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Discorder CITR-FM (Radio station : Vancouver, B.C.) Dec 1, 1990

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   DECEMBER 1990 - ISSUE #95
■ MM I'l"    _-_■_-_-_-_■■■_!
REVERB MOTHERFUCKERS
Scum Rockin1 in the free world 7
A SPLIT-SECOND
Uliana takes the redeye to SF & steals the soap 10
ATTRITION
They didn't think Lloyd was an asshole 11
SHINDIG
That beauty pageant from CiTR 13
LEMONHEADS
Paul T. Brooks puts the squeeze on Evan Dando....14
SKINYARD
The guys who showed Danzig how it's done 15
NEW MUSIC AMERICA
Jeff Buttle gets KO'd in Montreal 16
DICKLESS
Mikey,Gav and the prom date they never had 18
WISH LIST
Man Sherbet sits on Santa's knee 34
■■WIW.H
AIRHEAD 5
MINIS 8
SUBTEXT 20
THE BIJOUX 21
REAL LIVE ACTION 22
LOCAL MOTION 23
UNDER REVIEW 24
7" 25
HELL'S KITCHEN 27
DATEBOOK 31
ON THE DIAL 32
CHARTS 33
■*mr*i
JUNKFLESH
Bryce Rasmussen 29
DANCING ON THE CLOUDS
On holiday in honour of X-Mas	
Audra Neal is a Vancouver graphic artist originally from Calgary. She
owns and operates Cryptic Solutions, a graphic design firm.
.MJJH-JHH*.]:^-
EDITRIX Lisa Marr ART DIRECTOR Geoff Coates DISCORDERLY
ORDERLY Robynn Iwata EDITORIAL ASSISTANTS Bill Baker, Paul
Funk, Viola Funk, Randy Iwata PRODUCTION Bill Baker, Don Bull,
Alice Loring, Lisa Lutman GRAPHICS Kyle Menzles WORD PROCESSING Laurreen Ford , Tricia Festejo PHOTO DEVELOPMENT
Lydia Schymansky SPINLIST Randy Iwata, Lloyd Uliana ADVERTISING
Greg Elsie ADVERTISING PRODUCTION Robynn Iwata LOCAL
DISTRIBUTION Matt Steffich SUBSCRIPTIONS / MAIL DISTRIBUTION Lydia Schymansky PROGRAM GUIDE / DATEBOOK / DELIVERY FRIEND Randy Iwata ACCOUNTS Linda Scholten TECHNICAL
SUPPORT Ted Aussem PUBLISHER Barb Elgood
Discorder Copyright © 1990 by The Student Radio Society of the
University of British Columbia. All rights reserved. Discorder is that
magazine from CiTR 101.9 fM, and is printed monthly in Canada on
paper manufactured in Canada. Discorder prints what it wants to,
including the CiTR On The Dial program guide and the CiTR SpinList
playlist charts. Circulation is 17,500 copies distributed free to over
230 locations. 12 month subscriptions are $15 in Canada, $15 (US)
to the states, and $24 elsewhere. Please make cheques or money
orders payable to Discorder Magazine. "Fuck you -1 got tickets!"
- C. Newman. Deadline for ads and submissions is the 10th of the
month. We want your stuff - send it our way, and if we like it, we'll use
it; if not, we'll lose it
CiTR 101.9 fM is 1800 watts of stereophonic bliss from UBC to
Langley, Squamish, and points beyond. We're also on all major cable
systems in the lower mainland except Shaw in White Rock. Office
hours for CiTR, Mobile Sound, and Discorder are M-F, 10-4. Call CiTR
DJ line @ 228-CITR, our offices @ 228-3017, our news + sports @
222-2487, fax us c/o CiTR @ 228-6093, or write Discorder, #233-
6138 SUB Boulevard, Vancouver, BC, CANADA V6T 2A5
Life With The Family Enndye
(From the Files ol TO. vladamira,
Biographer)
ENNDYE: A large, vociferously
opinionated group or family given
to writing a bi-monthly column
attacking friend or foe, or suddenly siding with the same. This
group divides and sub-divides
frequently, due mostly to unwise marriages and "lost" wills.
Common phrases: "Bloody hell,
I've lost my pipe!" and "This
wine is corked! I demand a substitution!! Waiter!"
HOW MUCH FUIM ARE
YOUR WEEKNIGHTS?!
PARTY!!!
Every "Tuesday Night!
DJ Mario S. David pumps out the hits of Prince, Snap,
Madonna* Deee-Lite, New Order, Betty Boo, George
Clinton, James Brown, Depeche Mode, & more...
And don't forget to join DJ George Barrett
every Wednesday for REGGAE NIGHT!
Tues, Wed, Thups, No Cover, 2 fop 1 Specials!!
RACELAND
1250 RICHARDS ST. ALLEY ENTRANCE 688-2648
DECEMBER 1990 3 AAAAAAAAAAAAAAAAAAA
ITDL_3D(___1TJ1© UMJ/1
i=_B [.l^T^n L__DQD D_3
DK]_^LX]=[LDDa_l C_$£_B^^^3^
YYYYTYYYYYYYYYYYYYY MI.-1!I=M.
THAT'S SIC! ALL LETTERS PRINTED AS RECIEVED.
Dear Airhead:
Unqualified freedom of expression is a difficult concept for
anyone to accept. I often catch
myself asking who gave the KKK
permission to have a parade, or
who allows advertisers to publish
"half truths" about their products.
In our society one can not
turn around without finding somelhing that is alien and out of ones
understanding. When people are
confronted with something lhat they
do nol understand they are afraid.
They feel it could threaten their
way of life, and they must protect
themselves from it. I think il is
obvious that allot ofthe hatred and
mistrust in our world is a product
of Ihis fear. It is a natural defence
mechanism that preserves our own
identities.
It seems clear (to me anyway) that if a person could be shown
that what they don't understand is
nol a threat directed at their version of reality, but in many cases
something that could enhance or
enlighten il, I feel lhal much of ihc
tear would disappear.
Bat this is where the problem
is Our society docs nol care aboul
something thai has nol happened
yet. Wc did not start worry ing about
ent until il*s destruction became an eminent threat. Wc
do not worry about rebellious
children until they become criminals. And when they do, we don't
really worry why, wc just get rid
of them. I believe lhal most of our
problems can nol be solved with
band-aid solutions after the fact.
And following the same line of
thought, I do nol believe that restricting the expression of groups
or organizations that already exist
in our world will make them go
away, or even limit their ability to
Education and openness is
anly solution. The KKK gets
shrouded in mystery. Outsiders
don't understand what it really
stands for and there is always a
percentage of people who arc attracted to ihis. If you want to protect your children from this, don't
hide them from il because they
will find out about il without your
help and they might nol hear the
whole story.
The only hope is uncensored
education. I believe that if a child
is shown the whole slory they can
be trusted to make rational deci
de
lioni wilhout being handicapped
by ignorance Anyone can tell a lie
if they know without a doubt what
the truth is.
Censorship hides bolh truths
and lies, and people (especially
children) arc always searching for
the unknown and hidden. If their
education is restricted, the chances
arc they will not know the truths
from the lies when they find them.
Murray Acton
that cretin from the
DajTfto Abortions
By now, dear Reader, you've no
doubt heard of Fringe Records'
acquittal in the infamous Dayglos'
obscenity trial. A victory for freedom of speech and expression...
for now. We hear The Crown is
considering an appeal. Perhaps
the real obscenity here is making
taxpayers, regardless of their stand
on this issue, foot the bill.
Dear Airhead:
In regards to Angie Finley's
off-hand remark aboul the Commodore playing lunes by the Scorpions and Lee Aaron and "other
shitty bands" before the October 8
Danzig show: come on, Angc—
lighten up, will ya? Maybe Lee
Aaron is a shitty band, but what
aboul ihe Scorps? They're ace!
jusl because they're mainstream
doesn't mean they suck the biggie.
Steve Newton
(P.S.:    Please don't start a hate
club for me like you did for Alex
Varty. A love club might be nice,
though.)
Afler whal happened last time,
you think I'm touching this one
wilh a ten-foot-pole?
Dear Airhead,
Where ihc hell is my Social-
lochange lives! Allerpcrccptions!
Krradicalc hypocrisies!
I only pray lhal this cartoonist is
on vacation and not permanently
retired
Bin woe 10 thee ai CiTR if he's
been axed because yourkarma will
slide down, down like goose poop
on a hill in Ihc rain.
Bring him back and let us thrive on
his universal truths.
Wc love you, S.T., we love you.
Liessi
Colin Upton replies: "Gee, sorry
about lhal! Don'l blame DIS-
CORDERlCiTR, it was all my decision lo end the comic. You can
pick up ihe new issue of my very
own comic book Big Thing in
January." Colin has signed a lucrative contract with Fantagraphics
Books which means he doesn'I have
any lime for poor ole us anymore.
He's also part of a group show on
now at A Walk Is... Gallery, 976
Denman. Should we expect a
"CapilalislTurlle" sometime soon?
Dear Airhead:
So I happened to be ai the
Railway on November 5, and I
couldn't help but see one of
Superconductor's post show comments from one very problemed
judge regarding their dancer.
Your remark about silups and
silicone shots was in extremely
poor tasie. disgusting, and did  I
And another thing, cutting a
band off in the middle ol their set
isn't very nice cither. OK they
were laic, bul everything was over
il 1:30 anyway.
('(mic on. is Shmdiglruly the
serious search for safe alternative
music it claims to be the gong
show or perhaps a forum for frus-
tratcd unprofessional judges?
SKI.
Shindig DOESN'T claim to be "the
serious search for safe alternative
music." All we want lo do is give
local bands a chance to play (and
maybe even record) and hear some
coolmusic, whatever that is. Bands
are judged un (in order of importance): originality, musical ability, stage presence, audience reaction. Yes, our judges are unprofessional (which means anyone can
be one, even you). And yes, some-
be tongue in cheek land a little off
base. As far as "culling a band
off," Shindig has a few ground
rules so everybody gels a fair shake:
each band is allowed a 30 minute
sel and each band is expected to be
ready lo go at their prearranged
start time Is that so much lo ask?
Well aware of these rules/limes,
Superconductor chose to arrive late.
Afterwards, one band member remarked that they had intended to
keep playing until they were yanked
anyhow. See you next Monday.
ANOTHER
NETTWERK GARAGE SALE
NETTWERK PRODUCTIONS IS SELLING
DELETES, CUTOUTS, MERCHANDISE
(including T-Shirts not available in stores)
PROMOS, POSTERS,
PROMOTIONAL ITEMS,
VIDEOS and RARITIES
One Day Only -
Sunday, December 2,1990
11:00 AM -5:00 PM
In the alley behind 1717 West 4th. Ave
Vancouver
| Dealers Welcome	
_____ ______
NO FUN
again & again!
Wednesday, December 19
Showtime for both shows: 8:30 P.M.   (Doors at 8)
Tom Lee Music Hall
929 GRANVILLE
See good, Hear good, Sit comfortably - ALL AGES WELCOME
kets: $8 advance, $9 at the door.
it Zulu, Track, and Reminiscing Records.
DECEMBER 1990 5 /Jil COtiCEKT
K
A    \        A
D TT D D
rr
TOO DARK PARK
99
899   i£99
CASS ^M   CD
Commodore Ballroom Sat. Dec. 22
ALL
AGES
SHOW
SKINNY PUPPY
"12" ANTHOLOGY"
"CALL THE AMBULANCE
BEFORE I HURT MYSELF"
ALSO AVAILABLE
FROM SKINNY PUPPY
• MIND T.P.I.
• CLEANSE, FOLD AND MANIPULATE
• VIVISECT VI
• RABIES
• REMISSION/BITES (CP ONLY) T    CASS
SALE RUNS
NOV. 24
TO DEC.31
O   CASS I   W
99
CD
A6A
AVAILABLE AT THESE A&A LOCATIONS
685 WEST BROADWAY   590 WEST PENDER AT SEYMOUR George "Discorder" Anderson: Vancouver! Roy
"Wildman" Mofo:
When I think of Vancouver and I may
be wrong, I think
of eagles, sea
breezes, a civilized nation of
people without
any repressive
anti-obscenity laws
obviously, socialized medicine, where
the biggest struggle
seems to be whether Quebec
wants to stay in Canada. God
forbid, we [in the United States]
should have problems as small as
that. The biggest issue is "OK, I'm
about to leave my apartment. What
can I do to keep from gettin' killed?"
and it gets worse everyday. I mean...
you can count on being assaulted if
you walk three blocks from your
home. You'd better have one of
those pungisticksP^-etfJ
or one of those Korean style
Discorder: Have you
ever been trapped in an
elevator  during a
blackout? Or anything
like that? Roy Mofo:
No, you don't understand. You see, the
machinery is all working it's just what the
machinery is doin' is the
problem— Skinny "no
middle nickname" John:
They're stokin' up the reactor
with double strength nuclear fuel
this month, so the lights won't go
out. Really, this is true, they're like
way beyond the requirements of
the reactor. They're putting in this
fuel and they're not removing any
of the old fuel and they're putting
it in a swimming pool next to the
reactor core in a way totally
unproscribed by law.
Discorder: Was the rock
band the Reverb Motherfuckers at one time the
Cheetah Chrome Mother-fuckers? Skinny
John Mofo:    The
Cheetah Chrome Mother-fuckers, well, actually
we're the Reverb Motherfuckers and the Cheetah
Chrome Motherfuckers. We
were played on the radio in Italy
and they loved Cheetah Chrome
Motherfuckers and they loved us,
and that's how they got their name.
Really. That's what I understand at
least, and that's what they told me
and that's what Cheetah tells me.
Discorder: Does induction
into the New York Scum Rock
Scene mean immediately a
date with the Lunachicks or Da
Willys or anything like that?
Skinny John Mofo: It means to
me you know being the kind guy I
am, it'sbetterto be friendswith people
and have relations with people and I have relations, you know, in a friend-type way with the
Lunachicks and those people. A date incurs all
the romantic and mental underpinnnings. I can
deal with the band and I can deal with alot of
things, but I can't deal with women (laughs).
Discorder: Were the Lunachicks a hot band
from the very beginning? Did the Reverb Mother-fuckers start at the same time as the Lunachicks? Skinny John Mofo: The Lunachicks
started after us. They were good. I mean, they've
come up. I mean, the one thing about them is
that they work real hard. They started out and
they are good and they work real hard, they've
been rehearsin' an' practicin' and the last time I
saw them, they were devastatin'. Have they been
out there? You guys should wait with baited
breath because when they come out there everyone's gonna have to wear some butt pads to
prevent bruising, because they'll be kickin'some!
Discorder: You know what Vancouver is
famous for? Do you know any rock and roll from
Vancouver? Skinny John Mofo: My cousin
lives there (laughs). I'm from Canada.
Discorder: You're a Canadian? Skinny John
Mofo: I am a Canadian.
Discorder: And you don't know any Canadian
bands. You know some perennial Vancouver
bands: Skinny Puppy is from Vancouver.
DOA is from Vancouver. They used to have
Chuck Biscuits in it. Skinny John Mofo: Oh
wow.
Discorder: You know Chi
Biscuits, the legendary   Chuck
Biscuits.
He's
hanging
around New
York, isn't he?
Roy    Mofo:
Well, Idon'tknow,
you see you have to
understand,   you  1
know, the Scum Rock
people are all pretty good
friends'cause we couldn'
get any shows so we'd have
shows together sometimes i n
each others' apartments and
stuff. But alot of people I ike Chuck
Biscuits. I think he's further up the   ^|
scale; he's invited to the big parties.   '% 1
We're only invited to the parties where   %?
we have to bring our own beer.
Discorder: Are there any crack houses in *
New York? Skinny John Mofo: The thing
is, here in New York, the apartment situation
is so bad, there'scrack but no houses. It's sold
on the street and you have to get into a cab or
a Winnebago to something. You have to rent
a Winnebago to do your drugs.
RMF, Reverb Mother F-ers, Reverb Mofos, Reverb Mothers, etc.: what incarnations of or spellings of your name may
reveal the true content of the Reverb Motfier-
fuckers? Skinny John Mofo: (laughs)] don't
know. They call us the Reverb Mofos. I can
understand because some people—we actually had records returned from radio stations
from here in the States who refuse to even have
our record in their offices, because they felt
like people are going to get on the air and say
Chewin'up the phone line
with the new B-Hole-
Surfers-Cant-Say-this-
on-Radio band by George
Wow! I says to myself, George
Anderson, new and vital
member of CiTR and soon-to-
be contributor to Discorder. I'm
speaking with one of the
kings of the New York Scum
Rock scene, the Reverb
Motherfuckers! Not only do
they kick some major butt on
vinyl (check out their Route
666 album and their latest The
Twelve Swinging Signs of the
Zodiac), but their live shows
getting written up repeatedly
in the Village Voice has got to
mean something, no?-espe-
clally when the VV tells you
"to wear something plastic-
easier to wipe off when the
barbecue sauce flies" (27
June '89)! I hear they're
personable and articulate,
friendly even, and they have
New York accents! But, you
know, it's really amazing,
'cause when I finally pick up
ne that rainy
Ifcouver afternoon, it's as if
we're on the same wavelength
or something, 'cause all I had
to do was mention where I
was from, and Roy "Wildman"
Edroso, who sings and plays
guitar and bass, jumps right
in, you know?
something. Here in the United States people are
terrified of saying anything. Everything is put out
at eight year-olds and our records aren't being
aimed at eight year-olds. A name like that on the
record cover, I would assume an eight year-old
who saw it would know it wasn't for him and he
would go over to get a record in the Chipmunks
section. So Reverb Mofos, that kinda stuff I don't
mind that if people have to do that. I'd rather they
do that and just play the music and let it just
stand for itself but I feel bad for them. It's horri-
fyin' here. There are stations just waitin' for
someone to say "motherfucker" so they can kick
them off the air. It's unbelievable.
Discorder: Isyour motto "Fuck thatweakshit"?
Skinny John Mofo: No, that's not our motto.
"Fuck that weak shit" is Rave Records' motto;
don't pin that on us. Our motto is "E Pluribus
Maximum" (laughs). In beer we trust (laughs).
Discorder: When Rave Records says "Fuck
that weak shit," what do you think they're trying
to talk about. Who exemplifies "weak shit"?
Skinny John Mofo: I would say Tears for
Fears, perhaps Depeche Mode. I wouldn't mention the Smiths because they're less weak than
some bands You know the ones I'm talking
about, alot of synthesizers, perhaps Madonna
would come into that realm of synthesizers that
sound likecrickets as opposed to bands thatgo
:Out there like the Lunachicks or us or Da Willys
|i Bloodsister whom you may or may not have
Heard of before. Bloodsister really kick some
fj£_utt. They're playing real rock 'n' roll,
playin' from the heart. We're not
because we're makin' money or
ie big buck. We're doin' it because
to do it; itcomes from our
oul.
