkable: they've released a
money-generating 'greatest hits'
package Sure, most of the songs
make me want to drink a six-pack
and chase down coyotes in my
pick 'em up truck while driving
home from the dirt-track, but that's
no excuse to buy this If you want
Heal, pick up Smoke 'em if you
Got 'em The Rev ought to pick it
up, too, if he wants to resuscitate
his sad corpse. Until then, Rest In
Peace Jim Heath I'll miss you
gibby peach
ROOTS MANUVA
Brand New Second Hand
(Ninja Tune)
OK, I'll tell you right off that I'm
totally biased here I've been
waiting for a new Roots
Manuva release for almost two
years now Ever since being
introduced to the South London
rapper by the way too cool
Rebirth of Cool series (#7), I've
been drooling at the thought of a
domestic full-length, and "Brand
New Second Hand" lives up to
all my expectations How does
one describe this artist to the
uninitiated? Picture a rapper with
the dedication and anger of
Chuck D, a relaxed yet
authoritative delivery reminiscent
of Michael Franti's rumbling
bass, and the unflinching in yo'
face power of KRS-One.
Combine this with incredibly phat
beats and a typically British dub
influence and you have an
explosive package that puts the
typical second rate commercial
R&B derived "cash, money, hoes"
sel that is so popular these days
to shame. Roots Manuva's
intelligent but totally hardcore
attitude makes punks like Jay-
Z, Puff Daddy and Master P
and all those other commercial
goons look like the cheesy,
second-rate, talentless beat-pimps
that they really are (fans of the
those cheap-ass sell-out
motherfuckers please take
offence: you suck too!) Tracks like
"Movements", "Juggle Things
Proper", and "Big Tings
Gidwan", all produced by the
rapper himself, showcase a phat,
laid back funky production that
puts Dre and all his little gangsta-
wannabe clones to shame. Roots
Manuva is already a huge
success in England, and if he
doesn't explode here it's only
because North Americans have
been so blinded by the
commercial glitz and bullshit that
they have lost sight of what hip
hop is really about.
J.M.
TEEN IDOLS
Pucker Up
(Honest Don's)
Would it be safe to say I love this
band? Do I know them well
enough yet? I don't know — I
think we're ready for this big step
in our relationship Ready? Here
we go. Teen Idols, I love you. I
wasn't really sure after your first
album — so many bands made
me feel like thot and then never
called again. With this new one,
though, I really think it's time we
made a commitment You just
keep this up, and I'll be yours
forever, baby. Now gel over
here, and let's get that leather
jacket off you
Trevor Fielding
VIRGINIA DARE
Baby Got Away
(Absolutely Kosher)
Virginia Dare is the brainchild
of Mary O'Neil, who writes the
songs and plays the autoharp
while singing dark, sad tales of
modern life as is evidenced by
title choices such as "Baby Gol
Away," "Love Is Dead," "Revolt
of Mother," "Anywhere But
Here," and "You Kill Me." Mary
is backed solely by acoustic
guitar and bass on the album,
which sometimes limits the scope
and breadth of the acoustically-
rooted songs. Despite this fact,
O'Neil's lyrical prowess on songs
such as the title track, where she
belts, "Baby got away, she
pierced her tin heart and threw
away the bad part,"
compensates for most of the
musical shortcomings An overall
satisfactory effort of particular
interest to fans of lyric-first music.
Steve Guimond
CHUCK E. WEISS
Extremely Cool
(Slow River/Rykodisc)
'Ol Willie Dixon, speaking of
Chuck E. Weiss, says "That
little Jew boy with the big old
head be one of the best musicians
in this town, this country even."
Willie Dixon doesn't lie
Extremely Cool ain't exactly the
Chuck E. of old, but I'm not about
to complain. While it is, overall,
a fairly outstanding album, I do
have one beef: for such a talented
bluesman, why in hell does
Chuck E. have to take so many
stupid jaunts into the jazz world?
Tracks like "Sonny Could Lick all
them Cats" make him sound
about as "extremely cool" as
Vancouver's purveyor of all that
is unhip, Ralph Alfonso (you
know... coffee, jazz, Ralph). On
the other hand, his collaborations
with Tommy Waits, like the
incredible "It Rains on Me", and
New Orleans-inspired numbers
like "Oh Marcy" reaffirm my
belief that Mr. Weiss should be
about as popular as Jesus. A
note for Chuck E.: stay away from
all that "cool jazz" shit; it's for
people who drive station wagons
and think they can get away with
wearing Keds to the cigar club.
gibby peach
VARIOUS ARTISTS
Crusty Comp Vol. I
(Crusty)
Great comp. Around 30 bands,
including Aging Youth Gang,
the Malchiks, Kid With Man
Head, and Strong Like
Tractor make up the first release
on Vancouver's Crusty Records.
The best songs are by John Q.
Public (seriously fucking
amazing), Offday, and
Random Conflict (a punker
band you shall never find) This
is an excellent comp with a lot of
Cancon stuff that makes it easy
to meet my radio quota. Ho-ho!
Trevor Fielding
VARIOUS ARTISTS
Johnny Hanson Presents:
Puck Rock Vol. 2
(Sudden Death)
The genesis of the Canadian
cultural craze known as "puck
rock," the melding of punk
music and the sport of hockey,
can be traced to the music video
for D.O.A.'s 1987 cover of
B.T.O.'s "Takin' Care of
Business " The video featured
D.O.A. in a knock-'em-down-
drag-'em-out game of hockey
against a team in suits with
names like Greed and Lust. So
it seems appropriate that Joey
Keithley's Sudden Death label
(instead of NoMeansNo s
Wrong Records, which released
Vol.1) is releasing the second
volume of puck rockers as
selected by John Wright's
hockey-punk alter ego, Johnny
Hanson.
This album presumably
spent about a year in limbo, as
this has been "coming soon" in
Sudden Death's catalogues for
over a year, and I received a
samler for this album in late
January of "98. Another way
any average Joe could figure
this album spent a bit of time in
the vaults prior to release is the
fact that many of the NHL
references are out of date: most
glaringly in JP5's ode to
everyone's favorite Islander,
Gino Odjick, and King
Hokum and the King Bees
(the Molestics' alter egos)
dumping on such Leafs players
as Felix Potvin and Wendel
Clark. The fact that this album
seemed a little stale even before
it was released took a bit away
from the experience.
In light of this complaint,
the best tracks on this album
are the ones which make no
mention of the League, but
instead draw and colour vivid
fictional puck tales such as the
Stool Pigeons' "Ballad of
Cookie La Rue," Pullfinger's
"One Timer" and Strange
Brew's "Billy Zamboni." The
one exception to this rule is
P.U.C.K.'s slam on the
Americanization of the
League by its sell-out
Commissioner in their rap-
punk tune "Fuck Gary
Bettman," which, for its
message alone, is my favorite
track on the compilation.
This
>und, <
nthe
League, there
talent in the form of some
American (Riverdales, Stool
Pigeons, Commies, Pansy
Division) and European
(Bones, Steaknife,
Boskops) players, but the best
talent are Canadian through
and through.
What does impress me
about Puck Rock Vol.2 is the
amazingly broad spectrum of
musical styles on this album.
From P.U.C.K.'s exhilarating
brand of rap to King Hokum's
form of polka-rock to Wry Eel's
brand of slack-ass lounge in heir
ode to "The Flower," one never
knows what to expect on the
next track Although this album
has more genre representation
than its 1994 predecessor, it
falls short of being as interesting
as Puck Rock Vol 1
Mike Chilton
VARIOUS ARTISTS
Syrup & Gasoline
(Grenadine)
This is the first record from a
new label out of Montreal which
will presumably deal mostly in
garage punk and pop music
This twenty track compilation is
an interesting mix of the two
genres and it features many up-
and-comers in the Canadian
indie scene such as the
Spitfires and Endearing
Records' darlings Evie. Look for
ributi
frc
established acts such as
Halifax's Plumtree, Victoria's
Papillomas, Winnipeg's 4-
Star Movie, and, of course,
Montreal's very own Tricky
Woo doing a cover of the
Creation's "Making Time."
If hearing Quebecois madly
trying to sing in time to fast punk-
pop rhythms is your thing, there
is also a good handful of strong
francophone contributions from
the likes of Les Sequilles
(doing a Serge Gainsbourg
cover), Les Secretaires
Volantes (their last song before
breaking up), Les
Macchabees and Les
Thantalogues with a French/
English concoction which truly
sounds like it was put through
the blender
Did I mention the covers? In
addition to Gainsbourg and the
Creators;Thrush Hermit does
a cover of Budgie's "Nude
Disintegrating Parachutist
Woman." Almost worth the
price of this album on its own.
