Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-12-01

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 December, 1997
That Etiquette Magazine from CiTR 101.9 fM
1. Soupspoon
2. Dinner knife
3. Plate
4. Dessert fork
5. Salad fork
6. Dinner fork
7. Napkin
8. Bread and butter plate
9. Butter spreader
10. Tumbler
Suggested Serving:
I//W     179
Hanin Elias
Wooden Stars
Windy & Carl
Southern Culture on the Skids
e d i t r i x : miko hoffman
art director: kenny
paul ad rep: kevin
pendergraft production
manager: tristan winch
graphic design/
Layout: kenny, atomos,
michael gaudet, tanya
Schneider production:
Julie colero, kelly donahue,
bryce dunn, andrea gin, ann
goncalves, patrick gross, jenny
herndier, erin hoage, christa
min, katrina mcgee, sara
minogue, erin nicholson, stefan
udell, malcolm van deist, shane
van der meer photogra-
phy/i L Lustrations:
jason da silva, ted dave,
richard folgar, sydney hermant,
mary hosick, kris rothstein,
corin sworn contributors: barbara a, daniel a,
christy b, dave b, james b, chris
c, julie c, bradyc, bryce d, jack
d, Jamie d, greg e, anna f, kiley
f, gth, andrea g, noah g,
patrick g, alia h, frank h,
thomas h, anthony k, blaine k,
doug I, chantelle m, siobhan
mc, katrina mc, zia m,
nardwuar, dan n, erin n, bill s,
mark s, dave t, shane v, brian
w, jerome y programme
guide : namiko kunimoto
charts: siobhan & kiley
datebook: tristan distribution: matt steffich,
sean raggett us distribution: tristie
di scorder on-L i ne:
ben lai p u b L i s h e r : linda
Cowshead Chronicles
Vancouver Special
Interview Hell
The Kinetoscope
Seven Inch
Printed Matters
Under Review
Real Live Action
On the Dial
December Datebook
Botched Ampallang
Good Tasty Comic
'Tis the season for eatin', leaving
yer elbows off the table and
minding yer manners! proper
etiquette cover by artist
Tanya Schneider.
© "DiSCORDER* 1997 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation 17, 500. '
Subscriptions, payable in advance, to Canadian residents are
$15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies ore $2 (to cover postage, of
course). Please make checks or money orders payable to
DiSCORDER Magazine.
DEADLINES: Copy deadline for the January issue is December
5th. Ad space is available until December 12th and can be
booked by calling Kevin at (604) 822-3017 ext. 3. Our rates
are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material.
Material can be submitted on disc (Mac, preferably) or in type.
As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office at 822-3017 ext. 0, or our news and
sports lines at 822-3017 ext. 2. Fax us at 822-9364, --mail us at:
cilrradio@mail.ams.ubc.ca, visit our web site at http://
www.ams.ubc.ca/media/citr or just pick up a goddamn pen and
write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1 Zl.
PflhMD   Ih CAhADA * clear., a
JjjW             233-6138 SUB Blvd.,
Hr       Vancouver, B.C. V6T 1Z11
. ---~^^y^: *
Dear L. Scholten,
Manager of CiTR-fM Vancouver,
In the first place allow me to introduce myself. My name is Felix Antonio Rojas, I'm
Cuban and I'm 32 years old. I'm an independent writer.
Only a few days ago I had the chance of having in my hands a number of your
publication and I was impressed by the excellent design and the quality of the impression, as much as by the contents — that show the line of your work.
Not having any other matter I still want to thank you for your kindness in reading
my letter and to tell you I would be very haughty to wear a t-shirt with an advertising
of your radio station, or t-shirt of Vancouver, of course, if it in your hand to satisfy my
advertising thafs
built to last
j and all Canadian people,
I desire you all the luck in the world. God ble:
yours truly,
Felix Rojas
Havana City, Cuba
Dear Mr. Poulin
Why, why why are you getting printed? Every month, I try to get through one of your
essays. But, despite an earnest belief in the use of intelligent discourse, I don't think
I've gotten through one. I come away disgusted each time, either by your arrogant,
pseudo-intellectual, brat tone of voice, by your incoherent and ambiguous language,
or by the utterly pedestrian and recycled ideas that you are trying so hard to spout. I
just don't have the strength.
And what I want to know is, man, is anyone reading your stuff? Do people actually
enjoy watching you masturbate all over the page? I can't imagine it. Or maybe this is
it: maybe everyone, including your editors, is too intimidated by your self-satisfied
smirk (I'm sure you've got a great smirk) and by sentences like, "The same non-place,
that is, utopia, is to be (not) found" (Oct. '97) to tell you that your writing is a bunch of
self-satisfied bullshit. Somebody, please come to his defence so I can understand why
it is he gets a page every month. Utopia is to be (not) found? Shit, man, is anybody
supposed to understand that? And once I do decipher an idea of yours, I find I don't
care anymore, because it's already been said before, by Camus, or Tolstoy, or take
your pick; it was said in a tiny paragraph on the way to a much more powerful idea. If
you're going to talk about a concept as ineffable as faith, man, don't play word-games.
So I just want to say, once and for all, fuck you man. Fuck you, because in the last
7 months I've read you, you haven't said shit that anyone hasn't already talked about
at party or at a stoned busstop, except that you doll it up with words like "ancillary."
And fuck you because you're getting published and I'm not.
Andrew Turner
Thank you for the good advice. I quit. (K. Poulin}
IWIE 1969/1974
The Best of Bauid Bowie 1969/1974   1    X
Lennon Leqend     1     ■  ' "*
MT    more for your money —
O&Osouno which
eludes  the  <
Hello again!
Yes, I was off
for a couple
of months (doing
some stuff at another
radio station, I confess), but I'm happy
to be back, ready to
face the CDs that
have been piling up
i  the  Ii'
floor, and just in tim<
to help you out witf
your Christma:
present buying diffi
culties.   First of all
Boom Boom
(Bongo Beat)
No, you don't have to be a
coffee-house-dwelling, poetry-
quoting, bongo-playing computer-geek hipster to appreciate Sophisticated Boom
Boom, the latest from Ralph
Alfonso If you have a sense
of humour or a sentimental
streak, pop sensibilities or a
liking for Maritimes folk
songs, a fondness for Gene
Vincent or even a hankering to hear Tom Harrison (the
only reason to open The Prov
ince] sing again, there are
nuggets of gold here for you.
The 36 tracks on the audio
portion of the CD are arranged thematically — my favourite sections are "Loud
Guitars Baby Rock All Night,"
catchy "Jangly Love Song" as
well as the Tom Harrison offering (a Kinks song), and
"Living Room Pianos and
Guitars," which includes faux
traditional folk treat "Prince of
the Miramichi," sung by the
lovely-voiced Bridget
Sullivan And, naturally,
there's plenty more for owners of computers with CD-
ROM drives. What a deal!
A Fistful of Hollers
What can I say about The
Saddlesores that hasn't
been said before? They won
last year's Shindig (although
heavily booed by the friends
of the other bands), they wear
makeup (okay, I have a weakness for boys who wear
makeup — how naughty!),
they love Johnny Cash
(doesn't everybody?), and
their sound is the twisted
wreckage of a collision between The New York
Dolls and Hank Williams
(or something like that). This
ain't no beer-sippin', toe-
tappin', line-dancin' music,
but a brash, slightly goofy (but
always tight) pack-o'-noise.
Don't buy this for the easily
frightened (that's what Garth
Brooks and Celine Dion
UVU^ifd AMBSIIMI bdrai^c
records are for, after all), but
do consider it for anyone who
can take a joke, especially if
they like country, rockabilly,
or glam-rock.
Not loud enough for you?
How about:
This is the perfect thing for
the pal, relative, or boyfriend who is pining for the
days when Soundgarden,
Mudhoney, and even Nirvana used to play small
clubs. The happy recipient
will find it difficult not to
jump up and down to this
hard-rockin', homegrown
CD, I promise you.
Worrying about what to give
that difficult-to-buy-for person
on your list? Nothing beats a
good compilation for pleasing the fussy, and Nothing
Beats a Royal Flush: 18
Classic Canadian Crap-
Outs (Roto-flex) is a very
good compilation indeed It
includes high-quality entries
from Vancouver's own
Maow, The Mach Ill's,
Fiends, and Tonics, as well
as the farther-afield likes of
Huevos Rancheros,
Chixdiggit, and Jackson
Phibes (of The Forbidden
Dimension). The packaging
is charmingly distasteful too,
although a little risky: cat owners will have trouble keeping
the devilish little kitties away
from the chain that's attached,
and that darn disc keeps falling out of its slot. (But what's
a little danger to courageous
types like you?)
A fan of eclectic pop and
other indie sounds? Wondering what all this K Records
stuff is about? Just trying to
fill in those gaps in your 7"
collections Here's your CD,
kids. Fresh from the folks at
K comes another fine compilation, Project: Echo,
made up of songs taken from
the International Pop Underground series of 7" singles.
Listen for Vancouverites
Mecca Normal, Wandering Lucy, and The
Softies (well, I'm claiming
them for Vancouver, anyway), as well as The
Crabs, Lois, Kicking Giant, Versus, Heavenly,
and plenty more.*
cow phead    chr
c L e s
hope springs eternal and i have taken the first steps in trying to make it
spring faster yet. the nights come quicker this time of year and to get
all the day's duties done before it gets dark is a chore unto itself, i have
set out each day to try and get something done on my long list of things
to do. while having one less job these days makes getting some things
done easier, other things still seem to get placed on the back burner, in
an attempt to further my writing career, as if i have one at all, i submitted the first copy of my novel, or rather, novella — as it's shorter than a
novel should be — to a local publishing house and am now bracing
myself for the worst, it should help in the toughening up of my skin as
the rejection letters come in one by one from the others i plan on hitting next, let me tell you, though, it's a great relief to have it finally
finished, i am, and i don't mind telling you this, tired of reading it. i
have gone over it so many times that i have no perspective anymore,
but i'm glad i stuck it out. i have been known for not following through
and letting things go their own way, but felt compelled, regardless of
the net results, to see this thing through, my father has always maintained, sadly so, that i should write more than my usual output and
show it around, damning the general population's opinion of my work,
so that's where i'm at, for now — a guy waiting for the shit to roll in and
prepared to take it all. i've given up, though, on the getting ahead idea,
the one that drove me for so long, i now .do things purely for my own
sense of accomplishment, i know, so corny and trite but true, i'm sad to
say. in the words of devo, i'm through being cool, if i ever was. a calm
has come over me and i will never again worry about my place in the
grand scheme of things, i do, however, still find myself jealous or envious of others who have obtained more or gone higher than i have, but
that's simply a part of human nature i have yet to get over, i now live
for the feelings of being smitten by a beautiful woman and i want for
nothing more, why should i? why should you? that's what it's all about,
use your head but don't forget your heart, until next time, smoke like
there's no tomorrow and maybe i'll meet you halfway sometime,
gth ...
4     december 1997 •«_. U NIVERSAL %si .>?••■*
W •Jb   -.CONCERTS CANADA   % -fV I #.%*
OP   40   DANCE   CRA
Who are you?
Ooh ooh ... Ooh ooh.
Please   give   us   a   family   tree   for
Saturnhead ...
The Olive tree: 'Saturnhead' comes from the
Greek work 'Ptolomas' which means (rough
translation, because the literal doesn't make any
sense) 'He who laughs at luggage.'
Saturnhead's music is created by one mind, two
hands on a ten-year-old four-track recorder.
Saturnhead is, for those of you who may not
know, a one man four track band. Terry Miles
lays all the instruments and writes all the songs.
Now, this would be quite a bit to accomplish
live so, enter the live band.
What music is on your answering
Beach Boys ... again ....
Is Boba Fett a female? Which character
did each member of Saturnhead play
as a youngster?
Boba Fettl Boba Fettl
Who are Resolution Records? Are there
not any labels in Vancouver 'worthy'
of releasing The 'Head?
Resolution Records are the beast from the east.
Toronto independent pop music specialists with
a deep appreciation for a certain Canadian lo-
fi pop guy with a very large record collection.
Vancouver is mainly a movie town — anything
extraordinary is skilfully ignored by everyone in
the business. And it is sad, because it is very
much a nice place to live.
How has your band used the internet
to further your career? It's quite a story,
eh? Plus, any hints on how to stop getting porn and get rich quick junk e-
Yes. We have created the world's first virtual
church of lo-fi indie-pop, the first church of
Saturnhead. As far as porn and gel-rich-quick
junk... With Boogie Nights, porn is back. We're
tryin' to get 'hooked up' for some soundtrack
work ... anyone?
By the way, (a) who came first,
Cinnamon Toast [Records], Halifax, or
6    december 1997
Cinnamon, Vancouver? And (b) Redd
Kross was spotted backstage at the
Rage with a Cinnamon tape in hand,
April 1997. What came of that?
(a) Cinnamon Toast ... Cinnamon the band was
named after secret agent girl Cinnamon on the
TV series Mission: Impossible. But Cinnamon
(Canada) did come before Cinnamon
(Sweden). And what exactly does Cinnamon
have lo do with Saturnhead? Absolutely nothing ... sorry.
(b) Yes, Redd Kross have family ties to bolh
Cinnamon and Saturnhead: all three are eternal spirits of '76. Redd Kross is another
band lhat has toiled in relative obscurity for
many years. That is, of course, Saturnhead's
only aspiration, relative obscurity ... how
If you could combine all of the Spice
Girls into one 'Super Spice Girl,' would
she rule the world with her uniquely
enhanced 'Girl Power?'
Well, how many navels would she have? I think
with all of that talent, yes. But you can leave out
Sporty. We don't really need Sporty Spice in
the equation. Under 'Spice' rule, would we be
forced to wear the very big shoes? What would
become of MENSA? WOMENSA?
What time is it?
It's time to break out of the Pablum and crank
up those K-Tel albums It looks like we've got a
mighty  indie-pop  lo-fi   bug   music   convoy,
gonna take ya' downtown. Saturnhead's new
album will be available this winter on Darling
Music, check that web. And remember, always
floss, and keep an eye out for the Knights
Templar ... shriek!
1997 Introducing ... Arizona's Thin Mistake
(Resolution/Sonic Unyon/F<A<B) CD ■
1996 Your Smart Friends Are Gonna Love This
(Darling Music) cassette
Box 93559 Nelson Park PO, Vancouver, BC,
V6E 4L7; saturnhead@earthling.nel;
http://www.geocities.com/broadway/4941 /•
Who are you (names, ages, instruments
Don Guitar, bass, organ If we were the Partridge
Family, I would be Shirley.
Seiichiro  Drums, 23 years
Kacey Bass, guitar, keyboard  Lord of this whole
sector, cross me and burn in on eternal pit of reeking pain  I am ageless
What is the connection between
Thrillseekers and restaurants?
Don We like lo eat in ihem, especially the lentil
slew with lahmi at Deserts If they want lo sponsor
our band, I would be happy to shove a big mouthful of it in as we're accepting our Grammy award
Seiichiro Don and I used lo work at the Japanese
restaurant called the Eatery. That's where we met
Kacey Restaurants are node points where musicians, or people who think they wont lo play in
bands congregate for food, employment or both
So too, have we, Thrillseekers, congregated  Thus
Any messages for Thrill Squad, who you
ironically opened for on your first gig?
Don The olher night I was driving home in the
rain and my windshield was kind of fogged up
and I wrote the name Thrill Squad on it with my
finger A couple of nights later, I was again driving home in the rain, and on lhat very same
spot, on my fogged up windshield, appeared
the phrase 'Satan walks among us.' I cannot
explain this
Seiichiro: How's it going?
Kacey  No special message for Thrill Squad, but
that story Don wrote is absolutely true
Pro-sports or anti-sports?
Don: Pro-Sporrsdeslc, which I watch at work. You
get the scores and the big plays, and you don't
have to sit through the games. Also pro-
Saskatchewan Roughriders
Seiichiro Pro-snowboarding YASU kuh
Kacey I am pro-playing sports I love hockey But
it is bad lhat there are billions of dollars lied up in
pro-sports when there are people who don't have
no shoes, y'know?
Could you tell us what the antithesis of
your band is?
Don   Mean people with un-positive energy who
cannot see the beauty that is around them
Seiichiro  Shouting al people thai we kick ass so
hard that they will bleed
Kacey  I think Marilyn Manson is a booger.
Current most-hated song?
Don Whatever song that all of the hippy kids are
playing on their drums on Commercial Drive all
the bloody lime   Hippy children, put down your
drums and go back to juggling slicks ond hackey-
sack before there is a blood bath in the streets, I'm
begging you
Kacey   I don't know what song I hate the most,
but I'm excited that drop-in hockey season is almost
Ask yourself two questions and answer
Don: Have you ever thought of expanding lo a
If you did, who would you want in the band?
A nice guy named Kevin who, if he grew his moustache again, would look just like a blonde Robbie
Robertson, circa 1971.
In the wake of the prohibition...
This balancing act.
The Dramatic Balanced LP
Available now downtown
/made@bc.sympatico._d SJSL   NOVEMBER   13th ^W^
NOVEMBER   2 5th
_^ J _j\J __£__ _L ^
9:30 PM
AVOllE      ~
riffi two M 9\rw
Proceeds benefit the Downtown F.astside Women's Centre which provides
hot mealsand support to women in Vancouver's inner city .core.
Friday, Not. 28th
Umhijki,mb WHERE   IS   NOT
There is a block of dull gray and dried
concrete inside my head. It is waste embodied, slowly becoming unbecoming
Even waste has too much descriptive character here, in fact. This comes as no surprise to
some readers and acquaintances, I'm sure. This
may even be my most distinctive feature, next
to my paranoia, but both are really quite obvious to see, as they dip out of sight This block
is cake-like and cumbersome, with veins and
arteries running through it for no reason. What's
more, it flakes and chips apart when I move,
slowly becoming smaller and less useful For
my own good I should leave it alone, or else
I'll be left with only blood-soaked dust; a mucky
swamp-liquid sloshing between my ears — as
if it makes a difference. And so, with this prognosis in front of me — and with little real choice
on my part, actually — I am giving up trying to
deny or to do anything about my transformation. Why not? And so, accordingly, everything
about me has now become increasingly sluggish and uninspired, more so than ever before,
all the way off the map. In short, I am all crumbs
and hot gas: i.e. nothing in particular at all,
hardly a register, a bona fide waste of effort
segueing into less and less. This is neither bad
nor good. So long, human world, you're welcome to it. Time, space, language, culture, economics, people, and what not, are all too much
for the concrete-headed like me. I can't even
begin to do or say anything enough to alter
this multiple burden, except the something that
is nothing. Even nothing can't express my absolute attitude, which is so gone that it hasn't
even started.
Luckily, even with my concrete head, I was
just able lo force out one last small observation
for old-time's sake: as much as I would like to,
I will never understand anything except good-
enough lies; and the term "lies" is just a loaded
shorthand offered to capture something of the
sense of relative functionality I am trying to express. The same goes for everyone, it seems,
for this business with lies. But this pseudo revelation is only partial. Because not even the
self-knowledge of this (in)capacity is truly mine,
it is always already not even there. Not even
nowhere, that's the ticket. Navel gazing without the help of a navel or the Tightness of a
gaze, l-less. Even a good, discrete sense of
failure, disappointment or some other comparable and more comprehendable form of frustration would be a suitable refuge, a structure
of some sort, providing context enough to begin explication I know, I know ... oh boohoo
to you, concrete head. Ah yes, but such angst
is a washout really, a dramatic make-believe
ritual and pretension, a game for privileged
romantics, of which I was once one. Like depression or anomie, angst relies too much on a
psychology and a culture that assumes too
much, even if only about lies upon lies. All this
is too much for the concrete-heoded; besides,
I'm talking about much more — or rather, much
less — than stupid, self indulgent self-loathing.
I don't even care that much, remember, and
that's the trick. Gone. Structures don't matter.
All this seems very disgusting and ugly because it is basic, butbeing banc makes it blank
It is not disgusting and ugly, or appealing and
beautiful. And so, to call all this miserable or
to say that I am suffering by it is to say far too
much, overstating the crucial simplicity of this
happenstance In this case, it is unwritable
Save the adjectives, the best thing about this
development is that it means not even nothing,
not even nothing crossed out. Take my word
for it. While the last moment of corporality is
spent reveling in nothingness — the funny little
non-hinge — I'm ready to move on or out, to
step aside, well off the stage, quite out of the
theater So long bodies, texts and discourse.