Discorder: What about
like L7 and Dick-
Skinny John
We met L7.
,. Discorder:   Are
iy Scum Rock
are they
^ more   Sub
"    !    P 0 P
L Thrash?
i Skinny
John
: Idon't
w them that much
but the thing is like anybody
who wants to be Scum Rock is welcome to. Everybody is welcome under the
term Scum Rock. My feeling we're hearing about
bands all over the country who are turning into
Scum Rock, even some in England now. Some
Scum Rock bands are popping up in England.
It's a resurgence of rock 'n' roll. Its values of
having fun and not being so pretentious, laughing a little and—speaking of laughing, I'm gonna hand you over to Andy Mama Mia who hails
from Anchorage, Alaska. He's our drummer.
Discorder: Hi there, Alaskan Reverb Motherfucker. When you say the Reverb Motherfuckers
are from New York, who is the manager these
days? Andy "Bigfoot" Malm: I think no one
knows right now. Ifs hard to tell. The audience
gets worked up and it's sort of like a barrage of
legs, arms and various other limbs. It's hard to
differentiate one person from the crowd.
Discorder: What would be a typical gig goer?
Andy Mofo: It depends on the climate. If it's
really hot, they take
off their shirts ndn sweat
together, y'know. If it's not
too hot, people justwear black.
Black is the basic attire.
Discorder: Your other band members mentioned you've been mixed
upwith some really wierd bands that
you didn't really want to play with.
What other strange mixings have
you had? Andy Mofo: Is this directed to me personally?
Discorder:   Yeah Andy
Mofo: I play guitar with
various other people.
I hook up one guitar
andputonthisone
string and just hit
it,  you   know,
'cause they break
alltheother.trings
and can't afford the
other five and just
playtheEandAstring.
The people I play with
don't haveaname;wejust
get together and play. We
just jam. Roy and I used to
play in the Shaved Pigs for
awhile.
Discorder: Were they a fine
rock 'n' roll combo from New
York? Andy Mofo: Yeah, it's
kind of hardcore when hardcore was still happening. We
did a couple of European
tours. Intense hardcore.
Discorder: Do you
guys actually have
Fender Twin Reverb
amps? Andy
Mofo: Yeah. Actually, I think
they're hand-me-
downs.
Discorder:   Can
bands on the East
Coastsurvive like that,
staying there the whole
time? Andy Mofo: Yeah,
because usually bands on
the East Coast get to go to
Europe. But we're strictly New
York based, around this area,
Massachusetts, New Jersey,
Connecticut.
Discorder: What are the
top three places the Reverb Motherfuckers
recommend      to
someone for a taste
of the Big Apple?
Andy Mofo: The
RussianTeaRoom,
Lower East Side,
any place to get inspiration you might
get mugged.
Discorder: Have you ever
been mugged7 Andy Mofo:
No, actually.   Ninety-five
percent of the people I know
have  been   mugged
(laughs).
DECEMBER 1990  7 BY TOM MILNE
I first heard of Gas Huffer in Seattle's Backlash, curious aboul
their sound, I bought the "Fircbug'7'Jesus Was My Only Friend"
single. This soon grew to be a favourite of mine, so I was pleased
to finally get a chance to meet bassist Don, drummer Joe, guitarist
Tom and vocalist Matt. Tom was previously in the U
MEN but he doesn't like it when people focus on
lhai so I won't mention it.
What releases do you have on vinyl?
D: "Fircbug'VJesus Was My Only Friend'
single on Black Label records; a song
on Dope, Guns, and Fucking in the
Streets, Volume V on Amphetamine
Reptile; a song on Paget I'ower Volume Two, a split single wilh the Fast-
backs ; Riot House; Fstrus l.unchhox
compilation; and possibly a song on
the upcoming Teriyaki Asthma, Volume V, maybe.
T: And wc have a new four-song seven-
inch called the Ethel EP.
When will that be coming out?
T: A couple of weeks.
D: A rock bonanza.
J: Tom's nose is growing. It should really be out soon.
T: It's four of our faster, more rockin' songs.
All your songs are pretty fast and rockin'.
T: But when you play fast and rockin' stuff all the time, the
ones that aren't as fast as ihc others seem almost like ballads...
Any really memorable crowd responses?
D: When we played in Spokane with Mudhoney, it was pretty
nice but the guy who ran this big giant club got
:sted for molesting young boys so we don't
get to play there anymore. We played a
frai party once...
T: That was just stupid. There were
about 15 cool punk rockers in from
gging it and about 2000 frat boys
going, "Oh, punk rock; I guess this
means wc should slam and drive
our heads through the wall."
D: In Bellingham we had loggers
openly mocking us. In between
songs you could hear laughter in
the background...
ow do I get one of your famous
glow-in-the-dark shirts?
<: Send to Fallout Records and Tapes,
1506 East Olive Way.Seattle, WA,98102.
T: Ten bucks.
postage?
BOOTSAUCE
The Beat Assasinator talks to
guitarist Sonny Greenwich, Jr.
and
 singer Drew Ling	
Place: Donut Cafe, Granville St.
Time: 12 noon, Saturday
Food: Coffee and Toast
CounterPerson: "White or brown bread?"
Reply: "Brown." Of course! The Brown Album, a mixture of funk,
rock, and dance music, is the recently released debut LP for Montreal's
What do you think ofthe rap scene?
SGJ: I like some of the bands...Public Enemy...
DL: Eric B. and Rakim
SGJ:N.W.A.,Icc-T.
What are your feelings on sampling?
SGJ: If it's used as an ingredient and relatively cleverly, I think ii
Did you sample from Ice-T's "Drama" in your song in "Scratching
the Whole"?
SGJ: Noooo.
DL: There's no point sampling something that's already been sampled...
It was a Kool and the Gang sample. He sampled Kool and the Gang and
didn't ask permission to do it. We sampled it first and we got permission
for it when they were suing him.
How did your record deal come about? Canadian bands seem to have
a hard time...
SGJ: We kind of stumbled onto it. We were making the right kind of
noise at the right time. But I think for other people coming up it should
start getting easier; you know, if we can get signed then anyone can get
signed...
DL: (laughing) If bands would stop doing the same boring old shit then
maybe they would get signed!
I   DISCORDER
THE JAZZ BOTCHER:
THE EROSION OF THE BASEMEKT
BY PAT CARROLL
o discuss his descent to the basement. To
nut the idiocy of
■ir.' He's writing
much of it comes
It was a dark and stormy mid-afternoon. I ascended to Pat Fish's hotelro
start off, I fired some of the terms people use to describe his band:
"Strange."
"Yes."
"Unusual."
"Yes."
"Quirky."
"No."
"Loopy."
"No. I don't like this idea that we are 'Barmy English People For Profit.' We're just pointing
everyday life. We are not Robyn Hitchcock who comes up on stage and says 'Fish, Pineapple, Bathch
in code. It is O.K. though, I like him; I have the time of day for him. HIM I can see calling wacky... So
from chance conversation of something in the newspaper. Like the SUN, which is a seriously bad paper in Britain.
There was a headline that read'RED RUSSIANS SHOT MY ROCKET DOWN' and I thought millions of people are
going to see this. Millions of not very bright, not very well educated people who are going to look al it and say, 'Oh,
right.'So I looked at this and used it in 'Ronald Reagan's Birthday Present'where just about the entire lyric was people
chanting (he then sang aforementioned headline in 'a fake enraged American voice') in the hope of ridiculing people
into realizing what a daft thing was being presented to them as news. This stuff (ie. the Sun's headline or its instance
on referring to gay priests as "poofs") is fucking with language. It is nothing less than the erosion of meaning. If you
mess with words too much, you mess with attitudes. For example, there is this dictionary of German words that Hitler
and his pals messed with. Either fucked with the meaning or invented. Like 'Rassenschade' or 'race disgrace'... that
meant having sex with someone Jewish. If the people who are messing with the words are politically dodgy, like Mr.
Murdock (owner of The Sun) is, then you have a problem. You mention this to people and they arc blase about it, even
intellectual types; they just shrug their shoulders and say, 'language evolves, we don't talk like Chaucer,' and that's
true. But you have to be careful how it evolves. You can either give it more meaning, more accuracy, more use, or you
can turn it into a kind of blunt instrument for beating anyone who gets in your way. It's just ihe exaggeration of words,
of the devaluation of words just like currency. Take the word 'great' for example. Julius Caesar was great, Alexander
the Great was great, conceivably Napoleon was great. Nowadays everyone's new single is 'great'. Chances are most
ofthe burgers between Here and Winnipeg are 'great'. But they're not, they might be good but they're not great."
What can be done to combat this?
"Whoa, now we are getting into some good stuff here. What we do, is take very trivial boring words and place them
in an almost surrealist, situationally kind of context... Perhaps we can activate people to the meaning of words by using
good plain English; I hope that's the case. On the new album (the as yet unreleased 'Cult of the Basement') Mr. Odd
definitely does this."
In part the lyrics run "Square Leg/Square Root/Square Egg/New Fruit/Nice Suit... Nice. Square Peg/The Leg
From Winnipeg/Space Head... Nice".
"I was over al Laurence's (O'Keefe, bass player) basement; the lyrics were written very quickly... They were about
the man who lived next door. He lived alone, sort of shell-shocked from the war, no one knew or cared. POOR
BASTARD, this noisy Punk Rock Band who hung out next door were probably the nearest thing in the world he had
to friends. l&CSVK!
A Balinese Music Drama explained by David Lewiston I
and documented by Pete Lutwyche.
David Lewiston studied classical music at the Royal Conservatory in London, England in the
'50s. In the mid '60s he travelled to Asia for the first time and was blown away by the beauty and
the complexity of the traditional music he found there: "The syncopation of the Asian musicians
makes the western symphony orchestra look sloppy." Since then he has devoted much of his life
to travelling the Eastern Lands, observing the culture and recording the music. His travelling and
recording is done with his own savings, there's no record company advance; he hopes to
recuperate the costs of the trip, and finance the next adventure, all from the sales of the finished
recording. His latest release was digitally recorded on a pair of old VCR's in an ancient temple
courtyard in Bali. The recording is of a Balinese musical tradition called the Kecak (pronounced
"kechak"). While in Vancouver recently, he came up to the CiTR studios to explain the Kecak
ceremony.
DAVID LEWISTON: The anthropologist Walter Specs in the 1930s noticed a Balinese
ceremony called Sang-Huang, where a trance is induced in two young girls. They become the
vehicles lor heavenly nymphs and while they're entranced the nymphs can be questioned by the
village elders to explain the reason for the epidemic affecting the village, and how it can be ended,
that sort of thing. Now, to bring the girls to trance, incense is used, there is a chorus of softly
chanting women, and there is also what is called a Chak chorus. This is a large group of men who
chant a highly rhythmic chorus using the syllable "chak." Spees thought that this was extraordinary and he proposed to his Balinese friends that they create an entertainment for the western
tourists that were just beginning to appear in Bali. So they took up a story which is known to every
Balinese, that of the Hindu epic The Ramayana, which tells the story of the abduction of the
young princess Sita by the Demon King and the recovery of Sita by her husband, Rama, with his
monkey allies, led by the Monkey King and the Monkey General Hanneman. They took this story
as the central theme for the Kecak, and they look dance movements from two of the most popular
dance forms in Bali, so they have the characters dancing and acting out the story and they brought
the whole thing together with the Chak chorus. But rather than just chanting "chak," the chorus,
which is anywhere from 80 to 150 men, behave in a complementary way with the story. For
example, when the son of the Demon King fires a magic arrow at Rama, it becomes a serpent,
which encircles, at this point, the Chak chorus, which becomes coils of the serpent by lying
together at the side, encircling Prince Rama. At other times they may be the subjects of the Demon
Kings kingdom, or the two armies doing battle. In this way a performance of between 40 minutes
and one hour, varying from village to village, is created. So the Chak chorus is really powering
the action along. In another scene, dealing with the abduction of Sita, Sita is in the forest and the
Demon King has taken on the disguise of a fasting priest. He orders Sita to bring him some food,
she does, comes too close and is captured and taken off to his kingdom. In this part, the Demon
King is interact: ig with the Chak chorus and there is a quality of demonic possession at that point.
It's like the Chak chorus has been imbued with his demonic energy. Toward the end of the scene
the Chak chorus forms a symbolic mountain by moving into three concentric circles.The Demon
King enters the mountain and, as though the energy has been cut off, the Chaks collapse.
Sound interesting?
KECAK - A Balinese Music Drama, Bridge CD BCD9019.
Other David Lewiston recordings:
TIBETAN BUDDHISM, Bridge CD BCD9015.
BALI, Nonesuch Explorer Series.
(Or call me during my show, Avant Pig, Tuesday afternoons and ask me to play some.)
Rather than send in the Beat Happening-smart yet bashful cub
reporter, Discorder assigned Beat Happening-ignorant and
embarrassingly overconfident vet reporter to chat with Olympia, Washington's own Calvin, Heather and Bret before their
set at CiTR-presented WHOA DAD, IT'S MUDHONEY!
You did some shows on Fugazi's Repeater tour? Calvin: We
did twelve, fourteen shows, something like that, just on the
wcsl coast this last spring. Bret: They love us because we make
the best pies they ever had which is why we went on tour with
them. C: We also happen to be their favorite band in the world,
at least when they're around us. It's kind of OUt-of-sight, out-
of-mind, though. I know that when they get home all these DC
bands are their favorite bands in the world, so it doesn't really
last. Che sera, sera!
What is the philosophy behind [Beat Happening-run) K
Distribution? C: Well, we figure we just wanna show the
world if we can do it, anybody can. So many people, they say,
"Aw, I wanna be in a band, I wanna put out a record," and we
just say, "Hey, do it!"
Have things been getting better for not only Beat Happening
but also K Distribution in recent years? C: Yeah, it's gotten
a lot better. People are starting to pay more attention to it and
stuff. I guess with Beat Happening, it's hard to tell because we
just keep doing the same thing, doing things our way and it
seems like more and more people are interested. We've been
doing a lot of bigger shows this year, so I guess it's pretty cool.
Seattle takes care of its own? C: Seattle's weird. I don't understand Seattle. They used to hate us. Now some of them like
us. It seems like we've had some good shows there lately and
people like us, but still a lot of people are throwing stuff at us
and things like that. Heather: Well, it's more like we've been
asked to play with bands that people like. C: I mean we go over
well. H: Like we played with Mudhoney in Seattle, at this huge
show.C: Not like 1200 people came to see us. (laughter)
Is K Distribution strictly mailorder? C: We get distributed by
Sub Pop and the regular independent distributors all over.
We're doing a lot more stores and we're selling a lot to
Australia and England how, New York, more than we ever did
before. It's like the whole Northwest thing, it's exploding and
we're sort of going along with that in a lot of ways.
How extensive is K Distribution? C: We carry a lot of independent American stuff, British singles mostly and stuff that
most people don't carry. Stuff lhat probably never gets played
on the radio. Just small pressings of 100, 500, a thousand
maybe.
Could you tell us about your new single "Redhead Walking"
b/w "Secret Picnic Spot"? C: Well, you have to ask Bret about
that.B: Well...have you heard it?
Yes I have. I've played it. B: Umm hmm.
Personally, I prefer "Secret Picnic Spot." B: Really? There
are people that said that should never have been released.
Is there anything else you want to promote before we wrap
up? C: We're more interested in promoting the whole love
rock cause, you know.
Why do you say that? C: Well, I guess I see these young kids
these days, they come along, they wanna be in a band and like
when wc started our band, a lot of bands that were around then,
they were just kind of like "Hey, we're gonna play a show,
great." Then, putting a record out was really exciting. Everything about it was just like fun and great. But now it seems like
before bands even play their first show they're looking for
some major label or something and their priorities are different. I'm not saying they're wrong or bad, I'm just saying
they're really different than the way things were when we
started and than the way we still like to think about things.
Maybe that's part of the reason why Fugazi was playing with
us because they do their thing and they see us as people who do
something we want to do. So, I don't know, you're saying
"promote," sure we like to promote. We want people to come
to our shows and listen to our music because they like it and
because it's fun, but it just sounds so depressing when you said
that: "Do you have anything you wanted to promote?" Gets
really depressing.
For further information on Beat Happening, write to K Distribution, PO Box 7154, Olympia, WA, 98507, USA and ask
for a newsletter.
>
■o
O
DECEMBER 1990   9 IMC
tIji cniiT pennon
&y llgyp
DARREN H
HOUSE MUSIC (NOT)
1} Sittars «f HUrcy * Mere
2) Soup Drafois • I'M Free
3) CbrUlan • Tkt My Om I Km*
41 Skiaay Pnppy • Natirt's Revenp
S) FrontHw Assefttly . Pro*i»*«4i
« Faith Ne Mora« Epic
71 HIK • Steftfttt
81 line's Mdktio« • Been C*«flrt
Stttfttf
1) Cirt • Hem Em*_!
10| Candy Up • Strawberry Fields
Fwew
THE BEAT
ASSASINATOR'S
TOP TEN TUNES
1. Klan • Shaft's Bif Score
2. Ministry ♦ getter luck Next Time
3. MC 900Ft. Jesat witk Dl Zero
* UFOs Are Real
4. Htm Monday. * Hagelnjah
(Clw Mix)
S. Depeche Mode ♦ Clean
«. MC 999ft. Jem vith 01 Zero
•Too Bad
7. TM Afro's» Why Do I Wear
My fro?
S. Stone Roses • I a* The
Resurrection
9 Nine Inch Naib • Down la tt
10! Hilt« Hitler
VELVIS
EYEBROW'S
THURSDAY 10
1] Pap Will Eat Itself « Oance of the
Mad
2) Teckheid » Oangeross Sex
31 Skinny Peppy« Tormentor
4} Janet * (old Mother
5) Meat Beit Manifesto • Genocide
6] A Gay CaBed Gerald • Sitbscape
7) Clock OVA * Velvet Reab
8) Cocteai Twins ♦ Iceblink tick
9} Jane's Addiction ♦ Stop
19) 8-oodrfar * BJood$ter
10 DISCORDER
"The fact is our record company is not pushing us into
this corner. We're selling quite
well as it is. It's even in the
contract. They deal with the
business. Wc make the music.
Our label (Antler) did release
a lot of the new beat stuff but
there is a basic difference: A
Split-Second is a band. We
also do live shows, whereas
most of the new beat releases
were really studio projects; so
everybody knew it wasn't going to last very long. It wasn't
designed for longevity. It was
more of a temporary craze, a
trend, a hype, and that's one
of the reasons why I didn't
want to be associated with it. Also,
because of the fact
lhat there was no
content whatsoever
in any of those
records which is already a big difference from our music, I think."