So do your part for Canada/
Quebec relations and Garage/
Pop relations and lay down your
paycheck for Syrup & Gasoline
Vol.1,  'cause it's damn good
Mike Chilton
After the computer decided
that it didn't want to turn
itself on any more (the night
before production, no less!),
Tristan and Barbara headed
out to fhe car to commit
suicide by carbon monoxide
poisoning. Fortunately, they
ran into Stefan, CiTR's
wonderful computer
consultant, on the way
down. Thank you, Stefan,
for saving us from certain
doom.
•JULY-
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KY WOO, ZUMPANO
INEY SUZUKI Real Live
Action
CAT POWER providing
musical accompaniment for
the silent film Jeanne d'Arc
Friday, May 14
University of Western
Washington
Damn, two amazing women in
one night. Chan Marshall and
Jeanne d'Arc, you made me cry
for two hours straight The pairing
of sparse, moving songs with a
torturously sad story made me
lose my cool and sniffle and sob
in a room full of American cool
kids. I am so glad I was there to
witness this.
Julie Colero
GRRRLAPALOOZA
Saturday, May 15
Vancouver East Cultural
Centre
I had intended to give you, my
gracious readers, a play by play
run down of the show; a
chronological perspective, if you
will. On reaching the Vancouver
East Cultural Centre (or, more
pretentiously: "The Cultch") I
knew I had to take a different
reporting path.
The whole concert had more
the feel of a country fair than of
a rock concert, with tables for
those political types, slide and art
shows for those arty types and a
general milling about of a bunch
of happy positive people. There
was also a definite Elizabethan
quality to the show, right down
to the running children and front-
of-stage squatters; people
mingled in the lobby, waltzed
back and forth from seat to seat,
entered and left the hall at will.
This is not to say it was
unorganised — no, not in the
The
orgai
somewhat nervous MC (and also
front-person of rambunctious
Che: Chapter 127) did an
amazing job of throwing together
a very diverse set of performers
and ensured each one was
enjoyed equally: from short films
to rockin' grrrl # 1 Veda Hille;
from modern dance to the stage
antics of Tribe 8.
What was great to see were
performance art oriented
creatures of Grrrl land: Zero
Gravity's puppet show/history
of the world; the accordion
heeling and bass playing Ersatz;
the evening's surprise wowers
Loud (who were kind of like a
lesbian "Stomp," plus an electric
guitar). Also performing were the
ever funny, charming and sexy
comedy group 30 Helens and
the spoken word collective Taste
This, who were also pretty darn
funny, charming and sexy. Itwas
also great to see Veda Hille, who,
thankfully, is still an excellently
indie girl. We were a little
worried about her after that
whole Alanis Morrisette
thing. The punk — saved for last
— was a fairly body-pumping
event, filled with foul mouthed,
sexy boyz and girls. What can I
say about it except that the
people who came to see punk
definitely saw punk.
I do have some advice for
next time (and there should be a
next time): please, organisers,
give us some sort of program so
we know when and who and
where they came from!
I give this concert an Anthony
rating of "Yum Yum Fun!"
Anthony Monday
WESTERN'S HIP-HOP
FESTIVAL
Saturday, May 15
University   of   Western
Washington
A number of mediocre MC duos
warmed up the crowd before the
Ghetto Children took the stage
and got the place jumping. Their
set-up was pretty standard for
most groups that night: a few
MCs and a DJ mixing and
spinning the beats. It seems that
sometimes it's the MCs who stand
out and sometimes it's the DJ;
with the Ghetto Children it was
definitely the energy of the MCs
that got the crowd going.
Next up was the All Free-Style
MC Battle which was fun 'cause
the three local guys got all the
action even though they weren't
as polished as the MCs from the
opening groups who they
competed against.
I'll admit that I went to the
festival mainly to check out
Black Anger and their rod
political hardcore styles. They
opened with a small white guy
who recited a
hitting poem about slavery and
exploitation from the perspective
of someone with European
ancestry. A large entourage then
took the stage and launched into
a multi-MC assault Wu-Tang-
style with people coming onstage between and during songs
until it was packed. The huge
variety of voices and a strong DJ
resulted      in     a     powerful
Unfortunately, after Black
Anger left the stage, I could have
napped for 90 minutes and not
have missed a thing. The DJ Battle
was boring. It just seemed like
each DJ found one interesting
sound and then offered weak
variations of it.
Even worse than the DJ Battle
was DMS. I had never heard of
them before, but Prince Paul
(the festival MC) introduced them
as an up and coming group from
Seattle. Like I said before, most
groups at the fest had a couple
LIVE REVIEWS
MCs and a DJ. On the other
hand, DMS had three MCs, three
back-up singers, two drum-sets,
keyboards, a guitar, a bass, and
two scantily clad women shaking
everything. DMS was totally
uninteresting and unoriginal. It
seemed like everyone was doing
their own thing, as if all these
people and instruments had
somehow accidentally come onstage at the same time and tried
to "do Hip-Hop" by mixing rap
with jazzy-rasta rhythms and
Doobie Brothers harmonies.
Souls of Mischief saved us
Back to a couple of MCs and a
DJ, their sound got the crowd
back into the festivities and the
place was packed again.
Although their MCs were strong,
it was their DJ (DJ Apollo) who
dominated, dropping the beats so
smoothly and deftly that I caught
myself listening to the beat
changes instead of the MCs. The
crowd swayed like an ocean.
But it quickly became obvious
whom everyone had really come
to see. When the Pharcyde took
the stage the 2000 or so people
went mad and the whole gym
as the MCs almost got lost in a
sea of young women who were
bumping and grinding to the
Pharcyde
Looking back, I'm really
impressed by the sheer quantity
of entertainment organized at the
festival. Although it didn't run
very smoothly, I think that
Western's Hip Hop Festival has
an excellent chance of seeing
second and third annual versions
take place.
yang
THE LOCAL RABBITS
STAR COLLECTOR
Thursday, May 20
Starfish Room
"Bet you thought you'd never
hear Iron Maiden or Rush
again," remarked the guitarist of
a certain Vancouver pop group
as the Rabbits ripped through
another spine-tingling guitar
workout. It seems there are still
people who take seriously the
twenty year old concept that
musical proficiency is somehow
evil. Such ignorance is
unwarranted tonight because,
although guitarists Ben Gunning
and Peter Elkas could outplay
almost any band in Canada, the
Local Rabbits are aware of the
power of restraint and only let
fly when they feel like taking the
song into another solar system.
Fortunately that is most of the time
and as they blazed through a
great many of the songs from
their two albums and a bunch of
new ones, there were only two
shook. It was also obvious that
Pharcyde's live show was in a
different league than every group
that had come before. They had
the deft DJ, jumping energized
MCs, and all the moves. The
place was a madhouse when
Pharcyde hit their money songs.
They definitely knew how to play
their crowd and invited five young
women on-stage with them, which
turned into ten and then twenty
positions that a person could
adopt: rooted to the spot in
amazement or madly pogoing in
front of the stage. In brief — a
great, great concert which you
should be sad to have missed (the
Starfish Room was deserted).
Opening act Star Collector
overstayed their welcome with an
unentertaining set of sub-Oasis
Brit-pop. "This is a song about
the pressures of fame" their
singer announced at one point.
They should be so lucky.
Quentin Wright
WEAKERTHANS
OH SUSANNA
GREATER THAN LESS THAN
Thursday, May 22
Starfish Room
It should be noted up front: I don't
think anyone could  possibly
convey, in written word, how
profoundly good this show was.
That said, I'm gonna give it a go.
Greater Than Less Than
were greater than less than good.
That made them (in case you
weren't any good in math) good
but not outstanding Their stuff
was pretty standard fare: sort-of
poppy music, coupled with sucky
lyrics. I'll bet the college kids in
Edmonton can't get enough of
them. I want to say that I enjoyed
them, but their singer thought he
was in the Tragically Hip and
that made me nervous.
Oh Susanna, on the other
hand, should be given the Order
of Canada. She was as
immovable as a mountain. I'm not
sure if I've ever been as
captivated by a single performer
as I was that night. Playing
without the help of any backup,
she kept reminding me of a
Samurai without a sword. By the
end of her set she had conquered
the whole goddamn crowd, with
nothing but a guitar and a voice.
Suzie and her songs were as
beautiful as the prairies she spoke
of in the middle of her set. Please
play again Suzie. We need you
in Vancouver.
And the Weakerthans ...
well, I'm not sure what to say.
They confirmed their status as the
finest band in the country. I don't
really want to describe their
music; I can't do it justice. Buy
Fallow if you don't believe me.