And I could give a shit for any final anti-totality
of absence or whatever. Let the other players
contend with such silly complications, I am not
interested in fhe game anymore, and I can't
be. I'm ripe for the in-between parts that never
end or begin, where necessity and its antithesis blow each other out as if they never were,
and where words never materialize in any form.
Because it just doesn't matter, and it never did
or will. Just like me Not even Other — who
cares for Other? My concrete head slowly turns
to dust. No, this isn't about death or rebirth, or
anti-anything. It is the is-less and it-less. And I
dare say, we all have one foot in it already.
Once you have two, then you have neither.
In the meantime, fuck popular culture and
all its ups, downs and ironies. It's all so tiresome. It is what it is, okay, and everyone knows
it already and then some. A thousand plateaus
of endless intricacy that never take form, where
everyone is right and wrong all at once, all the
time. Suffer, enjoy, or do both. It is just one out
of so many good-enough lies, all right. And it
can be so much fun and meaningful, or the
inverse. Congratulations. I don't care for anyone's agreement or disagreement on this, share
it amongst yourselves, it all amounts to the same
thing anyway. Remember, my head is now decrepit concrete. But popular culture was the last
sufficient push that tipped me over, that gave
me the big shove Funnily enough, it also gave
me the necessary will to cancel my will beyond
negation, all without my conscious participation, mind you. A last moment of psychic can-
nibalization, this was my self's last political action. It was so much more than theoretical masturbation, pal. It was so fucking heroic and fantastic, and then not even nothing. Not bliss or
terror. If my former concern regarding popular
culture was the final "in" that was also my way
"out" of needing ins and outs, then it did me
some service after all. Or maybe, I should say,
I am now no longer in the position to judge all
this by any standard or practice. I have no feeling in the future and my memory is emptying
and closing up. These few words are the automatic writing of my fading human capacities,
giving up a last spasm of empathy for no particular reason. An unromantic mirrored horizon. A haunted narrative or self epitaph. As
insular as a drainpipe. Big deal.
It is odd, however, this popular culture stuff.
I mean, what a fine sham. But there it is. All
these things, choices and stress. The luxury of
being burdened by incidental cultural formations is enough to make any fair-minded person a little cynical and reclusive. Nauseous,
even. But en masse it has created a profoundly
obsessive sense of all thingsconceivable. Try out
attempting to have a brief — albeit fictitious —
objective sense of this behaviour tt can be so
weird Even a concrete head like me slill knows
enough to marvel at what an awesome abstraction the commodity is This was how I was ready
to ease into concrete headedness, actually, the
transformation was staged again and again in
popular culture, t just fell into place and out of
nowhere. But I'm not pointing any fingers or
anything. Who am I to blame, how am I to
blame, whom am I to blame ... you get the
idea, I'm sure — although I don't get It anymore,
because I don't care at all. I haven't joined or
left, I just haven't-haven't But I definitely haven't
become fractured into oblivion, dematerialized
within a swirling bricolage of bricabrac. That
bullshit line only carries so far. A smoke screen.
This is the obsequious car crash — it comes to
you: an endless, nameless avalanche of stuff.
We have no shortage of stuff, except for the
less financially fortunate, who maybe only have
no shortage of desire. Even the grossly fortunate have no shortage of desire, however.
Maybe desire is the final leveler, where everyone becomes common. Certainly need can't
be. Does the commodity secretly tell us all this?
Hard to tell, desire does all the talking. The
nature of the commodity hides behind the surface of the incidental "whatever" it empowers.
How can it non-speak in so many ways at once?
It is so sublime. Its glorious radiance dries the
concrete more and more. If ever there was
something that is beyond us, with a machinic
transcendence, enabling a lazy totalization, it
surely is the ghostly commodity, as firm as our
hands. If gratitude mattered anymore, I would
bow graciously, thankful for it's inhuman "wisdom," providing insight into the less than less.
But in polite indifference, it is the commodity
that bows and bows. Hey, I'm as tired of it as
you are.
If I was able, I would — critically minded —
say: APEC and the Christmas season are both upon
us. Their significance is overshadowed by the
smoothness that surrounds them. The cult of the
non-sequitur probably exists to replace the grim
obviousness of power doing what it typically
does. But I've given up that pastime as much
as it has given up on me. This is sad recognition. In this way I betray the blankness. I am
grateful for my lapse into beyond fictionality,
although even here my all too human-ness
seems to draw me into unwanted solipsism. And
this is true in the sense that it is pathetic and
unlikely. I don't go further than the end of the
page, as far as you and me both are concerned. This has become a third, an absolute
soliloquy. Pornography of the highest order,
after all. And more than this, it is transparent.
It is the smoothness. That's the rub with blaming, really. Am I really just dying to say that all
we need is love, like a introspective transform-
ing-in-place young man might say. Or a foul
pop icon. Or a billion greeting cards. I confess, I am a liar, or at least confused. Maybe
there is no concrete, only a sense of common
frustration, of stupidly grasping for my own
gain, of wanting verification. And here I
become even more right while I realize how
wrong I am. My confession is an omission.
But over what? It is chicken-shit. A last stab.
Oh no. Swan song. Boohoo. It is the moment of transformation. The concrete is
crumbling for real. Look closely at this
page, not at the words. The ink stains and
paper fibers are wonderful. The texture. The
smell. I am envious of this simplicity. Push
it further. Last. The lighthouse. Improvised.
Our hero. He's lost in space. He's lost his
mind. But never mind him. He's a goner.
Over and out.
mr. kitty poulin a.k.a. concrete head
8     december 1997 'Z7€Z^____7^Z7ZaY7
Hanin Elias delivers sonic
terrorism      via     Atari
Teenage Riot as well as
on her own terms in her
solo work (There is No
Love      in      Tekkno,
I Showj. Aliens ..: anarchy ... aggression ... Hanin smashes the patriarchy — don't get in her way. Let's
start the Atari Girl Riot ... (Alec
Empire sits in ...)
by Siobhan Twin Stars
i  DiSCORDER: Hanin, have there been
1 any movements in Berlin, like Riot
nin: In Berlin I |usl know girl bands who
i  prefer more the 'girlism' thing, like the Spice
1 Oris
Alec You mean girly girls
Hanin Very girly — nothing real That is why
I feel totally alone in this male structure thing.
So there's not very many women
doing stuff, even in the underground?
Hanin    In   the   DHR   [Digital   Hardcore
Recordings] scene there is
But nothing else?
Hanin: The women in techno they are more
like I mean, the djs are the heroes and
they are only men. And the girls are more
dancing around them and shaking their hips.
It is like in the rock and roll business: the girls
are just the smiling, screaming groupies of the
djs like the rock chicks are for the metal guitarists It is the same
How did you get involved in music?
Hanin (Alec and I] started to make music
together. He had his new computer and I was
a singer in a punk, underground trash band
and then we met each olher and decided to
make music because it [techno] was something
new. I thought it was really interesting lo make
music by computer We formed this ATR style
of music. After this, we met [ATR's] Carl [Crack],
What is your song 'Tie Me to the
Wall' about?
Hanin Ah, you know this song [laughs]
Have you seen the video as well? In the video
there is this alien which ties me to the wall. It
looks like this alien that fhey found I can iden
tify more with the other tracks on the album.
There's the track where you sound
really soft or something ...
Hanin Yes, it is kind of dark It is called
'You Will Never Gel Me.' I sang this lo all
these guys who always think that backstage I
am the groupie or something 'Tie Me to the
Wall' is because of all the sexual experience
you see on television — it is getting so bor-
ll was |ust to lay out some weird fantasies
with aliens [laughs]
In your solo work do you have any
specific agenda?
Hanin   This record was meant os a provocation as well; a provocation of our own DHR
scene, which got really into this one direction
and I -*vanted lo change that because we
should be open-minded about every style of
music  I was also Irying to be difficult.
People didn't like it?
Hanin It was split
Have you squatted?
Alec. Me, I didn't, but she and Carl did.
Hanin  Have you ever squatted?
No.  Did lots of people squat [in
Hanin Yeah. In Berlin it used to be many
people And after the wall came down, East
Berlin people, most of them, left directly to
come to the west to live because they were
scared that maybe somebody would build the
wall up again! Thot was the situation when
all these weird clubs opened because all
these houses were just empty
I moved out of my parents' home when I
was 15 because my father suddenly started
lo (real me no longer like his child — more
like a girl he was scared of losing. He is
Arabian and this got really slrong because I
was free until that time, and suddenly there
was all of these forbidden things. And he
started hitting me and punching me really
badly And then I moved out and went lo this
left-wing punk scene. They took me [to what]
was in former limes an old hospital and people squatted there And I lived there until the
time I met Alec.
And that's where you started your
punk band?
Hanin   [laughs] I started many punk bands
Did you put out anything on record?
Hanin No, it was just on tapes, we never
really put anything out.
Do you have any other bands now?
Hanin. No, not yet. I make my solo stuff.
We are in contact with Bikini Kill Maybe they
can do something afterwards.
So they are totally into that?
They wanted us to call them Once
Carl ond Alec were somewhere else, in
Spam os djs and mcs, and we hod this gig
in Berlin and I had to form a band very fast
So I took Gino Irom Ec8or and Patric and
we made this totally experimental thing, one
day before the show We had this taped
thing; we lecorded some lyrics and voices
and I sang We put it faster and we played
live guitars to it So we didn't sing at all on
stage, we |usl had this tape And we
played, but nobody knew how to play any
instruments! Bul it sounded really cool and
the kids liked it
That's sorta how Bikini Kill started.
It wasn't about knowing how to
play your instruments. That whole
Riot Grrrl thing, just starting up
Hanin: The lyrics are much more important,
I think And the chaos on stage has this sort (if
chaotic element ond anarchistic energy, this
is what is so greal about it  I think all these
Riot Grrrl bands are way more punk rock than,
say, the Sex Pistols ever were I think they [the
Sex Pistols] were loo controlled
[Free for all talk aboul girls in bands and the
history of girls in bands]
H was just a total reaction; girls' experience at rock shows — being excluded, male violence. You know that
hardcore scene — boys onlyl Do you
like playing these huge coliseums?
Hanin: It is strange as a support band. I
mean, it is really early.
People seem confused.
Hanin: Yeah, ihey are! fhat is what it is
always like   Our music really provocates,
especially ihe rock audience And as well, the
Wu Tang Clan audience; most of them were
like while, middle class kids — veiy small, but
bodybuilding guys ..
With baggy clothes?
Hanin: Yeah  We had a fight with some of
Alec: Sometimes we used lo jusl jump down
Hanin: To fight for the shitl
[lo Alec] We thought you were gonna
chuck your mic stand at that guy.
Hanin I smashed il on the security guards.
When we came here tonight, the
security took away my chokerl
Hanin They took it away? Aw lhat is
because of Rage, I think. They are scared
some right-wing people are going to hurt
them It is totally the wrong way, lo make this
big barrier theie and these security people,
the energy can never (low in this kind of
venue. We were happy thai there were no
seals [tonight]
Alec Yeah, 'cause most of them have seats
Hanin: Seats, security, the bonier and bright
sunshine' Bul it is great lhal we can play in
front of such a big audience so the people q
who don't know us can see us and start thinking   It is important lo play in front of a big
audience as well as small club lours —
do both
You have a sub-label, Less Than I
Alec   That is the label where people under I
the age of 20 years are allowed to do stuff
I mean 'allowed'       it is the idea lo destroy J
this barrier between ... I mean the younger   i
people they just look up to us and we don't
like this. So we want lo show them that you
can put oul stuff
Hanin They should kick us one day when
we are loo old, we don'l want lo be like the
Alec fne idea is for the future At the moment
we just have two guys One is 1/ and the
other is 15, one is called Bomb 20. Have
rl i< il film Dark Star?
Dark Star?
Hanin It is this science fiction film — real-
Alec rhere is this bomb, Bomb 20, it
explodes when it counts lo 20, it thinks itself
so you can't stop it And he recorded these
great lines .. he did an EP already
Hanin: I think more people should send us
stuff Maybe we can wnle the address
Alec A lol of people send us stuff
Hanin Yeah, bul under 20?
Alec  Yeah, okay      but   .
All the bands on DHR are German?
Alec   There's one guy, Dj Skud, he is from
England   We are gonna do another new
label lhat starts in September, it is called
Geisl Thai's gol my new records thai [should
be2] on Mille Plateaux, because I got really
frustrated with lhal scene
It got over-intellectual?
Alec   That is right, but it was always this
approach We did this tour [with] Ed Rush, DJ
Spooky and some of the other guys      DHR is
like a movement in a way, all the bands deal
with each olher in a certain way  II is not
about competing against each olher and I
saw it wos totally different [with Mille Plateaux
artists]   Il wenl into the wiong direction, with
people like DJ Spooky and stuff; they talk more
about this stuff than ihey actually do.
Hanin: Once we saw him acting like he's
mixing or scratching
Alec: And he jusl had this record playing.
Really?)? Holy shitl
Alec Yeah, but I mean he is a nice guy.
Thai is why I stalled this new label The First
record is going to be a triple CD of my stuff
Some stuff from the Mille Plateaux albums,
but put in a new context The difference
between Geisl and DHR is gonna be that
Geisl is going lo be very experimental.
Hanin My next solo album will be Atari
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the dfcfmefi. highlights
November 27.28 & 29G\RL FEAST '97
Fri Doc 5th
terror of tny 7xxvn, thru squad
Fri. Dec. 12th
Sat Dec. 13th
__■__*%   »£* WWD»J7_J
Tues. Dec. 9th
Wed. Dec. 10th
Sat Dec, 6th
Thurs. Dec. mn
Fri. Dec. 19th
Q^i-fll iftTTYSEft raT-yrsr? WOODEN STARS
part of Julie Doiron's band,
they returned to play their
WWII   t.UlllfJU3HIUIIi.    IV
of the four Wooden
Stars (drummer      .
Andrew and }
guitarist/vocalist    \
Julian) were
apprehended behind
the Starfish Room by
~!>w alliance ,
.... as Hansel and
Gretel. Looking
bedraggled from their
? touring scht
DiSCORDER: There's a rumour floating around
that there's a split 7" with Julie Doiron on one
side and Snailhouse on the other. Could we
have some information on exactly what and
who and how that is done and if you guys are
related to it?
Julian We're cousins Snailhouse is Mike's thing.
Mike's the other guitar player [and] singer in the
Wooden Stars It's his solo effort There is a 7" coming out, I'm not sure when, but it's being worked
on currently There's a new Snailhouse album coming out sometime in the next six months Andy plays
a lot on it and I play a little bit on it
Which label is it coming out on?
Andrew  Some guy, I think he's from Victoria  I
don't really know the details
Are there any more side projects that you two
are working on?
Andrew I've done a lot of other things like play
with lots of other people I'm one of the drummers
on a record that's coming out from a jazz sort of
guy from Ottawa It's pretty modern and out, his
name is Justin Dean. I'm one of the three drummers
— I'd say the lesser of the three — but [it's] pretty
neat stuff It's very modern, out. avant-garde jazz
It's not like Ornette Coleman with three jazz
drummers at once, is it?
Andrew  No, we never play together because it
was three different sessions. I've done other things
I'm not going to tell you about.
Like total Black Sabbath tribute bands?
Andrew Yeah!
The gentleman who played trumpet on 'Mardi
Gras,' is he an old friend?
Andrew Mark Walters. He's a friend, I've played
with him before. I've done a few jazz gigs with him
over the years He's probably one of the better trumpet players in Ottawa. He only played with the
Wooden Stars on one gig and then he went away
on a cruise ship for a long time.
That's really good money and good food, too!
Andrew Yeah, oh yeah, except you can't socialize
That was one of the rules he told me You can't
associate with the people on the ship You're considered a member of the crew, and the crew can't
socialize. It's pretty weird
How was the Julie Doiron thing? I went to
that, and your playing style changed dramatically when you started playing with her. Is that
something you like doing?
ported prawn chips that we
brought them as a present.
Julian Yeah, we really liked it I think everyone else
did too We will be doing more things with Julie,
hopefully recording.
Andrew Definitely.
So none of you were on [her new] album.
There were lots of other people on it, but none
of you guys.
Andrew Yeah, that album was recorded before we
were involved.
How do you know her?
Andrew Mike's from Moncton, so he knows a lot
of the same people They've known each other for
a long time.
There's plenty of banjo on the album, played
by your bass player, but there isn't any
played live.
Julian: That was my brother Matthew, but he's not
in the band anymore
My friend lives in Ontario and went to school
with Matthew. She said that in high school he
had hair like Astro Boy —you know how Astro
Boy has those spikes in his hair? He also wore
black turtlenecks a lot and he was the really
moody Astro Boy of high school. Do you
remember that at all? Did he at least have
vaguely spiky. Astro Boy type hair?
Julian He may have had that hair style for a couple of days He may have. He went through a lot
of styles
Andrew I could see him being Astro Boy, he's pretty moody. He's also much like a super hero in some
ways He does wear a turtle neck.
A Wooden Star isn't anything, is it?
Andrew No. and it never will be anything.
Are any of you guys married? I know Julie is
married and has two kids. It seems like all
these rock bands are growing up.
Andrew No, we definitely aren't married. You see,
we all made a pledge when we were eight or nine
years old that we were never gonna get married.
And we're gonna follow through with that.
Julian Unless we meet the right person, then we're
all gonna .get married to her •
The interview drew to a close wh
vi wi' all sudden
■ thai the Inbreds (heat
lining that night)
weren't going to be back any tin
e soon   We then
proceeded to eat most of the ba
lanas and toffees
on their rider fust anothei perk
of hard-hitting,
investigative tourihtli'jn
if you love clxristnias so much
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SUN - WED 11-7
THURS & FRI 1 1  - 8
11    ®l^°SE__L After a three week European tour with the Silver Apples and in fhe midst 7_u A9,oy_$ T your T" ,ab*K
£ . , J^f_, W   We don'l put an awful lot out  We visited K Record*
or a month-long American four, Windy and Con drove into town olympia and they've got the biggest, nicest operat,
recenfly fo play us some space-rock to dream to. DiSCORDER's
think ot the t*
and to
slurring records and mailing them out Irom our
pretty measly compared to what we saw today.
Brian Wieser spoke wifh fhe Dearborn duo before fheir headlining    Bu< ■wou,d be ■*■ if we could d°•» MUht». »°»has to do with
i ,   ,i        rj   .    I I money We both work Kill-time jobs to pay the bills and it would be
ind play shows all the ti
DiSCORDER: Where is Dearborn, Michigan?
W Twelve miles southwest ol Detroit It's very quiet
C   tit's a] suburb like everywhere else in Detroit, a
medium size city  Henry Ford used to live there and
everything is Ford Motor Company, Ford Motor
Company The Henry Ford estate is a nice place lo
go il you ever go lo Dearborn
Can you see Detroit burning from there?
W  No'
Interuiew by Brian Wieser
C You can smell it sometimes I don't know il it's the
burning or the smell ol the trash incinerator burning
It's pretty nasty You have to hold your breath and
plug your nose in some parts ol Detroit
What is music like in Detroit Rock City?
My impressions have been ... well, let's
put it this way: I drove across northern
Michigan once and I kept expecting to
see Ted Nugent jump out of the woods
with a crossbow. Is that representative
of most of Michigan?
W  Michigan is pretty rock oriented  People really love rock 'n' roll and that's what they want.
C  They love their rock 'n' roll hometown people
like Bob Seger and Ted Nugent MC5 really doesn't   get   that    much    recognition    in   Detroit.
Everywhere else, whenever we go to other cities
land] tell [people] we're from Detroit, the (irst thing
we gel is, 'MC5I Yeah!' They're one ot the belter
bonds Irom Detroit, as tar as rock 'n' roll goes, but
people trom Detroit don't seem to care about them
at all, except in the underground.
W  Whal we're doing is not real popular  I mean,
there are other bands who are doing similar music
and generally, whenever we play, we go and see
each other. There's just a small crowd. A lot ot it is
because we're local People can come and see us play
any time they want, so they're not real worried about
coming to see us But we do occasionally have people
ask us il we open tor a bigger band, like when Ghost
came to town and we opened tor them, sometimes people will ask us, 'So, what city are you trom? Where are
you guys trom?' and we're like, 'We're trom here.' But I
guess that's okay.
Does twee-pop go over well in Detroit?