—Marc Ickx of
Ghent's A Split-
Second discussing
his band's disasso-
Belgium's new beat
dance sensation of
a few years ago.
Completing
twenty-seven date
tour of the United
States last month,
Ickx, colleagues
Nicolas Mansey and Fedzjean
Venvelt, and main A Split-
Second collaborator Crismar
Chayell appear twice on
CiTR's SpinList this month
with their debut Caroline LP
Kiss of'Fury and the Antler
Records' Another World:
Electronic Body Music compilation on which they vie for
laser consideration with such
acts as The Klinik, Boris
Mikulic, and Fatal Morgana.
On the final night of their
American tour, Discorderwas
flown down by Caroline
Records to meet up with Ickx
at the legendary I-B'eam club
Ickx: The tour's been definitely bigger than last year.
To give you just an idea, last
time we did only two gigs in
Florida and two in Texas; in
those two states alone. We did
five in Texas and eight in
Florida this time, so there's a
couple of places where it's
really starting to happen. Chicago was extremely good as
far as reaction was concerned.
It seems odd that Texas, which
I thought tended to be very
conservative, would be so
supportive.
You'd be amazed. The reactions there were the best we
had. We had the biggest turnouts there, too. In Dallas we
had over a thousand people. It
is kind of amazing that Florida
and Texas should be the most
successful states for us as a
whole; maybe they just need it
more desperately.
Most ofthe people that come
out to your shows are college
radio types?
Mostly, it's still college radio
who do most of the work for
us. In fact that's where we get
most of our promotion from.
We didn't have the extremes
we had last year, like in New
Orleans where "Rigor Mortis"
was a hit not only on alternative radio, but also on commercial radio; so in the front
rows you had the black leather
types with the big hair, right
next to them real yuppie types
complete with suit and tie
(laughs).
How do your American artists differ from those in Buhl general American audiences
are a lot more responsive than
the Europeans. Apart from
the Scandinavians and Spanish who are really wild, the
rest of Europe are a pretty cool
customer. In America, they're
a lot more responsive.
Do you get much support from
the British music press? Any
comments on the British Music Express?
They're fast asleep 1 think, at
the moment. There *s not much
reaction from that side, but
then again the British market
is really different from any other
market in the world and it's
probably the most difficult to
penetrate. As far as dance music
goes, from what we found out,
we pi ay ed there a couple years
ago and did a video there...one
of our first 12"s ("Flesh") was
signed to London Records, and
from what I saw there, what
generally happens on the dance
market is that a hype becomes
generated in London and as
soon as it becomes fashionable in the rest of the country,
it's out in London. It really is
"you're in today and out tomorrow" over there.
What kind of scene exists in
Belgium at the moment?
You don't want to know, really. The club circuit is dead
for the moment. There were a
few really interesting alternative clubs in Belgium until
new beat came up and then all
these clubs turned new beat
and when new beat died nothing else came in to replace it.
So they 're just playing the Top
40 stuff there now.
For someone like myself who
hasn't heard the new Kiss of
Fury LP yet, how would you
compare it to some of your
earlier recordings?
Well, for one it's more mature.
That sounds kind of
vague, I realize, but
we've always been
working very hard in
sound. We've had l
lotof experience with
lhat kind of ihing now
and it kind of comes
naturally, so if we
wanted to keep
growing, I figured
the besl way lo do
thai was to work on
the songs as songs a
little more to make
the
choru;
punchier, etc. Wc
worked a lot harder
on vocals and guitars. Also, in our
previous work itwas
easier to distinguish
the separate styles in
different songs, for instance
"On Command" was a typical
industrial song whereas
"Mambo Witch" was more
rock-oriented. I think on the
last album for most of the songs,
we've succeeded in blending
all styles really well into each
and every one of them. Every
song still has its own identity,
but it's more difficult to put
them into separate drawers and
label them differently.
Do you incorporate any ethnic elements on Kiss of Fury
as say, on a track like "From
the Inside"?
The song "Firewalker" is very
ethnically-based. It's based
on North American indian
rhythms. So, yeah, that element is definitely still there. ATTRITION
Concluding the first five years
as Attrition, Coventry's Martin Bowes last spring saw release of a Projekt Records
package cleverly titled Recollection: 1984-1989. It showcased for the first time in North
America some of the enigmatic
electronic-art-rock band's triumphs on the highly respected '
Third Mind and Antler record
labels plus some rarities. After a two week stay in France,
Mr. Bowes decided it wouldn't
be such a bad idea to get some
stamps in order to send back
his answers to a couple questions we had of the band.
With the apparent acceptance
of electronics-based dance
music in the United States, is
there a new life in the American market for Attrition?
There does seem to be more
interest in the States now which
is great, but not everything we
do is dance-oriented. The
Recollection CD is biased in
that way, but there's more offbeat stuff, too. A higher pro-
File in the US would nol go
amiss!
There seems to be a resurgence of guitar bands in the
British charts. What are your
views on the British independent music scene; how has it
changed since your first recordings in the mid-1980s?
I try not to pay attention to the
British indie scene. Nowadays, it's guitars over acid-
beat. Some of it is okay, but
we have more in common with
what's going on in, say, Germany. We've always been more
popular there. Electronic music is gaining a little ground
here, but there's still apathetic
English attitude that European
bands are crap, so buy British
(or American of course!) I think
the scene's changed to become
more commercial and competitive.
Who makes up the current
Attrition lineup? Is Attrition
a hobby project for the members of the band or do you
sleep and breathe Attrition?
It appears the only touring
you've done has been in Europe.
Attrition is basically me. On
the new LP, I'm working on at
the moment, I've got Julia
singing on it as well. She sung
on most of the earlier records
but for her it's only a part-
time thing now. There's a
couple of people adding bits
on one or two tracks, but ninety
percent is me which works out
fine. Yes, it was only ever me
that "slept and breathed" Attrition. It's all I do, but I don't
make enough money at it so I
have to fit in part-time jobs
Attrition? What kind of response (from fan mail, media
criticism, etc.) have you received from your audience?
The only inspiration is my life,
so that covers a lot of thoughts
and feelings. I try to stick to a
basic emotional response to
things and not try to fit an idea
into a neat summary. The
songs are as much questions
as answers. The moods must
vary and they are indefinable
in that I can't simply explain
what they are about or there
about it and don't just ask how
much our t-shirts are.
How did you get involved
with the People For the Ethical Treatment of Animals?
[Attrition appear on Wax
Trax's Animal Liberation
compilation with Lene
Lovich/Nina Hagen, Chris &
Cosey, etc.] Are you quite
involved in rallies and animal experimentation awareness programs in England?
Our first single in 1984 was
ployment of technology?
It used to be sacrilege to use
backing tapes and drum machines "live" but this has
changed since all the kids' "pop
stars" do it.
Electronics are more acceptable in all forms of music
these day s I think, well maybe
not country and western! I love
the freedom to create using
electronic toys, but I will admit that occasionally I think
I'd like to use a forty-piece
orchestra on a track. It's be-
somehow. When we play live
I gather together a percussionist, keyboard player,
slidesperson, etc. We'veplayed
a lot of Europe but won't be
doing anything now until after the new LP is released which
won't be until January. I'm
hoping that having domestic
US releases will help us get a
tour over there next year.
What is the inspiration for
would be no point in creating
them in the first place. Life
and death, sex, love and religion—that probably covers it
all! We get a good response
from the press we do get (on
the whole). If we had a bigger
publicity machine we'd probably get written about a lot
more and then get more
slatings. I like getting letters
from people who like the music, especially when they talk
"Monkey in a Bin," the anti-
vivisection song, so this was
picked up by PET A and we rerecorded it for them. I 've done
a few rallies and handing out
of leaflets in my time, but not
as much as 1 should have!
Attrition does not by any
means over-exploit (dare Isay
it) "INDUSTRIAL" sounds,
yet have you received any
criticism towards your em-
yond my reach. As long as it
sounds right in the end, then
that's okay with me.
Your songs are so surrealist... ambiguous, audit's difficult to place just one meaning on them but could you
give me some insight into
"Fiftieth Gate" ("Hanging
around, it seems I'm late/Arrived on time, but V ve not been
paid/Heaven was opening
&y ULIANA
doors, they were cleaning the
floors/But I had lo wait...")?
This is an old Chinese fable.
In effect it is the nth gate—the
point where there are no more
answers to your questions, only
faith. In thai song I stumble
towards that gate. I think we
all do.
"Pendulum Turns" ("She
fiddles while Rome burns/She
dines while the pendulum
turns")?
The to and fro of the power
game. Marie Antoinette, Oliver
Cromwell, Hitler, and our very
own Margaret Thatcher;
they're all in there.
"A'dam & Eva."
A'dam as in Amsterdam, where
I've spent a lot of time.  The
joys and the dark seduction.
"Shrinkwrap"?
Looking for identity and compassion in a shrink-wrapped
consumer society.
"Death Truck"("Headdown,
cut outlWhat the hell's he on
about?'iBlackblade, HckcleanJ
We're the ones to hear you
scream" )?
Cattle truck. Hearse. Butcher's
van. A bil more than just a
vegetarian song.
"Haydn."
A call to create our own slice
of life, rather than follow that
which preceded us: "The band
played Haydn, I put the other
side on, the band played you
and me..."
You've completed your first
five years as a band. Where
do you see yourselves heading in the next five?
The only thing that matters is
to write and create music that
I am proud of and that has a
meaning to me. In the same
way I am happy to have heard
other people through their
music then I hope as many
people as possible will hear
mine-this could expand and I
hope it does. I know I'll need
to make more albums, and
touring is a great adventure so
I hope to arrange some more.
For the rest, I'll see what happens as it comes along.
DECEMBER 1990  11 the cruel elephant
COOL AS FUCK
FUCKING DIG IT
SAVES YOUR FUCKING SOUL
(and w* hav*n t b**n h*r* b*for* Aug 2,1990) do you think St**l Pol*
Bolhlub wilh Ih.Godbulli.a would hava play*d anywoyi? NO. Coffin
Sr*ak?  NO   Skin Yard?  NO. Snuff. Sam I Am. Urg* Ov.rklll. Unr*at, 17,
• Faalbacka? NO   f
• v*g*tanan
toy out all night (if you don't want to) H*y, covar chorg*
a cool band ia playin' but you only want a m*al and a l*w
coia onti' No problem - no cover! Any quaatlona? 688-8748 (604)
11 76 G ranvlll* at Davis W* walcoma any commanli (and patronag*)
but w* do n**d th* aupport of th* community b*caua* nothing ahould
b* tak*n tor granted or d*nl*d a prop*r ploc* in th* atructur* of a
clty'a cultur* Tor fucka aak* (I waan't going to aay that horrlbl* word
bul fuck you If you can't tak* a jok*).   Oh y*ah did you miaa th*
°    .1°
lolr*|*cl   'th* plan* on which I oi
It nobody goin' to 1*11 m* what to <
3. Cull.i
MT 1 - DERELICTS VV/ QAS HUFFER
SUN 2 - LUDWIGS TAPE RELEASE
WED 5 - TREEFROQ VV/ ELVIS LOVE CHILD
THUR S • FUNHOUSE AT WERDOCLEB VV/ THE CRUSADERS
SAT 8 - GREENHOUSE
SUN t - FLOPHOUSE VV/ BEDLAM ROVERS
WED 12 - DIRT TAPE RELEASE VV/ THE TOUCHNGOS VV/
IEAS GAGE
THUR 13, FRI 14 AND SAT IS - THE FASTBACKS VV/ FLOP
SAT 29 - L7
SUN 30 -   FIRST   ORDER  BEATING  (DAYDREAMS  ON  SADE
SUBCULTURE AND SONARCHY IN THREE PARTS) BY PAUL
DOLTON  ANDREWCZINK.  A   THREE  HOUR   PERFORMANCE
STARTING AT 8:00
MOW 31 - WONQS W/ GORILLA GORILLA     	
[Good for one dollar off fhe always cheap admis-1
islon price which still Includes a free mystery i
' meal or $2.00 off any menu Item over $4.00. New'
| bigger, better menu with more vegetarian stuff. |
L12TA. <?J?*NVILLE STREETj
DEDICATED TO POPULAR
BLACK-AMERICAN
DANCE MUSIC
871 BEATTY STREET
FULL ENTRANCE
SECURITY
WED    10PM - 2AM
-IURS - SAT   9PM - 2AM
LEATHER BIKER JACKETS, STILL $190
&
___.
>->=1L=t*a1»1
w>7_.wr=-a by Mike Anderson
en,nc%
I rarely have anything nice to
say about this event. In fact,
two years ago I lobbied unsuccessfully to put an end to
SHINDIG before it killed itself. I reali
competition is a reasonably
popular event partially due to
the continuing controversy. Of
course some people turn up to
watch the bands, but I am sure
there are those v
just to heckle the judges' decisions. Shindig is similar in
many ways to the Miss America
Pageant. It exploits raw talent
(for lack of a better word), and
although not everyone can find
reason to agree with the judges,
they still tune in year after
year.
What it all comes down
to in the end is MONEY. It is
the pursuit of the big bucks
which brings some of these
bands out of the dark cracks
and into the bright lights. It
was once said that real artists
don't enter contests; they just
apply for grants. Yet after over
five years of witnessing this
event, I still return faithfully,
as if some addiction drags me
back, in the hopes that one
day I will be able to say I have
seen the future and it was performing at Shindig. Oh well,
maybe not this month. But for
those of you who are reading
this in the hopes of finding out
who, what, and how some of
the bands fared, I will try to
sum up.
Purple City, Shiny
Greedy, and Windwalker
competed in the first night of
Round Two. I must confess I
don't recall being conscious
that night; all I can say is
Windwalker won. They went
on to win the Second Round
Final, putting on quite a show.
Most bands hate being compared or categorized, so I will
just say they're energetic and
dynamic live, which is more
than I can say for many bands
who act as though the audience is just the back wall of
mom's garage.
The second night featured
Aunt Acid, The Smileys and
Superconductor. Supercon
ductor won. Now here is a
band that loves to wank. Bm
even if you're into that sort of
exhibitionism you may be
disappointed. Superconductor
tends to shoot blanks.
The third Monday gave
us Naked Youth, From Beyond and Rattled Roosters.
Rattled Roosters look the big
prize this night: a rockabilly
band lhat sweats buckets and
could rock a house-party to
the wee morning hours.
So as we prepare to enter
the third and final round, wc
can look forward to seeing more
raw talent exploited on the
stages of the Railway Club.
Bent, Windwalker, and the
winner of the final round will
compete December 17 at the
TOWN PUMP for BIG
PRIZES. It promises to be
well worth your entertainment
dollar, no fooling.
"This Ncot'sForYOU!"
Ifyou write songs that are broadcast or performed in concert,
SOCAN will license their performances and ensure
that your royalties get to you.
We pay you; you don't pay us*
SOCAN
Society of Composers,
Authors and Music
Publishers of Canada
1201 West Pender St.,
Suite 400,
Vancouver, B.C.
V6E2V2
Tel. (604) 669-5569 c their inception in 1986,
The Lemonheads have sprouted
two EPs and three full length
albums and gained an innumerable amount of fans, especially overseas. Although the
band has seen their share of
turmoil, they trudges on, escalating their cult status. With
their latest release Lovey
firmly tucked into college
playlists, the band has taken
their Boston-brand of pop-core
on the road. Discorder talked
to main citrus Evan Dando just
before they left.
EVAN DANDO: That's a
sleazy city you got up there. I
thought it was gonna be clean
and pristine...Well we came
in at 4a.m. and it looked pretty
interesting.
Did you get a warm reception
when you were last here?
Yeah, it was pretty good. I had
a good ti
How long ago was that? What
album were you touringfor?
Lick. Yeah, lhat was last
summer.
The Lemonheads are having
a worse time with membership than Dinosaur Jr.!
Well, I guess the situation is
kind of similar. On the last
record I ended up playing the
drums and bass on a lot of it
and the other guys just felt
like it wasn't much fun.
Did they feel it was just your
Right. They weren't adding
enough to it and also they had
olher things they wanted to
do. So they took off. I was out
in North Hampton and J Mascis
from Dinosaur was out ihere
and he was talking about how
he needed a bass player. I ji
go out with those
guys. It'd be fun but 1 guess I
have to do my own thing.
•ally v
ribute
Did the guys tha,
playing with now cc
to Lovey at all?
No, they were post-Lovey.
The drummer is from Squirrel
Bait. He's a hot drummer.
The bass player was just a
friend of his so I got these
two guys from Louisville,
Kentucky now playing with
Jesse Perett is off with a
film degree now?
He has a film degree, from
Harvardof allplaces, bulnow
he'sjust looking to find work
in Boston. He wants to get
involved with film in a major
way and do some directing.
He's very talented. That was
the main thing with him, he
had to get a start on what he
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How about getting him to direct some videos for you in
the future?
Yeah. When we get home from
the tour we're going to do a
video forournextsingle"Dif-
ferent Drum."
You guys and covers... It's
pretty much a given they turn
out fantastic. How do you go
about choosing a cover and
putting it together?
Well, with "Luka" it was more
like having a really good time
with the song.
Did you originally do that to
be satirical; poke a finger at
Suzanne Vega?
No, it wasn't that. Wc genuinely got something out of the
song in that it was really catchy
somehow. It worked its way
into us. When wc were on our
first tour it was on the radio all
the time. We started playing it
live and it was just for fun but
it wasn't necessarily poking
funatthesong...It'sjustaweird
little catchy song.
Did Suzanne Vega ever hear
The Lemonheads' "Luka"?
Yeah...in (Rolling Stone's)
Random Notes a couple of
months back... she said it was
athr ash-metal version. Idon't
really think she knows what
she means.
On the new album you cover
"Brass Buttons" ofallthings!
I love that song! I think that
riff is so great. It's something
that makes you go, "God, I
should have thought of that,"
but you didn't.
"Plaster Caster"? Is KISS a
big influence of yours?
Oh yeah! KISS is so stubbornly
stupid.They'11 follow through
an idea so stubbornly and it'll
be such a simple, dumb idea. I
admire that a lot and that's
one of their stupidest songs.
Isn't it just blatantly about
sex?
Well, it's about Cynthia Plaster Caster, a woman who was
a total groupie in the '60's and
she was really into rock stars'
peniscs. So she '
someone to arouse them and
then she'd set their dicks in
plaster and get a cast of their
erect penises. She did Jimi
Hendrix, Robert Plant, Jimmy
Page; all those people. Also,
we met her in Chicago. She
came to see us. It was exciting. She wanted to do that thing
but I guess we were a little
shy.
So does she have a museum
with all these penises?
Actually someone else has
them. Some evil person who
was going to hold them for her
has them. Now she's trying to
sue them to get them back but
she doesn't have many of her
great works.