They sang songs about how sad
and fucked up it is that people
have to spend their days working
for sad, fucked up, wages. They
sang songs about leaving home.
They sang songs about the
prairies, and no one does that
anymore. I am a grown man and
these guys had me crying (and I
wasn't the only one). They made
me miss Manitoba.
gibby peach
SOUTH HILL CANDY SHOP
BENEFIT
Thursday, May 22
Vogue Theatre
Some of you may not have
noticed, but there's a big hole at
the corner of Main and 28th
where one of the city's funkiest
stood. In late April the building
was felled by fire, but its spirit
lives on. In a city better known
for sniping among its musicians,
a large group of local acoustic
musicians pulled off the daunting
task of organizing a 2-night
benefit for the South Hill Candy
Shop in a short time frame.
The lineup for this, the second
of the two nights, included a tasty
mix of jazz, swing, blues, country
and rock from some of
Vancouver's finest artists.
Kate Hammott-
Vaughan opened with an
elegant and understated jazz
diva set, a little heavy on the Cole
Porter material, but why question
a good thing? Sweet Papa
Lowdown got down with their
retro bluesy-swing set and singer-
songwriter Michael Friedman
kept up the pace with an acoustic
set with no navel-gazing
whatsoever. Nice pickin'. I really
enjoyed Daisy Duke, a group
unknown to me before that night.
Watch for these 3 gals with big
voices, guitars, and a whole lotta
twang to give Neko Case et al
a run for their alt-country money.
The inimitable Veda Hille
put on a subdued and stylish set,
mostly on keyboards, with the
added treat of her dad and
brother for a couple of numbers.
She also won the sound bite of
evening award for: "There's a lot
of crimes I can get behind, but
After an unfortunately long
changeover, the always suave
Bocephus King and his roots-
rock band the Rigolattos
rocked da joint and left no doubt
as to why they've been getting
so much buzz here and abroad.
Great end to a fine evening.
Kudos to all involved for showing
an enormous spirit of cooperation
and compassion which is sorely
missing in the local scene. Too
bad it took a fire to get this all
going.
Another spinoff of these
benefit shows was the creation
of a compilation CD featuring the
above and other musicians.
Proceeds of this compilation CD
will go towards reviving the South
Hill in one form or another. Look
for it in local shops or see this
webpage for more info: <http:/
/members.xoom.com/southhill>
Val Cormier
THE VANCOUVER
SYMPHONY CHOIR
AND THE VANCOUVER
BACH CHOIR:
SERGIU COMISSIONA,
CONDUCTOR.
Sharman: Letters for the
Future, Stravinsky:
Symphony of Psalms,
Ravel: Daphnis and Chloe
May 22-24
Orpheum Theatre
The    program     was    great
assemblage.  Beginning with
Rodney Sharman's new work
for strings, harps, and percussion
with men's choir, Letters for the
Future evokes a quality that is
unique to the composer's music;
it    waxes     dated     musical
conventions but goes on to
something different. When block
chords move tutti among the
strings in an early twentieth
century manner, that sound is
underpinned with quiet wails and
screeches that give an air of
engaging mystery. Appropriate
enough: the work's inspiration is
Galileo's enigmatic praise of the
alphabet. Any musical comment
on history must include musical
at left: Pharcyde
@WWU. Photo by Ann history, and Sharman's Letters
seemed to supercharge a sound
indigenous to our own Canadian
composers of yesteryear, such as
Jean Coultard However, the
composer's legacy that Sharman
continues is Claude Vivier,
cosmopolitan, and shines back
lovingly upon Canada rather
than emerging from a purely
nationalist context. Beautiful stuff
All the composers in this program
hov,
the
relationship to their homeland
Russia's own Stravinsky
and his Symphony of Psalms then
proceeded to blow the house
full
orchestra (excluding upper
strings)  provided a marvelous
orchestration. While Letters
involved subtle variations on a
strings-based palate, Stravinsky's
Symphony constantly invoked
striking combinations of
instruments and crisp, angular
Ihe
vhole
ensemble performs together only
rarely as the music slinks among
the performers like a Siberian
wolf. It was written in France for
the Boston Symphony's 50th
anniversary, which took place in
1930. The music's combination
of rawness and holy reverence
fascinates the contemporary
psyche Many ignore Christianity
and do not possess great
imaginations for its potentially
diverse character The music's
craft is flawless and as
imaginative as one could hope
to aspire. Faith should not be
dismissed by our secular culture
products of that ol' time religion.
We're not there yet.
The second half of the
evening was Ravel's enormous
ballet Daphnis and Chloe, 1912,
scored for enormous orchestra
and wordless choir, in its entirety.
Rave
what
Barry White is to American
crooners, the most sensual sound
around. One doesn't get aroused
while listening, but the velvet
execution and warmth of the
music intoxicates. While Ravel's
work is immaculate, its orchestral
suites were selected from the
ballet for the concert stage with
good reason; the piece is about
dance, and without dancers the
music, not truncated, loses steam.
orchestration and Basque-
influenced melodic writing, but
when the work allows the dancers
to play out the story, the music
meanders in an alkaline bliss until
the   :
und   ,
prm
importance. Conductor
Commissiona tends to languish
among beautiful textures as well,
slowing things down, making
along
the
mble*
orchestra and choir, were superb
on both nights When the team
leader takes a spirited hand to a
score, the performance is world
class, and we can only hope that
such tasteful programming will be
heard in the future.
John Keillor
ELVIS COSTELLO
Monday May 24
Queen Elizabeth Theatre
Elvis Costello Actor, Comedian
It was my first time in the QE,
and surprisingly, it sounded good
even if I couldn't see Elvis' teeth
He and key-pusher Steve Nieve
looked small on the giant stage,
but that voice it's like Christ
When Elvis sang "What's Her
Name Today?" I wanted to cry,
leap up off the squishy chair and
bound off of people's stupid heads
on my way into his arms. Nieve's
dynamically perfect, but his touch
was laboured, like he had lead
bracelets on
Most songs performed came
from the flawed Painted From
Memory, but here, without the
background singers, flugelhorns
and drums, the songs became
perfect Older songs were adult-
contemporized somewhat, but
they didn't sound bad, just
different
Elvis Costello: Comedian. For
some stupid reason, people in
Vancouver think that all comments,
gestures and moments of silence
are jokes. The jokes that Elvis did
tell were much too clever, making
me believe that he had prepared
them earlier He said he had a
dream in which the Almighty
Being condemed us for killing
people and listening to popular
Elvis Costello: Actor. The last
time I heard, Elvis was happily
married to that woman from the
Pogues, so where the hell are
all his lyrics coming from? How
can he stand there and make us
believe that he's really in pain?
He can turn on the fake emotion
everytime he opens his mouth.
I think it was the fifth encore,
the last song, when all the mikes
were turned off, the lights were
dimmed, and Elvis made me
believe that he was singing to me
Christa Min
OLD 97'S
Friday, May 28
Crocodile Cafe, Seattle
This wos my first time at this venue,
which has grown from its early
reputation as an original Grunge
Mecca into one of the Northwest's
most famed venues They sure
book great bands, but may I say
it's sorely over-rated for ambience
and especially sound. Makes the
Palladium sound like the Orpheum
in comparison! Nice touch
having that big ole' papier-mache
devil above the back bar, tho'.
Interesting vibe about the
place, guys there are more
friendly (read in-yer-face) than in
our city. What does it say about
a place when some dude drops
this as a conversation starter:
"don't you think he [referring to
opening band's bass player] looks
rather 'Gedgeian'?" Hmm, I'm
gonna guess he was referring to
David Gedge of Wedding
Present, but who knows..
The Picketts from Seattle
opened, and yes, the bass player
was rather Gedgeian. This band
played good, sloppy, country-rock
and some zesty covers of old
nuggets like "Should I Stay or
Should I Go "
Since the stage area was
quickly packing well past my
comfort level, I retreated to the
cool shade of the ole' red devil
to enjoy the Old 97's These
young lads are yet another alt-
country band who have
deserted some of their fans by
cranking out a pop record —
in this case, Fight Songs. No
shoe-gazing here, however
Their early punk roots showed,
from the neatly trimmed do's to
bouncing stage antics I thought
a mosh pit might erupt at any
second. Gotta say one thing
about bands from Texas (these
guys are from Dallas), they sure
drag out ex-pat Texans in force
And ex-pat Texans party almost
Newfoundlanders, so 'nuff
said.