C Like the stutt we do? It does with our triends and there's a
little bit ot public radio support and some ot the college stations
are pretty supportive ot it  As tar as the papers, it's really hard
to get reviewed to get any kind ot recognition or even any mention at all in most ot the papers.
Did you ever find that you had to leave the area to get
more recognition?
W. Yes — the first time we ever played Chicago about 300 people came. It totally shocked us because nothing like that had ever
C We had all these crazy people, who actually became good
triends ot ours, at the bottom ot the stage screaming out songs they
wanted to hear and we were like, 'What's going on here? This is like
the total opposite ot what happens back home when we play.'
>uld put o
ing  It's just not a level that w
AH things considered, if you had the choice between
doing the legwork yourselves or having someone else
put out your records, which would you prefer?
W  In most cases, I'd rather do it myselt because then you're in complete control ot everything that happens
C  It's really hard to finance something like that, and you've got to
keep up on the promotion and distribution  The tew records we've
put out on our own label, it's so hard to keep up with distributors, to
gel them to pay you on time. It's really such a hassle and there's not
much time tor it unless you want to dedicate full-time to it
Do you play festivals like CMJ [an industry event in New
York for campus radio programmers]?
W   We played at CMJ and it was a pretty good experience,
[playing] to over 100 people   What's unfortunate about CMJ is
it's really easy for bands to go there and play and expect wonderful things to happen  And because a lot of the bands that play
at CM) are new or they're naive aboul things, the club owners
really take advantage ol that and they don't pay you. It's not all
of them, but there are specific clubs that are notorious for not taking care of people, so that's how we learned about making sure
that we had a guarantee betore we went to play at a club. We
played at Terracestock in Providence, Rhode Island this past April
and that was a wonderful experience. ]lt was] at this crazy old
mill building and it was three days. Forty bands played and we
had a wonderful time   Everybody that we met was fantastic and
no one was there to say, 'My band is better than your band.' We
had the best time imaginable. There's going to be another one this
coming April in San Francisco and we're going to play at that
You are a duo, but you were once a four-piece.
C A tour-piece question      yeah we were. When we started recording together in mid-1992, we put out a single and we wanted to start
playing live   We had a couple of friends we asked to join us,
because at the time, we felt if there were tour ot us it would be more
rounded out and we were really scared to go on as just the two ot
us  So we asked my triends Brenda and Randall to play live with us
and they had the time, a guitar, and we had a cymbal. It was nice
and convenient tor us, so we played live as a tour-piece for a summer We did a little bit ot recording which eventually came out as a
record called Once Dreamt, a 12" EP. After about a year of playing
live together, we parted ways, [which was] a bit friendly at first,
[but] then things got a bit ugly after a while.
W. It's easier as just the two of us. We live together. It we want to
argue about something, there's no-one else involved, there's no other
feelings to hurt or problems to deal with We generally find ways to
work out whatever's wrong. So we're just not really interested in
working with other people  I don't know it it's that we're too hard to
get along with, but we're really set in our ways about [how] we like
things done and it becomes unfair to expect that from other people
when they're just not used to the way that we do things.
C. I wouldn't rule out working with other people, but we are pretty
comfortable with what we're doing right now. Collaborations are
never out ot the question — it is possible.*
Windy ond Carl can be heard on a new 10" record from fhe
English label, Oka Records, ond on a new Kranky Records release,
available in January  Write them at 25439 Stanford, Dearborn
Heights, Ml, 48125 .
12   december 1997 [>i_£c:i_2Me:_£_ ncim mu_^ic
"Wolf Songs For Lambs" The Daddy Of Them All"
. "Static & Silence"  ~ _^.^ "Exile on Coldharbo ©
Even ihough it's still early evening and even though it's only the first week of
Cornershop's month-long tour of North America with Helium, Tjinder Singh
(vocals, guitar, scratching, dholki) already looks tired and road-weary. Add to this
the fact that he seems to be low-key and reserved, and it's easy to forgive him for
being vague and out of sorts during the interview It's even easy to ignore the fact that he
can't remember little things, like which city he was in the day before, or where they were
headed to the day after. As it turns out, Cornershop was in Boulder, Colorado, the pre-
* vious night on the road to relay the pan-cultural feel-good rhythms of their third album,
When I Was Born For The Seventh Time.
Their music could be called "(eel
good" music, not in the classic sense
of '60s doo-wop bands, but more
for their lale '90s way of finding a
healthy balance between taking a
stand for whal they believe in and
: that's
Cornershop is a band who is as
well known for its politics as it is for its
Asian-inspned grooves They caused
a media stir when they burned
Morrissey posters (lo protest what they
deemed as homophobic language he
used in one of his albums) outside of
his record label's office That happened three years ago and people
are still talking about it In the meantime, musically, they have accomplished much in the way of bringing
Asian influences into the world of pop
music —and even though it still seems
like the music gets overshadowed by
the politics, it mailers little lo Tjinder.
To him, politics is a big part of the reason he is in a band al all
work with Ginsberg? Why did they
covei 'Norwegian Wood'2' I think
there's too many 'whys' in there for
people noi lo ask questions."
Indeed, it is hard not to be curious
about a band whose very name is
meant to evoke preconceived images
lhal have meaning in almost anyone's
day lo day existence, no matter
where ihey live
'I ihmk the name transfers quite
well," he says For instance, a cornershop brings lo mind a racial
stereotype in every country Singh
points oul lhat wheareas the stereotypical cornershop in America is
Korean-run, in Pans it's Arab-run, and
in England, it's Paki-run
In trying lo both blaze trails in
music and be outspoken aboul their
actions, il would seem lhal Tjinder is
looking foi the pressure and attention
that comes wilh being a spokesperson — not only in music, bul in music
combined with culture and politics
"People expect thai Bul all I'm
doing is reflecting myself and expressing myself. If people can gel inlo that,
on whatever level, from whatever
country they're from, good But there's
no pressure in expressing myself "
"Whatever people get oul of a
song, they get out of it," he says
"Whether lhat's just an unbealness,
and no politics, then that's fair enough.
Or whether lhat's an intrigue as to
Why did they choose [thai record
label]?' then I think that's commendable as well
"Music should reflect what's going
on around us and how thmgs have
been shaped around us And it should
try and shape things around us Bul I
can also understand it as a way of
switching off. Both ways are pretty
good, bul I don't actually think lhal
there's lhal many people who can jusl
switch off, because everyone has lo
ihink aboul things lo a certain extent
Even to Ihink, 'Well, fuck the politics.
I don't wanl lo go in to that area,'
there's loo many things there for them
not lo be swayed inlo thinking, 'Why
have they done this? Why did they
He started Cornershop five years
ago with Ben Ayres while he was in
college in England His brother was
also originally pari of the band
"I never really wanted lo be in a
band," he says. 'It's just somelhing
lhat I sluck with because of laziness
and not wanting to gel a |ob And
because of good luck, as well as
because of things happening, with us
signing so quickly lo a small independent label "
His love of traditional ethnic music
began with his parents playing
Punjabi folk music lo him as a child.
He is quick to point out, ihough, that
ihere are a lol more influences in
Cornershop than jusl Asian. There is
not onfy a lot of cultureweaymg going
on in their sound, but also a careful
incorporation of technology, in the
form of beats and scratches. And it's
done so comfortably and seamlessly
Dling a
lhal it's almost as if they ai
culture of their own,
'I play [electric] guilar and acoustic
guitar now, bul I started off playing
bass When I was younger, I played
an Asian drum I also mess around
with a lol of technology, and computers       so it's whatever, whenever"
On their latest album, Tjinder has
nued tc
- 'yc
3  tool  IC
voice discontent, but not only on political or cultural issues Many of their
topics revolve around challenges they
face as a band The words "reclaiming looted uniforms" are written across
a page of their CD's liner notes
"It's a line from 'Easy Winners,'
which is on the B-side of 'Brimful Of
Asha'' He pauses "Well, you see,
we're a band who's going to split
up in a week or in five months. It's
never been easy and it's always
been part-time, and it's part-time
now People are taking time off
work to do this At the lime of writing that song and doing the artwork,
there was very much a feeling that
we weren't going lo be lasting for
longer than a week."
"I've always thought we should
express ourselves openly as much as
if   V
together anymore And no one's
going to give us shit about il either. In
England, in particular, we've pushed
a strong wave of Asian influences
that have been used by a lot of people, and we're not getting credit for
lhal. We're only starling to gel lhal
credit very, very slowly now. People
have nicked logos from us, nicked
quotes from us. One of the things
was our logo. I suppose 'reclaiming
looted uniforms' means taking il back
and gelling credit for what we
deserve, rather than letting people
who are in a lot better circumstances
than us do it."
It's this sort of attitude towards their
music that has garnered Cornershop
altention in the past and it's what will
keep the masses interested in what
they have lo say in the future — a
worthwhile thing, if it's for just a week,
or five months. •
If you missed Cornershop when
they were in town with Helium, check
'em out opening for Oasis on their
forthcoming North American tour.
14   december 1997 01
various artists
Exclusive tracks from an international
line-up of techno producers, including
Starfish Pool, Mark Broom, Riou,
Unit Moebius, Transformantra, Minion,
Phaedra, and Algorithm & Jeff Haynes.
Out now.
Distinctive, addictive techno grooves and
dub-scapes. Funky and atmospheric,
hard and sweet — all at the same time.
Features a bonus remix by Freaky Chakra.
Out January 27.
Dark hop beats pound along to a throbbing
sub-bass undercurrent, as nightmarish drones
and voices swirl overhead. Out now.
broken magick
Live tribal drumming interwoven
atmospheric electronics. Loops, r
melody converge to create world
a dark world. Out now.
loise and
music for
CONVERSATION i had with the members of s.c.o.t.s.:
AND ART. ■■■■■■■■■i
DER: I figured you guys might be
I brought you a poor northern imitation
^Kp**nan, we'll be diggm' it. Oh, God,
^^B^to much, man. Hey Mary Mary ...
^^Q deaf, deaf in that ear.
I love southern BBQ. I've been lucky
^P-Qn to travel in the States a bit, and
n Canada don't know about it,
piss they've gotten a chance to go
p there.
', have you been to Alabama?
e really good BBQ in Alabama.
had   BBQ   in   Tennessee,
s, you are starting to get into
s beef and not pork.
>, it's pork. Memphis is
)his, Arkansas, Tennessee.
. That's the BBQ belt there.
e Bible belt, that's a little
^Chris, he brought us BBQ.
tey Mary, there's BBQ.
Well don't get too excited 'cause I didn't
have a lot of time, and I cheated. I did it
on a gas grill and it was raining, so I didn't have time to be standing outside.
Rick: Oh, don't worry about it.
Chris* Hey, most people pressure cook it
anyway. ^^^
Mary: What are you all doing? Oh, sampling BBQ
Chris: Are you bringing Skookum burgers?
I don't know what that is. I didn't have a
recipe for Carolina-style 'slaw.
Chris: Vinegar and mustard 'slaw is your
The main reason I really wanted to come
and meet you is 'cause I figured anybody
that would commission a chair like [on
your CD cover] and have Von Franco airbrush it, is gotta be somebody that I'll
have something to talk to about.
Rick Bu need a Lazyboy.
I never wanted a Lazyboy before, but I
saw the picture in the CD booklet and it's
like, 'Holy fuck! What can I throw away
to make room for a chair like that?' What
made you guys wanna do that?
Rick I was tired. We got off the road and I
go, man. Well, it goes way back to when I
was a kid and my Dad had a Lazyboy reclin-
er... it had an eight-track stereo in it. And it
was a Lear Jet eight-track and you had to
|Hg it [and] push a button on the side. It
^b^_ up and it had two stereo speakers
^Bnd your head. And that was our stereo,
rw>. That was what I listened to a lot of
16  december 1997
music on. [It] sort of formed my musical
opinion, so that is how I got to have a
Lazyboy on the cover of one of our records.
Yeah, it's a bad-ass chair. And like I said,
I'm thinking, 'OK, if we get rid of the
couch, I might be able to do that,' 'cause
I work in a cabinet shop and we also do
re-upholstering. You ever seen outsider
art magazines like Robert Williams?
Rick: That's what we're into — folk art and
all kinds of stuff. Down south, we have a lot
of folk artists that really inspire us.
I just saw something on Von Franco, just
a little while ago. He was on the cover
of an air brush magazine. I like that kind
of outsider art.
Rick: And I find that stuff to be sort of folk
art too, it's just a different cultural mix.
It's just a different medium, you know,
like hot rods ...
Rick: Totally. Don't anybody ever let anybody
tell you anything different either. Those fine
art fuckers. Fuck those guys.
That Robert Williams has got his tongue
in his cheek. Not to say that what he's
doing isn't fine art, but he's got more of
a sense of humour about it.
Rick: Well, there's irony in it. And it's kind of
where we're coming from too. We're sort of
born of the same sort of exploitation car culture, all that kind of stuff — but in more of a
southern thing instead of a California one.
Yeah, I think that a lot of people up here
aren't familiar with white trash culture.
They might get white trash confused
with rednecks.
Rick: That's true. That happens all over the
place. But see, there's white trash everywhere. Rednecks you can identify with a certain region, like the south. But you know,
redneck came from when you worked on a
tractor all day or in the field. You just had a
red neck 'cause you're sunburned. But you
know, some people just don't tend to have a
sense of humour, so they kind of miss the
whole point.
[The album title] Plastic Seat Sweat
reminded me of when I was a kid,
because my mom came over from Italy
and in Italian culture, it's a big thing to
have two kitchens and two livingrooms.
My grandmother had the livingroom
that you didn't use.
Rick: Well, my grandmother's was like that
too. I remember that a lot of my friends' parents didn't have plastic on the sofa and stuff.
But we did have a whole naugahide den set,
see. Where we're from, the den is where the
TV was and that's where you basically hung
out. And then there's the livingroom, which
you never even went into unless there was
some sort of formal happening at the house.
How does the record company treat you
Rick: We have a good record company. I like
ours. They kind of know what we can do
and what we can't do.
Mary: We'd probably get lost in the shuffle
in a lot of other places — like majors And
Geffen is pretty well grounded.
Rick: Yeah, they're pretty good. I mean we
have our complaints, just as I'm sure they
have theirs. Overall, we are working with
people we like.
Mary: We know everybody on a first name
Rick: We still got to argue with them over
what songs we think should be singles, blah,
blah, blah. Money. Stuff like that. But that's
inevitable. You'd do that with any label.
Independent, too.
You were talking about art being an
influence on you guys as well. I read a
review [which] I thought was an unfair
tag. The guy said you were something
like southern-fried Cramps and I thought
that was more indicative of the guy not
knowing his musical history.
Rick: I think everything is kind of an influence on us, because, like I was saying, where
we live is a big influence on us. A lot of our
songs are just kind of written about things
we do, things we see, people we know,
where we live.
Is there a surfing scene?
Rick: In North Carolina, there's very good surf
there. It's the best on the east coast. You get
these huge breakers. But out there, 'specially
during hurricane season, it's really good surf.
As far as musical influences go, a lot of
people get kind of pissed off when
somebody changes from record to
record, but at the same time, if you don't
kind of progress and grow ...
Rick: You stagnate.
Well, if you don't stagnate you could still
be putting out good stuff but somebody
is going to come and tell you, 'Nah, it's
the same as last time.'
Rick: Yeah, but I'll tell you what. I think you
kinda got to grow as an artist or you lose
interest. You gotta keep posing problems for
yourself in the sense that I want to do this
now, or I want to try this and I may not quite
know how to do this, so I need to learn.
I think it's like a logical progression for
you guys 'cause you got a lot of that
kind of funky, white boy kind of stuff. I
keep reading in the paper that it's about
the voice and cultural appropriation.
Rick: It's what people want to hear.
[With] Muscle Shoals and Steve Cropper,
[you have] white boys playing like black
; in producing and stuff like that
Rick That's rock and roll.
So it's a fair progression and it's not a
big stylistic leap because rock is the bastard child of blues and white country.
Rick: If it wasn't for white people and black
people getting together, there wouldn't be
any rock and roll.
I don't think so either. In the '50s, there
was 'Blood Shot Eyes.' Winona Harris'
version rocks, but that wasn't the original — it was a country guy and they
stole off of each other. Borrowed from
each other.
Rick: You listen to any ... you listen to Chuck
Berry talk and he said he always listened to
hillbilly radio.
Or Ray Charles.
Rick: And that's where he got a lot of his
melodies from, you know. Ray Charles wrote
Modern Sounds in Country and Western
Music. That's a landmark record, man.
I'd read about it but I'd never managed
to see it.
Rick: But that's what rock and roll is. It's a
bastard child. There's nothing pure about it.
That's why when I start to hear people talk
about it, like it's some virgin thing, that's
total bullshit.
I was really happy with it. I liked how
'Dance with Me' did that weird. Middle
Eastern belly dancing thing. The first time
I heard it, I was like, 'How the hell did
they do that?' Because, [there were] two
very distinct styles, but you guys seamlessly put the two of them together...
Rick: He gets it!
Mary: Yeah, definitely. I'd say you win.
Well, I'm white trash and proud of it.
My friend in Nashville was playing
some dates in Austin and Houston.
Me and my brother rode our motorcycles from Toronto down to Nashville,
caught him there, and then went to
Austin for Aquafest and then did a
side trip to Houston. Somebody said
to him, 'Can I talk about this in front
of them guys over there? And he said,
'Oh, yeah, don't worry about them,
they're good southern boys. It's
OK.' And I pulled him aside
later and said, 'Warner,
what the fuck you telling
them we're southern
boys for? I'm from
Canada, dammit.'
And he goes, 'You
all's from southern
Ontario, ain't ya?'
Rick: That's right.
Southern Canada.
I'm a true southerner. So I remember
WoAfoTs SwiiltewC
Richard Petty's car with that big huge
wing on it in the '70s and stuff like that.
Rick: I know. The Richard Petty Museum is
in Randalman, North Carolina, which is less
than an hour from where we live. I had a
great story about an old friend of ours
[who] used to live in a cabin with about
eight other people — sort of a hippie thing.
And Richard Petty came by one day and he
said, 'You all are gonna have to ... you all
are gonna have to move.' They asked him
why and he said, 'Well, you guys have got
about two acres of pot growing out there
and it can't be on my property' But he wasn't mean about it or anything. He didn't call
the cops, he just came out and said you
guys are going to have to move. I thought
thatwas pretty cool.
Well, it's kind of the whole live and let
live sort of thing. You guys put that
stock car track on the record the last
time around — was that like the big oval
at Charlotte?
Rick: No, no, no. That's dirt track. I've got
to admit I took it off a dirt track, an old
record I found at a thrift store. You can
hear the scratches in it. No dirt tracks start
up 'til April, at the earliest. And not only
that, but you've gotta drive quite a ways
to get to them because most everybody's into the NASCAR thing and the
Sportsman's classes and all that kind of
stuff. 'Cause there's so much money in
stock car racing.
There's too much money and they're taking all the fun out of it.
Rick: They're painting cars green. Nobody
used to paint their car green, 'cause that was
bad luck on a race track.
Oh. I didn't know that.
Rick: But if Skoal will pay you a million and a.
half dollars, sure, I'll paint my car green.
I'd paint my ass green and run around
Rick: Put the old racing stripe right up the
old ass there.
OK, what do you want?
Rick: What's that?
What do you want in this interview?
Rick: Oh, this is fine.
That you don't usually
get to [talk about].
Rick: We've already got
it. Like, just what you
said about'Dance for
Me' is more than
any critic has ever
fucking gotten out
of it. I'm serious,
man. To me, most
rock and roll critics
— I don't know why their editors give them
space in magazines that are nationally published, because they obviously don't know
anything about music. They are just more
about fashion than about music.
I used to have a subscription to
Rolling Stone, but I gave it up years
ago 'cause I don't need to hear about
what big rock radio is beating you to
death with.
Rick: And you can't get space in those big
magazines anymore unless you're pushing so
many units a week. It's not even based on art
anymore. Our music is just based on sales.
Sales, sales, sales. But, what the hell.
Mary: Their own sounds even changed over
again this year. I think we heard through the
grapevine that they won't review our record.
Mary: And that they're primarily focusing
with the industry's ...
Rick: With the big sellers.
Mary: You know, right now they are only
focusing on records that are going to sell a
million or more.
Rick: For reviews and things like that. But
then, everybody can bring in their little pet
indie band to give it some sort of credibility.