Somebody's holding them for
Well, they're worth lots of
money. The funny thing is that
she ncverdid KISS. They were
just aspiring rock stars that
wanted to be cool. She never
ever really liked KISS and she
actually thought that our version of the song was much
better...She likes our band. She
told me she would do it jusl
because she admired our music so much. She's kind of an
admirable character; just a little
I but she's really nice.
/ guess the big thing in your
life right now is the signing
with Atlantic/WEA..
It's pretty exciting; the records
look just like Led Zeppelin
records so that's totally cool.
The band was signed when I
was the only song writer in the
band but Jesse was still in the
band. Jesse and I signed the
There wasn't a big problem
when members were coming
and going? Atlantic/WEA
wasn't freaking?
Well, they were freaking out
'cause they wanted a band to
lour. I write the stuff so as
long as I'm around they're
mellow. If I left it might be a
problem. That would be funny
if I left too.
You guys seem to do really
well in Europe. Why do you
think more people are into
you over there than back here?
That's a really good question.
I don't know, man. The kids
arc more focused on guitar
music; it's the thing over there.
It's not here.... If we hadn't
gone to Europe and had a great
time over there I don't know if
the band would still be together.
II would just be too depressing. But Europe is agood boost
for the band. It makes you feel
like you're doing it for a reason; thai it's worth doing....
Over there, it's always packed:
in London we'll play to, like,
1200 people. It's much more
fun. You come back home
and some places only 40 people
will show up. But it's interesting here in the States and
Canada. It'sapretty weirdplacc
and it's kind of fascinating to
just tool around in it.
Do you have any really, really hard-core, obsessivefans?
Yeah, sure. There are those
people in most places we go
that are just some completely rabid Lemonheads
fans, there's just not that
many of them.
14  DISCORDER Skin Yard are a great Seattle
band that's been around for
more lhan five years, yet they
rarely get the attention they
deserve, just because they
aren't following the trend.
"Seattle" tends to conjure up
images of long-haired grunge -
masters, and although Skin
Yard are completely at home
playing in lhat style, it's unfair to pigeonhole a'band whose
music is an unusual balance
between blazing intensity and
almost trippy, hypnotic stuff.
The core of Skin Yard is Ben
McMillan on vocals, Daniel
House (who runs C/Z records)
on bass and Jack Endino
(producer of numerous records
by various Seattle bands, including Skin Yard) on guitar.
The newest addition is drummer Barrett Martin. To date
they've released three LPs and
three singles (the first single
is a collector's item), and appeared on three compi-
lations.Their second album.
Hallowed Ground, was on
Toxic Shock. Isn't that label
renowned for its hardcore
bands?
Daniel: They were... but
they're not really so much
anymore and I think a lot of
what Bill wanted to do was
shake off that reputation....
We've played a few (gigs with
hardcore bands) here and
there...We definitely don't go
well on hardcore bills though.
Actually, we go well but the
crowds don't seem to agree.
Jack: It's like our music isn't
quite breakneck speed enough.
Many people have this impression that all the best Seattle bands are on Sub Pop.
Although Skin Yard appreciates what Sub Pop has done
for the Seattle scene, the band
points out there are a lot of
other bands in the area including Big Satan Incorporated, CoffinBreak, Gas Huffer
and Vexed that deserve attention. They were sure there were
others but at the time they
couldn't think of any more.
Has Skin Yard been approached by Sub Pop?
Ben: Only from behind (much
laughter).
Barrett: We have a single out
on Sub Pop, that's it; that's all
there ever will be.
"Pay to play" is the ultimate
slimy move a club owner can
make. There are variations on
how it works, but essentially a
band has to pay a club a certain amount of money in order
to play there. The band gets to
play in a "big name" club or
open for a "big name" band,
so they get plenty of exposure;
TOM MILNE TALKS TO
S5f **■SKW* Pta
the club gets a guarantee on
money, and everyone's supposedly happy. The problem is
that bands without much money
are screwed. Occasionally, the
club gives a band tickets to
sell (only, of course, after
they've sold a certain number
of advance tickets) to make
some money back, but obviously
a new band has a limited draw.
So much for a vibrant underground scene and so much for
any new bands getting much
needed exposure. What'sSkin
Yard's experience with "pay
to play"?
Barrett: It just happened in
one club in Seattle, but it's a
place that has really cheezy
bands and we won't even
mention the club.
Jack: Everyone knows who it
is though.
(Not me, and I stupidly avoided
asking them the name of the
club.)
Barrett: Seattle still has some
integrity and the LA disease
has not crept up north yet.
Daniel:  We played there a
number of times but that doesn' t
really keep us from despising
it.
Jack: LA is definitely not our
favorite place.
On the back of Hallowed
Ground there are a whole
bunch of weird symbols; do
they mean anything?
Jack: It sort of relates to the
name ofthe album and the title
song which lyrically relates to
that theme of peoples' dogmas.
Ben: And maybe teen appeal.
Jack: Yeah, and teen appeal
too, which is about as deep as
we get I suppose.
Barrett: Actually, Glen Danzig
took his notes from us.
Daniel: As did the Cult.
Is Skin Yard a band to emulate?
Daniel: Yeah, a band called
Treadmill, from Albuquerque,
covered one of our songs ('The
Blind Leading The Blind")
from the first album. It was
kind of a kick.
What about band musical in-
terestslinflu ences?
Barrett: Individually, wc
probably have enough separate musical interests to cover
just about the entire scope of
contemporary music.
Daniel: I think Fugazi is a
really cool band in terms of
what they do with a lot of
influences from where they
came from and yet still play
ing a lot of strong melody. I
just like how they combine all
sorts of different influences in
what they're doing.
For the record. Skin Yard's
first LP and single are on C/Z
records, the next single and
and LP are on Toxic Shock,
and the last LP is on Cruz, an
affiliate of SST. The new single
is going to be one of those
horrible limited edition-type
things, with a cover of The
Beatles' "Hey Bulldog" on one
side and a cover of
"Snowblind" by Ace Frehley
on the other. Is all this generating any major label interest?
Ben: We have major labels
breathing down our backs, and
the brcaih is bad, so we don't
know. We'll stay with small
labels right now.
Barrett: We arc the A&R in
dustry buzz right now.
Ben: Oh yeah, we're just
beating ihem off with sticks.
You don't really want to do
anything because just to stay
small and stay poor is the thing
ils all about.
Daniel: Ben likes being the
starving ariist.
Barrett: Majors are inherently
evil, ihey are the Big Satan
Incorporated. Unless we get
everything we want, we're
better off just retaining some
integrity and making the music we want to.
Skin Yard are now working on
their fourth LP, single, and
compilation contribution.
A nyone interested in a new LP
may have to wait awhile since
Skin Yard hasn't yet recorded
anything except the "Hey
Bulldog" single. Band members are extremely busy with
various side projects; recording the new LP wont be a
priority for a little while.
What'll the new LP be like?
Barrett: Totally different from
the last one. Every record is
different.
Jack: The records all have a
different sound. The first one's
twelve-track, the second one's
eight-track, thirdone's sixteen-
track....
Daniel: That doesn't make
them sound different.
Jack: Well it does, the machines are totally different from
each other, they totally sound
different.
Daniel: Think the material has
anything to do with that?
Barrett:  No, it's all in the
wires.
Daniel: I'd like everyone to
know we're doing a cover by
(Vancouver's own) OCTAT-
RACKTER. It's gonna be on
our next record. I dunno if any
of you guys have ever heard of
this band, but we think they're
really cool. They paid us to
say that. We'd like lo end this
interview by saying we like
the beer in Canada.
Jack: America has the cheapest gas and the weakest beer in
the world. I think those two
are connected together.
Ben: That's why Canadian
bands always rule over US
bands 'cause US bands are too
totalled to play.
Jack: It works that way in
Europe too. Americans go over
there and just lose it. The guys
in Loveslug (a band from
Amsterdam) were telling me
about how they were drinking
the Fluid under the table.
They're big drinkers too, but
the beer was too much for them.
DECEMBER 1990  15 rSfSr*
V NEW
n
NO
50
16 DISCORDER ___-_-_-
«p_:r
yFFF BUTTLE
New Music America/Montreal
Actuelles 1990; billed as sort
of the Thrilla in Manila of
new music. The reigning
champion: heavy hitters from
the worlds of avant garde
Minimalism and its discotheques. The challenger: the
downtown scene characterized
by the heavy jazz/noise New
York sound. Also on the bill:
assorted up-and-comers and
their over-the-hill foils, neo-
popsters and not-out-of-placc-
on-college-radio neo-classical
concert pieces, shaggy dog
prog rockers, music theatre,
sound installations, and, as
They say, more. Numerous
sounds in concert halls and
smoky bars (and worse) over
a dozen gruelling days and
nights.
Although this was the
11th annual blow-oul, it was a
showdown of sorts. This was
the last time for NMA in its
present travcl-to-a-new-city-
each-ycar form; nobody is
lining up to host the mulli-
million dollar, years-in-lhc-
making event. Discussions at
the fest centred on whether
the event is necessary or even
desirable; whether it should
be scaled down and/or organized on a regional basis;
whether it should have a permanent home-base; what the
hell new music is, etc., etc.
THE main event was undoubtedly the North American Premiere of An Angel
Moves Too Fast To See by
Rhys Chatham (programmer
of the 1979 New Music New
York festival which mutated
into NMA the following year).
Promising a basic mix of rock
and serious music on a grand
scale. An Angel was performed
by 101 guitars, a handful of
bassists, and one explosive
drummer at a cavernous
downtown disco three days
before the festival officially
got underway. For the most
part, Chatham was content to
be tasteful. To get the idea,
imagine what it would sound
like if Television composed
the opening music for some
extravaganza of the Olympic/
Expo sort (after David Foster
turned it down). With 101
guitars I fully expected the
roof to be lifted off the place.
That happened only once, in
the 3rd movement: it was as if
Sonic Youth was cloned for
the purpose of grinding Iggy
"Hyundai" Pop into beer-glass
dust. A few lovely moments
of ecstasy incarnate but, in
general, Glenn Branca generated far more better noise from
his six guitarists at the Commercial Drive Legion Hall a
few years back. And the 101
guitar players didn't do The
Wave: inexcusable in that
hockey-crazy town. Plus the
organizers managed to recruit
only a handful of women guitarists. On the plus side, festival artistic director Jean Piche
was there being suitably
politique, handing out programs at the door.
After two days of relative rest, the fest got off to an
inauspicious start at a gala at
Montreal's Lincoln Centre,
Place des Arts. The highlight
was when the Canadian Premiere of yank John Adams'
blowsy aural wallpaper,
Fearful Symmetries, was met
with a smattering of boos; one
ofthe very rare occasions when
festival audiences were roused
to anything other than nervous politeness or frenzied
adulation. Too bad.
Earlier in the day, a free
series of electroacoustic concerts got underway in a bar/
theatre across from a homeless settlement not far from
the University of Montreal.
Acousmonium highlighted
Canadian works, including the
world premiere of Paul
Dolden's Dancing on the
Walls of Jericho, commissioned for the festival (and no,
it wasn't Too Loud). Part of a
trilogy, it's gorgeously musical compared to the fierce
Below the Walls of Jericho
he presented at the Pitt Gallery last April. Fellow Vancou-
verite Sergio Barasso was also
represented in the series.
Opening day continued
with an excerpt from LUDI, a
fantastical opera-in-progress,
at the Spectrum (Montreal's
version of The Commodore),
and a post-midnight show by
narcotic New Haven blues
guitarist Loren Mazzacane at
Foufounes Electriques.
No grand themes or trends
yet...
Day Two: the sound and
movement series in Biblio-
theque Nationale's basement
was inaugurated by SFU instructor David Mclntryre's
Smudge for bass clarinetist Lori
Freedman and dancer Lola
MacLaughlin. The second half
of the program provided the
first real excitement of the
festival when Marta Marta
Danse of Montreal (choreographed by former Vancouve-
rite Martha Carter) took to the
makeshift stage. MMD is a
streetwise version of Mickey
Rooney's let's-put-on-a-show;
the good-time energy of this
body-percussion group was
highly contagious. It was humorous without being pandering, unlike, for instance.
Mump and Smoots. The rest
of the series was surprisingly
weak, given Montreal's strong
movcment/dance/lheatrc rep.
The first big disappoint-
ment happened that evening
when a female supergroup of
(mostly) Quebec performers
meandered through a set of
arty jazz-noise featuring a pile
of sand and a shower-like
booth: musically, sort of
Elizabeth Fischer teamed with
Al Neil. They were double-
billed with the liturgical
American Theater Group and
Mother Mallard in the first of
a near-interminable, patience-
straining series of pop-
minimalist concerts that
dominated the first week of
the fest (guess who I'm rooting for).
Relief was again sought
and gained at Foufounes
(closest local parallel is The
Plaza spread out over several
spaces; the fashion is to drink
beer straight from your
pitcher). Monlrealers Bruirc
mounted their touching vinyl-
o-thon to mark the genocide
of records as we knew them.
This is deep scratch: several
discs are sampled, then gouged,
snapped in pieces and discarded while the band plays
on.
Day Three, Saturday,
featured the first of the new
music bigshots on hand, Alvin
Curran. He, SFU instructor
Hildy Westerkamp and
Montrealer Cla ude- Pau 1 Gau th -
ier presented pieces for
churchbells, a choir of 260
(although I counted only about
150) and a variety of electric
and acoustic instruments. This
was also the first appearance
at the festival of the natural
world in the form of taped
bird sounds, water gurgling
etc. Luckily, this outdoor extravaganza coincided with the
first day of a three-day Chinook which resulted in much
drinking on Saint Laurent terraces until four ayem.
That night, an even bigger disappointment: Wayrte
Horvitz's The President. No
doubt the group is a mean
machine making very muscular rock, but the compositions
were like warm soup: oh-so-
nice. If this is the fate of the
downtown sound, the only
question is who'll be enshrined
in muzak first, Horvitz or Steve
Reich. At one point Wayne
called out to his band: "Okay,
let's make it perk here." Perk?
Later, Electric World
fused Rush and Rhythm Mission,   with   that   Eugene-
Chadbourne-on-helium, David
Moss, on drums and vocals.
Songs (not compositions—no
music stands in evidence) included "The Funk Never Stops"
and "Triumph of Capitalism
over Capitalism."
Sunday was Kronos
Quarlet day. In the afternoon,
the bi-coastal group of
phenomi presented ihe world
premiere of LaMonic Young's
Cronos Kristallo (Time Crystals), and ambient musique for
strings. The grand old progenitor of minimalism himself was present, and was no
doubtreceived enthusiastically
by anyone still in attendance
and awake when the piece
ended.
But that night the KQ
rocked. They opened with a
fab composition by honorary
Looncy Tune John Zorn, which
featured violin and cello bows
used as wind instruments. The
quartet sustained a heady buzz
until the break. Overall, a virtuoso, achingly beautiful performance. Kudos to the KQ.
Quebec guitar legend
Andre Duchesne and his
crunchin' Sex Machine capped
an unusually lively Montreal
Sunday. The mock-epic intro
featured fog blanketing every
cranny of Foufounes; shades
of The Vancouver Opera's
1986 production oi Carmen,
sans tuxedos. Throughout the
rockin' setof train songs which
followed, Duchesne proved
that inventive soloing is not a
contradiction in terms.
Monday, roughly the halfway point, those bad (mostly)
old dudes from Toronto, The
Canadian Creative Music
Centre, delighted and mystified with their Squamish avalanche of musical belches and
grimaces. Featuring the cheerfully anarchic boogie-woogie
piano of filmmaker Michael
Snow, this improv group can
be on of the most potent in the
country.
For the second night running, Terry Riley was in the
front row at the Spectrum to
witness a premiere of his work
(KQ had performed The Gift
during their set). The players
this time, Toronto's Array-
music, were powered by a
somewhat soulless heartbeat
of synthetic percussion, but
they put on a satisfying performance of pop-minimalist
works (sneer softens slightly).
Arraymusic was teamed
with the dense bebop of Challenge, led by California professor Anthony Braxton. His
powerhouse lineup included -
pianisi David Rosenboom and
legendary percussionist William Winant.
If it's Tuesday, this must
be the Nouvel Ensemble
Moderne, Montreal's newest
university-based band dedicated to doing new works. They
proved to be thought provoking: "Are the fellows in Test
Department really dickheads,
or did they just have a bad
flight?" You get the idea.
Next up was one of two
special events produced by
Montreal artists and musicians
parallel to the fest itself: an
"installation opcratiquc" in an
east side cultural centre. The
dark, rambling space was
strewn with stylized musical
objects modelled on household artifacts. The French-
language narrative had something to do with white trash
coming to terms with life in
the big city. The evening
demonstrated endless musical
inventiveness, but wasn't entertaining enough to sustain
interest over 90 minutes.
The second event was the
captivating Cantate Grise,
based on several short Samuel
Beckett pieces. Presented by
composer Jean Derome and
director Denis Marleau's
Theatre UBU, this is Beckett
filtered through George
Romero: risky and brilliant.
Wednesday proved very
satisfying. The most pleasant
surprise of the day—and the
fest—was (Zorn pianist) Anthony Coleman's takes on
eastern European eurodisco.
This is klezmer music for
daydreamers, woozy and utterly charming, but with an
undercurrent, way deep, of
downtown dangerousness. The
By Night series will by out on
some obscure east coast label
within six months, Coleman
says.
Coleman upstaged the
group he opened for, hometown hereoes Les Granules.
The Jean Derome/Rene Lussier
big band is without a doubt a
seriously mutant orchestra—
how could it not be—but in
this rare live incarnation they
tended toward a rather straight,
Quebec version of the Lounge
Lizards. Busiest player at the
festival, Fred Frith, played bass
with LG. Best bit: all 15 players wore the trademark
Derome/Lussier lumberjack
tartan shirts.
Later, zither goddess Jin
Hi Kim was perfectly at home
in grimy Foufounes, strumming her sawed-off surfboard
strung with enough rigging for
a medium-sized ship's mast.
Then, the moment 1100
punkers had been waiting for:
a scaled-down but utterly persuasive history of English imperialism by increasingly tribal
drummers, Test Department.
TD's bombast was car-bleed
time for throngs of festival-
goers (onward to socialism
through deafness), and the first
time the audience, with classic pop attitude, arrived late
for a NMA show. Too bad:
Montreal duo Sy lvain Cote and
Jean Fillion put on a sublime
noisefest. Cote is a super-agile guitarisj in a province
blessed with finger pickers,
and Fillion was no slouch on
the skins, cither. Cote, a
member of the social activism duo Rhythm Activism
along with East Van poet
Norman Nawrocki, was the
first player at the fest to really
explore the limits of the instrument, producing feedback
Jimi might have approximated
had he been raised on Mars.