The '97s kept the pace high
right to set's end Bass player
Murry Hammond started the
encore with my fave track from
Fight Songs, the ballad
"Valentine", and then they
cranked up the juice again for
another half-hour of bouncy
crowd-pleasers Hot sweaty fun.
Val Cormier
NEUROSIS
JAR
SKINLAB
Friday, June 4
Palladium
One word: grinding. Oakland,
California's Skinlab and
Neurosis graced this city with
a stop on their tour and too bad
to any metal fans who missed
out. Skinlab kicked things off with
a heavy set that established the
pace for the evening. Definitely
the highlight for me was the
stellar mosh pit during Jar. A
large crowd was on hand that
night and it was all for Neurosis
to the exception of myself (who
had never heard Neurosis before
and loves the radio friendly Jar)
and my buddy Bob (who also
prefers the radio friendly Jar and
the more polished metal of
Pantera). Now personally I'm
not a big metal head. I enjoyed
Skinlab but couldn't quite
stomach Neurosis Too much
grind. It r
betw
ther
feedback. I gue
Definitely r
for the metal heads of this city
but if you like viewing your metal
from behind bullet proof glass
like I do, then I'd have to say the
show was a little much,
smut peddling sam
Shifting Terrain
Presented by Standing
Wave
Sunday, June 13
VECC
We have entered an important
period for serious music. Since
the downfall of tonality  in
1907, dissonance played an
ever more important role at the
expense of a wider audience.
Furthered by Stockhausen in
the fifties and Ligeti in the sixties,
it seemed that music would never
again embrace consonance or a
common language such as it hod
from roughly 1400-1900. Now, as
many differing valuable and
tenacious individual styles have
played themselves out, a more
inclusive sound is emerging It's
still cooking, and was heard
tonight with varying degrees of
featuring three world premieres
The five- player troupe is among
the West Coast's musical
blessings, and if this concert had
its ups and downs, it still
entertained, stirred up debate,
and maintained the highest
performance standards. Beautiful
summer weather and many new
faces accentuated  the  good
Music is a beautiful disease
by    Peter    Hatch    set   the
evening's tone, though much of
the material was good, little of it
gelled. It opened wonderfully,
ticking away with a soft,
propulsive intensity. Hatch
brought together several differing
bodies of sound that, while all
individually interesting, failed to
create a greater cohesion. The
pieces included big, long chords,
extended up-down melodies, and
the classic, bombastic billion-note
section contrasted with meditative
material Some visual elements
were incorporated into the music
as well; players made theatrical
gestures intended to i
s that
in differ,
clarinetist Francois Houle returned
to repeated bowing — initially to
specific music he was performing
— the reappearing material was
nearly identical except that it was
cellist Peggy Lee making the actual
music. Houle bowed silently and
everyone got the reference. It was
fun for pastiche, but had little
impact. More satisfying was
Cameron McKittrick's
Wanderer, which appears on
Standing Wave's outstanding Stark
Raving CD. A warm nocturnal
elegance glowed nobly in this
work, bringing everyone to full
attentiveness The audience was
then offered the world with
Bradshaw Pack's edgy and
masterful Ellipsis (...) gleaning
eidolons. The title, engaging and
justified, only hinted at the music's
simmering elocution and diversity,
rivaling the best Italian film. As with
the movies of Fellini or
Antonioni, one hoped the
performance would never end. The
musical associations crackled with
practically handed an aesthetic
experience on a silver platter The
ensemble whipped this premiere
together in record time and in
convincing terms, obviously loving
the material.
Another Hatch work began the
second half. When do they is not
the same as why do they invoked
Gertrude Stein's genius in some
percussion, Lauri Lyster captivated
everyone with infectious panache.
Some pre-recorded jazz sounded
endl.
from a radio to set off a
particular section Most of the
applause went to the performer
Next was Lars Sandberg's
excruciating l-Skick. a static,
tedious repetition of a few notes
for the whole ensemble. Its
complete lack of dramatic
contour couldn't be saved by
any means of performance.
Programming l-Skick was an
Itamar Eres concluded the
ing with a shapeless,
-ss   piano   trio.   Pretty
hapless crowd, trapped. The
less said the better. Yet,
afterward, everyone was still
glad ta have attend this
evening. The first half was great.
There was a fine spread for
hungry patrons and those
tending bar were on top of the
situation. A concert series this
good can survive a few
awkward pieces, as anyone
who has heard all four shows
can attest Be sure to attend the
next season, beginning in
September.
John Keillor
POLE
NEOTROPIC
June 13
Pole and Neotropic created
an aural experience that was
first class. Sonar was set up
properly with the JBL
Turbosound rig facing the right
way so the bins were long-
throw. The visuals and dark
mood in general were perfect
and created a conducive
atmosphere to sitting down on
the dancefloor, as many people
did. The music and the live
aspect of the electronic acts
(something "electronica" in
general is still working on,
mainly because of the difficulty
of playing live and having to
carry around massive amounts
of equipment), was exciting,
vibrant and beautiful.
The experience: cigarillo
and Jagermeister in hand, I sat
back to enjoy the show First
was Neotropic. She started
quite ambient, working her way
through the sort of chill-room
dub beats that one used to hear
around the mid-90s, like The
Orb's Orbvs Terrvrvm and
Biosphere. I am not sure if it
was this particular set-up, but
she seemed very much the
recluse, facing off to the right
to play on a synthesiser (I could
not see what type). All of the
keyboard riffs were played live,
and she did this ambidextrously,
often playing on two synths at
once. The music progressed
from the ambient territory into
very jazzy, tango-ish and funky
rhythms, at which point she sung
to the tracks (again, away from
the audience). I must say, she
has a beautiful voice, and the
entire effect was of something
very artistic. Then her poet
friend joined her on a
microphone to read and sing.
Some friends of mine did not
really dig this as much, but
personally, I found the live aspect
to be something very intense,
very close I think a lot of people
who are into techno get very
purist about the musik, where if
anything sounds remotely like
rock or has that sort of sensibility,
they get turned off. Me, I really
appreciated the flowing ability to
mix the live vocals in with the live
keyboard work and dubby, yet
funky drum patterns. The aesthetic
reminded me a bit of ELP. As far
as I understand it, Neotropic also
created the visuals— they were
excellent, at times better than the
music, and it was interesting to
see her glance up at the large
screen behind her and smile at
the visuals. Avery interactive, live
experience
After Neotropic ended, there
was a bit of a pause, and a
midweight guy all dressed in
black nonchalantly walked up to
the second set-up of gear, hit a
couple of buttons and the
popping and clicking noises
began. It was Pole. People gave
a little cheer, and settled in for
another round of dubby-ness,
only to be woken up to dancing
by a track which started at about
135 bpm! Pole is playing faster
now, and in terms of the whole
concert, it worked completely
The set was very live as well, with
Pole knowing his equipment
inside and out, manipulating and
playing the echoing chord sounds
live, sequencing and repeating
them, and then twiddling and
playing around with the
incredible bass rhythms, which
pushed the Turbosound rig to the
edge. The tracks were somewhat
recognisable, but for the most
part, they were done so live and
differently that the set was more
of a jam session than Pole
playing songs off the album. For
this reason, I rather enjoyed the
faster pace At one point, he
walked off through the crowd,
and people kept cheering and
stamping their feet, working into
a rhythm until he came back
and did an encore. It took a
while to get the equipment
working for some reason, at
which point you heard him say
with his accent to the crowd "It
should be verking!" In the
process, the soundsystem was
turned up another notch, and
when things got underway
again it was LOUD. I realised
that the Turborig could go a lot
louder and wished that Sonar
would just crank it all the way
up. Needless to say, you could
feel that last track (although I
had no idea what it was). Pole
ended, clapping his hands to
the cheering crowd and making
a short bow. He seemed so
cuddly and genuinely nice in his
very German all-black outfit. It
was a very intimate, relaxed
and beautiful experience. The
drifting melodies of this night
rank up with Carl Craig and
the Innerzone Orchestra
when they came last year — it
was a performance not to be
tobias van veen CiTR
charts
WHAT'S BEING PLAYED ON 101.9 FM
HOW THE CHARTS WORK
The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"),
7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by
our djs during the previous month (ie, "July" charts reflect airplay over June). Weekly
charts can be received via e-mail. Send mail to "majordomo@unixg.ubc.ca" with the
command: "subscribe citr-charts"*
(JIJJIU 8% 1_®M© 1TII!¥l_i
the planet smasher
sci fi witch doctor
7 twilight circus sound
8 kym brown
9 lily frost
10 tricky woo
stereo type a
beaucoup fish
life of the party
enter the now
pygmalion
cosmicomic country
sometimes i cry
fantastic plastic machine luxury
julie doiron will you still love me?
stomp
phat phunk
touch and go
independent
violet inch
sonic unyon
emperor norton
16 cooldown
17 propagandhi
johnny hanson's puck rock vol 2 sudden death
carboot soul matador
square root of negative one asphodel
ether map
where quantity is job #1 g-7
williams & the sadies red dirt
19 thievery corporatio
20 rob swift
22 wesley willis
23 rachels
abductions...
the ablist
play
greatest hits vol. 2
selenography
24     negativland/chumbawamba abcs of anarchism
25 variou-
26 the dor
27
return of the read m
...get skintight
hard to kill
in the fishtank
three time losers
the middle of nowhere
murky world of...
mule variations
gus gus
29 tortoise & the ex
30 the sewergrooves
31 orbital
32 barry adamson
33 torn waits
34 electric frankenstein   how to make a monster
Amission hold waiting for another monkey..
bloodshot
eighteenth st
asphodel
v2
alt. tentacles
quarterstick
seeland
ak press/g-7
lookout!