Mary: Spin is a piece of shit. I don't care
about that.
At least they reviewed Emmet Miller.
That CD that came out, Emmet Miller
and his Georgia Crackers. And everybody said that he was a big influence
on Hank Williams. He did 'Love Sick
Blues' and he used to perform in Black
Face. His original recordings with the
Georgia Crackers was actually the
Dorsey Brothers.
Rick: Right.
You know, 'cause everybody used to
play with everybody else, and this stuff's
got this tin pan alley vaudeville kind of
vibe with horns and stuff like that, but
what I've read about him is that he had
a huge influence on Jimmy Rogers and
Hank Williams.
Rick: Sounds like it's got a little jug band in it
As far as the song 'Plastic Seat Sweat'
goes, I was catching echoes of, I don't
know if it was Starsky & Hutch or
Kojak, or ...
Rick: Everything is in that damn thing.
There is one riff in it.
Mary: Oh. It's Shaft.
OK. Shaft, because...
Mary: No, no no, it's not Shaft. What's the
one [hums a tune]...
Rick: Oh! S.W.A.T.
Mary: S.W.A.T. Actually, I didn't realize I had
done that until way after the fact. 'Cause I
had a violin, I played cello for a long time.
but I can't play violin all that well, so I've got
to hold it between my legs like a cello.
Rick: It's really fun watching her play it
though, man.
Mary: So it didn't sound quite as good.
Anyway, I got it goin' on and had the disco
string thing going, and then I realized
afterwards ...
That you were playing the theme from
Mary: Catchy for a reason.
Well how's about maybe doing a cover
of Shaft on a B-side or as a buried track?
Mary: Actually, Dave and I can play it. Dave,
the drummer, and I used to play in cover
bands 10, 12 years ago. That was one of
our staples for when the guitar player broke
a string.
Do you get down to Charlotte much?
Mary: Oh, yeah.
Do you go to Macdonalds Cafeteria?
Mary: What?
There's a place called Macdonalds, it's
like a meat +3s joint.
Mary: That is the, like, the soul food place
down there.
Rick: No, we never went to Macdonalds.
Where we go is like a meet +3.
Mary:   Isn't  that  the  place  beside  the
Rick: No, I don't think so. There is a soul
food   joint   down   the   road   from   the
Milestone. But it's in an old 7-11. I can't
remember the name of that, but the place
where we always go ... where's the place we
always went? Remember we went there at
least twice, at least four times a week.
You make reference to 'meat + 3s' in
'Banana Puddin'.' Can you tell us what
that is?
Rick: 'Meat + 3s:' basically you get your
choice of meat — beef, pork or chicken —
and  three  sides/vegetables.   Sometimes
dessert will be a side, like banana pudding,
lima beans or fried apples or cabbage.
Do you make cornbread?
Mary: I try to be good to my man, and then
[I] fuck it all up and get frustrated.
Rick: I like my cornbread a little sweet.
Chris: You need one of them little boxes of
Jiffy Cornbread Mix.
Rick: You got grits up here?
Rick: You can't get cornmeal up here?
You can get the real coarse stuff. Why is
it that everything that tastes good is bad
for you?
Rick: Sugar and lard, man, what can I tell
ya? You ever had a crispy cream doughnut?
That is the quintessential sugar and lard
I was thinking that maybe your musicds
a little more adult-oriented, 'cause stfWy
second song isn't about how misera!"
life is.
Rick: The kids don't get it!
Mary Really young kids like our musi-4
Rick: The scary thing is that n
from 15-18 don't know what r
roll is. Somebody asked me the_
day, 'You guys are doing rock^j
do you think the kids get it?' Anc/
ized it isn't for kids, or at least^
everybody. We get a real diversity**!
audience. The older c
back, the younger ones are ucC
and even some kids with thej;
noses and stuff com^^it anj
good time. ^""""V    Jj
Chris: What's our average on
buttons for this tour?
Rick: About half and half.
What do you guys do? Puts
detector at the door?
Rick: No, no, we have 'Dance for Mji
Chris: They come up and belly^"^
show it off. <^tffl
So you're reaching out to the younger
Rick: We're trying, we're 'ryrpfrj^
That's commendablptq^^^Afl
Rick: But I like that because nowadays,
music is segregated. I'd like to see our music
reach out to more people. I saw a Hispanic
guy in the front row in Calgary and he wa*,
so into it and he came up to me later and
said, 'How do you know Santo?' I told him
that I grew up with a lot of Hispanics and
have a lot of respect for Santo as a wrestler
and as a role model.
Do you wear masks for that song?
Rick: No, we usually get someone from the
audience who looks like they could channel
the spirit of Santo that night. And lately,
since we have two masks, we have chal
lenges — a Santo face off.
Chris: Duelling Santos!
A Santo grudge match!
Rick: It can get wild. The other day, q
picked up the other guy over his heSoTjj
Chris: Mic stands flying!
Rick: It's a public spectacle! That's^
we're into. Nothing's too good for u?fl
ing's too good for our audience!
Anything you want to add? ^
Rick: We're gonna be in a movie real s3
Know What You Did Last Summerly
exploitation slasher m
band playing in a bar at the beginning: .*
Dan: How'd that come about?
Rick: The producer liked u
us. Pick up the record and strike"!
rock 'n' roll. Fun music!'
17 um&umm  by Julie Colero
Julie: Who are you and what do you do?
Jonathan More: We ore Coldcut, and we do as
much as possible. What do we do? We just play,
basically, with lots of toys. Both Matt [Black] and I
started as djs — Matt, when he was at school, and
me, a few years later when I was at art college.
Djing, for quite a long time, was a hobby — a bit
of an earner and we hod day-jobs. I was a teacher,
Matt was a computer programmer. We met in a
record shop and decided to go professional We
took it from two turntables to four turntables ond
then we added lots and lots of toys Now we do a
lol off of the laptop, using software lhat we've
developed with Hex, who we met about seven
years ago.
We set up Ninja Tune in 1991 as a kind of
alternative label that we could use to experiment,
do research and put out our findings. The problem
with a major label is that they try and polish what
they get They'll pick up somebody from an underground scene and they try to manipulate them so
that they have a certain amount of underground-
ness and a certain amount of overgroundness and
quite often, that just doesn't work. It certainly didn't
work for Matt and I. We weren't into that way of
trying to be creative, i.e. a part of a committee of
people who all had their input. The best way to get
those ideas across to people was to do it ourselves
and to tell other people to do it themselves
Matt: We have an organization now with a lot of
different people working with us and decisions that
we make come out of that. Because Ninja Tune is
motivated more by the music than by the money,
that makes it a bit of a healthier environment.
What kind of power do you ultimately
wield at Ninja Tune?
John: Top. Top power. Friendly power. We don't
want to be the power merchants. I don't want to
be a statue, I want to be the plinth. When they topple statues, they usually reuse the plinth. We want
people with us that are motivated, lhat understand
and are willing to get up and get on and do it,
which is why we work with a lot of different people.
There's Strictly Kev, who's port of the DJ Food crew,
who djs with PC and does the artwork for Ninja
Tune. We have a lot of people like that who we
work with, a whole group at Ninja Tune. All the
artists record their material themselves; we may resequence it on th% album in a different order, but
that's about as much that our input is. We want to
do our shit and we want to deal with artists that
are interested in the same thing; they do their shit,
they bring it to us, we put it out and do our best to
get it across to people.
What Canadian talent do you possess at
John: We possess possibly the greatest ...
Matt: We don't 'possess' ...
John: Kid Koala is signed to the label. We came
up to Canada quite a way back now and we djed
in Montreal at this massive rave. We were in an
alternative room, layed some of the Ninja stuff on
them and they liked it. We came back again, met
Kid, and he gave us his tape, Scratchhappyland I
went to see him play with Frog-something or other,
I can't remember the name of his band ...
Matt: Bullfrog
Do you do a lot of work remixing other
people's work as well?
John: We have done, yeah Recently, really, for
the last 18 months, we've concentrated on our own
material. At the end of the day, that's better for us.
We love doing remixes. We've done quite a lot in
the past. We've turned down quite a few as well,
In your new CD [Let Us Play], you have a
whole page of assorted charities and different activist groups that you support. Do
you support them with any funds, or do
you do any benefit shows for them?
Matt We've done our share of charity shows over the
years They do tend to be very badly organized ...
John: A nightmare ...
Matt: But we have done quite a bit We've donated bits of money to various people [The information is] there as contacts, as information.
John: We believe in the notice board. We have
space and it's good to put up a notice board
with lots of shit on it, information for people to
deal with in whatever way that they want. That's
why there's so much stuff on there. A lot of it was
[put] together by Bongo, who we worked with
on the track 'Pan Opticon,' which features lots of
probably more than we've actually done. There's
no point doing stuff that you don't want to do.
We've turned down Duran Duran and the Rolling
Stones, which is quite amusing.
Who is the best person you've worked
John: When you do a remix, you very rarely
work with the person involved in the original piece
But have you had positive feedback?
John: Yeah, yeah. With Elvis Costello, for example; we did a remix for him of 'Little Atoms' and
that was really good. Basically, he said it was up to
us what we wanted to do and he didn't really want
his voice in there. We wanted to have his voice in
there, we really fucked it up. He was pleased with
that. He was really into the idea of somebody turning his voice, treating it, fucking it up. It was a very
different way of approaching things. [In] most
remixes, people throw the voice away and put in
brand new backing tracks, quite often an invention
of their own, maybe with one or two sounds from
the original piece. That was a different thing; to
take the vocal track and fuck that, keep that, and
throw the backing track away.
samples from real live action. [The video] features footage of real live demonstrations that she
Matt: It's excellent because that kind of stuff doesn't really get shown on TV
John: It's just pure action footage, not featuring
any of the artists involved in the music
Matt: Our CD-ROM comes with eight videos, and
I'm quite pleased, as they hardly feature us at all.
Except in the cartoon form, in 'Beats & Pieces.'
Is Ninja Tune constantly touring?
John: With an interchanging roster of artists, Ninja
Tune plays pretty much all over the world now. This
tour we've played UK dates, we've done Japan,
we've done the East Coast .. East Coast? Yeah,
'cause we're doing the West Coast now, right? We're
going off to Europe. This is our fourth visit, building up
steadily. Each time there's different acts involved,
which is what keeps it fresh for people. This is the first
time that we've come wilh Hex and with a different
show, really. Before, it was more turntable-based and
we hadn't had the visuals with us. This time it's more
based on the digital, on the laptop. We use turntables
as well, but mainly as a device to enable us to escape
from one program and load another. It's good,
because it's quite interchangeable You can do a different show quite easily
Matt: It's the kind of show that hasn't been done
before, with all the new gear and software, with
no rehearsal at all. So it's been a bit rough in
places, but I think that it keeps us interested in it, as
John: People realize that it's not like just playing
records. There's enough people out there who just
play records for us to be allowed to move on and
try something completely different It has gone over
quite a few people's heads and it's quite funny to
see that Fair enough, as we're playing our own
music, so if they're not into that or don't know
about it, it's all new. And now we're doing the visuals, so it's difficult to watch and dance. At shows,
one minute the floor will be rocking and then ...
There was a wonderful moment when we did
Japan, we had two screens, on each side of the
audience I looked down and the audience was
split down the middle, with each side staring at the
screen and rocking a bit.
About your vocalists: do you pick them or
do they pick you?
John: A bit of both, really. With Jello Biafra, who's
on 'Every Prison A Home'
Matt: 'Every Home A Prison '
John: I do [that] every time! We should have called
it that, much simpler ... We'd used some of his stuff
in Journeys by DJs, from a vocal poetry album that
he did We used to mix quite a lot of that — still do,
actually — on the radio show that we do Matt and
I have always been into records like that, that you
can mix with other beats so that you can layer it up
and make it more interesting It helps to get your
point across and to involve listeners It puts some
content into this sort of music, as it quite often doesn't feature content It's more about itself, about how
loud it is, how heavy it is, how wonderfully out there
and abstract it is. We thought it was good to do
something with content. So I phoned him up after
that, and that was it We sent him a backing track,
he freestyled some poetry over top of that, sent it
back to us, we fed it into the computer and used
Playtime, which is on the CD-ROM, to make the
backing track for it. So we've actually given away
the machinery lhat we used to make the backing
track for that track. That track is a demonstration of
what you could actually do with that software package. With Salena Saliva, she appeared at Stealth in
London, doing some poetry I was walking through,
to do my set, and I stopped to listen to her because
she was absolutely brilliant. I could hear her on this
track we had done, so we got her, and that's
'Noah's Toilet '•
Check out Coldcut's website at:
http://www.obsolete.com/pipe/ and watch out for
a Ninja Tune tour coming your way soon ... -
0aragE8tiock q|
*    \ff  X
four action-packed days at the end of October, the (regularly sleepy) little hollow known as Bellingham, Washington played host to 24 of the
world's top-notch Ambassadors of Trash in what some have called the
Garage Rock Summit or Grand-Daddy of all Garage Gatherings. We have
chronicled each day's events in all their unbelievable glory. Read on ...
by JBrucc Bunn and ;5can Ham
" photos b|j Hflaru fiosick
Finally, THE DRAGS hit the stage (with the
drummer from Scared Of Chaka filling in)
and laid waste to the crowd with their patented
lo-fi rumble. Lorca Drag hit all the right notes
(and screams!) and C J. Drag throttled the neck
of his guitar like that of a rotten landlord. They
played material from both Estrus LPs as well as "I
Like To Die" and covers of "Real Cool Time"
(The Stooges) ond (surprisingly) "Livin' After
Midnight" (Judas Priest)   [BD]
Halfway through The Drags set, my brain
started liquefying and running out my ears. I
don't think standing in front of the bass cab
helped much but they were so riveting
— what could I do? [SL]
jfndau, October iist *
quick to shake us out of
Leiderhosen, as the square
head stampers straight outta
Calgary, Alberta had me
reminiscing over the loss of
The Mummies [BD]
Those ant-head MANTS were
cool, though they nearly made
vomit when I envisioned the "mating with
female human" that they kept threatening to perform. They made up for this by performing,
instead, a rendition of The Milkshakes' "Red
Monkey " I was thrilled to finally get to see The
Von Zippers — including a guest appearance by
Tom Bagley, donating an organ for "Mighty Red
Baron." [SL]
THE GALAXY TRIO s spaghetti western surf
sounds kept many ears attentive throughout their
set. GASOLINE set the joint ablaze with the help
of their maniacal guitar player, who, between
bouts of hair-combing and Townshend-style
posing, would shout, "This crowd is very good
crowd ... I want to marry you!" This Japanese trio
was a dynamo of hyperactive rock 'n' roll. When
the LORD HIGH FIXERS broke into The
Morlocks "One-Way Ticket," I was grinning
from ear to ear and remained so for the entire
set. Seeing (the real) TIM KERR flail around the
stage (in his '40s!) was simply amazing: sonic
and intense voodoo blues punk. Can THE MAKERS ever NOT have a great show? The "Masters
of Smash" did their ferocious garage P.U.N.K. —
led by vocalist Mike Maker who prowled the
stage like a coged tiger while Jay Maker pounded the primitive beat again and again. Jamie and
Don howled ond wailed while we twisted and
shook to their savage sounds. [BD]
thurBdau, (October >oth t
After a somewhat tension filled ride we arrived at
Rock'n'Roll Mecca. The first thing I noticed was
the atmosphere inside The 3-B Tavern. Il didn't
feel, look or sound "Sold Oul," but instead felt
comfortable and easy-going Portland, Oregon's
SCREAMIN' FURYS were on stage belting oul
the Alarm Clocks' nugget "No Reason To
Complain " I found no reason to complain either:
decent band, good chops [BD] They were cool
punk rock on the Heartbreakers' tip
(Thunders, not Petty, ya dumbass!). They actually did cover "I Wanna Be Loved" too. [SL]
Then along came BLACKJACK Imagine, if
you will, a scrawny Glenn Danzig fronting a
poor man's rock band like early Supersuckers,
and you've gol Blackjack. [BD] They were OK. I
got off on them more lhan most of the other people there, I think — mainly because he's a big
Misfits fan {Blackjack are sort of like near-blatant Misfits wannabes. Not that they'd really
admit it). [SL]
THE FELLS, from Tuscon, Arizona,
impressed me with their no-frills, straighl-up rawk
'n' raunch — especially their bassist, who displayed the classic "I've got ants in my pants"
style of playing for the duration of their set. [BD]
I dug The Fells (especially when they did a
Saints cover), but I spent most of their set standing near the bar drinking and talking lo other
record geeks. I liked the SPLASH FOUR, especially the singer's Avengers t-shirt (the punk
rock band, not the TV show, ya dumbass!) and
the fact that they do a song about legendary
weirdo British record producer Joe Meek
("Telstar Man"). [SL]
Unfortunately, these Parisian punkers
seemed to suffer from a bit of jet lag (not ta mention a faulty bass amp) a few songs info their
set, but took il in stride, alleviating the uncomfortable lull by announcing that all Splash Four
merchandise would be free tonight — this garnered more than a few amusing retorts from the
crowd. After that, it was back to the slash and
burn and they finished with kicks in style. Just in
time too cuz THE MAD 3 dropped a helluva
bomb on us as we rejoiced in a festival of instro-
fuzz from these Tokyo madmen for the next 40
minutes. Even the classic Kinks' cut "I Need
You" got the thick-as pea-soup guitar treatment
as they sweat sauna-style through their black
leather duds. Banzai! [BD] They were so boss!
Mix one part Eddie Cochran with one part
Davie Allen A The Arrows, smother with
leather and tattoos, plug it in, and voila! [SL]
20   december 1997
What really blew my mind during The Makers
set was original guitarist Tim Maker coming on
slage, troding (guitar) licks with Jamie Maker on
"Train Kept A-Rollin"! Eeyowl [SL]
^aturdau, Boocmbcr )Bt :t;
Donned a suit for fhe lounge/jazz portion of
Saturday evening. MADAME X performed sultry torch songs, including a version of Bill
Haley's "13 Women" (done as "13 Men,"
natch). The CROWN ROYALS impressed with
sterling musicianship. Their material might be
initially mistaken as the type of crap spewed
weekly by House of B/ues-inspired Fern Bar
bonds, but these guys play with actual passion
and soul. Astounding! [SL]
THE QUADRAJETS from Alabama turned
in fhe most explosive performance of the night.
They started with AC/DC's "Whole Lotta Rosie"
and ended with total obliteration of all their
instruments SUGAR SHACK proved to be the
highlight of the evening. Twin guitar growl! How
could THE MONO MEN even think of going
on after that powerhouse? They didn't quite
have it — I went outside bwl returned
just in time for Sweden's unsung
heroes of ragnarok 'n' roll, THE
NOMADS. Age notwithstanding, they turned in an
impressive set, particularly
the material from their Cold
Hard Facts Of Life LP [BD]
I came down with the flu
>n Saturday and was doubly
pissed off when I had to miss
Charlton Heston kick mutant ass
The Omega Man. Highlights of
the night included The Mono Men (was I
the only person who enjoyed them?) and The
Nomads. [SL]
fuzz guitar. THE VOLCANOS erupted on deck
next. This instrumental combo from Michigan
did its best to get my feet moving, with only halfhearted results ... that was until the Mod-pop
explosion known as THE INSOMNIACS took
the floor. This paisley-garbed trio from NJ
inspired many to Boogaloo, Frug and Shimmy
with delight. [BD]
By Sunday, I was so sick with the flu I could
barely stand to be in the place. However, The
Insomniacs definitely hod me ignoring my illness
and shakin' to their way cool buzz-pop. If you
own a scooter, trade in all your Oasis records
for Insomniacs records - NOW! [SL]
Sundau, Tloocmbcr 2nd :*
Interesting to see MAN OR ASTRO-MAN? go
on first and speed through their trademark space
rock in just over 40 minutes. They kept visuals to
a minimum and no Tesla Coil, but Coco did set
his computer on fire so that was a plus. If THE
GIMMICKS had had some gimmicks to spruce
up their largely forgettable set, I would have
paid more attention. To their credit they did do a
cover of We The People's "You Burn Me Up
And Down," which benefitted from some greal
THE UNTAMED YOUTH began by crown
ing bassist Mace "King Of Men," then leapt into
The Coastliners' "I'll Be Gone" with reckless
abandon. Each member got a turn in the spotlight with Mace on "Beer Bust Blues Pt.2" and
"Mailbox Jamboree;" organist Steve Roger on
"Dance Sammy Dance," drummer Jet Trueblood
celebrated his birthday with gifts of a Pabst Blue
Ribbon-shaped cake and an armload of Sonics
and Waiters records; while ace guitarist Derek
Dickerson interjected humour at every turn,
including a pseudo-ode/sendup of former
Mummy/Phantom Surfer Trent Ruane [BD].