To top it off, Les Pois
Z'Ont Rouges, a prop-heavy,
campy cabaret trio, achieved
an effortless, playful surrealism that 100 surrealists never
come near. These three women
were billed with the awesome
Last Leg, which centred on
Tom Cora and Hans Rcichel.
These guys could enthrall mc
by playing the phone book, so
I can't say anything objective
about them. Suffice to say they
integrated that '70s musical
icon, whale noises; they made
it funky and they made it work.
NMA '90 blurred lo a
conclusion with two nights of
The Residents' Cube E., or
The History of American
Music in 3 E-Z Pieces, and
Ein-sturzende Neubauten's
rave-up Sunday night that
made Test Department look
like a Top-40 band.
Cube E. (Cubist Elvis)
is the mystery group's first
major project since the death
of friend and collaborator
Snake-finger three years ago.
The extravaganza, which unearths and explores cowboy
music, the music of American
slaves, and their synthesis in
Elvis (The King and Eye) has
been on the road for the past
year. While occasionally
brilliant. Cube E. begs the
question "Why Elvis?" There
was a time when the Residents were staunchly years
ahead of their time; what more
can they say in 1990 that the
Weekly World News hasn't
already? Some songs—a
wrenching "Heartbreak Hotel" and a "Viva Las Vegas"
Chris Houston could only
dream about—plumbed the
blackdepths of Elvis; inspired.
Still, the highly theatrical show
lacked a purposeful thread,
and the applause at the end
seemed as much for the group
collective oeuvre as for
Cube E.
Elvis has left the building.
DECEMBER 1990   17 V* Vvpntrary to popular belief, the Jiggle boys haven't always been the s>
w debonair gentlemen you hear every Wednesday 7-9; our formative
/dating years were filled with sweaty palms, acned faces and an
inability to talk around the fairer sex. It's a minor miracle we came out
"" of the battlefield of teenage lust intact and ready to wage war in the arena of true
love: Groupiedom. Yeah, that's right, Mikey and Gav are self-confessed suckers
for all-girl bands featuring heaviness, grunge, sludge and tattoos. It's no surprise
■ no band has ever fit that mold. No band, that is, until last spring when Gav (using
a United States Naval Reserve Identity Card) talked his way into the Kennel Club
in San Francisco to see Tad/Nirvana/Dickless. From the moment Dickless took
the stage announcing, "Hi, we're Tad," Gav knew we'd found a band to
worship. Watching them load up afterwards, he dreamed of the special
friendship 2 boys and 4 women could share but alas, their license plates
indicated residence in Arizona and only broken hearts result in pursuing the
fruitless path of long-distance love
Imagine our surprise when we discovered Dickless was hanging out in
Seattle. Maybe our well-worn copy of "I'm A Man" b/w "Saddle Tramp" would get
a rest; maybe we would seem them LIVE! Indeed, one day the call went out, the
city was abuzz: Dickless was coming! An interview/drooling session was in order.
After relentlessnegotiation, they agreed to talk to us. Now all Jiggle had to do was
win their trust and respect (not to mention their hearts) in order to conduct an
intimate "Arsarrio"-type interview. As you know, Nothin' says lovin' like somethin'
from the oven. We decided to bake a cake for Dickless.
Through a combination of purchasing and petty shoplifting, we acquired
the fixings for^J^devil's food cake with mashed banana centre, all topped
with yellow *-*^» marshmallow icing and decorated with those shiny ballbearing candies to read DICKLESS + JIGGLE. Subtle, understated: in short,
the perfect gift. _j|_r €!^|_
A frantic October 25 was spent in the kitchen asking each other questions like
"What happens when you melt marshmallows?" "Do you think that's enough food
dye?" and "Will your mom be mad at the mess?" but by 4 pm we were done and
on our way to the Town Pump. There was definitely that awkward "first date"
feeling in the air as we said hello and laughed nervously. Dickless suggested we
do the interview over dinner. "Of course," we replied, taking this as a sign that
maybe they thought we were okay. Being familiar only with pancake houses in the
Greater Vancouver area, we tried talking them into some breakfast items. Daintily
they declined: they didn't want to be bloated for the show. Finally we settled on
18 DICKLESS
IUIUD
s took^^
*
irly poor restaurant and went through more thorough introductions.
Kerry plays guitar ('62 Gretsch body with a Hagstrom neck and a '66 Gibson
Firebird) with a steel slide so it sounds more fucked up. She's an Aries. She likes
purple and has an "X" tattooed on the inside of her lip. Kerry moved to Seattle
from Arizona. Lisa bangs the drums. She's a Leo, also likes purple and hails from
Texas. Another Texas filly, Jennie plays bass with two E strings and two A strings
"which means I only concentrate on the top one, on the first few dots. I don't use
the "F" word." She's a Sagittarius and, once again, favours purple. She has two
beluga whales tattooed on her shoulder and a Paul Stanley rose on her arm.
Megan is the new singer and Sub Pop receptionist. She has really big tattoos on
her arms. By far Megan is punk rock.
We gossiped, laughed and cried. We found out Dickless are vegetarians; an
audience even threw hot dogs at them once. We discovered Megan writes and
illustrates children's books. But best of all, we learned that all members of
Dickless are single. We decided to present Dickless with our culinary masterpiece. Mikey ran and got it from the car and with Jiggle flair presented it to the girls.
Understandably they were amazed and delighted. Jeez, what was it they said?
Something like "You guys are so cool." Yeah, that was it.
We took Dickless on a lovely tour of our fine Downtown core: the historical
Steam Clock, various Canadiana novelty stores featuring wall-
to-wall Cowichan sweaters, the posh Expo convention centre
with its indoor waterfall and groovy resident lounge pianist. As we
wandered, we got the scoop on Dickless' extensive rider. Being true
rock stars, they demand clean underwear "any colour we want,"
blue eyeshadow, Final Net, Tampax, condoms and "anything we
want at the Town Pump...any pinball machines or boys we like."
Could that be the Jiggle boys? Just maybe. We continued on to
the KISS museum at Collector's RPM; they really wanted to see it. We just
looked in the window; not too impressive. Finally, we cruised fashionable Robson
Street, stopping at a stylish cafe for coffee. Dickless gave us some fashion tips.
"We like boys with short hair...shoulder length is okay. And baseball hats on
backwards." Our Dream Date was going swimmingly.
Back at the Town Pump, Dickless relieved their pre-show jitters with some
disco dancing. They discussed their set. "Stretching it we could run 30 minutes,"
confided Megan. But Ed Banger, the evening's swell promoter wanted 45 minutes.
Giggle, giggle. At long last, Dickless got up and played. They were goddess-like.
*T"\ Sputtering and spewing feedback, sludge and sheer heaviness, they outrocked,
* outgrunged and generally enjoyed themselves more than any band we've ever
seen. But some of the crowd just couldn't grasp the sheer punk rockness of it all.
One fellow even shouted "You suck!" Mikey and Gav took him out back and beat
the shit out of him. ^^^^H
After the gig, we hung out, relaxing with the gals. Interestingly, two girls from
Victoria's CFUV were waiting to interviewthe band; we, being the official escorts,
naturally participated. For reference, the young ladies from Victoria are referred
to as Girl 1 and Girl 2.
G1: Like, I didn't even know you guys were playing. Like, do you guys have a
demo?
G2: So what do you have out?
DICKLESS: We have vinyl.
G1: That doesn't mean that we have it though! Like, what have you got?
D: We have a single on Sub Pop: "Saddle Tramp/I'm A Man"
G1:1 was amazed, like, I love all Sub Pop stuff and you guys sound very Sub Popish. Like, you move very Sub Pop-ish, like your hair is amazing and all that.
G2: Everyone in your band is very cool.
G1: Next time you consider touring, come to Victoria; you'll get an amazing
turnout. Like, I don't know, you would get a so much bigger turnout in Victoria.
Like, alternative, um, has a lot more of a following in Victoria. If you say you're on
Sub Pop you've like got it made. Like, it's weird, Vancouver is more alienated than
Victoria. Like, Victoria is more support...support whatever you can.
G2: Cut the ferry fare and come to Victoria!
[Megan tries to discuss their song on the C/Z "Teriyaki Asthma Volume III 7" but...]
G2: So, how long have you guys, like, been together?
D: Kerry's been in since the beginning, about a year and a half. The lineup's
changed a bit.
* G1: You sound really good forthat, like if you want to, like, hear my opinion. I don't
'know how much value it's going to have.
G2: Like, what do you want people to know about you. I mean, you are an all
female band...I mean I don't consider myself afeminist, I'm more into equal...equality
sort of rights thing.
G1 • Like, my article is only going to be, like, 200 words, so say whatever you want
now, for sure it'll go into it.
D: We always get questioned about being an all girl band, that's obvious. But I
don't think that's the right way to categorize people.
G2: No doubt about it!
D: It's like saying "All guy bands do this"...It's like asking why
every member of a band is black or white.
G1: You guys are all from Seattle? You're all American, aren't you?
■fc:Yeah'
G1: Like, do you have anything that you want to say? Like, past, present or future.
I can ask you questions, right, but, like, I'd rather that you, like, said, like,
whatever, right.
G2: Do you have any favorite childhood authors? No, seriously!
G1: Personally, I can say that I'm not a feminist, I'm more...equal thing. But, like
when I see a feminist band, I'm like, "Right On," okay, like, "Good!"
G2: Actually, I find you guys quite L-7 influenced. Am I wrong?
D: Wrong! It's a totally different concept...We're more influenced by a band like
TAD, Nirvana...Youth Brigade. We're on a crusade to find the Stern Brothers.
G2: You strike me like you're just out there to have fun, and that's something I can
really identity with.
D: The only person who originally knew how to do anything was Lisa, the drummer.
She's rad!
G1: Next time you come you should, like, play the Commodore. Ifyou, like, played
with the people you played with tonight [The Swallows & Elvis Love Child] you'd
um, sell it out for sure! The first band, I mean the*/ were good...
JIGGLE: They sucked. _________        __^^___l
G1: No! Like, the singer, um, had a really good voice ...She had a good voice! And
their drummer was good!
J: The drummer had such a cute butt! Did you notice"?
Gt: He was sitting down, how would we notice? We're not talking about the
drummer's ass, okay? ____P"""t V   _B^______
J: We just kept staring at his butt as he walked off stage.
G1: Okay, well shut up! All I have to say is the drummer was good and the vocals
were good, like, FUCK OFF!
G2: Hee hee hee! .,       &
D: [grabbing microphone] We love you boys the best! This girl's really dumb!
At this point the interview dissolved. Our Dream
Date was coming to an end. We packed the girls into their
van, pledged our undying love and devotion and off they
drove into the sunset. Thank you, Dickless!
^fc
DECEMBER 1990  19 The Twelve Days of Christmas
at Albion Books and Records
J    (a suggestion list) +J
On the first day of Christmas,
my true love gave to me...
one Albion Books gift certificate
two best-selling novels
three tenor sax records
four vegetarian cookbooks
five golden oldies!
six classical cassettes
seven coffee table art books
eight popular songbooks
nine slim volumes of verse
ten travel guides
eleven self-help and psychic paperbacks
twelve hard-boiled detective stories
(repeat)
Albion Books and Records
523 Richards St.
Vancouver * 662-3113
quality used books and records
THE BOOK
e comic
EMPORIUM
Vancouver's Largest Selection
of Almost New and Used
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ALL STOCK
WITH THIS AD
SECRETS  ENTRUSTED
TO A FEW
S
U
B
T
E
X
T
BY JUDITH LAHTI
subtext focuses on the fringe elements of print. Writing which is aimed
at those of us wilh an eye oul for ihe unusual, absurd, shocking and
poetic. Perhaps a best-seller, uh, probably nol. Maybe written thirty
years ago, maybe last month. Different each time. Oh yeah, music stuff
Psycho IV: The Beginning will
soon hit the screens of movie houses
all across the land. This latest installment in the life of America's
favorite bathtub terrorist is sure
to do well; the film gives us the
roots of Norman Bates, describing
his adolesence and relationship
with "Mother."
People will journey to the
box office to discover all the
twisted/perverse things Norm's
mom must have done to leave the
guy so strung out. 1 understand
she was a very "loving*' mother as
well. Uggh. I'm jusl as much a
voyeur as the next, bul please,
whal could we leam from this?
We already know the outcome.
Pamala Karol is a poet.
Pamala hasn't a thing in common
with the character Norman Bales.
Okay, one thing: her mother was
also the type of mom who put the
D in Dysfunctional. Her childhood was brutal, with beatings
both menial and physical. At age
17 she left home: "I'd been plot-
ling my escape since age 5."
Perhaps Norman had also
dreamed of an escape from a
childhood gone wrong. The obvious difference here is that Mr.
Bates isn't real while Pamala Karol
is a very real, honest and captivating woman whose exciting poetry
lakes us through the neighbourhoods of her youth.
Five years ago Pamala, using her nom de plume La Loca,
began to write poelry. The name
translates to "ihc crazy bitch" en
cspanol, and was the parting sling
from anex-lover. Yeah? Well slick
-  whe
n  yahoos  al  an  anti-censor-
'n stones baby: La Loca is now
ihi|
rcading booed her off stage
the hottest poet oul of Holly wood
clur
ng " Why I Choose Black Men
her hometown.
for My Lovers." Most recently La
Tli ough autobiographical. La
Loca read mcsmerizingly at R2B2
Loca's  writing  is never soppy
Books; ilon't miss her next lime
overtly hostile or cruel. She accept
she
s in town.
thai people can be weak and rathe
La   Loca's   epic   is   "The
than attacking characlerflaws, she
Ma
an," a homage lo the local
points them oul, clearly, for all U
theatre she grew up near, poor and
sec.
vrhi
cinaChicanosuburbof LA.
Images  of youth  abound
Mc>
ican girlfriends, school chums,
lelcv,sion cartoons, bra stuffing
boy
and pre-teen allusions to sex
the pink lupperware lhat's fadec
abound Wc also witness parental
with    time,    hamburger-stanr
bca
ings and paranoia during the
lolharios, the discovery of what's
Wa
ts riots.
"hot" and what's "cold." Then wc
have the olher side: longing fo
Mine
the one you can't have, beatings—
was a second storey
"slop crying, I'm nol going le
two-bedroom pre-fab
slop till you stop crying"—and
sparkling flocked
calls to the universe demanding
sall-and-pcpper
"Where's mine?"
wall-to-wall
La Loca's collection of po
tissue paper
ctry Adventures on the Isle oJ
18 unit construct
Adolescence was published by Cu>
painted pink
lights books last fall. The 18 poems
wilh a pool
are part of the pocket poet series
and a fat landlady
from the famed bookstore—La
in a housecoat and zoris
Loca's #46 of the collection. He
who only rented lo white
book is now into its third printing
people
quite an accomplishment for a new
and everybody in all 18
poet. An animated film based on
was married wilh kids
the title poem is due oul soon.
except for Frederika in
Pamala     first     read     in
number 5
Vancouver al La Quena. She was
who couldn't have any
well received. She was much less
and all day long
of a success in December of '86
they had the doors open
and through the screens
you could hear the
TV's howling fortheirmates
and by nightfall the sobs
and the cops
and "I'll kill you, bitch!"
and in front were
dandelions
B it l  1
fenced off wilh
poodle shit and string
and a decidious
"For Rent" sign
and in lawny script
above the entry gate:
The Alcatraz Arms.
IP   __P IL/  *
|Hjf*
Mine was a generation
whose mothers had done
daring things
like had inter-faith
marriages.
Mine was the burlesque
with no red light
lo tell meter readers
that this was a house
on stilts.
The last ringing words of "The
JS
an" are, "although I've had to
e in many prisons I'm free
beneath the world in love." So is
La Loca.
*f-llG*1-l
*/*F»* A/O JET
Issue 51 of High Perfoi
subtitled "A Quarterly Magazine
for the New Arts," is hot-hot-
hol. I'll admit it was the cover
photo which grabbed my attention in the first place: the still
from the film Silence=Death
showing artist David Wojna-
rowicz with very realistic makeup
depicting his lips sewn shut with
needle and thread is gory. The
story inside tells about one Reverend Wildman who sent out
nearly 200,000 pamphlets to le
gions of people to discredit a
showing oftheartisl's works which
ran at the U of Illinois last year.
The Reverend was taken to court
by the artist, we learn, and ultimately had io send a court-approved correction of the pamphlet
lo each organization and individual
who had received one. Okay, that's
Also in this issue there's anewer
piece by Karen Finley. "The Black
Sheep" was commissioned by
Creative Time and the bronze
casting of the poem was unveiled
on May 1 at a public park on First
Avenue in New York City. This
poem is possibly ihe most eloquent ever written about the Black
Sheep of the family who in quest
of themselves have come to know
others' disgust forno reason other
than being themselves. A memorial to"Black Sheep": everywhere,
HIV positive and nol, straight or
gay, a memorial lo individuals.
Stunning.
High  Performance also has
features on Hannah Wilke (photographer), an expose on what the
National Endowment for the Arts
(NEA) is plotting, and an anti-
apartheid play, A sinamali! on tour
in Japan. Add to this single page
happening all across the States,
and loads of critiques of the art
scene, you can almost justify the
cover price of S7.95 Canadian.
Don't expect to find this mag at
yourloca!711. Try Octopus books.
20  DISCORDER Joe Sarahan is a Vancouver video-
maker who has been involved with
artist-run Video Infor the past eight
years. He currently sits on the board
o)directorsand deals with management, administration, education,
programming, and equipment management.
Two of his videos, Holy Joe
(1987) and III (1989), are held in
the National Gallery's video collection in Ottawa. Other works include
Rise and Fall of an Empire (1986)
and the video/slide installation
Master-Beauty <_ Beast (1988)
which loured Ihe Netherlands. Although primarily a videomaker, he
has also done performance art and
sculptural installations.
How did you start out at the Video
In?
It was at the height of the advent of
home video recording devices. I've
always been involved wilh arts and
I've always made art. And I was
always interested in being a technician, but I wasn't sure what kind of
technician. So I ended up going to
the Institute of Communication Arts.
I was learning television theory and I was thinking "Don't wear
stnpes on video." Then Paul Wong
came in and did a lecture at ICA and
I was quite impressed with the work
because it talked in complete opposite of what we were learning. Me
being a shy person, I walked right
up to Paul and said, "Boy, I'd like to
work with you." So he invited me to
the Video In one day and this was
when it was on Powell Street... it
was really disgusting and cockroach
ridden. I ended, up working with
Paul and at the same lime getting
involved with the Video In doing
graphic design and production and
lhat's that and ever since then I've
been there.
Why did you choose to focus on
video rather than film or any other
visual art form?
Il's interesting working in video
because people always think it's in
a stepping stone to make film. I
have a great appreciation for film
and I studied film; I love being involved in the dialogue and criticism
of film and I love watching it. But I
don't have the technical qualifica
tion nor have I ever spirited my way
towards learning thai kind of stuff.