4ad
nettwerk
konkurrent
ffrr
epitaph
victory
ebullition
IIU %% §H®Bf liflU^i)
thes<
then.
the kids know
house party
v to rock empty
norton
4 tricky woo
5 quixotic
6 the make-up/lung leg
7 the hellacopters
8 the users
9 lungleg
10 the magnetic fields
11 the essex green
13 period pains
14 disgusteens
15 sackville/handsor
16 the chubbies
17 los infernos
18 built to spill/marine research
19 n. case/whiskeytown
20 various artists
split
down right blue
sick of you
i don't believe you
s/t
s/t
spice girls
nothing personal
family
when i was your gi
the outlaw
split
split
self portrait
damaged goods
longshot
split
Ifriend      remedial
alt. tentacles
k
bloodshot
permafrost
(JUiH®® IHBIS
H®HS (J®@®
1        radio berlin
distance
2       the radio
kinder surprise
3       team strike force
lager + lime
4       dave diamond
the diamond mine
5       new electric riot
teenage blues
6       adri
mischievous elves
7       full sketch
soundtrack
8       the snow queen
west tone song
9       fridge art tiara
?
10    tiefisher
secret
11     the self esteem project
?
12    forecasts farewell
behind the red sun
13    les saints
ta mere
14    road bed
home?
15    hell caminos
ex-girlfriends
16    cage
cujo cat
17    dreamy angel
laundromatte queen
18    prodigal daughters
rock the party
19    clover honey
talk obout me
20    thee goblins
golden tokens
Things Overheard at DiSCORDER/
CiTR during production week
1 "Olympia is just like Ladner, only cool." Julie
2 "Ride him like a see-saw." T****
3 "Suck my dick."
4 "You [Hancunt] aren't i
5 "Rob wants a beer."
Hancunt
ss, you're earthy." Barbara
WH&ft WB SjISfBHS© ft®
magnetic fields * wesley willis (greatest hits) * katherine
whalen's jazz squad * flaming lips * plumtree * lee perry
& the upsetters * bob marley & the wailers (early ska sides)
* vandermark 5 * cibo matto * flaming lips * us bombs *
the bodies * the angels of light * swingin' utters *
vengaboys * citr radio
^oodUastu Gomic
jdasilva@eciad.bc.ca>
L^e^r^tsra^m^g^ On The Dial
SUNDAYS
ARE YOU SERIOUS? MUSK 8:30AM-
12:00PM All ol time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
THEROCKERSSHOW 12:003:00PM
Reggoe inno oil styles ond fashion.
BLOOD ON THE SADDLE 3:00-
5:00PM Reakowshit-caught-in-yer-
boots country
UPGLOSS & CIGARETTES alt. 5:00-
6:00PM British pop music Irom 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 6KJ0-8KWPM Dedicated
to the gay, lesbian, bisexual, and
transsexual communities of
Voncouver and listened to by everyone. Lots ol human interest features,
background on current issues and
great music from musicians of all
sexual preferences and gender iden-
HELiO INDIA 8:00-9:OOPM
GEETANJAU      9:00- 10:00PM
Geetan-ali features a wide range of
music from India, including classical
music, both Hindustani and Carnatic,
popular music Irom Indian movies
from the 1930's to thei 990's, semi-
classical music such as Ghazals and
Bhajons, and also Quawwalis, etc
THE SHOW 10-OOPM-l :00AM Slriclty
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts Check-
mote, Flip Oul _ J Swing on the 1 &
2's
THE CHILI-OUT ROOM 1:00-
4:00AM DJCIutch spinship4iop...DJ
Decter spins techno. So chill out with
us Have a nice day.
MONDAYS
BLUEGRASS FOR BREAKFAST 6:00-
8:00AM Back in September.
BREAKFAST WITH THE BROWNS
8:15-11KJOAM Your lavountebrowrv
sters, James and Peter, offer a savoury
Wend ol the familiar ond exotic in a
blend of aural delights! Tune in and
enjoy each weekly brown plate special.
Instrumental, trance, lounge and ambi-
BLUE MONDAY alt.  11:00AM-
1:00PM Vancouver's   only indus-
triol-electronic-retro_om program.
Music to schtomp to, hosted by
Coreen.
THE ETHER TABLE alt. 11:00AM-
1:00PM If a collective of Belgian
salanists ever put reverb on a dock ol
geese, I'll find it and play all 28
minutes! Dark ambient and experimental and noisy stuff. Barbara listens to loo much old vinyl.
SOUPE DU JOUR 1:00-3:00PM
Feeling a little French-impaired?
Francophone music from around ihe
globe, sans Celine Dion.
THE MEAT-EATING VEGAN 3:00-
4:00PM I endeavour to feature dead
air, verbal flatulence, o work of music
by a 2(kentury composer — can you
say minimalist? — and whatever else
appeals to me. Fag and dyke positive.
EVIL VS. GOOD 4K)0-5:00PM Who
will triumph? Hardcore/punk from beyond the grave.
BIRDWATCHERS 5:00-6:00PM Join
the Sports department for their eye
on the T-birds.
POLYFILLER alt. 6:00-7:30PM
LADY DEATHSTRIKE alt. 6:00-
7:30PM
PIRATE RADIO 7:30-WK)PM For
merly "Love Sucks," now ot a new
THE JAZZ SHOW 9:00PM-12:00AM
Vancouver's longest running prime time
jazz program Hosled by the ever-suave
Gavin Walker Features at 11
July 5: The Dave Brubeck Quartet: Jazz
Impressions ol the USA
July 12: Tony Williams: life Time
July 19: Art Blokey and the Jazz Messengers: Live in Sweden
July 26: Oliver Nelson and his Big
Band: Fantabuhus!
VENGEANCE IS MINE 12:00-
4:00AM Hosted by Trevor. It's punk
rock, baby! Gone from the charts but not
from our hearts — thank fucking Christ.
TUESDAYS
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM 9:30-
11:30AM   Torrid trasfHock, sleazy
surf and pulsatin' punk provide the perfect scissor kick to your head every
Tuesday man. There's no second chance
when KuncfFu isused for evil wilh drunken
fist Bryce. Kilfyaa!!
TRAGIC     ANIMAL    STORIES
11:30AM-1:00PM Tales of puppy
lave gone awry, and of baby ducks
crossing ihe street, all backed up by a
sad soundtrack of various indie-rock
bands for your own enjoyment and
education. Cry in your beer, please.
ECHOES FROM THE SUGAR CUBE
FACTORY 1K)0-2:00PM
BELT OUT THE BLUES 2:00- 3:30PM
Music for families and little people.
THE SLIPPERY SLOT alt. 3:30-
5:00PM
SKINTIGHT BUFFOONERY alt.
3:30-5:00PM
BBC WORLDNEWS SERVICE 5:00-
5:30PM
RADIO ACTIVE 5:30-6:00PM Activism, issues and fucking up the corporate powers that be.
FLEX YOUR HEAD 6:00-8:00PM
Hardcore and punk rock since 1989.
http://flexyourhead.
vancouverhardcore.com/
SAREGAMA 8:00-9:00PM Featur
ing traditional (classical, light ond
folk) and contemporary South-Indian
RADIO ELLINIKATHIKO 9:00-
10:00PM Greek radio filling in for
La Bomba for the summer.