I love "I'm More Punk Than You," especially
the bit about owning "96 Billy Childish poetry books." Other essentials The Youth touched
on during their set: The Collins Kids, Sonny
Burgess and the Pacers and The
Shadows of Knight [SL]
Portland, Oregon's SATAN'S PILGRIMS
had the unenviable task of closing out the
'Shock, but succeeded in spades. For the majority of their instro I was front and centre, a veritable dancin' fool. The surfin' sounds carried me
away to another dimension, they are THAT
good. [BD] Even though Satan's Pilgrims were
trimmed down to two six-string guitars (from the
usual three), they still delivered. By this point I
was surfin' a river of snot, so I had pretty much
had it [SL]. •
... After the usual good-byes and last-minute
record purchases it was time to go. We praised
Estrus and the 3-B Tavern for all the good times.
Cheers, gang! If: Few directors have created an oeuvre with the
scope   that   Rainer
Werner Fassbinder did
Relatively few directors (in the
modern era, at least) have
made as many films as he
did. No director that I can
think of made/has made as
many feature films in as little
time as Fassbinder did (39 in
13 years!). Many directors
have identified with the "rock-
n-roll lifestyle," but few have
lived it to the hilt the way
Fassbinder did.
niggers,"   Fassbinder was
the ... well ...
Fassbinder's paranoid,
claustrophobic, manic and
autobiographical role in his
own segment for the omnibus
film Germany in Autumn
prompted Thomas Elsaesser
to write that the performance
evoked a "Jew for the 1970s"
within Germany's near-martial law conditions during the
latter part of that decade.
Fassbinder's early links with
the Baader-Meinhof group
and his continued belief in
to tight, highly-claustrophobic, arch, heavily-stylized
chamber melodramas and
black comedies, to sprawling,
painful, allegorical, historical
The Best Books: I
Antonin Artaud, Van Gogh:
Suicide through Society 2.
Arthur Schopenhauer, The
World as Will and Representation 3. Louis-Ferdinand
Celine, Journey to the End of
Night 4. Sigmund Freud,
Moses the Man 5. Alfred
Dbblin, Berlin Alexanderplatz
The Best Pop Musicians:
1. Elvis Presley 2. Bob Dylan
3. Rolling Stones 4. Leonard
Cohen 5. The Platters 6.
Kraftwerk 7. Roxy Music 8.
The Beatles 9. The Velvet Underground 10. Comedian
Fassbinder was the
Lester Bangs of the film
world. Or should that go the
other way around? They
both produced piles of work.
They were both famously
chemically-dependent. They
both lived in black leather
jackets. They both snuffed it
way too soon (or, maybe,
just in time [?]), and around
the same time too. If Bangs
was the "last of the white
radical and anarchist politics
made him a political outsider/threat throughout his
lifetime. Fassbinder's homosexuality and his flamboyant,
bacchanalian, tabloid-ready
public persona made him a
source of fascination and a
moral outrage simultaneously.
The Best Films: 1. Luchino
Visconti, The Damned 2.
Raoul Walsh, The Naked and
the Dead 3. Max Ophuls,
Lola Montez 4. Michael
Curtiz, Flamingo Road 5. Pier
Paolo Pasolini, Salo, or the
120 Days of Sodom
Fassbinder's film aesthetic
resulted in everything from
loose, angry, wickedly-funny,
gangster flicks a la Godard,
V/A-Cinema Beer Nuts
The Pacific Cinematheque
is closing off what has proven
to be a strong year with what
is easily the film evenement
of the year, if not the last five
years, with 30-odd
Fassbinders prints — many
that have long been out of circulation and a few that have
never been shown in North
America. Many new 35 mm
prints. The Dr. recommends:
Ali: Fear Eats the Soul,
Veronika Voss, Effi Briest, Berlin Alexanderplatz (FREE!),
Chinese Roulette, Germany in
Autumn, Lili Marleen, The
Third Generation, & c. Don't
be a fool ["Best" lists courtesy
of R.W. Fassbinder].*
Antonin Roi Nalpas
Mustard Plug
"Evildoers Beware"
Sophomore release from
Michigan's ska-punk kings
V/A-Cinema Beer G _
Features: Face To Face, A
Guttermouth, Ten Foot Pole,
Vandals, Blink 182, 88 Fingers
Louie, Funeral Oration, and
HR6U3-VHS(MTSC only)
'Ihe Smell Of Victory"
Colorado porno-punk, produced by Warren Fitzgerald of
the Vandals.
88 Fingers Louie
27 Song Discography,
includes unreleased and live
Prices: CD-S10 LP/CS-S7 Video: $12 Beer Muts-CD:$8
RECORDS     po Box 7495, Van Muys, CA 91409 www.hopelessrecords.com
21    S^gI££__J_ basslines
by dj noah (djnoah@direct.ca)
Firs, up, on the
homefront are NUMB
and PELLUCID   The
latest offering from Numb
(Don Gordon and David
Collings) is the single "Blind"
(Metropolis) from the recent
full length release Blood Meridian. This is an explosive
single that masterfully combines industrial and techno in
a sonic onslaught. The
Phaedra remix is a pounding
techno mix with only the occasional time-stretched vocal
that likens it to the original.
And from Pellucid (Arlo
Renwick) comes his first 12"
release, "tape yr tv" (Bug Girl
Sound), a refreshing look at
the use of electronic equipment in creating music. Arlo
uses non-conventional sounds
in this recording, like telephones, toasters, tin cans,
and the TV (hence the title?),
and manages to entrance the
listener with his creative skills
Watch for the album Motor
of Joy, due out in the next
month or two
Also out of Vancouver is
the newest offering from those
"what will they think of next"
tek-heads, DOWNLOAD
Ex Skinny Puppy member
cEvin Key, local jack-of-all-
trades Phil Western, and studio guru Anthony Valcic are
the three wise men that have
come up with /// (Nettwerk)
These guys are as unpredictable as the lottery Their previous offerinqs have been
relatively dark experiments in
techno, but this album is upbeat, happy, and surprisingly
housey. "Sleeping Solus" is,
dare I say, a beautiful piece
that lifts one's spirits with its
whimsical keyboards and bubbly percussion. I would think
that Phil is mostly responsible
for this trock, as anyone who
has heard his Off and Gone
material could attest to.
Dave and Darren Pickles, and
their recent album, Wall to
Wall Moustache (China
Records), is a likely candidate
for album of the year I am
not a fan of breakbeat, but
these guys manage to inject
new life into a tired sound.
"Jim'll fix it" is a smokin' cut
that could be 808 State
meets Altern 8, while
"Spacemaker Deluxe" expands on what The Chemical Brothers have done for
techno. Don't let this one get
Blending live percussion
with modern techno, the trio
has released Supernature
(91 1  Entertainment), a Goa
Trance album like no other
Having once been involved in
several Planet Dog projects,
these three gentlemen add an
earthy flavour to otherwise
mechanical techno sounds,
and do so without sounding
like every other Goa act out
there. Its invigorating, ethnically-edged rhythms will transport you to an enchanting village, high atop an Asian
It is not uncommon for artists to borrow various styles
and sounds, while remaining
completely unique. They are
called innovators and creators. They are the ones who
create what we label, such as
drum V bass and house.
One such enigma is BUGS
from San Francisco. David
Biegel is a studio genius and
Andrew Jervis has djed the
world over for years. For their
first full-length release, Infinite
Syndrome (Ubiquity), they
enlisted the help of three guest
vocalists, Terra Deva,
Christiane, and Storm Large.
The beats are wicked and
wild — some hip-hop, some
drum 'n' bass — and the vocals are moody, ranging from
peaceful and ethereal to angry and biting.
Toby Marks, sole member
of BANCO de GAIA, has
been writing "earth music" for
many years now. Personally
selected by Michael Dog,
founder of Planet Dog
Records, Toby has enjoyed
underground cult status with
his previous releases Maya
and Last Train to Lhasa Now,
with "Drunk as a Monk," the
first single from his new album
Big Men Cry, Toby will undoubtedly become a much
sought after live act. This single is very complex, incorporating traditional instruments
and sounds from various cultures along with modern electronic equipment Passionate
rhythms enveloped in spiritual
harmony have just a hint of
levitation "Drunk As A Monk"
got its title from two sounds
in the song itself. Toby thought
that one of the samples
sounded like the words,
"Where's my lager?" and that
another one sounded like
banging on a table Toby
could just see these Tibetan
monks sitting around a
wooden table, banging on it
saying, "Where's my lager?"
hence the appropriateness of
the title. (Speaking of Michael
Dog, he will be playing at
Mars on Wednesday, December 3rd.)
I hope you have a happy
holiday season, spent with
people you care about and
filled with music.•	
DiSCORDER regretfully informs its readers thai ihe
usual writer of this column, Barbara Andersen, is unable to perform her duties this
monlh. She is suffering from a
temporary — but nonetheless serious — form ofdelerium brought
on by eating too much mouldy
rye bread and undercooked ve
gan cake She is, appropriately,
taking a small sabbatical and has
ceded the task to her good —
albeit elusive — friend (The Invisible! Claire, whose report on the
7" situation was caught on
dictaphone during the month of
The Invisible Claire speaks
"Is this thing on? whoah
Sorry this machine freaks me
out Heh Okay So you want me
to talk about records now? Hmm
What records have I heard recently ... hmm well, now that
you ask, not a whole heck of a
lot Nothing new, I mean Lots of
23 Skidoo, oh, and I found some
old recordings of Finnish Christmas carols at the University Women's Club book sale ..but os for
those little records, the 7" ones,
it's been a dry season indeed
"Sometimes vinyl just isn't the
right formal, you know? Like with
really droney, empty, ambient
stuff that puts you to sleep Falling asleep with the turntable on
is pretty annoying Unless it has
an automatic stop function, which
mine doesn't, it'll keep turning all
nighl long and you'll never know
because — as I said before —
you're asleep For instance, I
bought this expensive limited edition 7" from SOUNDLAB which
describes itself as "Live Acoustyk,
Intergalactic Fluga Concrete Audio " It makes me think of something a friend of mine once said
obout the music of the future —
brainwaves instead of
soundwaves. That must be
what's going on here   Maybe
i   pare
digm, however, thai
cuse for being boring I guess
it's also kind of ridiculous that
artists such as these play off
the idea of being futuristic despite the fact that Joe
Szmalitszynik was doing the
same thing back in 1929
with his electric can-opener
and mono headphones."
(soundlab@culturalchemy com)
"Me, I put no faith in the idea
that technology can save humanity from itself At best, it detaches
us from responsibility, at worst, it
allows us to exploit and control
one another even more efficiently
Knowing, as they must, how persistently destructive power is to
human happiness and freedom,
maybe some of those SUBMISSION HOLD people have entertained a similar notion Anyway,
their new 7" is called Flag +
Flame = Fun and comes complete
with a pack of matches There are
three songs on the disc, and the
two longer ones show off the prettier, more melodic side of the
band However, just because
something is pretty doesn't mean
that it's sliallow or harmless Activism and art aren't mutually exclusive Pay attention lo Submission Hold, they deserve it1"
(Farmhouse Records, 448 Madison Drive, San Jose, CA, 95123/
Submission Hold, PO Box
2 1533, 1 850 Commercial Drive,
Vancouver, BC, V5N 4A0)
"You know, shortly before
Barbara went strange, she spent
sometime in Japan I don't think
the two incidents are related;
not deeply, anyway It could be
possible, however, lhat the culture-shock loosened her few remaining screws. Well, proof that
Mr. Big, bis, and The
Beatles aren't the only foreign
acts to catch Japanese attention
is this lovely little split number
from the Tokyo label 100 Guitar Mania Now, the record is
called Stolen Ecslacy 45 Chapter Six because it is — you
lullabies, all of ther
,   So, *,
get TULLYCRAFT doing "She's
Got the Beat" and Newcastle's
darlings AVOCADO BABY doing a couple of numbers named,
respectively, "I Wanna be
Where the Girls are" and "T-r-
o-u-b-l-e." Since genuinely fun
and original indie pop is as difficult to find as okonomiyaki in
Vancouver, my lastebuds are
satisfied with this morsel." (100
Guitar Mania, 1-4-4-201,
Sasazuka, Shibuya-ku, Tokyo
151, Japan)
"I've always had a bit of a
thing for fairies. Seeing as
how they operate below the
sight of humans, one can't help
but compare them to my invisible self. I'll be darned if ELF
POWER isn't a chorus of Wee
Folk  struggling  valiantly  to
ments And what a lot of instruments there are: bass, guitar, drums, keyboards,
rainstick, violin, saxophone,
flute, accordion, and moog
On the Winter Hawk EP, odd
art pop is the inevitable result
of the collision of natural and
robo-indies and Up
labelbrolhers Satisfact do
the same thing,  but wilh  less
lethargy. Goodnight!"
(Up, PO Box 21328, Seattle,
WA, 981 1 1)
"What? Is it morning already? I can see a sort of pink
and blue dawn being born on
that's no sunrise, that's the
cover art from some
CORNELIUS record. Hmmm.
Fluffy, pink, gentle — wait a
second, this music isn't fluffy,
pink, or gentle! In fact, "Mexican   Table   Service"   is   the
punk song on the menu today.
I wonder what the B-side will
sound like? Oh no. No ...
please, no. Please stop that
your ridiculous blues-rock posturing. Please? .... Mom! Make
(Miga Records, PO Box
20216, West Village Station,
New York, NY,  10014)***
(Kindercore, PO Box 46 1, Athens, GA, 30603)
"DUSTER took too big a
dose of the fuzzy pills and
wound up tripping through the
cosmic melee Song titles on the
Transmission, Flux 7" prove it:
"Orbitron," "Fuzz and Timbre,"
"My Friends Are Cosmonauts,"
"Closer lo the Speed of
Sound," "Stars Will Fall" —
22   december 1997 STANISLAW LEM
Peace on Earth
(Harcourt Brace)
The Fuck-Up
(New Directions)
Gut Symmetries
This set of four could belong to
the categories of both literary failures and obsession. However,
neither category is absolutely accurate Lem's Ijon Tichy is not so
much a failure as he is a successful bumbler and his obsession to
discover what happened to him
is entirely understandable
Nersesian's unnamed protagonist is a failure due to his obsession for self-advancement at any
price Sartre's Antoine
Roquentin might be considered a
failure by Jeanette Winterson s
troika of misery, Alice, Jove and
Stella oren'l failures in the regular
conception thereof. All are obsessed, however.
Dreamers, bumblers and lucky
srumblers know of no greater champion than Stanislaw Lem. It's not lhat
his characters — Ijon Tichy and Pirx
the Pilot, in particular — are such
idiots they are expendable, but
that ihey often find answers to
nigh-impossible questions stumbling towards them. Within
Peace on Earth, Tichy returns to
Earth with serious trouble, as he
faces amnesia and a callotomy
(an operation sometimes performed on people with severe epilepsy — the severing of the corpus callosum, the bond between
the hemispheres of the brain).
Thus, the two sides of his body
act independently, the right side,
which is directed by the logical,
rational left side of the brain remains functional; but the left side,
which has been long restrained,
flowers in outrageous displays of
rowdy, raunchy Behaviour.
Slowly, clues reveal that Tichy has
to the moon. The nanotechnology
sent there is immediately rendered inoperable Are the lunar
machines a threat? If so, can
Tichy stop them? Lem's warm and
humourous style, here at its satiric height, ensures that the
reader will forgive him, although
Tichy's compatriots probably
won't. Unlike many science fiction writers, Lem refuses to con
descend to his audience though
he will explain invented terms
when necessary, often for bolh
the reader and the protagonist
False expectations have momentarily crippled all of us ot
some point, but few are demolished so catastrophically as
Nersesian's protagonist in The
Fuck-Up. Having moved from the
American Midwest lo New York
some years back while living a
pleasant, stable (and boring) life
with a woman, he decides lo
improve his lot. This is a modern
Faustian tale wherein the contract
made with his childhood intentions condemns him to debauchery and depravity. He loses his
home, his girlfriend, his job,
every sense of security for a du-
plicitous, indifferent woman. His
oldest New York friend falls victim to a virago. Briefly, he loses
everything. The narrator is hones! and objective and quietly announces the moral: don't screw
yourself by destroying the good
around you for immediate and/
or uncertain gain Nersesian's
language is deceptively simple;
indeed, it is precise, vivid, and
perfect The character development of the narrator and his fellow victims and tormentors is insightful and colourful. This is a
work of grace and style.
mly togelhe
only because so much of exist
ence is unsatisfactory — in Jean
Paul Sartre's first novel, Nausea
A young writer, Antoine
Roquentin, travels to a small,
northern coastal, French town tc
do some research to escape Pari;
and the main causes of a bizarre
I he t<
"the n
which Celine expressed three
years prior as: "When you stay
in a place long enough, people
and-lhings begin to dissolve, decay, and putrefy before your very
eyes." Unable to cope with people — including his lover — because ol this peculiar psychosomatic/moral/spiritual disease,
he evades them by venturing to
the provinces where he cannot
help befriending some of the locals Instead, the nausea comes
forward more frequently until an
epiphany strikes, the nausea is
the euphoria of truth. This knowledge enables him to accept all
the dreadful horrors to come
calmly and with equanimity. Expressive, wondrous, and invigorating, this first novel displays wisdom and inspired comprehension
of the hypocritical and deceitful
vileness of human nature.
The unfortunates of the fourth
work ore confronted with the universal traumas of life Jeanette
Winterson's seventh novel, Cul
Symmetries, travels the routes of
winning, losing and regaining
love and respect, bul, as always,
she refuses to make the voyage
id min.d-numbingiy
son has her three un-
an English physicist
American physicist
(Jove), and his wife (Stella) explore the bizarre intermingling
of the masculine world. Science
seeks to define all physical phenomena as deriving from a single principle, the Grand Unifying Theory, a process defined by
logical deliberation Fate, however, shifts and fades unless one
pays attention to one's instincts
and gut reactions. The paths of
the three characters cross at a
terrifying point, the nexus of
logic and emotion, which results
in catastrophe While logic is essential in developing processes
for understanding life, it can,
through its basest minion pragmatism, be horribly brutish and
violently animal. The novel revolves around a discussion on
how the past affects the present
and that time may not be exactly
linear when confronted by will.
These struggles are perfectly
crafted by Winterson's powerful,
passionate imagery and her
ability to unite seemingly disparate elements into an inventive,
intelligent, and thoroughly enthralling work.
Taken as a whole, these four
works show the immutability and
permanence of bumbling and
obsession throughout the entirety
of human existence. That said,
I'm off for a drink .
JEE^SSE™ 8 4 8   G R A N V 1 L 1 E   SI   ((IN   1 H 1 A 1 H 1
^>^lfry                     XMAS   HOURS   MON   thru   F
ROW)   1 1 1 1 1'HON 1   604  6,81   87 32
110-9 SAT  10-8 SON   128
23   E^mi3& under
Comet Gain is yel onolher English, punk influenced pop group
who is struggling lo differentiate
self fro
II lhal c
5 befor
them (Blur, Heavenly. Huggy
Bear, Oasis lo name a few)
Snealty, their second album, surprised me wilh its brood spectrum
of tracks.