I 'm more appreciative of other people making film.
A lot of filmakers use the place
that way because of ihe obvious, it's
a cheaper medium in lerms of cost
as opposed to film slock and editing. I like the immediacy of video,
the things that you can do to it that
you can't do to film, the ability to
pump it into everybody's living
Do you for
pumped into
e  videos being
verbody's living
No. It's been somelhing lhat's been
in the air for a long time. There was
cable (broad)casting in the early
eighties on public TV or on community TV that came, thai went. There's
a lot of talk now of Canada designing a Channel 4 to take after the
English Channel 4. It's really gotten
nowhere. The problem lies in the
availability of the work or the education of the broadcasters.
What kind of education do you
want to see take place?
General education of video as an art
form through broadcast, through
theatres that don't comply lo cen-
The thing with Canadian video in particularis it relies on aeon text
to understand the work. A lot of
times work in Canada is on a theft's like /// right. You can
watch that tape and just go "huh?"
But when you look al it in the string
of my work, it's an important stepping stone within the work in terms
of what I'm doing. It's like a series
of paintings.
Video is very accessible t
colly, but viewing video isn 't very
accessible to the general public.
Well, everybody is a video artist
now. Everybody's got a camera.
Everybody's a videomaker. The
thing with media art is the ability lo
a) manipulate it as fast as you can on
a professional level, and b) distribute the work. So if you don't have
those vehicles and if that's not, again,
an educated market and an audience
which is pretty closed, it's a fairly
small audience. Iidocsn'tmovcinlo
broadcast quickly because it's not
being tailored towards being broad-
castablc.
The dialogue in using the medium is the anti-dialogue of television. It's the opposite of television.
It's working wilh where television
sets up ils boundaries and turning
around and kicking the shit out of it.
And making it work in different
ways and making people look al
lhal and understand it in different
directions. Soil is the ability tohavc
the licence and to have the dialogue
to create the discourse for ihc work.
Do you want a wider audience?
Audience is something I never really considered. Which I find very
odd because I make audience kind
of work. We're a very small minority of videomakcrs.
diumandit is such a
new technology lhal
people would tend to
brush it off. There's
a jealousy because
all I have to do is
push buttons. I don'l
have to get paint all
over mc or whatev-
You mean a jealousy from other visual
Yeah. And there's a
jealousy in general
:s within
the art community. I
run into people all
the time lhal say,
"Oh, you're just a
video artist." I hate
that term "video art-
A majority of video
works have to do
with sexualily-lesbUinism and homosexuality. Is it easier to express
yourself through video rather than
through mainstream film which
seems to have no validated place
for homosexuals, non-whites, etc. ?
Nol a majority of video has to do
with sexuality. You're probably
looking at a lot of work lhal was
done five lo three years back. 'lhat
was a period that was a cultural hot
potato with sexuality and represen-
v the c
potato is race and representation
and how lhat's being dealt wilh.
You're right lhat homosexuals and lesbians are negatively represented in any form in media. Even
though there's the do-gooders that
think they're doing good. It's the
same thing with the race issue.
1 he re' s the liberals that think Ihey' re
paving the way. When I made Holy
Joe il was digressive in a lot of
ways because I pigeonholed myself
inlo all of a sudden being a gay
video producer which I had absolutely no need for. My sexuality is
one thing and my work is another
thing and ihey don't really cross
Why?
I'm not really dealing wilh gay sexuality. I'm not even really dealing
with sexuality. I'm dealing with
items. Holy Joe came out of an immediate response for a lot of legisla
tion that was going down federally
which really ribbed mc: C-54, the
censorship bylaws-again wc were
swinging to the Righi, and ihe Fundamentalism and stuff was rearing
its ugly little head again. Ihc only
reason 1 used gay imagery and ideas
was il was a complete opposite vehicle lo express the idea of being
quite iralc about that k ind of law and
In all my works there's always been the desire lo investigate
the heterosexual male dominance
and the nsc to fcminisl ideology anil
the dcalh ofthe idea of the I le man.
I'm working on a project right now
lhal I've been working on for almost twoycars called Boxed. It looks
al the whole demise of ihc male
strength and masculinity and the
desire and need lo play that role in
make because it was about the North
American punk movement, particularly Ihc Vancouver scene. I'd losl
faith in il years and years ago. Anarchy is for young kids todrcam aboul.
You might as well throw Utopia in
there too and we'll just have a fun
time. The definition of anarchy is
something way beyond our grasp.
Il's asking everything to slop md
basically revert and lhal will never
Bul it was interesting in terms
of the process of bringing that whole
project together which dcali with
going into the street and handpick-
ing hairdos. The tape is about the
whole facade of that ideology and
whal il's come down lo. I did the
punk thing and I was disillusioned
by ihc whole crap. And it was really
nagging mc that there were still these
society. I'm not a bleeding heart
feminist, but there are two genders
on ihis earth and it's an obvious who
is the smartest one. It certainly isn't
males. The whole feeding of the
idea of a boys' club is somelhing
lhat is very slowly losing momentum. With my work I hope to nurture that loss.
Canadian video art seems to have
an outstanding reputation. Whydo
you think that is?
Probably due lo the high profile of
distribution and a lot of support in
funding in getting videos out to festivals. A lol of video work is made
in Canada. There actually is a good
infrastructure lhal is sel up to fund
that kind of activity. And being in a
"free" climate thereare a lot of tools
[for) communications and expressions. There is a lot of good stuff out
there and a lot of it warrants being
recognized. Then again there's a
whole truck load of crap, which is
about three quarters of it.
Where does the funding come
from?
For individual artists it mainly comes
from the Media Arts Section at Canada Council. Also from BC Film
and Video wh'ch just started.
Let's move on to A ise and Fall of
That tape was very ii erecting to
mall children. And still now there's
a whole new generation pretending
they know where it's at and this is
anarchy. So I did this tape where I
disclosed all this information and
put it in front of an audience.
The majority of the videotape was
them not speaking, jusl images of
their hairdos.
It was just their imagery. Ihey do
have nothing to say other lhan the
ABCof'Oh.there'sanatomicbomb
out there and nuclear warfare."
"Who fuckin' cares man" was the
altitude of every one of ihem lhat I
interviewed. That statement was
well made by the very early eighties. Half of them right now are faced
wilh gelling a job and all the things
that they said they'd never do.
Holy Joe is very reminiscent of
Scorpio Rising by Kenneth Anger.
Is hea big influence on your work?
Yes, he's somebody I really admire.
I was first exposed to his work in the
early eighties. 1 really hke his style,
his aesthetic, the issues he deals
with, and his investigation into blatant suggestions of homosexuality.
In Holy Joe there are staged scenes
of a man riding a motorcycle and a
woman lying on a chaise lounge
drunk and spilling a glass of wine.
Whal were those images meant to
convey?
Ihc motorcycle thing was my sort
of romantic media twist. Il was
dcsigncdafterlhc "good life" Pepsi
ad Ihc twist was there was this
cool hunky guy racing along on a
motorcycle and what pops in on
the back ofthe motorcycle is but
another guy. And it's that whole
male bonding imagery thai can be
read twofold. It can lx- read as a
homo image or it can be read as a
hetcro image. Itdepcnds on where
you're coming from and the way
you think.
Ihe dninken woman on the
chaise lounge was fashioned afler
the scries Dallas. The while, rich
bitch and the mowing down of the
minorities because nght after that
follows the scene wilh the Asian
people working in ihe field. Ihc
dialogue there was "My Daddy
made his millions off of using
cotton pickin' niggers."
Why was III in French?
I produced it in Quebec through a
French centre. Il's a very complex
piece. I was on a residency with
lx Viddographe (in Montreal). I
still don'l quite understand it, although I realize more and more
that il's a very important part of
my video works. It talks about the
dialogue that I've always tried to
talk about in terms of dealing with
the whole male machoism and
desire and the whole social being
of a male.
Thcpiccc starts off with three
different guys (a race car driver, a
boxer and a fencer). 'Ihis is why
it's called "three" or il's called I, I,
I because it's about show offs,
about me, me, me. It also deals
with three different geographical
groups. It starts out in the country,
then it moves into the suburbs and
then it moves into the urban selling. And also wilh three different
mentalities.
They're speaking French, but you
have words superimposed, like
"POWER" and "PRECISION,"
in English.
Ihc piece isn't meant for an only
English or French audience. I'm
nol even quite sure why I used
English lexl over top. I think the
power ofthe words when translated were disalisfying to me. And
why not use English over French?
This is a bilingual country or it
apparently pretends to be.
You could say il wasn't very
fair of mein some senses because
here questions were being answered in French yet I was going
on beyond them in ihe next layer
and presenting these English
words. I guess it docs represent a
factor of the society in which I
come from in those terms.
Master-Beauty & Beast which is
now called Master Plan was a
video/slide installation that was
shown in Holland.
It was a visual feast of those kinds
of corporate, iconish, established
barrage of images lhal would just
overfeed with these two pitbulls
that I used as ihc most masculine
kind of image of the day that was
at lhat point the media hype of ihe
day. And with the atomic icon that
swirls around, it's just this whole
pool of male ideologies struggling.
As usual.
DECEMBER 1990   21 REAL LIVE ACTION
KXRX/Boys' and Girls'
Clubs of Seattle Hallowe'en
Costume Ball Presented by
Miller Lite
The Sweet/Village People/
The Squirrels
Union Station
Saturday 27 October
With a belly full of Ivar's lukewarm -to-ihe-poinl-of-salmonalla
clam chowder and absolutely no
costumes  save for our trusty
touques and colourful Canadian
dollars, we made our way lo Union
Station in Pioneer Square (ihink
Pigeon Park) lo catch the ultimate
'70s triple bill. We were prepared
for a fun evening of pre-pubes-
cent memories; what we gol was
Frat Night at 86 Street.
The old train terminal was
decorated with streamers, glow in
the dark Miller Lile buttons and
the torn bsiones of local celebs (Ivar
again!). Costumes were wild and
colourful. Aside from an abundance
of cave men and women, there
was Mr. Airplane Man who used a
fire exiinguisherto propel himself
(his wings bore the message: "Iraqi
Nightmare"), a lovely metallic Mr.
Fish who spoke out of a hole
suspiciously close to his waste
portal, and a seven-foot tall Angus
Young who fell he had lo be in
character all night air-guilaring
with his gianl guitar. Our award
for mosl American costume went
to the couple dressed as East Asian
peasants complete wilh buck teeth
and glued shut eyes.
Bui to the music Despite
the horrible echo, the Squirrels
Live Unit pumped oul their usual
light set of bastardized '70s and
'80s covers including "Radar
Love" and "Lean on Mc." Rob
Morgan, despite being I
Wienie Water, was in fir
but the crowd was restless in anticipation of Those Men.
All the years on the
Chippendales circuit have paid off
for the People 'cause they were in
awfully good shape. Tans, loo!
The only notable appearance
change from fifteen years ago was
Philippe "The Indian's headdress,
which has disappeared in favour
of a multi-coloured mohawk. With
their assorted bulges, chorus line-
choreography and saucy comments
such as, "Trick or treat, sweel
tils!", they whipped the crowd inlo
a highspeed disco frenzy. In irue
Solid Gold fashion, the driving
beats were provided by a lape which
also included a prerecorded MC
introducing the group and beckoning them back for an encore.
All the big hits f ronTMacho Man"
to "YMCA" were performed with
gusto and you can bcl everyone
was doing the actions loo, except
for a couple dressed as a pile of
leaves and a bowl of mouldy yoghurt: during the whole set they
fingered the performers and stuck
their fingers down their throats.
Needless io say, we stayed clear
of these two freaks.
Whew! Afler all lhal dancing we relaxed by picking up some
drinks from the terribly over-priced
bar and listening toScatilites discuss their gun collections. When
would The Sweet be on, we wondered. We caughl a glimpse of
some fal old men reclining behind
a partially closed door, drinking
Miller Lites and trying to lie up
their leather lights and vests. Could
it be...? Nah, just some goofs
dressed up like Spinal Tap. But
forty-five minutes later, these very
same goofs took the stage as The
Sweet. As it turns oul, only the
drummer and guitar player are
original members. The singer
looked like Axl Rose's father
complete with glitter headband
wrapped round his very ample
forehead lopped wilh long, over-
processed locks; ihe olher musicians were apparently culled from
Glass Tiger rejects. The Sweet,
once the best band in the world for
rollerska ting to, blundered through
their greatest hits "Sweet F.A.,"
"Fox on the Run," "Sel Me Free"
and oh so many more. Long, off-
key guitar solos provided time for
the drummer to "run" off stage
and into the dressing room for a
break. When he was on the stand,
he continuously screamed, "More
floor torn! More floor iom!" atthe
sound man while the singer pumped
his fists in the air out of lime wilh
the music. Long, floor torn-less
drum solos provided lime for the
singer to "run" off stage and into
the dressing room for a break,
only to return strangely full of
shrill energy, chomping his
enourmous wad of gum even faster.
The crowd dwindled. By the time
we had moved around to the front
of the slage, the drummer had
succeeded in having the floor toms
turned up so loud that no actual
music was audible. The crowd
dwindled.
As the band neared the end
of their sel, the pile of leaves and
bowl of yoghurt square danced
drunkenly around ihe nearly empty
floor. Muttering "Thank you, Seattle", and "..ffffuckin' awriiight"
to the crowd, The Sweel left the
slage, having suspiciously avoided
playing "Ballroom Blitz". We left,
leaving the band begging for an
encore from, among others, the
pile of leaves, who had jusl finished
dropping his yoghurt-girlfriend on
a broken beer bollle. "Ballroom
Blitz" or no "Ballroom Blitz," it
had become too depressing. Inez
Velasco
Tankhog Record Release
Party
Commodore Ballroom
Tuesday 30 October
All in all, a strange, disjointed
evening. The Commodore remained half-empty, giving the
show a low energy feel. And while
the beginning and the end of the
"party" was fine, the middle part
left something lo be desired.
The Evaporators, headed by
Nardwuar ihe Human Serviette,
put on a rousing set. Mr. Nardwuar
himself was all over the place,
maniacally dancing up a storm;
ihe band kept up wilh energy to
spare. Unfortunately, hardly anyone had arrived yet; the Evaps
should've been on right before
Tankhog.
Afler a barrage of horrendous heavy metal videos. She, an
all-female quartet, performed a
clean, clear-sounding set. They
were kinda rocky, kinda funky,
with a powerful-enough lead singer
but they didn't do much for me.
You'd think that a group
comprised of a couple of ex-DOA
members, a Scrambler, Chris
Houston and Art Bergman would
be something special. Wrong. Chris
Houston's Evil Twang was anything but evil. The music was boring rock stuff; egos emanated in
waves from the stage. Art Bergman
was obviously loaded. I was not
impressed.
Finally, Tankhog hit the stage
with their aggressive, thrashy
music. They were impressive:
singer Bruce was a human dynamo with a powerhouse voice
and ihe band matched him slam
for slam on songs from the new
cassette/CD release House of
Beauty, including a kickass version of that old Partridge Family
hit "I Woke Up In Love This
Moming." People actually did
wake up and some even started
hopping around. Unfortunately,
Tankhog and ihe Evaporators were
ihe only excitement in a very long
evening. June
Forbidden Dimension
Cruel Elephant
Saturday 3 November
Ifyou've heard Color Me Psycho,
you essentially know whal
Calgary's Forbidden Dimension
sounds like (minus the organ
sound). Unfortunately,ihey didn't
live up to my high expectations.
Every other lime I've seen them,
they managed to chum oul a high
energy set with plenty of punk
rock noise, but this night-despite
all the right elemenls-lhey just
didn't get it together. Il was disappointing to have lo accept mere
adequacy when I've seen them
really slash and bum. Freddy
Barbahaux-Farmbottle
WHOA DAD, IT'S
MUDHONEY!
Mudhoney/Beat Happening/
Smugglers/Evaporators
SUB Ballroom
Saturday 10 November
Mudhoney and Co. played to a
sold sold out audience at the latest
Nardwuar the Human Serviette all-
ages hoe-down. The crowd was
enthusiastic, perhaps a little TOO
enthusiastic, or should I jusl say
22   DISCORDER immature?
Nonetheless, WHOA DAD,
IT'S MUDHONEY! went over
well. Of the three acts worthy of
mention, the talented Evaporators
were, as usual, the most amusing.
Beat Happening, contrary to what
the name suggests, definitely
wasn't. Who arc these guys anyway and what's Mudhoney paid
for letting B.H. repeatedly open
for them? What line did they use—
"We're all dying of lung cancer,
please let us fulfill our life-long
dream lo tour as a rock and roll
band"? Listen honey, take my advice, don't add lo the agony: sell
your instruments and take a nice
long vacation in L.A.
Of course, last but not least,
Mudhoney. They were good; it's
unfortunate certain bouncing
children put their hormonal problems on display wilh such ardor.
By the end of the evening, the
band was being held hostage on a
small back portion of the slage by
obnoxious and/or sexually repressed stage divers. It was easy
tounderstand why theirmusicand
enthusiasm dimmed as the set
progressed. Caroline Longford
NoMeansNo/Jello Biafra
Commodore Ballroom
Sunday 11 November
The posters said Censorship, Legal Harassment,NoMeansNoand
Jello Biafra in big letters with lots
of litilc stuff written in between.
The blue-haired Quincy punk behind me asked his friend where
Legal Harassment were from. If
YOU 'RE wondering too, and how
sporting a pathetic goatee.
NoMeansNo revved up and
rocked out a blistering set of some
rarely-played songs, including
"Small Parts Isolated and Destroyed," marred only by repeated
stage diving, even after the Band
requested an end lo il. At a
NoMeansNo show, you just become too entrance- to watch oul
for flying jack boots.
After about an hour and a
half of music, good ole Murray
from the Dayglos got up and was
surprisingly articulate regarding
the outcome of the court case. He
and NoMeansNo then rocked out
a Dayglos anthem that I couldn't
recognize 'cause of all the glue I
used to sniff.
Unfortunately, the band's exit
was Jello's cue to retake the slage
in a pitifull, sniveling reading of
that goddamn "Why I'm Glad The
Space Shuttle Blew Up." He and
NoMeansNo debuted some of the
new stuff they've been collaborating on, and hey, one of the
songs was about the fucking space
shuttle!
NoMeansNo, alone, are always an amped out experience.
As for the other stuff, well, if
Farley Mowat was blacklisted by
the U.S., why can't we blacklist
Jello.'Bruno
Town Pump
Tuesday 13 November
A funky gig occurred at the Town
Pump and you probably missed it.