WITCHDOCTOR HIGHBALL alt.
lOtfOPM-12:00AM Noise, ambi
sun
TUC
W*0
THU
FRI
*AT
reggae
linkup
areyou
serious?
music
ROCKERS
SNOW
ki.oodonthl;
SADDLE
Breakfast
with the
Browns
Blue Monday/
the ether table
Sou*** im Jour
'rhcM(vit-l*.itiiii',\'(V,in
filler
WORLPHEAT
third  time's
the charm
Tragic Animal
Stories
BELTOUTTHE
BLUES
suburban
juwgk
Spike's Musical
Pins and Needles
Rebel
Jazz
Babylon
Afternoon
DJ in a Coma/Black
 MS£	
motor
dAddy
«_•_■»  my  m<
Reel Music
Filibuster/
stand and be
cunted
CANADIAN
LUNCH
lOnomatopoeia show!
Lipgloss & Cigarettes/
Saint Tropez
BlROWAT<H*(ft*        ££_;
QUEER
FM
Hello   India
THE
3CW
(hiphop)
The
Chill-Out
Room
Polyfiller
Lady Deathstrike
fflex your head
pirate radio
TE
JAZZ
SHOW
Vengeance
SAREGAMA
Radio Ellinikathiko
Venus
Flytrap/
witchdoctor
highball
AUKAl
TESTACIES
tucsi ceasi
SOUP
STATE
and sometimes why/
by the way
Folk Oasis
str8 outta
jallundhar
Hans   Kloss'
Misery  Hour
Bombshell/
rhymes and
Out For Kicks
T/-e Red
Skat's
Scene-ik
Drive
These     are
the      breaks
Little
Twin
Stars
on air with
greased hair
LIVE      FIT0M
THUHlDEirtllrD
9AD10        HEU
codtedandready/
nocturnal
(Transmissions
Plutonian
Nights
NARDWUAR&'
no i 2;
Far East
Side Sounds/
African
Rhvthms
HOME
PASS
m wtum./
$NflTMIX
Get to the
Chorus/The
Morning After
THE
SATURDAY
EDGE
Alam Mazeka
POWER
CHORD
Lucky
Scratch
hearsay
Torn io
~?wr
jemcotDGVi
apapfc
santiiich
<5o«n#v_*s
hrt 9
Pipe
Dmamsl
Soul    Tree/
Earwax ent, electronic, nip nop, tree \an,
Christian better living LPs, the occasional amateur rodio play, whatever.
VENUS FLYTRAP'S LOVE DEN alt.
10:00PM-12:00AM Join Greg in
the love den lor a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here ... and
bring some ice.
AURAL TENTACLES 12:00AM-
3:00AM Warning: This show is
moody and unpredictable. It encourages insomnio and may prove to be
hazardous to your health. Ambient,
ethnic, funk, pop, dance, punk, electronic, synth, blues, and unusual rock.
WEST COAST POPPIN' 3:00-
6:00AM 100% west coast rap.
Huge giveaways, with your host like
no other Shawn Powers.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-9:O0AM
A perfect blend of the sublime and *
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
SPIKE'S MUSICAL PINS AND
NEEDLES 9:00- 10:00AM Spike
spins Canadian tunes accompanied
by spotlights on local artists. Weekly
"Vintage Vancouver" segment takes
a look bock ot this city's musicol
past.
REBEL JAZZ 10:00-12:00PM
BABYLON AFTERNOON 12:00-
2:00PM
BLACK NOISE 2:00-3:OOPM Filling
in for Clinton. Essays, poetry, social
commentary, and conscious music
from a Black radical perspective. If
you can't take the heat listen to Z95.
MOTORDADDY 3KJO-5:OOPM "eat,
sleep, ride, listen to Motordaddy,
repeat."
RACHEL'S SONG 5:10-6:00PM Info
on health and the environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainabilily in the urban context.
SOLID STATE 6:00-7:30PM Featuring the latest in techno, trance, acid
and progressive house. Spotlights
on local artists, ticket giveaways, &
live performances. Hosted by M-Path.
AND SOMETIMES WHY alt. 7:30-
9:00PM sleater-kinney, low, sushi...
these are o few of our faveoh-writ things.
BY THE WAY alt. 7:30-9:00PM
Let's give alternative media a chance
- VIVA VINYL! 7"s new and old,
local cassettes and demos.
FOLK OASIS 9*00-10:30PM Featuring the latest local and international
releases in folk/roots/world music,
phone interviews, in-studio guests and
more. Requests always welcomed!
STRAIGHT OUTTA JALLUNDHAR
10:30PM-12:00AMLetDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay."
Listen to all our favourite Punjabi tunes
— remixes and originals.
HANS KLOSS'MISERY HOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
THURSDAYS
FIRST FLOOR 3:00-6:00AM
DON'T SAY THAT ABOUT MY
MAMA 6:30-8:30AM
REEL   MUSIC   8:30-10:00AM
Soundtracks and classical.
FILIBUSTER alt. 10:00-11:30AM
Part accordion-tinged musicol
meanderings, part experiemental
weirdness, with a little bad hill blood
thrown in for good measure.
STAND AND BE CUNTED alt. 10:00-
11:30AM DJ Hancunt urges women
to get down with their cunts while
listening to women in jazz, funk, rap,
soul, worldbeat, disco and beyond.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander, Baffin
Island to Portage La Prairie. The all-
Canadian soundtrack for your midday snack!
STEVE & MKE IrOO-lOOPM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
ONOMATOPOEIA 2:00-3:00PM
Comix comix comix oh yeah and some
music. With Robin and Jules.
RHYMES AND REASONS alt. 3:00-
5:00PM
CULTURE CRAP 5:00-5:30PM
SHAPE UP alt. 5:30-6:00PM
REELS TO REEL alt. 5:30-6:00PM
Movie reviews and criticism.
OUT FOR KICKS 6*00-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn rightwe have fun with it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HELL 9:00-11:00PM Local muzak
from 9. Live bandz from 10-11.
COCKED AND READY alt. 11:00PM-
1:00 AM
NOCTURNAL TRANSMISSIONS alt.
11:00PM-1:00AM You adjust the
lighting, DJ Satyricon mixes the
sounds. Radio that could only happen after the sun's gone down. Songs
and soundscapes for the naked city.
PLUTONIAN NIGHTS 1:00-
4:00AM Late night vinyl. Occasional skips. Cheers.
FRIDAYS
CAUGHT IN THE RED 6:30-8:30AM
Trawling the trash heap of over 50
years worth of real rock V roll debris. Stick out yo' can.
ONE LOVE 8:30-10:00AM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
heard.
SKA-TS SCENE-IK DRIVE! 10:00AM-
12:00PM E-mail your requests to
Djska_T@hotmail.com
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
UTTIi TWIN STARS 2*00-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
NOIZ 4:00-5:00PM self-titled.
BBC WORLDSERVICE 5:00-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
9:00PM
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS    9:00PM-12:00AM
nostea Dy uj iNoan: tecnno, Out also
some trance, acid, tribal, etc. Guest
DJ's, interviews, retrospectives, giveaways, and more.
SHIT MIX alt 12:00-3:OOAM No
beatmatching. No crossfading. No
indiefascism. No progassblasting.
NoPhish. Just a mix.
SATURDAYS
THE MORNING AFTER alt. 3:00-
8:00AM
GET TO THE CHORUS alt. 6:00-
8:00AM
THE SATURDAY EDGE 8:00AM-
12:00PM Studio guests, new releases, British comedy sketches, folk
music calendar, and ticket giveaways.
8-9AM: African/World roots. 9AM-
12PM: Celtic music and performances.
ALAM MAZEKA 12:00-1:00PM
Arabic music.
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and
Metal Ron do the damage.
LUCKY SCRATCH 3:00-5:00PM
From backwoods delta low-down
slide to urban harp honks. Blues and
blues roots with your hosts Anna
and Barry.
RADIO FREE AMERICA 6:00-
8:00PM Extraordinary political research guaranteed to make you think.
Originally broadcast on KFJC (Los Altos, Cal.)
PIPEDREAMS alt. 10:00-1:00AM
SOUL TREE alt. 1:00-4:30AM 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.
EARWAXalt. 1:00- 4:30AM "noiz
terror mindfuck hardcore like punk/
beatz drop dem headz rock inna
junglist mashup/distortda source full
force with needlz on wax/my chaos
runs rampant when I free da jazz..."
Out. -Guy Smiley
REGGAE LINKUP 4:30-8:30AM
Hardcore dancehall reggae that will
make your mitochondria quake.
Hosted by Sister B.