If fast, concise punk is your
thing, check out "The Language
of the Spy" and "Final Horses,"
for more melancholy moments, try
"Raspberries" or the acoustic,
melodious "Steps to the Sea," for
solo guitar fixes and dominant
brass sections, "Strength" will de
Overall though, this band still
doesn't breoV enough rules lo
sound unique Maybe ihey should
musicality for ■ change
If you ore os over the commercial soundhtg Brit-pop scene
as me, this is one to add to the
slack of "san******* os" CDs
Cdtty Baker
Love Story
I can't think of enother way to describe this album, except as disappointing. Fin* known as Slow,
this Vancouver band has been
signing lo Zulu Records and a
brief stint wild Geffen, they are
now signed to BMG The first single released Irom this much anticipated album, "Transfiguration" is fontojlic, echoing sounds
ol U2 wilh tynlhetic, sketchy
background music combined
with vocals resembling Robert
Smith of The Cure
As I searched the album, however, it become clear why this
track is the first single and open
ing song on love Story I found
myself craving change-ups in the
music, backing vocal**, harmonies
and steadily moving riffs, but was
left starving While a couple of
songs are decent— "Love Story,"
"Overexposed," and "A-Frame"
all standing oot — on the whole,
this CD offers me little more than
a simple lesson to approoch albums with little er no expectations
Daniel Abrahams
Larger Thorn Life (and liver
than you'll ever be)
(Stony Plain)
Archeologica'lly prominent for
their "oowooh what a feelin',
what a rushhh" hit of the late 20th
century, this live album is a prime
example of the soulfully augmented rock group era of 1968-
1973 and not, as  previously
24   december 1997
believed, from the soulfully augmented rock group revival of
1998-2002 The confusion
stemmed partly from dating the
severely corroded condition of all
artifacts found ond partly from the
bands' origins in Canada, which
until recently was thought lo be
mythical New discoveries have
firmly placed them in rock history
as contemporaries of Three Dog
Night, Blood, Sweat, and
Tears, and Chicago Illinois
and Nash
Mark 52a80
Last Of The Sharpshooters
Down By Law, members of the
growing Epitaph family, provides
a  somewhat  mellower  punk
sound   when   compared    to
labelmates Pennywise, NoFX,
and    Ten Foot Pole, whose
and aggressive Too bad I prefer
the latter type of punk rock Down
By Low ought to go for a more
crisp, clear guitar distortion
sound and improve their vocals
— boy, does Dave Smalley need
to learn how lo sing! He sings in
tune, bul that's countered by the
dreadful monotone of his voice
He writes about a wide range of
life experiences, including violence in society, painful relationships, and patriotism.
My favourite tune would have
lo be "Urban Napalm," which
discusses the racial tensions between while and black people
This song provides a dramatic
change-up in musical style, offering a Sublime ish ska feel to the
CD Instrumenlally, these guys do
a good job of integrating guitar
solos and rhythmic changes in
their music
I commend Down By Law for
veering away from the punk trend
of sounding pissed off about everyfiing
All of Us Can Be Rich...
(Grand Royal)
The folks at Grand Royal have
kindly compiled most of Ec8or's
self-tilled olbum and their Spex is
a Fal Bitch EP onto one release
for our listening pleasure They're
darker, more bratty and have less
of the in-your-face sloganeering
of iheir Digital Hardcore Recordings counterparts. Atari Teenage Riot Gina D'Orio's high
pitched screaming would make
any riot grrrl proud Punk rock
attitude, chaos and beats that
could send you to the hospital
(which has apparently already
happened to one female fan)
gives us teen angst at its best This
is the stand-out hit record of the
year — the perfect album lo get
you hooked on Digital Hardcore
'Amiga trosh sound' is the sound
of the future, here and now
Warning may make you
want lo kill
Miss Lata Twin Stars
Loneliest In The Morning
(Sub Pop)
Elevator to Hell contains 50%
of the now-defunct Eric's Trip
and of all the spinoff bands, they
have Ihe most faithful (to ET's)
sound The songs on
Eerieconsilation are heavier and
most are in triple time, but the
recording style is the same old
Stereo Mountain Unfortunately,
a lot of songs are ruined by proto-
psychedelic noodling and distorted vocals One of the better
songs is "Backteeth," which I recognized from the last lime they
played here A big, heavy, distorted bass riff clunks along in
front of Mark Gaudel's effortless
drumming and Rick White's shy
vocals If only Rick would let Tara
S'Appart sing sometimes — I
heard her 7" and really liked it
Julie Doiron has probably
matured more from the breakup
of Eric's Trip than any other member Musically, her full-length falls
much in the vein of her Broken
Girl releases, but her lyrics draw
us deeper into fyer world than
ever before "I am inspired to
make little things," she confesses,
"but there's not a whole lot more
that I want " The intrusion of her
producers into the recording is
unfortunate there's unnecessary
keyboards on almost every song
The only time lhat their talents
really succeed is on "Sorry Pt 1,"
with the addition of a shimmering pedal steel The album ends
wilh a lovely French tune. This is
the perfect thing when you're feeling loneliest
Hansel and Gretel
Musical Monkey
I  love Guttermouth    There
aren't loo many bands out there
that make fun of more things than
I do   This album is no different
r the c
of Ihe
Guttermouth tackles many impor-
ing, rollerblading, sex with donkeys and beating up your mom
However, even though the lyrics
are funny and sometimes downright unbelievable, this isn't great
music Don't get me wrong, I enjoy listening to Guttermouth, but
everything seams kinda repetitive
The album's sorta fast song, slow
song, slow song, death metal
joke song, coupla fast songs ond
so on   I guess you can't expect
too much else from a punk bond
Dave Tolnai
The Magic City
This album, seems like songwriter
Mary Timony woke up on the
other side of the bed, the one
facing the window — ond the
forecast calls for a warm, sunny
day Compared to the dirt and
darkness of The Dirt of Luck,
Helium comes across as a happier bunch these days, opting for
keyboard heavy, prog-rocky,
poppier sounds
accepting this new band who still
call themselves Helium — at first,
I wasn't particularly attracted to
the pastel colours and reelings
that replaced the black ones The
elements of Helium that I loved
before, however, haven't really
gone anywhere Mary slill has
her airy, meandering voice, she
continues to write bizarre, creative lyrics, and Ash still does with
a bass whal most bassists do not
Therefore, I condede This is a
great album And I guess I, loo, need
to believe in smiles ond Mogic
Mya Lowe
Turn the Dark Off
Howie B has been a mainstay
of the electronic music scene for
some lime now While contemporaries such as The Chemical
Brothers and The Prodigy
have become mainstream, commercial music makers, Howie B
has maintained hi* underground
status and remained loyal to the
concept of experimentation with
sound   Turn the Dark Off retains
breakbeat and techno that gives
Howie B his edge The use of
xylophones and horn section
samples in a non-traditional context also gives this album a familiar feel, despite the fact thai the
music is all original
Turn the Dark Off is a complex album full of light, airy, trip-
hop and breakbeat tracks reminiscent of Primal Scream s
newest album, Vanishing Point.
The more upbeat tracks are addictive and strategically placed
to wake you up jusl as you begin
to get hypnotized by the slow
stuff The final track is definitely
the best on the album, an infectious mix of low-fi bass, looped
keyboards and a beat that gets
your feet moving
Patrick Cross
Apartment Life
Ivy is a three-piece that could be
described as 100% uplifting,
happy pop Apartment Life, their
second album, was released after a two year musical famine.
Reasons for giving this album a
go include guesl input from Dean
Wareham and Stanley Demeski
of Luna, Chris Collingwood and
Jody Porter of Fountains of
Wayne, and James lha of
Smashing Pumpkins, songs
with strumming guitars, simple mefo-
dies and soft harmonies, and catehy
lyrics and syrupy, Frenchoccented
vocals from Dominique Durand
Who wouldn't want Apartment Life* It's got nostalgic
charm, all modern conveniences,
and is bright, upbeat, and perfect for entertaining
Cristy Baker
I ask the reader to keep in mind
that I am not a huge fan of punk
music Les Secretaires
Volantes are very punk That
said, I have to admit that I was
drawn to this album by the exotic title and promise of French
lyrics The band consists of five
members playing instruments
from the ordinary guitar to xylophones and maracas. All the
songs are of the typical hard-hitting, guitar-smashing, fire-lighting, pogoing, punk style And the
meanings of the words are presented clearly in the context of
the song to those who aren't lucky
enough to speak French (so don't
worry aboul a languoge barrier
— punk is universal) Is
Thermoplaslique a revolutionary
new punk record? No, but it is
definitely worth o listen. So spike
your hair, tear your clothes, put
on your best pair of bondage
pants and enjoy1
shane van der meer
TRIPS zine
(16pages, half size w/
8pages quarter size insert)
This was written by Brie, the
writer of she's only laughing to
stop herself from crying, a zine
which I've heard relatively good
things about but haven't a chance
to read After I read it, I came to
the conclusion that it was going
to be hard lo review — not because the content itself was extremely difficult to follow, bul because I hod a variety of conflicting
opinions about this zine as a whole.
First of all, it is obvious that
Brie has experienced some type
of catharsis or self-discovery
(most of the content of this dealt
with "discovery ofthe inner-self").
I can feel some of her energy in
that way and that is a positive
aspect of this zine But a good
portion of the writing seemed to
be too transparent and bubbly for
me The roadtrip stories and Ihe
poetry interested me, but the on-
Ifner insights and the article on
Ani Difranco didn't really
swing me My complaint isn't so
much with the clarity of the writing (being artsy is OK with me) -
as it is a desire for having more
depth and sincerity
Now that I've created a sense
of intrigue and curiosity around
this zine, perhaps this review will
prompt you to write Brie yourself
(at 1805 Dublin St, New Westminster, BC, V3M 3A2)
Jack D.
Come and See
It's always a little embarrassing
when bonds (or their promoters)
describe their own lyrics as "ul-
tro-intelligent," especially when
clever — not even Let's try,
"not stupid," which is slill respectable in this age of Oasis
ManBREAK presents standard
'90s resentment under the guise
of happy, hyper pop
The Liverpudlian band's first
single, "Ready or Not" (which
could just as aptly be called "Do
You Wanna" or "Round ond
Round" — no, wait, that's the
name of the seventh track) is
catchy enough It's punchy I
danced The basic sentiment is
"quit conforming to societal
molds " There's an original
thought Their stob al universal
controversy, "God's Never Heard
of You," is a lovely piano ballad,
and one of only two slow songs
The other is a sweet arrangement
of strings, and ends the album
with a gently whispered
"goodnight, everybody" Both
are a welcome departure from
the barrage of driving guitar and
drums which attacks you for the
rest of the album
Unfortunately, ManBREAK
have a fondness for pseudo-rap,
I   the,
crunchy arena-rockish guitar
grinds away beneath the vocals
But they are good at what they
do Their pop is a little more frenzied than I like, but is, nevertheless, socially pleasing Tape it
from a friend (Shhh ...)
alia hussey
Looks Like Love
Hypnotic pop best describes the
music on this album The lyrics
blend together with vorious background sounds and melt a fractallike image in your mind. The title
track, 1 1 40 minutes long, displays the band's uniqueness and
talent There really isn't another
band that Naked For Jesus
can be compared to — the closest that comes to mind is a heavy
metal Pink Floyd, which is still
pretty far out. Check for something that Looks Like Love the next
time you're record shopping.
Big Cheese
"Understand oppression and
become a worker of your own
independence "
That's the first line of Not Far
Enough: an anarchist feminist
perspective. This small zine covers a wide range of topics from
womyn's issues to animal rights
in an outright manner that is intelligent and focused. The author
discusses the topic of sexism in
the hardcore scene, criticizing it
for not tackling the issue of sexual
violence. A highlight is her criticism of Earth Crisis (the vegan
warriors themselves) for their pro-
life stance which seems to be an
attack on women's bodily rights.
The zine also discusses the grassroots efforts of Food not Bombs
with Vancouver's Submission
Hold The author lays down
some thoughts on the relationship rights in the section titled "Human
and Non-human Liberation " Finally, the zine ends with a sobering
response to the date rape issue
($0.50 to #1-6050 University
Ave, Halifax, NS, B3H 1W5)
Jamie Doucette
(98pp, half size wide)
3   politi'
while, I
:olly-orienled zine that
e right off my feel Praxis
has done just that and has left
me lying on the ground, wondering what has hit me I'm serious
When I opened the first pages of
this zine (actually, this thing exceeds zine quality), I was instantly
drown in by its sensible computer layout complete with illustrations and pictures and on over
magazine-type flair
The best part was that when I
got down to reading it, it actually had substance Con you believe that? Praxis consists mostly
of a variety of political pieces,
ranging from vegan recipes to
personal essays The essays are
actually researched and complete
with examples and anecdotes,
rather than empty rants that go
nowhere "The Guide to Student
Protesting" particularly caught my
attention because it seemed to
cover all the bases At times, I
swore that I was actually reading some Noam Chomsky es-
say — it's that good The fact that
a myriad of writers from a community could collaborate to do
this is a feat in itself Even now I
still pick it up once in a while just
to make myself realize why I
found interest in political zines
in the first ploce (insert cries
of joy here)
Jack D
(Too Pure)
The Too Pure record label is one
of the most consistent record labels around. Only Kranky gives
Too Pure any competition with
lor sound Not thai bands
signed to Kranky sound like
bands signed to Too Pure Bul I
Seely creates o brand of
indie-pop which really defies the
stigma of indie-pop Experimental segments a la Tortoise and
Flying Saucer Attack, jazzy
progressions reminiscent of The
Sea and Cake are stewed in
with raw noise indie-rock not unlike Tristan Psionic The mixture makes for an album which is
texturally diverse and unforgettable The talented musicianship on
this olbum is disguised by the
seamless composition of songs;
Seely plays as a whole, not as a
group of individu
subtle yel
catchy While not everyone will
love this album, it is difficult to
find fault with it The songs are
well written, sincere, relevant and
emotional This is one of the best
releases of 1997
Patrick Cross
Child: Music for tho Christmas Season
If there is anyone other than my
family I would like to celebrate
Christmas with, it would be Jane
Siberry She is one of very few
people who can, so easily, evoke
the sweet innocence of childhood
and the glowing surprise of
presents in the early Christmas
Siberry is wide-eyed in Hashing red and green lights and eats
popcorn from the bowl as she
strings pop kernels onto thread
for the tree Siberry gets lost in
tradition, finding comfort in family around the fireplace, watching sparks dance, listening to
coals hiss Siberry is the earnest
child who pulls everyone to their
place around the family piano,
hands them their song sheet, and
leads them in her favourite carols Jane Siberry is, herself, a
Christmas child.
Recorded over four shows ot
The Bottom Line in NYC last December, Child is a live album and
as such, conveys the loose, free
feel of her concerts, somelhing I
enjoy and appreciate Unfortunately, the live format leads to my
sole complaint about Child there
ore some rather abrupt, even
harsh, edits on the CD Obviously, Siberry was removing unnecessary material, but the
flow of Child may have been
better suited by fades
Aside from this, the live olbum
suits her and she seems more
comfortable than ever with her
audience, treating each venue as
her living room, each guest kissing each on the cheek under the
A two-CD, 22-song collection,
Side one kicks sand in your
face while enjoying thot favourite
of Christmas music, including
obscure traditional songs, more
familiar carols, her own Christ-
mas-y songs, and even a funny
little story ab>out taking communion one Christmas mass My favourite tracks, though, are a version of "Hockey," from Bound by
the Beauty, and "Are You Burning, Little Candle?" previously
available only on compilations
But Christmas isn't all happy
and sweet, and in true Siberry
fashion, Child is tinged with the
bleakness of wind-driven snow
over the prairie, frosted with despair. "New Years's Baby," for
example, is a prose poem about
a young attempted-suicide
Alternating between light,
airy celebration, and sombre
hush, Child is a diverse and welcome addition to any Christmas
Kick Your Ass
Yes, the trio from Trenton, NJ look
ready to do just that on the cover
of their third long-player, but how
about them songs? Do they flex
enough musical muscle? You
betcha, string-bean.
of    "Pool
Hoppin'" and "I'm the Mailman"
is a garage punder with extra
punches courtesy of new guitarist Jeff Jefferson (guess old guitarist shaggy didn't make his
weight class in time) Feelin'
dizzy? Then just "Do the Stand "
"Don't you move a muscle/ Stay
tifi   <
i   board,"
■ell   (
neckbreaker gang   You're face
down in thr> dirt, and the record's
After dustin' yerself off, the
two "Super Stuff" goes down
town and then slaps you upside
the head, followed by a rancous
rendition of '60s psych-rock
group Love's "Can't Explain "
After huffin' and puffin' and
Jorgensen, bassist with the best
set of pipes this side of the
Hanford Nuclear Power Plant,
]dy to "Rip it, Rip it up"
s all  c
i' "The Flop" while your girl-
sorry, 98 pound ci
New Jerseyian
linked a
sd yet? Then I
strongly urge you to get with the
program that hundreds of previously pint-sized punks swear by!
Don't let The Swingin'
Neckbreakers ever "Kick Your
Ass" again!
8ryce Dunn
(Fat Possum/Epitaph)
Judah Bauer (of Jon Spencer
Blues Explosion fame) gets
down with brother Donovan
Bauer to record in a urinal somewhere in Mississippi Yup, a urinal: sounds like one, and there's
■n Ihe inside c<
of the boys in a shadowy can,
caught in the act of oozing the
blues The Bauers had some help
"authentic" blues experience: the
album features R.L Boyce and
Othar Turner Fife and Drum
Band A few tunes are worth the
listen, but don't let the cover fool
you: this is no Folkways original
gin-house blues Even though
Twenty Miles manages to produce a raw, dirty, drunken blues
sound, there is something crucial
missing that would transform this
moment instead of the pale imitation that it is The vocals lack
the emotion and hard livin' of a
Fred McDowell, who they
cover Their gravelly voices are
the result of mic distortion as
much as heartbreak or moonshine But a few tracks are pretty
jumpy in a Blues Explosion kind
of way, and Othar Turner's drums
add a unique sound Now if onfy
ihey could resist the urge to sing ...
Anna Friz
The Vees EP
With the departure of two band
members and the addition of a
token boy drummer (Mike
Belitsky), the remaining members
of jale have abandoned their
acronym and renamed themselves The Vees This EP is a
synthesis of the best elements of
Canadian indie-rock When Mike
sings, he sounds a little like
Hayden Jennifer and Laura hit
big, beautiful Inbreds-like harmony chords One of my favourite things about this EP was that
it was slightly less rock and roily
than earlier jale work I really
didn't like the low, low female
vocals, though, and some of the
guest guitar solos seemed a little
gratuitous Nevertheless, you
should buy this EP just for the too-
perfect contrast of vocal colours
on the chorus of "Denied "
Hansel and Cretel
Give 'Em the Boot
Hellcat records represents Epitaph Records' attempt to cash in
on the public's increased interest
in old school ska and punk This
album Is sorta a compilation and
Hellcat sampler rolled into one
There's a bunch of old school
punk type bands such as The
Swingin' Utters and The
Dropkick Murphy's; there's a
bunch of old school ska type
bands such as The Pietasters
and The Slackers; there's a
really cool Rancid song that's
quite different from anything I've
heard from them before, and to
top it all off, there's a painful, yel
hilarious, cover of Rancid's
"Roots Radicals" done by a Latino
band Anyway, you're bound to
find a couple of songs on here
that you like, and seeing as it's
only seven bucks
Dove Tolnai
Women of the World Celtic
(Putumayo World Music)
If you are a fan of Celtic music,
you must buy this compilation of
Celtic and Celtic-based songs
performed by women. These
women include well known Canadian artists Mary Jane
Lamond and Natalie
MacMaster Lamond was made
famous for her vocals in Ashley
Maclsaac's hit Her vocals in
"Bog A Lochain" are entrancing
sd  by
Ashley Maclsac
once again
This albun
Breton Gaelic
Canadian list
*>n the fiddle
.n't all Cape
iic that most
ith  Irish-born Eileen Ivers in
corporates Celtic tradition with a
mix of jazz in the fiddle piece
"The Rights of Man " Susan
McKeown is a vocalist who
cannot be placed in any specific
category Her songs have been
said to be "equal parts rave and
Irish Beat poet," and that about
sums up the song "Jericho " This
is one of those songs that you will
find stuck in your head all day
Every performance on this album
is original and yet, at the same
time, on the same level.