Unfortunately not many people
Pieces of Lisa (gotta love
the ring to lhat name allhough
some women's groups have boycotted ihem stating thai they don't
support dismemberment) arc another up-and- coming group. The
three member band plays high-
energy, funk-thrash with vocals
reminiscent ofthe B -52's guy (great
voice range, man). Most of the
material played came from their
debut album. The Great Idaho
Potato Famine. These guys know
how to groove: the drummer broke
sticks; the bass player ran around
the bar with his wireless.
Vancouver was their last stop before going back home lo San
Francisco, but nevertheless they
kepi it coming fast and loud—
wilh a few more people a slam
would have been started.
Finally. Red X-It, is a brand
new local band; this was only their
second gig together. They were
pretty mellow, fitting somewhere
between Eggplant and Pieces of
Lisa, but held their own against
the more experienced bands. The
lead singer had a John Cougar
Mellencamp-type voice and I was
told the drummer had an awesome drum kit which he used well.
I liked these guys and hopefully
they'll be playing more gigs around
town soon. Check them out. Angie
Finley
Steel Pole Bath Tub/
Godbullies/Octatrackter
Cruel Elephant
Wednesday 14 November
Octalrackter are localboys playing post-hardcore, post-industrial
come they didn't play, take a closer
look at the poster 'cause it was
referring to the legal harassment
and censorship of Fringe Records
over the Dayglo Abortions' record.
Cresting on the high note of judicial victory, this benefit started
off with Chris Houston. Luckily I
woke up to hear Shovlhed cranking out short fast ultra technical
metal, core, funk whatever; the
only problem was after a while it
sounded like YES 90125 played
really fast.
Jello Biafra got up and did
his paranoid, rhetorical and reactionary spoken rants, the same crap
he's been saying for 5 years and
several albums. The geek however is desperately trying to look
ultra-bohemian ihese days by
have heard about the three bands
that played, but I'm sure they'll
be recognized in the future. All
new to Vancouver and very hyped
about getting exposure here.
Eggplant, from Orange
County, California, opened. A
unique sense of humor on stage
and in their songs makes their
California, beach-bum style all the
more interesting.
Funky guitar and great vocals combined with a strong rhythm
section to create a fresh and energetic sound. Not an easy achievement. Despite low attendance, one
piece of Eggplant commented that
playing this gig to thirty or forty
people was much more exciting
than their last show where only
ten or fifteen people came.
noise. Sometimes hot,
not. Godbullies, on the other hand,
did nothing for me. Rock'n'roll
with a few sight gags (preacher's
suit, American flag, bible burning) just wasn't what the evening
Steel Pole Bath Tub are just
as intense live as their recordings
suggest. They play really fucked
up noise core wilh intense rhythms
subtly lying beneath the surface
of that feedback -laden, effect-box,
guitar-horse nightmare. Powerful
stuff. "Christina," from latest LP
Lurch, was the definite highlight
of the evening, closely followed
by a cover of "Paranoid" that
smoked harder than Sabbath could
ever imagine. Way loud, man, even
wilh earplugs in. Bruno
BY  JANIS
Welcome once again to the original and genuine Local Motion! The big news this month,
of course, is the break-up of the once-mighty
Scramblers, who loured is fir iwiy as the
Soviet Union but somehow (through no fault
of their own) never managed to get their album
(recorded it least two years ago) released. It
will come as no surprise to hear that at least
one new band, with guitarists Jon Williams
and Ziggy Sigmund, is already rising from the
ashes. Now it's jusl a matter of waiting (some
In contrast, Tankhog kicked off their
massive North American tour with a record
release party at the Commodore late in October. House of Beauty is a first for local label
Zulu Records, being a CD and cassette release
(no vinyl!), as well as the first Zulu offering of
any kind in some years. For the sake of local
music and its fans, I hope this won't be the last.
Mary will be back in Profile Studios
early in December to record six or more songs,
once again wilh John Wright (of NoMeansNo)
as producer. Their recently recorded, impassioned version of "Gallows Pole" (the traditional folk song made famous by Led Zeppelin) is currently on CiTR's playlist as well as
CJlV's Vancouver sampler cassette, Cardboard Limousine, which is being distributed
lo campus stations across Canada.
One unfortunate note: for a long time
bands have had problems getting credit for all
the tickets turned in at their showcase performances. (Let's face it, it's pretty difficult to
really prove how many come in.) Bul things
may be getting worse-I've heard about at least
one club's management dunging its mind
regarding i (in this case so-called) guarantee.
In one instance two bands were told that since
they didn't have a written contract, they were
not going to be paid what they hid been
promised, although the amount was quite standard and the bands had played at this particular
club before-with the exact same agrcement-
without having any problems. What can a
musician do? Well, a written contract is the
ideal, but not always practical. The simplest
thing, as always, is to find out from other
bands just which clubs are trying to get away
with this sort of thing and avoid them at all
costs. (There arc places, like the Railway
Club, where misunderstandings aboul payment are, as far as I know, absolutely unheard
of.) And it never hurts to have lots of witnesses
to verbal agreements if a written one isn't
possible. Then at least you'll have a chance in
small claims court!
Sound Butchers-"Passing Glory."
What you might expect to be the most promising feature of this tape, 77k Hills Are Alire
With The..., is the cover of Mitsou's "Bye Bye
Mon Cowboy." Unfortunately though, without the Mitsou visuals this song is just too long
and repetitive. "Passing Glory" is quite a different song, with the drums going fast but the
vocals somehow bolh lazy and too loud. The
guitars are a thick distant blur... in fact il's the
poor production lhat really makes the upc
suffer. Recorded at Side Track Studios, ihis
sounds like a four-, or possibly eight-track,
and seems to be mixed so as to maximize the
vocals' ability to irritate. The cassette cover is
already very good, now a remix would help ihc
tape itself.
Za Zi and Ihc Angels-"Dr. Nightmare." Described as "nco-cabarct and new
tango," some of this very nice tape nearly
sounds like less elegant (and much more facile) beat. But I think il's just those dam An-
gels-somclimcs there's simply loo much of
them and too little of Za Za herself, a voice
whose owner you can imagine slinking around
like Marlcne Dietrich, a voice unfortunately
frequently inaudible under saxophone, trombone, and accordian. Ah, it becomes so hard lo
hear the words, but I trust Za Za and friends
will bless us with another recording, wilh
louder vocals, sometime really soon. Wilh an
insert riddled with spelling mistakes, but never, mind, it's a nice looking all the same.
From Bcyond-"Numbskull."My first
impression is that this band has a real sense of
humour. At least you have to hope so-thc
sound is lo-fi, the solos make you almost feel
along the fretboard with the guitarist (note by
note), and there are these amusing tempo
changes. What this actually sounds like is
Drums Along the Gardiner or Curious George
(the original lineup, of course) in a particularly
funloving mood, colliding with the Jesus and
Mary Chain and their continuous feedback
harmonies. Charming and a good time, especially their cover of the immortal Monkees'
"Sleppin' Stone."
TheValentinos-"ChinaDoll."Thisis,
I think, an earlier tape from ihc same foursome
reviewed in this column in Oclobcr under ihc
name Rocket 88. And "China Doll" gives us a
quieter side of the guys who gave us "livery
Good Girl (Needs a Bad Boy)" and "Gimme
Some Action," at least for a while. The introduction, with just vocals and acoustic guitar, is
just long enough to make you think ihc whole
song will sound this way, and then the whole
band kicks in, and underneath il all (bul especially in the vocals) you can still hear lhal
faraway hint of evil rockabilly, reminiscent of
Tankhog, The Scramblers, and the almost unknown but incredible Pnmcvils.
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DECEMBER 1990   23 CHAINSAW KITTENS
Violent Religion
Mammoth
I listened to the Chainsaw Kit-
lens' Violent Religion because ihe
album cover looked interesting,
which as wc all know is the wrong
basis for judgement. Well, okay,
I've lcaml my lesson. Far-out album cover docs NOT mean far-
Violent Religion isn't
hopelessly bad but it never reaches
any pinnacles of greatness, eilher.
The singer, Tyson Meade, has an
impressive vocal range; al times
he sounds like Mcrrisscy, but a
Utile heavy on the whining. The
guitar riffs are repetitive and true
to ihe Sex Pistols'hard-edged tra-
dition-for better or for worse.
Unfortunately, the vocals and the
guitar seem to be in competition.
The vocals lose, disappearing
among ihe "chainsaw" guiur riffs.
On the olher hand, the lyrics
are intriguing albeit hard lo hear.
For the most part, they are abstract and thought-provoking, wilh
the notable exception of the title
cut which rants on aboul the lired
old theme of religion and whal a
bad thing il is.
Tyson Meade did the far-oul
painting on the album jacket.
Maybe next time he'll put
of that artistic talent toward
better Chainsaw Kittens' al
bum. Mindy Abramovitz
THE CHARLATANS
Some Friendly
PolyGram/Situation 2
The Charlatans chose an appropriate title for their de-
but LP. Some Friendly is I
record that wants the lis
tener to like it. The rhythms
and sound structi
velop the ears. The quirky,
infectious beats stay ii
the mind long after lis
tening to them.
Tim       Burgess'
wispy vocals and the
sound of the Hammond
organ provide a very
good mix: strong but
notoverbearing. While '
there has been a bit of a backlash against the so-called "'60s
sound,"The Charlatans have taken
a new approach by refining the
24  DISCORDER
harshness yel keeping the power
and drive. Very fresh and different. With such a fine beginning,
I'll be wailing to sec how the
Charlatans carry on. Greg
Garlick
CORDELIA'S DAD
Cordelia's Dad
Rough Trade/Okra
What a bizarre name. I have no
idea what il refers to. I played this
one essentially on a whim; to my
surprise I discovered a really engaging catchy folk/rock album.
All the songs arc traditional (except for one) and presumably they
come from American folk roots,
but the only song I recognized is
"Will ihe Circle Be Unbroken."
Their use of electric guitars may
cause uptight folk purists lo snort
in disgust, bul I'd recommend this
album to anyone who likes their
folk music played wilh a little
more energy. Good luck in finding this by the way; I had to special order a copy. Tom Milne
THE CURE
Mixed Up
WEA/Elektra
Yep, the Cure have issued a dance
remix album. By happy coincidence, the New Musical Express
I picked up featured a
Robert Smith interview aboul
Mixed Up. His
reasoning for doing the previously
unthinkable?-
"because people
wanted   old   12"
having to pay so
much money for
them... and that
they're awful. Really
^      '\ This is anything
K but"reallydull;"infact
M this could really upset
&\ some people. The Cure
Mil) •' are renowned for their
n and doominess and
this is, dare we say, up-
> beat. "Pictures of You" is
given a reggae beat, "In
Between Days" has a kinetic, housey beat and both "The
Walk" and "A Forest" were redone as the master tapes were lost.
On the whole, the remixes work
quite well; il's interesting lo see
ihe results of screwing around wilh
somelhing people held sacrosanct.
As to this whole dance remix thing,
we have the lasl word form Mr.
Smith who says he's nol worried
aboul being left behind by the
dance bandwagon "because there'll
always be another lo throw ourselves undenhe wheels of." June
EGGPLANT
Sad Astrology
Dr. Dream
Eggplant's latest release is a very
pleasant sounding album—kind
of like '50s surfer music. Despite
this innocuous jingle-y sound, the
band have some interesting things
to say. They deal wilh almost all
the Big Issues of ihe Day—the
environment, sexual role-playing,
money and love—bul ifyou aren't
paying atlention you'll miss them.
But back to themusic.Idon't
mean to say lhat Eggplant is the
musical equivalent to Wonder
Bread. Far from it. Their melodies are simple, but they work.
And while the vocal harmonising
a la Beach Boys and the campy,
upbeat percussion and guitar do
conjure up images of spandex-
clad guys and gals frolicking on
the beach, they avoid the complacent brain-deadness of the era they
emulate.
The band compensates for
any blandness inherent in their
chosen musical style with original ideas behind their lyrics. In
one song, "The Wild Ones (Cycle
on the Lawn)," they lake lhal whole
rebel-on-a-motorcycle-picking-
up-lhc-suburban-prom-date scenario and revamp it: the biker is a
woman and ihe laffela-sheathed
prom dale is a man. Take that,
Frankie and Annette.
Much like the vegetable.
Eggplant is nol especially appealing in theory, but if you try il, you
jusl might like il. It's sort of the
thinking person's food and band.
Mindy Abramovitz
Dreamy tunes, man. Interesting
ihing to note: they are from somewhere on the West Coast. Maybe
that's why they have such a dreamy
sound. Chack
GALAXIE 500
This Is Our Music
Rough Trade
This album is a bit more polished
than its predecessor On Fire, but
retains that original tension of a
band who've happened along some
great tunes and decide to leam
how to play their instruments while
recording them. Sublime simplicity. "4th of July" is the mosl upbeat thing they've done so far, but
it still retains that Galaxie feeling
of floating over a really shitty part
of town.
Al iheir worst: The Velvet
Underground too stoned and stupid to make up a real song. At
their best: Ian Curtis and Hank
Williams jamming together in
heaven or hell of wherever they
are. Danny Bejar
THE GLOVE
Blue Sunshine
Rough Trade
Blue Sunshine was first released
in 1983. A collaboration of Steve
Severin of Siouxsie and ihc Banshees and Robert Smith of the
Cure, the album has been re-released in England and now released
here in North America for the first
time, blue vinyl and all.
The Glove recombines the
sounds of both bands (which of
course was formerly mainly the
same band) lo create music lhal is
unmistakably linked to ils origins.
However, dimensions are reached
on this album that cannot be found
in either of the olher bands.
Landray, a singer reminiscent of the voices of a harsher
Cocteau Twins, sings mosl of the
songs, but on two, Smith's young
and immature voice whines oul, a
reminder that this album was done
almost eight years ago.
The lyrics for most of ihe
songs seem like stream of consciousness al times, and ihe album as a whole does not really
hold together as a complete package; you can tell this is only a
collaboration and not really a serious band. However, the music is
packed with intriguing melodies,
interesting rhythms and a hypnotic spacey feel. It is psychedelic, lechno at limes and on ihc
whole worth listening to. Angie
Finley
GABORG. KRISTOF
Le Crl du Lezard (Made to
Measure Volume 25)
STEVE SHEHAN
Arrows (Made to Measure
Volume 26)
DANIEL SCHELL AND KARO
The Secret of Bwlch (Made
to Measure Volume 27)
Crammed Discs
The Made To Measure Series of
new music, atmospheric lo abstract, postcard to postmodern, a
collection of aural garments that
have or could have been commissioned as soundtracks. That's the
manifesto of the Crammed Discs
series lhat so far has included works
by Fred Friih.Samy Bimbachand
Benjamin Lew, Richard Horowitz
and Sussan Deihim (who played a
marvelous set io a nearly-empty
Graceland three years ago), Minimal Compact, and Arto Lindsay
among others.
Gabor G. Kristof's Le Cri
du Lezard is the soundtrack from
a feature film by Bertrand Theubet,
whose claim lo fame is that he is
an ex-assistanl lo Jean-Luc Godard.
Krislof is apparently the man who
gave the world Nadjma, collaborating wilh Adrian Sherwood on
heralbum Rapture in Baghdad, but
there's no dancing or drum machines on ihis CD. The recording
consists of small, neat, conventional lunes on acoustic guitarand
accordian, with splashes of keyboards here and there. Sometimes
it sounds like French folk music,
sometimes it's remote and slightly
depressing, and at other times it
veers a bit too close to new-age
noodling for me.
Arrows by Steve Shehan is
very different. Shehan is a half
Cherokee Indian who began travelling the world at the age of twelve.
He spent a lot of time in North
Africa and Asia, especially Indonesia, whilst finding time lo act as
bassist and percussionist lo such
McLaughlin and Kim Wilde. On
his travels he picked up a whole
bunch of extremely strange ethnic percussion instruments
(Der.bouka, Caxixi, Afuchc,
Ikembc, Galo Box...). In his Paris
home studio he then spent six years
recording these instruments, together with ambient recordings
from Indonesian Rainforests, African Plains, Paris thunderstorms
and street sounds, Cameroon
Pygmy Music, Peul Flagellation
songs, Syrian Radio and TV antennae to create a varied rhythmic
andambientmusic. Vocal samples
slip in and out of the mix and the
tracks evoke strongly ihe experience of encountering different
cultures. Unlike Stewart
Copeland's dismal The
Rhylhmalisl album, Shehan's
music shows an understanding and
knowledge of the countries he has
lived in. The only drawbacks, as
far as I'm concerned, are lhat he
docs lei the odd dodgy "jazz-fusion" type tune in now and again,
and lhat it's best to listen without
looking al the rather corny song
lilies ("Afrocubana,""Istanbluc,"
"Shogun").
Ihc besl of the three is The
Secret of Bwlch by the Belgian
composer/musician Daniel Schell
and his group Karo. As far as I can
make out from the sort of confused
liner notes, Bwlch (+/-1100), was
a monk who, unlike all the olher
monks from his age who transcribed popular tunes, remembered
lo transcribe ihc rhythm as well as
the tune. Unfortunately he noted
ihem independently of each other
as if disconnected, and this CD is
an attempt to fuse ihe two elements again. There's also some
concept involving ihe wind, but I
really don'l know whal's going
on there. The music is equally
confusing. The group consists of
Daniel, who plays the Chapman
stick, with a clarinet player, two
synlh players and a labia drummer. According to ihe press release the groups influences include "Hungarian rhythms, Raga,
Italian melody, mathematics, medieval polyphonies, gesiual messages and furious hammerings of
logs." Thai describes the CD pretty
well too. Folk lunes over wild
labia beats, choirs, avant-garde,
Chapman stick adventures, all held
together with this strange Bwlch
concept. Intelligent orchestrated
music, never pretentious, except
when you can almost hear the
supressed giggles, this is an original and excellent CD. Pete
Lutwyche
LARD
LAST TEMPT A TION OF REID
Alternative Tentacles
A side-project of Mr. Ex-DK and
various Ministry members, this
time around Lard have managed
to spew out a full album's worth
of industrial-hardcore th rash laced
with the expected nasly, biting
satirical social commentary. Songs
like "Forkboy" and "Drug Raid al
4AM" jump out and throttle you
with full forced intensity with lyrics such as: "To fight the war on
drugs/You must give up your rights!
You blink, you die/I hale you more
lhan my job," or my personal
favourite "If men bled would tampons be free?"
Unfortunately, Alternative
Tentacles performs the typical
corporate scam by offering a " Bonus Track" on the CD version
which is a song called "I Am Your
Clock" which evokes nightmarish memories of "Time to Melt."
But with ihc album, though, you
get a cool fold-out insert with extra stuff lo read, and "I Am Your
Clock" makes more interesting
reading than listening lo anyway.