CiTR
LOI.9   fM
•vYie
^eSS'HiSt % <§*™e f V^Skfc
Citp. iOi.9fn A-nWs 3-5.fH<
LOUD AMD QVZEJR
cotvt.-NG au. over row. moto
JULY 31/99
it's a queer radio event celebrating sexual diversity, r  "
we want you to get on the mic!
get involved and do interviews, discussions, music, themes, readings,
rants, live performances and smut for more info contact anna at 8"
or come by room ?33 of the SUB at UBC and Check Out CiTR for yoi
APf)© *
I E^gSlJlSE Datebook
WHAT'S HAPPENING IN JULY
FRI JULY 2 Magic Slim & the Teardrops@Yale; Harvey
Danger, DJ Dave & the Boyscouts@Richard's (early show);
Walter Washington & the Roadmasters@Yale;
Cinemuerte!@Blinding Light
SAT 3 Surfdusters, High 5 Ramblers, Reverberators@Pic
Pub; Cinemuerte!@Blinding Light; Crash, the Mo'Funk
Collective@Chameleon; Sonar's 2 Year Anniversary
Partyl@Sonar; Fiesty, Salteens, Swank 0'Hara@Railway;
Mystery Machine, Bitter Grin, Babble Fish@Brickyard; Zony
Mash@Starfish
SUN 4 Hard Rubber Orchestra@Starfish; Bantam Rooster,
Gimmicks, New Electric Riot@Pic Pub; Technics DMC Finals
(feat. DJ A-Track, DJ Checkmate, & The Turnstyle
Crew)@Richard's(early show)
MON 5 Matmos (feat. Mark Spybey), Lesser,
Agriculture@Brickyard
TUE 6 Terry Francis@Sonar; Drugs & Deviants (classic
anti-drug filmsl)@Blinding Light; Bitter Grin,
Retreads@Railway
WED 7 Porkers, Subway Thugs, Maneaters@Starfish; Vans
Warped Tourjfeat. Cypress Hill, Eminem, Pennywise, Vandals, Blink 182...)@Thunderbird Stadium; Drugs &
Deviants@Blinding Light; Jeff Lang@Railway; Hip Hop Mechanics, Speedbore@Brickyard
THU 8 CiTR PRESENTS BEENIE MAN@Rage; Reverend Horton Heat, Huevos Rancheros@Richard's; Slick 60,
Volatile, Lure, Bottomfeeder@China Beach (20299 Industrial
Ave., Langley); Lilith Fair@UBC Thunderbird Stadium; All Systems Go@Brickyard
FRI 9 Jebidiah@Brickyard
SAT 10 CiTR PRESENTS DOMINIC RADIO (feat Radiogram, Kimmie, Evan Symons, Zero Squared, 2 Bit Sampler, Hammer Bear, Godwin Peak, and mystery guests); CiTR
PRESENTS FACEFEST '99 (feat. Motorama, Demonskull,
SUBMISSIONS TO DATEBOOK ARE FREE!
TO HAVE YOUR EVENT LISTED, FAX ALL THE
RELEVANT INFO (WHO, WHERE, WHEN) TO
822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE AUGUST ISSUE IS JULY 14th!
Story@Blinding Light
WED 28 Manic Street Preachers, Remy Zero@Richard's;
Aural Dilation@Legend's
THU      29      Ian     Pooley@Sonar;     Kristy     Thirsk,
Transformer@Railway; Jurassic 5, Dilated Peoples, Beat Junkies, Breakestra@Richard's
FRI 30 Bughouse Five, Lowbrows@Railway
SAT 31 The Black Halos, the Catheters@Pic Pub
Maneaters,   Evan's   New   Band,   Pet  Fairies,   Fish,
Veronica)@Ms. T's Cabaret; Will Oldham, Anomoanon, Joel
R.L Phelps@Breakroom (Seattle, 21+)
SUN  11  Looper, IQU@Starfish; Evaporators, Bratmobile,
Tennesse Twin@Pic Pub (early show)
MON 12 Fuck, Solarbaby@Starfish
TUE  13 Lilys, Beachwood Sparks, Saturnhead@Starfish;
Robert Cray Band@Rage
WED 14   Ensign, Elliot, Six Going on Seven@RKCNDY
(Seattle); Pavement, U.S. Maple, Sunless Day@Showbox
(Seattle, 21+); Zen Tricksters@Richard's
THU 15 Zen Tricksters@Whisler Mountain; The Enigma's
Puzzillion(ex. of Jim Rose Circus)@Brickyard
FRI 16 Station A, Dirtmitts, Joanie Loves Chachi@Brickyard
SAT   17    LaDonnas,  Spitfires, JetSet@Pic;  Mother
Trucker@Brickyard
SUN  18 Nashville Pussy, Speed Dealer@Richard's (early
show)
MON 19Swayzak@Sonar
TUE 20 The Make-Up, Golden@Starfish
WED    21    Maceo    Parker@Richard's;   Johnathan
lnc.@Railway; Mad Bomber Society@Pic Pub
THU 22 Skavoovie, Epitones, Ducky Boys, Kingpins@Starfish;
Mushroom Jazz Tour (feat. Mark Farina, Heather)@Sonar;
John Ford@Railway; Hellenkeller@Richard's
FRI 23 Violent Femmes@Vogue; llluminares festival@Trout
Lake(at dusk); Roswells@Railway
SAT 24 Free Tibet concert (feat. Clover Honey, Jet Set,
Speedbump, Big Cookie)@Starfish; Coal, Big Red@Railway
SUN 25 Britney Spears@GM Place
MON    26   Adam    Freeland@Sonar;    Grrrls   with
Guitars@Railway
TUE 27 Social Chaos Tour (feat. DOA, UK Subs, and LES
Stitches)@DV8 (Seattle); Superstar: the Karen Carpenter
VENUES • BARS • THEATRES • RESTAURANTS • RECORD STORES
Amsterdam Cafe 302 West Cordova (Gas Town) 683 7200
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Astoria Hotel 769 East Hastings 254 3636
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston  (Granville Island) 687 1354
Black Dog Video 3451 Cambie 873 6958
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light 36 Powell St. 878 3366
Boomtown #102-1252'Burrard (at Davie 893 8696
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)    873 1331
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities  1022 Davie (at Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
Club Vesuvius     1176 Granville (downtown) 688 8701
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes  838 Granville  (Granville Mall) 681 1531
CNB Skate and Snow 3 712 Robson 682 5345
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial (at 17th) 879 0154
Crosstown Music 518 W Pender 683 8774
Denman Place Cinema  1030 Denman  (Vvfest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Fifth Avenue Cinemas 2110 Burrard (at 5th) 734 7469
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
F.W.U.H Beatty 552 Beatty 687 7464
30 July 99
Frederic Wood Theatre (UBC)
Garage Pub 2889 E. Hastings (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main  (Mt. Pleasant)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
Hush Records 221 Abbott Street
Jericho Arts Centre   1600 Discovery  (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (gastown)
Luv-A-Fair  1275 Seymour (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (Gastown)
Naam Restaurant 2724 W 4th  (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinemaiheque   1131 Howe  (downtown)
Palladium   1250 Richards (downtown)
Paradise  27 Church  (New Westminster)
Paradise Cinema 919 Granville (Granville Mall)
Park Theatre 3440 Cambie  (South Vancouver)
Picadilly Pub 630 W Pender (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville (Granville Mall)
Puff/Beatstreel 4326 Main (at 27th Ave)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (gastown)
Queen Elizabeth Theatre Hamilton & Georgia
Raffels Lounge  1221 Granville (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
Richard's on Richards   1036 Richards (downtown) 687 6794
Ride On  2255 West Broadway; 2-712 Robson (Upstairs)    738-7734
Ridge Cinema 3131 Arbutus (at 16th Ave.) 738 6311
Scrape Records 17 W. Broadway (near Main) 877 1676
Scratch Records  109 W.Cordova  (Gastown) 687 6355
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Singles Going Steady 3296 Main (at 17th) 876 9233
Sonar 66 Water (Gastown) 683 6695
Starfish Room   1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman (West End) 689 0096
Station Street Arts Centre 930 Station  (off Main) 688 3312
Sugar Refinery  1115 Granville (downtown) 683 2004
Theatre E 254 E. Hastings (Chinatown) 6818915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Tribeca 536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
Vancouver E. Cultural Centre  1895 Venables (at Victoria)   254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th (Point Grey) 222 2235
Vert/Futuristic Flavours 1020 Granville  (downtown) 872 2999
Video In Studios  1965 Main (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (gastown) 689 3326
Vogue Theatre 918 Granville  (Granville Mall) 3317909
Waterfront Theatre  1405 Anderson  (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wett Bar 1320 Richards (downtown) 230 6278
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall  1882 Adanac (the Drive) 254 5858
Women In Print 3566 W 4th (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown) 6819253
Zulu Records 1869 W 4th (Kitsilano) 738 3232 WARPED
TOUR 93
ES: PENNYWISE
BLINK-182
SEVENDUST
EMINEM
BLACK EYED
PEAS
LESS THAN
JAKE
LIT
MOLOTOV
THE LIVING END
1 SUICIDAL
;       TENDENCIES
ICE-T
BOUNCING SOULS
|n,    THE VANDALS
IHESTRA QOB
mi    ALSO APPEARING
[ UPPER FIELD. THUNDERBIRD STADIUM I
Lilith Fair
Gates @ 2pm
Sarah
McLachlan
Sheryl
Crow
Deborah
Cox
Mya
Luscious
Jackson
Bif Naked, Beth Orton
| Sixpence None the Richer
Coco Lowe Alcorn, Maren Ord
I £.«25H__ &.<&. -ft,$«,__. «.♦.,?