Erin Nicholson
bxj Jason da Silva
: PEATH of|
v ^-y-jf ,/"• comWISonT
25   ®jRg°5®E& realhveaction
Saturday, October 4
Starfish Room
lean, muscular and sporting a
freshly shaved head, Pauline
Black, the lead singer and only
original member of The Selector, was fired up and ready to
show that her band is slill a contender in the increasingly competitive ska market Ms Black's
bond, featuring some members
from later incarnations, sounded
just as tight as the original They
played many of their classics, including "Celebrate the Bullet"
and the ska flagship "James Bond
(the Killer) " In between sets she
teased the audience, taking playful stabs at Americans, Paul
Weller and people who live
south of the Thames River Despite
some annoying sound problems
and whal I was told was a blown
PA, and despite the v.
or_ed n
, The
Selector can slill make you skank
your brains out
As for Duotang, everyone
already knows they are the
coolest dressers around (let's face
it, mod aesthetic rules and everything else sucks), but as for their
music? My problem is that a duo
is a very limited combo — you
need bucket loads of talent or
your songs all start to sound the
same This issue is compounded
by having a duo made up of two
rhythm instruments bass and
drums In my books, the Wright
brothers (NoMeansNo) are the
bass ond drum duo to beat (and
they became a Irio fairly early
on) Bul hey, at least Duotang is
the coolest looking band around,
which is not bod when you consider that "it's all about the
friggin' clothes " in this fickle,
heartless world of ours
James Boldt
Tuesday, October 14
Starfish Room
It's hot in Arizona And don't
believe those who say that it's not
so bad because of the "dry heat "
That's crap. 100 degrees is 100
degrees, dry or wet
Tempe, Arizona's The Refreshments play a curious
blend of southern/Mexican guitars, rock rhythms, ond no-nonsense vocals When The Refreshments emerged at fhe Starfish, a
row of tequila shots lined the
stage, a welcoming gift from a
particularly dedicated fan.
Starting off with a song from
the new album, which on the radio sounded suspiciously like the
now defunct The Gin Blossoms, The Refreshments redeemed themselves and proved
ihot they are far better live than
26   december 1997
their label allows them to be in
the studio (read overproduction)
The philosophy of this band
is simple "Let's just play music
and feel good " They ore concerned not wilh statements, bul
with having fun in creating catchy
pop songs With plenty of friendly
audience interaction, The Refreshments played for Iwo solid hours,
mixing songs from The Bottle &
Fresh Horses with songs from
Fizzy Fuzzy, Big & Buzzy , and
throwing in a cover of Pavement's "Cut Your Hair" for
good measure Of course, they
ended the show by handing
out beer to the audience and
slamming inlo a speed-driven
version of "King ofthe Hill."
The tequila-bearing fan is
typical of The Refreshments' audience Dedicated followers
who know oil the songs by
heart and show up at every
show for a good time weren't let
down tonight
definitely a band that doesn't
need projection screens to get the
fans going, hopefully, we won't
have to wait another five years
for them to come back
Erin Nicholson
Thursday, October 16
Starfish Room
Plumtree popped their way
through a decent set of east coast
melodies The four Canadian
lasses were grateful to be opening for such a fine band Their
tunes were nothing new, but it's
hard not to like a straightforward
pop bond
Superchunk hit the stage
with "Burn Lost Sunday," the second best number off the new platter, Indoor Living They only
played one really old song,
"Cool," so there were a few disappointed ears who missed tunes
from No Pocky For Kitty The pre-
Indoor Living songs rawked wifh
Wednesday, October 1 5
The Dandy Warhols acted as
if there were projection screens
in front of the stage: iheir performance lacked energy, as if they
couldn't wait lo get off stage
People go to concerts to see the
band, if they jusf wanted to listen
to the music, they would buy the
During their set I sat with some
of The Charlatans Their open
animosity towards the Dandy's
was made very clear when they
shouted "Bullocks!" and "Rubbish!" every chance they could
gel   I
*) the c
big fan of the Dandy's and left
very disappointed.
The Charlatans returned to
North America after a five year
absence and proved that they still
know how to rock After the Dandy's dull performance, the Charlatans made coming oul worth
while The fans went nuts as soon
as ihey came on stage and didn't
stop until the last song The energy was there and the music was
The Charlatans are
reckless abandon, but the new
songs didn't come across so well
without some of the embellishments included on the album (keyboards, vibes etc ) About halfway through their set, Mac complained about a high pitched
squeaking and I'm sure thai I
wasn't the only one thinking
about yelling out, "Hey Mac, it's
your voice!" They ended on a
double high note with an encore
of "Like a Fool" and a feedback-
drenched "Precision Auto "
Say what you will, but the
'Chunk can still bring on the Almighty Rawk!
Charlie Church
Friday, October 17
Columbia Hotel
Aque Velve's name suggested
a laid-back, velvet-toned sound to
match their slick suits and ties
Instead, they incorporated every-
_ thing bland inlo their top-40 aspirant formula: snotty vocals for
the "punk" effect, guitar-heavy
anthems for the "Bush X" effect,
etc etc. Thank goodness for their
fans (i.e., their friends from work),
who entertained me with their
drunken versions of the
Thank goodness, also, for the
happiness that is Plumtree,
whose bouncy, surfy guitar-pop
enthralled the kids in peak dancing performance. Plumtree always seem like they're having a
good time and their enthusiasm
is always contagious
The Rock & Roll sign lit up,
signalling the start of a full-on rock
spectacle The Thrush Hermit
heartthrob mode, bul I had heard
of fire-breathing in Waterloo, instrument-balancing in London ond
Ian stripping down to his briefs
in Toronto Apart from Joel's spasmodic seizures and Ian taking off
his cap, showmanship was limited that night The show wos a
blast: a hi-octane exhibition of
everything that is good and
ROCK They played some old
favourites, a lot of
Swee/ftomewrec/ter stuff, and
forthcoming material from their
catalogue of angst-driven, '70s
infused pop-rock The crowd was
awed by their sonic power and
two drunk moshers were incited
to violence and lame displays of
strength and physique
At the end of the night, my
feet hurt from dancing and my
head ached from all the guitar
violence, but I left with a smile
thanks to Plumtree So yes, sharing the show with violent drunk
people and missing ABC's TGIF
was worth it
Friday, October 1 7
Starfish Room
Stories of drinking, debauchery
and excesses in the Guided By
Vices     er, Guided By Voices
comp, coupled with singer Robert
Pollard's affection for early '70s
feared this band would follow so
many of Pollard's drunken heroes
down a path of mediocrity
glossed over by some three-ring
Cfrcus of style over substance.
On tonight's undercard were
local heroes Superconductor
Rough and ragged after a few
weeks on the road opening for
GBV, they showed some wear
during the first half of their set.
Intensity was lacking from the get-
go, excluding their exceptionally
energetic drummer. By the end of
the set, however, they rebounded
to deliver the power that's to be
expected from five really loud
guitars, plus bass and drums
When GBV finally hit the
stage, il was BAM with one song
and BOOM with the next, relentlessly, one after another Any
individual GBV song could be a
pop masterpiece with their irreverent lyrics ond simplified verse-
chorus-repeat style of
songwriting These works are all
aboul melody, without fhe unnecessary filler found in so much of
modern music. Over the next 90
minutes, they played almost 45
of these songs, each with so
much power and vitality, fhey
should have overwhelmed the
audience Even more surprising
was Pollard's state: despite consuming a half dozen beers
throughout the set, he swaggered and staggered about
while still maintaining most of his
composure: his body language
coupled with his dynamic facial
expression made for one of the
most entertaining stage shows
Brian Wieser
Friday, October 17
I was a little surprised to find that
the focus of this event was on the
"illbient" sounds of DJ Spooky
more than the equally illbient vet-
eran Robin Rimbaud, better
known as Scanner.
The music of Scanner went far
beyond the media hype, as he
hit the stage early with unprecedented sonic texturology. While
the intrusive MC bigged up the
to respond by peaking out all the
frequencies within the MC's vox-
range to lose him in a myriad of
sounds, samples, deep percussion and of course, cellular telephone scans His set built into
one serious abstract dub/trip-
hop/breaks session layered with
sounds that took me forward inlo
a ploce a cycle up from the original illbient of the 1970s, circa
Throbbing Gristle and Cabaret Voltaire
DJ Spooky came oul of Scanner's set with a loop lhat was
slightly off but worked as patter
that darted around the close of
Scanner's set This brought to
mind fhe controversy amidst more
"technical" djs who have made
DJ Spooky fhe target of harsh criticism because he doesn't beat
mix Spooky has apparently responded that he can beat mix,
but chooses not to as he mixes
sounds, not rhythm
The overall package of who
and what DJ Spooky is works and
is undeniably like no other DJ on
the plane! It is refreshing to see
the scratch skills of a hip-hop DJ
applied with industrious ambienl
and experimental sounds
After roughly an hour of nonstop sonic chaos, Scanner rejoined Spooky for an illbient duet
as the two played off each other
and, although rhe headliners
ended early, the show continued
in the true ambient sense of background music with a DJ named
Howard This tour was one of the
most experimental electronic
events to hit Vancouver this year
Dove Baphomet
Saturday, October 18
Starfish Room
Was this night a test to see how
few people the Starfish Room can
hold? I was disappointed to see
such a small turnout for such a
powerful batch of Canadian talent. First to play was Sorry, from
Victoria Their stage presence
showed how apologetic they
were — it was if they were trying to shy away from the performing experience.
When The Wooden Stars
took the stage, the crowd began
to get into the swing of things. They
were absolutely amazing: fhey had
their set down pal and had such
enthusiasm and power, I was sad
to see their set end.
The Inbreds played a solid
set, just a bit too reminiscent of
their last Starfish Room show.
They played a few new songs
and a lot of old standards. The
show was enjoyable, but not particularly thrilling The Wooden
Stars were definitely the brightest stars out that night
Saturday, October 1 8
St. James Community Square
Nothing like sitting for three hours
in a crowded de-sanctified church
to give you the blues in them hard
pews But lap slide guitar player
extraordinaire Kelly Joe
Phelps has got religion, and his
brand of Mississippi goin'-home-
to-my-lord blues was right in character for this intimate wood-
floored space Intense acoustic
blues and a bar in the bock of
the room more than compensated
for aching butts
Kelly Joe Phelps is a onoman
slide guitar gone-down-South
show He may be from Portland,
Oregon, but if you close your
eyes, you too would be a believer
that this man wos born in the
Delta He sings, but it's more of a
moan than words He played
mostly his own tunes, as well as a
number of covers (including a version of Leadbelly s "Goodnight,
Irene" that few people recognized
until the chorus) This is where
Phelps truly shines: he plays the
whole guitar from sliding on the
strings to striking the strings and
the body to create crooning notes
and percussive punctuation He
also plays finger-pickin' country
blues style, doing covers of "Poor
Black Mattie" and "Big Mama's
Door," as well as tunes from his
new release, Roll Away The Stone
Most everyone who flocked
to see Phelps had heard him already at the Vancouver Folk Festival this summer, so the real surprise of the evening was the
opener — newcomer Dayna
Kurtz. She hails from New Jersey and plays an urban acoustic
blues made of equal parts downtown sophistication and hayseed
slide guitar. Wilh a voice reminiscent of Janis Joplin on a
relatively calm day, Kurtz mesmerized the crowd Her songs
ranged from standard blues
themes of love-come-and-gone
songs to a biting women's comment on to the Beat boys, to a
song about Patterson, New Jersey lhat ended in a sweet sad Italian melody
Anna Friz
Friday, October 24
Unfortunately, compulsive obsessive drinking kept me from catching the entire Demolition Doll
Rods set, but all the fleshy flesh,
duct tape and big pink toy cars
which masked the band's
unspeakables was definitely a
visual experience that was the
cause of many a dirty girl fantasy
for nights and nights to come
Next up was Guitar Wolf
They're sooooo rock V roHl All
leather-clad, sun-glassed, and
spewing attitude, they had the
crowd awe struck with tracks from
their CD Planet of the Wolves.
Seiji brought the punk-a-billy
show to a crazy improv level
where he seemed an insane conductor driven by some sort of
sure if I got it) He was all jumpin'
off speakers ond generally jusl
freakin' out Oh   yeah, yeah
Billy the Bass Wolf had the most
wicked dragon tattoo
Finally emerged The
Cramps who, due to their
legendary status alone, swept
everyone off their feel — okay,
okay maybe Guitar Wolf kicked
their ass energy-wise, but with
crowd pleasers like "Can Your
Pussy do the Dog," "Garbage
Man," and "Mean Machine,"
who wouldn't have been able to
shake their (hang? On top of it
all. Lux repeatedly grabbed his
humped the mic during "Surfin'
Bird." So, in the end, I'd say il
was a super duper kick ass show!
pmk meal
Friday, October 24
There's no question in my mind
Scott Thompson is funny In addition to the work he's done with
The Kids in the Holland The Larry
Sanders Show, he is a capable
stand-up comedian whose schtick
blends a straight (pardon the
punj-forward stand-up routine
relating his life as a gay man with
alongside characters like barfly
Buddy Cole and the narrow
minded mother who laments thai
her son has come oul of the closet
Regardless of form, his hu-
thought-provoking, often tongue-
in-cheek points Perhaps it's because I've seen too much of his
material, but it was difficult lo be
sow him on television As funny
as the show was, it didn't exceed
my expectations However, he
pulled off an impressive encore
After his seventy minute routine
was complete, he returned to the
stage, dressed only in sheets He
ripped off his covers to reveal his
naked body and yelled, "I want
my foreskin back!" And that was
it. Certainly it was one of the best
Monday, October 27
First up was a young boy named
Eric San, known to his pink-haired
and retro-ortired admirers as the
inimitable Kid Koala His set
was the thorough exploitation of
phata by Corin Sworn
the characterizations and sketch-
acting for which he has become
famous. He told stories of growing up, of working as an actor,
and of life in general.
Fortunately, this show (apparently only the third he had ever
performed) included much that
was out of the ordinary as well.
In a collection of monologues,
Thompson incorporated characters and skits seen before on Kids
... with new material in this show.
Anecdotes about fame, buying a
car, and falling in love flowed
three turntables and a mixer. I'm
perhaps not the most knowledgeable guy when it comes to turntable pyrotechnics, but the dynamic
frenzy that swept the crowd was
obvious. I couldn't help bul be
amazed by the'smooth elegance
with which he coaxed stunningly
complex and innovative rhythms
from his multicoloured vinyl. He
threw down amazing breaks and
deftly scratched around that paragon of lame '80s rap, "Mr. Bob
Dobalina." So tastefully groovy
and so undeniably live.
Unfortunately the same could
not be said for the evil emperors
of the Ninja Tune beat factory,
DJ Food Rather than interact
and respond to their audience,
they chose to hide behind samplers, computers, kangol hats and
two giant video screens Very lit
tie of their set seemed spontaneous, with 75% of their samples
coordinated with video feed and
must have been impossible to
manipulate They did, however,
know exactly what their drug-
addled fans wanted a series of
disintegrating loops of King Louie
from the Jungle Book saying,
Tragically, the whole show
seemed over in less lime than it
takes for a 275 pound slonefaced
bouncer to double-check your ID
and frisk you I left the show wrHn
the satisfaction that comes from
knowing that nine months from
■vill be .
I Ihe
cover of Rolling Stone and
I'll be able to gripe about all
the 13-year-old teenage girls
who buy their albums and
don't really understand whal
il was like when they were,
like, totally, underground and
DJ Rudy
Thursday, October 30
Starfish Room
The Delta 72 aren't your ordinary DC or Dischord Records
type of band: they don't want
their audience to stand around
and simply nod their heads in
approval to their Nation of
Ulysses meets the Blues Explosion style of bluesy rock
and roll Instead, they want the
crowd to let it all loose and as
their arms and hips sway and
to the sweet sound of the blues,
they will hopefully be emancipated from the grip of the oh-
so-jaded indie rock scene.
On this night, the members
of the Delta 72 taunted the
spectators seated high above
the bar and invited everyone
down to the floor to shake their
money-makers The singer was
a dynamo, lo say the least,
preaching his gospel in a likely-
phony southern drawl He
■swung his body around in
every possible direction,  on
the floor in a "splits" position
After a while, the sound of his
odd, grainy guitar became repetitive, but, nevertheless, they
Man or Astro-man, on
the other hand, did not impress
dinary a,
:k than surf By thi
d of the evening, I had los
almost all of my faith in thes.
individuals who claim to
not from this planet. The
looked like mere mortals oi
this occasion
Chris Corday Day
House-Free Gathering
Friday, October 31
Crosstown Traffic
Collective pursuits seems to be
the theme embraced by the
Worldfamousorangedrink and
its brainchild the Erythro Group
in their mission to invent a new
Vancouver scene This night had
a freshness to it that may have
been lacking at olher Halloween
events The venue was home to
some of the more abstract dj
work that Vancouver has seen in
a while   The dynamic basslines
Chris P and Jacob the Baker
rattled the bones of many ghosts
and ghouls. The combination of
a live bassist and dj combining
their talents left many hypnotized
by some pretty unique sounds
Skill, competence, and thai
beautiful scratching of records
characterized the set of Sleuth
and made way for the
"bonesplitting" trip drills, breaks
and D&B of Paola. Finally, the
limbodomizing brand of drum &
bass preached by Otaku contained some of the best slips,
scratches, and backward spins
I've heard for a long lime The
Erythro Group proclaim that they
exist to open the door that was
never locked and translate what
is behind it, indeed, when compared to a growingly conservative rave scene, it appears that
the combined strengths of this
fluid collective offer a welcome
start in another direction.
Jamie Doucette
27   ®^g£5®!ffi SUNDAYS
12:00PM All ol time is measured by its
ort This show presents ihe mosl recent
new music from around ihe world Eon open
Reggoe inna all styles ond fashion
Real cowshil caught in yer boots country
WIRELESS 3-00-5.O0PM oh.
Thebesl ol Spanish music, news and
interviews for ihe Sponish and English
speaking communities
QUEER FM 6:00-8:00PM Dedicated lo
the gay, lesbian, bisexual, and
Iranssexuol communities ol Vancouver
and listened lo by everyone Lots of
human interest features, background
n current issues and greal music
ol   all
i ond gender idcnl
GEETANJAU 9:00-10:00PM Geetan-ali
leatures a wide range ol music from
India, including classical music,
both Hindustani and Carnalic,
popular music from Indian movies
from the 1930's to ihe 1990s, Semi
classical music such as Ghazals ond
Bha|ons, and also Quawwalis, folk
Songs, elc
THE SHOW 10:00PM-12:00AM Strictly
Hip Hop — Strictly Undergound —
Stnctly Vinyl Wilh your hosts Mr Checka,
Flip Oul & J Swing on the 1 & 2's
4:00AM Drop yer gear and slay up late
Naked rodio lor naked people Gel bent
Love Dave Eclectic music
11:00AM Yow favourite brown sters,
James and Peter, offer a savoury blend
ol the fomiliar and exotic in a blend of
aural delights1 Tune in and en*oy eoch
weekly brown plate special Instrumental,
konce, lounge ond ombience
PM Playing a spectrum of music Irom
Garage Band lo Big Bond acoustic lo
NEEDLEPOINT 1:00-3:00PM Mismatched
Bop rod, o quick nde downtown Don'l
miss the Snow White Float I love ihe
Snow White Float
endeavour to feature dead air, verbol
flatulence (onfy when I speak), a work ol
music by a twentieth century composer
— can you say minimalist? — and
whatever else appeals to me Fag ond
dyke positive Mail in your requests,
because I am not a human-answering
machine Gol a quarter ihen coll someone
EVIL VS. GOOD 4K)0-5:00PM Who will
triumph2 Hardcore / punk from beyond
BIRDWATCHERS 5:30-6:00PM Join the
Sports department for heir eye on ihe T
Mix of mosl depressing, unheard and
unlistenable melodies, tunes and voices
Join Ubrary queens Helen G and Kim on
their info quests set to only the best
music Oct 13 The history of Cider Oct
27 ThelifeandworksofElisabelhSmort
Usten tor al Canodkn, mosly independent
VcraWs longest running pnme time pzz
program Hosted by fe ever-sucwe Goin
Wdker Fea_res-.ll.
Dec.l: Guitar great Jim HaB with a 70's
classic 'concerto'
Dec. 8: Percy, Jimmy and Albert The Heath
Brothers wilh iheir latest
Det. 15:Benny Goodman and his all star
Dec. 22: By tradition, Miles Davis, Thelonious
Monk and Mill Jackson, Christmas Eve
Dec. 29: Solo piano at La Scala by Keith
DRUM'N'   SPACE      12:00-2:OOAM
Vancouver's only drum 'n' bass show
Futuristic urban breokbeot at 160bpm
AUEN BREAKFAST 8:00-9:30AM Bringing
you contact wilh the unknown sonar
world of Auslralia as well as uncovering
some hidden locd gems Come find your
future favourite bands before they
become huge distant stars Hosted by
Daniel Abrahams.
Torrid trash-rock, sleazy surf and
ptdsotin' punk provide the perfect scissor
kick to your head every Tuesday mom.
There's no second chance when Kung*
Fu is used for evil wilh drunken fist Bryce
'Have a rock n' roll McDonald's for
lunch today1'
A combination platter of feminist issues,
lesbionicrock and everything else Unagi
maki for giHs ond boys!
dedicated newsteam bnngs you the best
news about student life, community
organizations, festivals, orts even's, youth
culture, and social / political issues Real
voices bringing you news you won't
hear anywhere else
RADIO ACTIVE 5:30-6:OOPM Social justice
issues, Amnesty International updates,
activism ond lucking up ihe evil corporate
powers lhat be111
Underground hip hop music Live on-air
mixing by DJ Flipout. Old school to next
school Iracks. Chew on thai shit
Meal ihe unherd where the unheard
and the hordes ol hardly herd are
heard, courtesy of host and demo
director Dole Sawyer Herd up1 New
music, independent bands
RITMO LATINO 9:00- 10:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as they shake it and
wiggle il to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hoi
it'll give you a tan! jjRADIO
NAKED RADIO oil. 10:00PM* 12:00AM
From Tfielomous Monk to Mendith Monk
... we'll play it Genre-busting, cutting-
edge jazz and other experimental
sounds, plus informative label/artisl
features. Join Mike and Sean
12:00AM Noise, ambient, electronic,
hip hop, free jazz, christian belter Irving
Ip's, the occasional amateur rodio play, AURAL TENTACLES 12:00AM-VERY LATE
Warning Thii show is moody ond unpredictable It encouroges insomnia ond
may prove to be hazordous to your
health Listener discretion is advised
Ambienl ethnic, hjnk, pop, dance, punk,
electronic, synlh, blues, and unusual rock
10:00AM Gid mic of oil shapes and
-12:00PM electronic
LOVE SUCKS 12:00-2:OOPM Music ol
work (Cut up mixed genres — eclectic,
electric induded bul nol mandatory)
MOTORDADOY 3.*00-5*OOPM No indie
rock here — |usl some good ol1 Soulhem
fried biker boog-el
Community/campus news and view
RACHEL'S SONG 5:30-6:OOPM inlo on
health ond the environment, with o focus
on Vancouver Topics ranging
fromrecyding, conservation protects, to
diet, health and consuplion and
suslainability in the urban context
Comments ond ideas are welcome.
ESOTERIK 6:00-7:30PM aft. Ambient/
electron, c/induslrial/elhnic/
expenmenlal music (or those of us who
know obout the illilhids.
SOLID STATE alt. 6:00-7:30PM Featuring
the latest in lechno, trance, acid and
progressive house Spotlights on local
artists, ticket giveaways, & live
performances. Hosted by M-Poth
2, ida, miranda July..
are a few of our fave oh-
wril things, lo la lal
roots/folk music in the middte of your
week Focus on locd and Canadian singer-
songwriters, regular features on oher
regions with in-house visits.
12:00AM Let DJs Jindwa and Btndwa
immerse you in radioactive Bhungra!
'Chakkh de phutay.' Usten to ol our
favourite Punjabi tunes — remixes and
onginals. Brrooooh!
carefully as Johnny B brings you CiTR's
classical music show. Featuring
Canadian composers, amateur hour &
more. Rodio con fuoco, for the masses
FILIBUSTER olt. 10:00-11:30AM From
accordion to the backwoods via swingin'
lounge sounds this show is a genre
free zone.
MUSIC FOR ROBOTS oh. 10*00-11:30AM
Viva La Robotica Revolution.
Electronica   noiz. new wave, no wove.
From Tofino to Gander, Baffin Island to
Portage fo Prairie. The all-Canadian
soundtrack for your midday
STEVE &MIKE 1:00-2:00PM Crashing the
boys' club in the pil. Hord and fast,
heavy and slow, listen to il, baby,
JUSTIN'S TIME 2KX)-3:OOPM Serving up
your weekly dose of Shirley Horn and
other jazz-filled confections
FLEX YOUR HEAD 3:00-5:OOPM Hardcore
and Punk rock since 1989. hltp://
mypage direct.ca/f/flxyrbed/
TARTS ON ARTS 5:30-6:00PM ak. Tune in
for a livery update on the arts community.
Movie reviews and criticism
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks nothing politically correct
Wedon'lget pa id so you're damn right we
hove fun with it Hosted by ChnsB
Roots of rock & rol
9:00-11:00PM Local muzak from 9 Live
bandz from 10-11.
SLIPPERY SLOT 11:00-1:00AM farm
onimals, plush toys and Napalm Death
These are a lew of my favourite ihings
It's all aboul shootin' the shit and rock *»'
roll, baby
10:00AM Join Greg in ihe love den for
a cocktail We'll hear retro stuff, groovy
■azz, and thicker stuff too See you here
... and bring some ice. XOXX
12:00PM Ska in*x>allstylesond fashion
even some o'dot reggoe shil
UCORICE AliSORTS 12:00-2*00 All kinds
of music spoken word, interviews Phone
in for comments or requests Tune in and
expose yourself to new music and ideas
Underground, experimental, indie and
women Jacuzzi space*rock at it's finest
NOIZ 4:00-5:OOPM sell tilled
Sounds^ the transpacific underground,
from west -ova to east Detroit Sound
system operator, Don Chow
AFRICAN RHYTHMS ah. 6:0O-9:00PM David
'Love' Jones brings you the besl new and
old Jazz, soul, latin, samba, bossa &
Africon Music around the world.
HOMEBASS 9:00PM- 12:00AM The
original live mixed dance program
in Vancouver. Hosled by DJ Noah,
the main focus of the show is
lechno, bul also includes some
trance, acid, tribal, elc... Guest
DJ's, interviews, retrospectives,
REBEL JAZZ 10:00PM-1:00 AM Join Ginsh
for some — rebel |azz
EARWAX ok. 1:00AM- DAWN 'Utile bil of
drum, bit of bass and a wbole lot ol
noize ' Late night rodio soundclash
destined to fist you hard Sne features,
phal experimental chunes, and the
occasional turntable symphony 'Money,
we'll rock you on 'til the break ol dawn '
-G Smiley
attention, all
interested in
l>ein£ a part
ofa collective |
i .. i   _ i
Hi]-- UKjy
or any other
radio show,
please contact
namiko at
831.1343 for
more info!
101.9 fM
s flovour of homebass
UMP SINK 12:OO-2:30AM The show that
doesn't hate you. Friar Fritter Abfakdn
ond Poslman Pat alternate wilh Tobias'
Paradigm Shift (rani, phone-in and kiss
your mother with the guests)
Music you won't hear anywhen
;, British
comedy sketches, folk music calendar,
ticket giveaways, plus WorldCup Report
roots. 9-12 noon: Celtic music and performances.
Vancouver's only true melal show, local
demo tapes, imports and other rarities.
Gerald Rartlefieod and Melal Ron do ifie
LUCKY SCRATCH 3*00-5:00PM Blues aid
blues rods will your hosts Anna and Andy.
hosl Dave Emory and colleague Nip Tuck
for some extraordinary political research
guaranteed to make you ihink Originally broadcast on KFJC (bs Altos, Cal.).
UVE! AT THE HI HAT!! 11:00PM- 1:00AM
"live! - shews and bands - admission
$6.00 - Performers are subject lo
change." Maximum Soul.
show profile:
Rachel's Song is a weekly show on Wednesday evenings
from 5:30-6:OCpm hosted alternately by Karen F (esoteric)
and m-path (solid state). The show's focus is on the
environment and the health of individuals and society.
Topics such as recycling — with an emphasis on the
programs currently operating in Vancouver—-diet, health,
and lifestyle will be recurring themes of Rachel's Song.
There will be a strong educational component of what can
and cannot be recycled and where. In addition to the
actual environmental impact of recycling (which should
be the last resort), the importance of refusing, reducing
and re-using will be emphasized* Recycling one's garbage
is beneficial/ but a fundamental change in the individual's
and society's consumption habits will be far more
beneficial. Interviews of local activists and spotlights on
new technologies, organizations (such as the South East
False Creek Working Group), and companies will serve to
inform the listener on how to reduce one's "ecological
footprint" and be a more informed and aware consumer.
Upcoming events, such as talks, presentations and rallies/
will be announced to encourage the listeners to become
more involved in the evolution of their communities* By
creating awareness in the listener's ability to become
directly involved in the decision making process in their
own community, we hope to stimulate a greater sense of
self determination. Alternative construction/ architecture
and design of buildings will be discussed/ such as the
Choy Building at UBC. Of particular interest is alternate
energy sources, water supply and treatment, and overall
construction. The example of "happy house" in Toronto
will be used as an example ofthe possibility for residences
to be "off the grid" and self-sufficient. The show will also
discuss international issues, such as the destruction of
natural habitats and animal extinction. In addition, the
destructive influence of multi-national corporations on
the lifestyle of Terrans will be discussed and exposed.
I cIty __^
I     /' f     At
1 YEAR: $15 CDN   $USl5 US   $24 ELSEWHERE
29 ^m^amms de< '97 LONG VINYL dec '97 SHORT VINYL dec '97 INDIE HOME JOBS
1 various artists
2 coldcut
3 stereolab
4 coldcut
5 ec8or
C mocket
fame whore
let us play
dots and loops
more beats & pieces
all of us can l>e rich ...
" lonesome orgajiist collector of cactus ..
ninja tune
ninja tune
grand royal
thrill jockey
8 the need the need
9 the cramps big beat from badsville     epitaph
10 the smugglers ln.ldy holly convention lookout/mint
11 mecca normal who shot elvis? matador
12 negativland ipsdesip independent
13 pellucid ta*>e yr tv bug girl sound
14 sukpatch honky-tonk operation slalxso
15 helium the magic city matador
16 the sea and cake two gentlemen thrill jockey
17 loop guru loop bites dog   world domination
18 syrup usa all over the land flydaddy
19 guitar wolf planet of the wolves matador
20 mr. t experience revenge is sweet ... lookout!
21 pizzicato five happy end of the world   matador
22 apples in stereo tone soul evolution elephant/spin
23 frigg-a-gogo penetrating ... 360 twist'
24 cornershop when i was born ... warner
5 man or astro-man? made from technetium touch ai*i go
26 brand new unit diddley squat creative man
various artists up in orbit up
28 the tonics looking for the good ...      lance rock
29 sonic youth slaapkamers met slagroom     bmi
30 modest mouse the lonesome crowded west      up
31 portishead
32 longstocking
33 the exotics
34 butterglory
35 aerial m
1 murder city devils
2 lake of dracula
3 the kiss offs
4 reclusives
5 the mait from uncle
6 jumprope
7 celestial magenta
8 juno
9 von zip]>ers
10 vehicle flips
11 sloppy seconds
12 sarah dougher
13 jale
14 make-up
15 love battery
16 victory at sea
17 thrush hermit
18 sloppy seconds
19 the ids
20 jon spencer bx
the murder city ...
love's evidence ...
more of the same
friends to none
the pensive ep
skin graft
lance rock
motor way
magnified and reduced _ jade tree
hot rod monkey screaming af^e
terminus harriet
minnie greutzfeldt get hip
lireakin' in a lirand new „ k
true what you say ready to break
free arthur lee k
snipe hunt letdown
victory at sea villa villakula
giddy with the drugs murder
where eagles dare get hip
locked in a room hive
s/t matador
[ the tonebursts
! dirtmitts
) the colorifics
I quonset
> plumtree
J squeeky
■ touch and gos
! dreamy angel
) thee goblins
) the lamps
I harvey switched
> the t>eans
J mizmo
I the hounds of buskerville
> radio star
5 the floor
r the eh-team
I wiggler
) bonafly
) the spitfires
masters of karate
amaze me
"47 (now i see heaven)
desert blade
in the sink
ten twenty-three
campus radio l>oy
laundromatte queen
golden tokens
freedom drunk
muddy eyes
italian vases
radio star
better men
the edge
bad man hank
so lonely
~\ CiTR
/I  mouse on mars      antoditacker
2 donald antrim       100 brothers
3 autechre chiastic slide
4 the nice film ponette
5 the plastic project at the cultch
6 david f. Wallace a supposedly fiui thing
ill never do again
7 the nice film lost highway
8 squarepusher hard normal daddy
9 Jeffrey eusenides' short story real estate
^10 the nice doctor
sic to work fc
~ longstocking ~ polvo - plumtree ~
cornershop ~ him ~ john fahey with cul de sac -
- cat power ~ stereolab ~ Jonathan fire eater ~
~ readymade ~ containe ~ v/a what's up matador ~
huevos rancheros - fluke ~ helium - paul miller ~
~ the lookers ~ tim brady ~ windy & carl ~
- golden lake diner ~ Juliana hatfield ~ bardo
pond ~ purple ivy shadows ~ harmonia 76 ~
and, of course, CiTR 101.9fM
30   december 1997 december
FRI 21 Uz Jsme Domo, High Llamas@Starfish Room... Lee
"Scratch" Perry@Sonar (early show)... Soul Crib@Chameleon...
Stereolab, Mouse on Mars, Plush@Palladium... Rhythm
Roundup@Willow Street Cafe...
SAT 22 Coal, The Beans@Railway Club... DDT@Starfish Room...
Soul Crib@Chameleon... Matthew Good Band,
Junkhouse@Graceland... Co-op Radio & ICTV benefit: The Linda
McRae Band, Joe Keithley, Flatland 6@Legion...
SUN 23 Steve Locy@Starfish Room... Simon Townshend
Band@Gate... David Grisman Quartet@Vogue... Reba McEntire,
Brooks & Dunn@GM Place... Big Bad Voodoo Daddy*@Richard's
on Richards...
MON 24 Grrrls with Guitars: Emma Carter, Connie Saulnier,
Nadine Davenport@Railway Club...
TUE 25 CiTR PRESENTS SHINDIG! Semi-finals!: Bless the
Pod, Bossanova, Hounds of Buskerville@"Railway Club
Princess     Bride,     Trainspotting@UoC     SUB     Norm...
WED 26 Midge@Starfish Room... Paradise Lost: The
Molestics@Anza... CD Release: Rain@Railway Club... Xmen,
Scratch Kilz, Beat Junkies@Sonar.
Dirtmitts, gaze, Clover Honey@Brickyard... The
Ruins@Starfish Room... Skydiggers@Richard'son Richards... Paradise Lost: The Hot Club of Mors@Anza...
Devils, Siobhan du Vail, Sloppy@Brickyard... Juliana
Hatfield@Starfish Room... Slick@Palladium... Odds@UBC SUB
Ballroom... Paradise Lost: Blue Heaven@Anza... Age of Electric,
Zuckerbaby, Mystery Machine@Vogue... Ralph in-slore@Virgin
Mega store...
SAT 29 CiTR PRESENTS GIRLFEAST: Liquid Amber, Puncture, Hissy Fit, MoneyPenny, Sunny@Brickyard...
Metalwood@Chameleon... MXPX, Reset, Bracket@Starfish
Room... The Tea Party, Econoiine Crush@PNE Forum... Duane
Steele@Vogue...   Third   Eye   Blind@Palladium..     Veal,
Melt@Railway Club...
SUN 30 Fred Penner@UBC Museum of Anthropology...
MON 1 Spirit of the West, Mary Jane Lamond@Vogue...
TUE 2 CiTR PRESENTS SHINDIG! Semi-finals! The Salteens,
Vancouver Knights, Superchief@Raihvay Club... Gus Gus,
Q Burns@Palladium... Blue Rodeo@QET...
WED 3 Michael Dog@Mars... Blue Rodeo@QET...
THU   4  Prong,   Sister  Machine  Gun,   Noise  Therapy,
Gun@Vogue... Wow, Cooking Purple@Railway Club...
FRI  5 Lee Aaron, Colorifics, Molestics@Vogue... Terror of
Tinytown, Thrill Squad, The Beekeepers@Brickyard... Eugene
Ripper, Beauventure@Railway Club..
Hokem,    the    emptys@Rage...
Yost@Sonar... Eugene Ripper, Jelly
Sun Yat-Sen Cla
SAT    6    John
Velver@Chameleon..   Kevir
Farm@Railway Club...
SUN 7 Open house@Dr
TUE 9 Hard Rubber Orchestra@VECC.. Carmaig
DeForest@RailwayClub... Quonset, High5 for Jive@Brickyard...
U2, Smash Mouth@BC Place... Andy Summers Group@Richard's
on Richards...
WED 10 CiTR PRESENTS Atari Teenage Riot, Shizuo,
EC80R@Palladium... Audio Active, Adrian Sherwood@Starfish
Room... Knock Down Ginger, Carmaig DeForesr@Railway Club...
THU 11 Tafelmusik Baroque Orchestra@Chan Centre...Sweet
FRI 12 Cherry Poppin' Daddies@Starfish Room... Yellow
Productions@Sonar... Mecca Normal, Coal, Emptys@Brickyard...
Sweet Dick@Railway Club...
SAT 13 G-love and Special Sauce@Sta.fish Room... The Wheat
Chiefs, Jesse's Girl, Jet Set@Brickyard... Jane Sibbery@Vogue...
Portishead, DJ Andy Smith@Rage... The St. Lawrence String
Quartet@Chan Centre... Sweet Dick@Railway Club...
TUE 16 Ralph's Beatnik X-mas@Railway Club...
WED 17 Ford Pier & the Moils, Tom Holliston@Railway Club...
THU 18 Superchief, FatChance@Starfish Room... Punch Drunk,
Drexel's Eye@Brickyard... No Fun@Railway Club...
FRI 19 CiTR PRESENTS SHINDIG! finalsl@Railway Club
'The Cartels, The Retreads@Brickyard...  Ray Condo & The
Ricochets@Railway Club... 11 2, Busta Rhymes, Foxy Brown, Jay-
Z, Kid Capri, L.O.X., LiP Cease, Ul' Kim, Maze, Usher, Puff Daddy
& The Family@GM Place...
SAT 20 The Colorifics@Starfish Room... Ray Condo & the
Richochets@Railway  Club...   Blammo,   Trike  Wipeout,
Malevolence@Brickyard...  Vancouver Chamber Choir,  Ed
Henderson@Chan Centre...
SUN 21 Poetry Panache: Xmas Edition@Death by Chocolate...
Sugar Rum Cherry@VECC... Vancouver Chamber Choir, Ed
Henderson@Chan Centre...
MON 22 Grrrls with Guitars@Railway Club...
TUE 23 Ronnie Hayward Trio@Railway Club...
WED 24 Ronnie Hayward Trio@Railway Club...
FRI 26 Bughouse Five@Railway Club...
MON 29        Money Hungry Newlyweds,
Nummmb@Railway Club...
TUE 30 Oh Susanna, Kevin Kane@Railway Club...
everytPH-fe. ti*wl tn Iqqow
eveiywherffljtf " Efl'fi) go
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
The Blinding Light 256 E. Georgia (between Main & Gore)
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
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordovo (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Death by Chocolate  1001 Denman St. (at Nelson)
Denman Place Cinema  1030 Denman  (V\fest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate  1176 Granville (downtown) 688 8701
Good Jacket 42 Kingsway (at Main) 872 5665
Greg's Place 45844 Yale Rd.  (Chilliwack) 795 3334
The Grind Gallery 4124 Main  (Mt. Pleasant) 322 6057
Hemp B.C.  324 W. Hastings (downlown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pt. Grey) 224 8007
LaQuena  1111 Commercial (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Medialuna   1926 W. Broadway
Mora 6 Powell (Gastown) 689 0649
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Old American Pub 928 Main (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque  1131 Howe (downtown) 688 3456
Palladium (formerly Graceland) 1250 Richards (downtown) 688 2648
Paradise 27 Church (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 681 6740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion  15 Water St. (gastown) 602 9442
Queen Elizabeth Theatre Hamilton & Georgia 665 3050
Raffels Lounge  1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W. Cordovo (Gastown)
Shadboll Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room  1055 Homer (downlown)
Starlight Cinema 935 Denman [West End)
Station Street Arts Cenlre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
SloneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. |N. Van)
The Tower 339 W Hastings (downtown)
Twilight Zone 7 Alexander (Gastown)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main (Mt. Pleasant)
Vancouver Press Club 2215 Granville (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout   1020 Granville (dowlown)
Video In Studios  1965 Main (Mt. Pleasant)
Virgin Mega Store 788 Burrard (at Robson)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall   1882Adanac (the Drive)
Women In Print 3566 W 4th  (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
685 585
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
988 2473
682 8550
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
669 2289
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
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