THUNDERBIRD STADIUM |
I JULY 29]
HOLE
MOIST
BIG WRECK
SILVERCHAIR
MATTHEW GOOD BAND
EDWIN
"WIDE MOUTH MASON
RASCALZ
TREBLE CHARGER, SERIAL JOE,
FINGER ELEVEN, VERTICAL HORIZON
| Magaane $fHlJ3(3@_ and More-
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THUNDERBIRD STADIUM I
Black
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TOUR 1999
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. RICHARD'S ON RICHARDS I
RICHARD'S ON RICHARDS I
LIVE AT GENERAL MOTORS PLACE MUSIC THERAPY AT ZULU
THE MUFFS - Alert Today Alive
Tomorrow CD/LP (punk)
GORDON LIGHTFOOT - Songbook CD Box
Set (folk)
CHEAP TRICK - Music For Hangovers
CD (rock)
Various-EASY TEMPO VOL. 9 CD
(lounge)
TO ROCOCO ROT- Amateur View CD
(minimal electro)
GUITAR WOLF - Jet Generation CD/LP
(primal twang)
PLAID - Rest Proof Clockwork CD (on
Various- ALRIGHT THIS TIME JUST THE
GIRLS CD/2LP (all girl garage)
Vandals - SWEATING TO THE OLDIES
CD/LP
(old school punk)
AUTECHRE - EP7 CD-EP (minimal beats)
FLIN FLON - Black Bear CD-EP (teenbeat pop)
HIVE-Nuplanett2-inch(DJ beats)
FLANGER - s/t CD/LP (ninja tunes)
REPUKANTS • Slickaphonics CD/LP
(unwound-new wave)
PIANO MAGIC - live CD (lo-ti ambience)
WINDSOR FOR THE DERBY - Difference
CD (math rock)
MATMOS - In the West CD (pretty good)
WEEN - Paintin' the Town Brown Live
CD (pretty strange)
CARL COX - Phuture 2000 CD (electronica)
U.S. MAPLE - Talker CD (avant rock)
TAKAKO MINEKAWA
Ximer CD-EP/ LP
Featuring mixes by Cornelius. Kid Loco, Oval
Nobukazu Nakemura Sweet Trip Jr. Varsity
and even world famous photographer Mark
Borthwlck this new 8 song remix EP goes
places MS. MINEKAWA s smash club-pop full
length Cloudy Cloud Calculator has never been!
A heady mix ol smooth ambient grooves and uptempo easy beats, this electro-prog serving is th*
perfect summer picnic side-plate
CD-EP 14.98 LP 9.98
KID LOCO
Prelude to a Grand Love
Story CD
More hip electronic musings from the Continent.
Although not as light or effervescent as Air, fellow French producer KID LOCO has an equally
appealing style and dress sense. While his recenl
remix collection. Jesus Life for Children Under
12. demonstrates the range of his interests —
from Pulp to Saint Etienne to The Pastels to
Mogwai — this new full length selection proves
the cool neatness of his concerted efforts We
love the French, every last one!
CD 16.98
TWO LONE
SWORDSMEN
Stay Down CD
some of the best electro-
beats from across the Atlantic! In the vein of Boards of
Canada and Nightmares on Wax. introduce yourself to
the visceral sounds of TWO LONE SWORDSMEN a.k.a
Keith Tenniswood & Andrew Weatherall Practitioners
of submerged atmospherics and vacillating rhythms,
these SWORDSMEN truly represent the leading edge of
the emerging beat culture. This is the eariy music of
THE
WOODEN
STARS
The Moon
These Ottawa based
post-punkers write captivating equations for study
and reflection. But all is not austere and serious in
this advanced programme Both a good-natured it
pop sense plus a playful jazz inclination
; final summation (and even
greater eclecticism in the footnotes) Akin to those
other fine Canadians, The Rheostatics. but less
these earnest fellers deserve more
change the laws' Buy Canadian.
CD 16.98
MUSIC TAPES
1st Imaginary Symphony
for Nomad CD/IP
Here's the scoop: no more waiting, no more
obsessively listening to their only 7-inch release,
no more daydreaming back to the first glorious
60s pop chords as they opened for Olivia Tremor
Control! The MUSK TAPES debut full length is
finally on the shelves!! Now here's the info: a side
project of both Neutral Milk Hotel and other fancy
Elephant 6 Recordings bands, the MUSIC TAPES
have masterminded a dense symphonic pop
album full of lush orchestration, folky-guitar fuzz
and supreme harmonies Any interpretations on
the album title?
THE BETA
BAND
S/t CD
Tired of spending your wi
CD 16.98
SQUAREPUSHER
Maximum Priest CD-EP
The always unpredictable and still quite young workaholic Tom Jenkins returns with another odd ball set up
of weird electronic tomfoolery. But what is a Maximum
Priest? Who knows? Don't worry, this long term Zulu
favourite can always be counted on for some good
new noise.
CD-EP 14.98     Available July 8
*7^ree ta>c<zt ^eatuK&i:
CD/LP 16.98
FANTASTIC PLASTIC
MACHINE
MCD-EP/LP
Pop music involves moving the accepted and
expected in novel directions, in a kind of science of informed surprise. What happens is that
although we may guess what's coming, we are
still happy when it arrives, maybe even more
so FANTASTIC PLASTIC MACHINE knows all
about this curious effect — and so should you!
Come be manipulated by their dance friendly,
electro pop. More mind control that we love
CD-EP 14.98   LP 9.98
s watch old family Super
8's without sound? Bored of
watching grainy he
ot the Expo 86 fountains gushing upwards without any
real feeling? Why not tune in THE BETA BAND frequency
and really make that water dance!! In good company with
the likes of Apples In Stereo & Olivia Tremor Control. UK
popsters The Beta Band offer an even quirkier psyched-
out take on the '60s folk-pop Rushmore revival! This their
first proper full-length release should more than satisfy
those of you out there, so accustomed to playing their fine
Three Eps CD. that you unconsciously pour milk on it for
breakfast.
CD 18.98
TRICKY WOO
Sometimes I
Cry CD
Release number three from
this WOO-syndicate! Those
present at their kick-ass Zulu
in-store. should well be familiar with some of the nftage on this 12-track platter. N
light-hearted fare for the casual music fans, this TRIC
WOO album captures their live power with enough se
ous tuneage to make you take those Hellacopters an
Rocket From The Crypt CDs out of the player, and tu
on to the cream soda of hard rock action!
CD 14.98
LUSCIOUS
JACKSON
Electric Honey
CD
The bees were working overtime on this Electric Honey1
Having penned the summertime classic "Ladyfingers
LUSCIOUS JACKSON'S latest full length should drip
through your stereo with its gooey mix of phat beats and
lush acoustic instrumentation. Having struck up a friendship with like-minded club-pop experimentalists Cibo
Matto. you can look for a liTtle more synth-rock science
in this NYC trio's recipe! Hey. isn't honey good for your
LUSCIOUS JACKSON
CD 16.98
SATURNHEAD
Saturnhead,
California CD
In tune with the crafty West Coast
pop sound that spawned the harmonious Beach Boys, local popsters
SATURNHEAD locate themselves on
the map of ultra catchy melodious song writing. More mellow
than previous outings, chill out with this 22 song tonic and twist!
CD 12.98
d.b.S.
Some Boys
Got It, Most
Men Don't CD |
Local hardcore fans take
note! Now on the New
Disorder Record label, d.b.s. are back with an
batch of top-notch punk rock'n'pop. 12 tracks of bullet    *eaturjng Beans, Close Captoin R*
train moving, hard driving kkrang!
CD 14 98 many rnore* Beautifully packaged!
2CD 14.98
Various
DOMINIC
RADIO 2CD
New experimental
sounds from around
the Transsiberian
Records dial! A who's
who of local underground
K£aypv£\
1869 W 4th Ave.
Vancouver. BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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