Tom Milne
LETHAL
Programmed
WEA
It may have taken me until the
closing songs of ihe album lo find
out, but I finally realised I had
been listening to—oh no—a
Christian melal band. Now, lines
such as "What have we become/
Ihere are no uncensored programs/
we must refrain/clear your minds./
run to be free" mean something
more than when I thought ihey
were singing aboul society's dependence on technology! But I'm
sure the ambiguity is not coincidental. Maybe they're attempting
lo promote their faith through iheir
lyrics, bul wail a second, this is a
METAL band. Eighty percent of
what's being said is incoherent
anyway; so I guess this is why I
hadn't noticed their religious
conviction upon my first exposure to Ihe music.
One thing is for sure. Christian metal or nol, these guys can
really bell oul some captivating
music. Their sound is well-balanced between all instruments as
well as reaching lhal degree of
heaviness that's powerful but
doesn'l sound like a river full of
screaming cats. Of course, anything more than that wouldn't fit
the singer's vocal style, who could
be mistaken for Queensryche's
Geoff Tale in the days before Rage
for Order. A heavy classical music influence is also apparent and
unifies the individual musicians
in theirdelicate-yet-powerful melal
delivery.
Theone big downfall is their
lack of versatility in the main
structureof their songs. Sure, there
are a lot of well-executed lempo
changes which serve as greal hooks,
but the speed, intensity and vocal
style don't vary as much as they
should. Allhough il may fall short
of "excellent," I will say it's "very
good." Braden Zrno
BOB MOULD
Black Sheets of Rain
A&M/Virgin
This is Workbook with amps on 8
(rather than 5) and a poetically
golhic texture to the lyrics. Bob
Mould no longer writes of the
bitter pasl with, and without,
Husker Dii but looks to his New
York surroundings for the sentimental anger we have come to
love in his work. This is the constant that joins Black Sheets of
Rain with Workbook; choosing
once again to work with drummer
Anton Fier and bassman Tony
Malmone, also contributes to this aural cathedral.
Black Sheets of Rain is
simply another masterpiece that
Grant Hart will have to try even
harder to equal. Maybe taking heed
of the advice in Mould's "Sacri-
ficc/Lct There Be Peace" will help:
"Success is a virtue lo share with
the world but failure's a lesson
that's best learned alone ..." Paul
T. Brooks
NIHILISTICS
Fuck the Human Race
Visionary
The Nihilistics are a band that
have been around since the great
early '80s explosion of NYC
hardcore. Their first album was
an instant classic with its harsh
negativity and its raw, brulal music. They saw themselves as separate from most of the hardcore
scene, true social misfils who did
not fit in with hardcore's many
cliques and trends. Reknowned
for gigs that dissolved inlo violence, they felt they were misunderstood and that true Nihilistics
fans were simply those people that
found themselves rejected by everyone else, people such as the
disfigured, ihe poor, or those who
for whatever reason were labeled
So where has this led them?
Last year they released Bad...
Dirty... Hate and due to its modest success they have recently released Fuck Ihe Human Race.
Musically, both L*Ps have all the
same elements but things just didn't
come together as well on F.T.H.R.
It's still raw, hardcore punk with
musical competency up a litde
from the early days, bul the overall intensity seems lo be lacking.
Worst of all, the pose I suspected
they were beginning to affect on
Bad... Dirty ...Hate has become
all too obvious on F.T.H.R..
Negativity and cynicism are essential for a realistic view of the
world, but the Nihilistics self-
proclaimed slap of reality has become nothing more than egotistic,
jerk-off, macho bullshit. They are
what they supposedly hate: it's
become a stupid self-fulfilling
prophecy. They are so obsessed
withproving that they don't give
a fuck about anything that it becomes obvious that they do give a
great big fuck about one thing: the
Nihilistics now want everyone else
to be as impressed with them as
they are with themselves. This
pathetic display of self indulgence
is their attempt at doing this. Tom
Milne
LEE"SCRATCH"PERRY
From The Secret Laboratory
MCA/lsland/Mango
Perry has been cutting vinyl since
the '60s, producing and/or performing essential reggae. The
enigmatic upsetter once again
graces us with his weird wisdom,
dub and riddims. Again co-produced with Adrian Sherwood,
backed by the Dub Syndicate and
Roots Radics, From the Secret
Laboratory is perhaps a notch
below 1987's Time Bomb X de
Devil Dead, yet still a gr<*ove to
be reckoned with. Perry covers all
the bases here: dub, roots,
dancehall, special effects and of
course plenty of Perry Vision.
No youngster, Lee Scratch
doesn't rely on conservatism as
most of his contemporaries lend
to. He names his enemies: multinationals,corruption,etc. llctakes
lyrical chances to expand his rap,
nol relying on rhyme lo gel the
message across. Perry's voice is
as distinctive as ever (ihere arc
too many wimpy voices fronting
great reggae bands.)
From the Secret Laboratory also contains rcworkings of
such "Scratch" classics as George
Faith's "I've Got The Groove"
and The Heptones' "Party Time."
Sherwood, at the controls, gives
us his grab bag of special effects
in a high quality recording. Put
Perry alongside and madness is
the order of the day. Lee"Scralch"
Perry, a man of insight? Well, I
don't know. From the Secret
Laboratory entertainment? Always—check it out! Norm Van
Rassel
POISON IDEA
Feel the Darkness
American Leather
Why is it that with all the bands
lhat play loud, raging, guitar laden
thrash, so few hit ihe spot as well
as Poison Idea? They just seem to
bring everything together in a
perfect synthesis, forming a wall
of intense bone crushing noise lhat
kicks my adrenalin level up several notches. This is classic Poison Idea here, plenty of raging
hardcore punk/ heavy metal riffs
over which Jerry A. spits out venomous, uncompromising lyrics. I
was glad to see they included
"Plastic Bomb" and "Just to Get
Away," classic b-sides from former
Poison Idea outings, but the song
that really grabbed my attention
was "Alan's on Fire" with its incredibly powerful riff and its angry lyrics. I think this album just
edges out the Kings of Punk LP,
making it the best album Poison
Idea has ever done. Tom Milne
PUBLIC IMAGE LTD.
The Greatest Hits, So Far
A&M/Virgin
Leave it to Johnny Lydon lo put
absolutely zero thought into a
greatest hits package. Well, maybe
not zero, considering he took some
of his precious time to get a haircut and cut a new track. "Don't
Ask Me" is a fantastically blantanl
pop tune a la "Disappointed" but
otherwise it pales in comparison
to PIL's post-punk, angst-riddled,
mid-80's discords. A lyrical assault on society' s rape of the en vi -
ronment, "Don't Ask Me" is a
tiresome rehash for a public who
has heard so much of the same
from others lately.
The remaining tracks are in
chronological order so you can
listen to PIL's progression/regression since 1978: "Public Image," "Flowers of Romance," "This
Is Not A Love Song," "Rise,"
"Seattle" and "Warrior" are all
here. But what about "Poptones"?
"Bad Life" and "Solitaire"? What
about "Fishing," "Annalisa" or
"The Order of Death" for that
matter? This intolerable ignorance
makes one wonder if there is some
conspiracy to turn our once Mr.
Rotten into Jump-on-the-Band-
wagon Johnny. What's next? A
THE RUTS
Peel Sessions
Strange Fruit
written by Mr. Spencer: The Ruts
were one of the best bands lo
emerge from the wreckage of the
1977-1978 UK punk rock scene.
While the Clash had their sights
on the Slates and ihc Damned and
the Sex Pistols had called n a day,
il was The Ruts who bursl onto
the British Top Ten with the tension-filled "Babylon's Burning,"
an edgy song bordering on bril-
Extremely tight and musically adventurous, The Ruts dabbled in reggae and dub and doing
quite well, compared to, say. The
Slits. Malcolm Owen unfortunately
OD'd on heroin, and The Ruts for
all purposes foundered into obscurity. These songs recorded for
John Peel' s BBC Radio One show
represent The Ruts al iheir finest.
Malcolm Owens' gruff vocals,
Vince Segs' nimble bass, Dave
Ruffy's drum pummeling and Paul
Fox's surging electric guitar still
seem relevant a decade afler their
original broadcast. Greg Garlick
SKINNY PUPPY
Too Dark Park
Nettwerk
The cover should clue you in that
this is not the usual Skinny Puppy
release; gone are the precise Steven
Gilmore graphics, replaced by a
colourfully grotesque painting by
Jim Cummins, resplendent with
Too Dark Park has a clarity
and a sense of purpose that Rabies
lacked. Rabies was recorded amidst
break-up rumours and influence
of Jourgensen; Skinny Puppy has
definitely gonen back on track
wilh this release.
The old maxim "Less is
More" has been put to good use
here Too Dark Park is a lot
sparser lhan any other Puppy effort-effects arc kept lo a minimum, and sampled voices are used
only to illuminate Ogre's typically enigmatic lyrics. The songs
have a lol lodo with the environment and doing whatcverpossible
to save it as well as breaking out
of the "Corporate Strangle Hold,"
such as on "Morpheus Laughing":
"Unity Among Such a Poor
Existance/in ihis Third World/
Resistance Should be Used/Civil
Disobedience."
Standouts are the melancholic
"Nature's Revenge," the very noisy
and sharp sounding "Convulsion,"
and especially "Spasmolytic,"
which is a great nervous, jittery
feel to it. This is certainly nol
Bites revisited. June
SLAYER
Seasons in the Abyss
WEA
Continuing to show their independent metal identity, Slayer have
released Seasons in the Abyss. The
music is relatively simplistic but
this is the essential beauty of Slayer.
There are no wildly colourful scales
during guitar solos or licks; it
simply wouldn't be appropriate.
Slayer rarely play any "mid-
lempo" stuff. It's either fast or
slow. Their lyrics are dark and
foreboding. Subject matter is intense, varying from gang violence
in "Expendable Youth," to the
"Temptation" of evil to songs that
leave you understanding only thai
you like them. The music is equally
dark: deep, growling dual guitars,
in-your-face percussion with the
mosl crisp-sounding snare I've
heard in a long time, and cries of
desperation from vocalist Tom
BY FELICITY DUNBAR
Do you like singles? I do too! Smell the rubber here every month!
I picked up Sludgeworth's four-song EP (Roadkill) with some anticipation because it includes former members of the great but now deceased
Screeching Weasel. Produced by Mr Everything Steve Albini (so what
else is he doing these days?), this is great, catchy, hard-edged pop-
punk. Especially noteworthy are the songs "Some Day" and "Two Feet
on the Ground." They'll have your toes tapping and your butt twitching
for days on end.
I've heard of Ludwig Von 88 somewhere else before, but I can't
Songs have been mixed to
closely follow one another, shortening recovery lime. This limits
the exposure lo the merciless onslaught of Seasons in the Abyss
for those in an open, receptive
state of mind which is demanded
by the potency of ihis musical
meat grinder. Yes folks, it's lime
for a new type of warning sucker.
Those who develop a need
to expel ihe overabundance of
energy fueled by frustration don't
cording s
Wonder whose
take
lhal
neighbourhood dog everybody
hates, Slayer provides an outlet.
Braden Zrno
TANKHOG
House of Beauty
Zulu
Woah babeee yahoooo pitooooeee!
What an awesome piece of metal-
coated plastic-or is it plastic-coaled
metal?-this Tankhog ceedee is!
The first thing Zulu has put oul in
a good two years, House of
Beauty is loud even with the volume turned down. Perfect for you
one-dimensional folks who like
their music at only one volume.
"Tears" and "Reptilion" rawk
like they did in their demo form
on CiTR, only "Reptilion" seems
to have grown new and more legible lyrics (eg, "She fucked a reptile" versus what I am convinced
was "She's a reptile" on the demo).
Seems that there's a bit of an anti-
Satanic message coming in ihere
somewhere. But the opening riffs
for "Reptilion" are still Slow. The
thing that sticks out apart from the
rest of the ear-drilling guitar-
crunching knee-slamming blasts
is their cover version of a song
made famous by the Partridge
Family. For good or for bad, "I
Woke Up in Love This Morning"
seems destined to be a college
radio super-hit but it has all the
appearances of being a throw-in
at the end of the reel afler a re-
Evcnlually. though, you gOUl
have to compare this recording lo
what they do live: how do ihey
stack up? Maybe il's 'cause wc
live in that damn video age, bul
yup, by closing my eyes, I can
sure see Bruce the Singer jumpin'
all like a human Pop-o-Matic,
Hamm the Giani hulking over his
bass wilh his huuuuuge head of
kinks. Guitar David and Guitar
Shane killing their picks, and Terry
the Drummer bashin' his slicks.
Power chords galore and loud as
hell, bul is that a tenor sax on
"Prcity Little Suicide Girl"? Mr.
Bamm Bamm
VARIOUS ARTISTS
Sound Generator
Spiral
Spiral Records is a new indie label from Vancouver specializing
in industrial/dance music; Sound
Generator serves as an introduction to its roster of artists. Obvi-
ously a low budget production,
the album comes in a plain white
sleeve with photocopied liner notes.
The bands-Emily Faryna,
Drill, Libido, Sect, Swanyard and
Dreamspeak-help oul on each
others' songs. They also have some
assistance from more established
Vancouver industrial types such
as ex-Front Line Assembly member Michael Balch and George
Maniatis, head of Nettwerk's dance
division.
A wide spectrum of styles is
covered, from the "poppiness" of
Swanyard lo the moodiness of
Emily Faryna and finally to the
grindings of Drill and Libido. The
most interesting piece is "Range
Worm (Fresh)" by Dreamspeak,
an innovative mix of Native chants
and electronic rhythms by Native
performer Russell Wallace. Electronic based music can still be
fresh and stimulating!  June
remember where. Maybe it's local band Rocket 88 I'm thinking about.
Anyway, "L.S.D. for Ethiopie" (Cargo/Houlala) is supposedly their version ot "We Are the World." The vocals are in French so I can't
understand them but il it's supposed to be a takeoff on that benefit doo
song of the mid-80s, I think the topic's takeoff potential is a little bit dated,
the current plight of the Sudanese notwithstanding. Still, the music's
pretty good though. Raw, wiry punk guitars with pub rockin' singalong
style vocals and a surprisingly fitting electronic drum machine beat.
After their amazing debut LP Bleach, Nirvana have a lot of high
expectations to fill. This can become a problem for a lot of bands if their
follow-up efforts don't quite live up to what is expected. I think thatwas
my problem with this single "Sliver" bAv "Dive" (Sub Pop): I expected to
be instantly amazed. Instead, I found my initial reaction to be one ol
extreme disappointment. After more listenings, though, I've changed my
mind. The songs are actually quite hot grunge masterpieces, especially
"Dive." I'm not sure which song's supposed to be the pop song, though.
From what I gather, most people in Calgary hate Enemy Mind Feel,
but after listening to their Wa/W/fe of 70,000 Years EP(Raging), as far as
I'm concerned, this is just another reason why everything on Raging
Records is worth having. The music is bizarre and interesting in a way
only total amateurs can generate. My personal favourite is the track "Mis
America" which gives a concept of ugly, distorted songs a new twist:
pleasant, hummable music with over-the-top, harsh, horribly distorted
vocals. Now I can forgive them for the cheezy sleeve.
Although the Dwarves four-song EP (Sub Pop) includes two songs
that aren't on the album, they nonetheless carry on in the same frantic
hardcore style. The models on the front of this are in slightly different
positions than on the album but the dwarf still looks like he's fucking the
bunny. I can't believe how incredibly boring these guys' attitudes are.
The extent of their stupidity is matched only by how much they worship
their penises. And speaking of dicks...
Being a big Dickies fan, I jumped with glee after hearing their new
single "Just Say Yes" b/w "Ayatollah You So" (Overground). From a 1990
demo tape, "Just Say Yes" is a little poppier and a little less frantic than
their other stuff but is cool nonetheless. "Ayatollah You So," is classic
Dickies. It was recorded in 1980 but was never released. Wonder why.
DECEMBER 1990  25 December 17 •9:30 pm
Queen Elizabeth Theatre
Tickets: All
r/cxgf///i^S7-=q^
outlets or
Charge By Phone 280-4444
ON SALE NOW
A Perryscope Production '90 panions on my first visil here.
(My sense of humour is even
sadder before my morning coffee
than otherwise.) The short 'n'
sweet menu is displayed on large
bright mange poslcrson the wall:
BREAKFAST
TWO LOG
POTATOES 2.50
TOASTED W/JAM
3.50
BY VIOLA FUNK
When it comes to eating out, some
folk, myself usually included,
contend that it's wisest to explore
new frontiers, lo boldly go where
no...well, you get the idea-If you're
gonna splurge, it may as well be
in an eatery you haven't tried before. I say "myself usually included" because the Hot Pepper
Cafe shoots this reasoning to shit.
Before I even tell you where it is,
a warning: This place is highly
addictive, especially ifyou have a
weakness for good, cheap food
served in a cool setting.
As is evinced by the merry
orange-yellow-and-green script on
the window (check out Mr Hot
Pepper's green beret. Cool.), the
place serves soup'_" sandwiches,
plus cappucinos and shit like that;
but to me, the Hot Pepper Cafe
means only one thing: Breakfast.
Daily, 8:30 to 3:00 (9:30 to 3:00
on Sundays), you can sit down to
the finest heaping platters o' bliss
I've yet to encounter in my breakfast wanderings. Well, that is, you
can sit down to them. IF you manage to negotiate the labyrinthine
spokes of the weird table-legs
without causing lippage. "It's like,
after your breakfast, if you're in
the mood to sail away somewhere,
you can just flip the table over and
ta-dah—," I observed to my com-
WITH BACON,
HAM OR
SAUSAGES
An' if you order your eggs
scrambled, ihey come in the
bizarresl long thin folded-over
almost omclclte-like slabs. The
so-called "potatoes"—they had
an old sign that called 'em
"panfrics," but it's buried in the
back corridor now—happen to be
the best fuckin' hashbrowns on
the face of ihc earth. Made from
scratch daily on the premises,
crispy, dark golden-brown crinkly little mothers with chopped
onion greens liberally sprinkled
in: They rule. To ihe extent that
total potatoes binge and ordered
the regular breakfast plus a side
order of the puppies. Let me tell
ya, I rolled oulta there lhat day.
But hey, the fact that even this
gluttony hasn't put me off Hot
Pepper hash browns shows how
good they are. What else. The
toast—two slices of whole
wheal—always comes crispy and
bearing ihe exact right amount of
butter too. Forego the packet of
jam they bring ya and mosey on
up to the counter, where beside
the coffee station, a barrel of cold
•®C^fj
fENTORY CLEARANCE SALE
1 O to 8Q% OFF ALL STOCK
NOV.   16TH  TO  30TM
am? • MSWDSB • ^(§MM®V§® BOIL
2-»©[L[!flg§*»[^
12"singles, LP's, TAPES & CD'
US, UK, & European Impoi
333 WEST PENDER
2 _ BLOCKS EAST OF 'SEYMOUR
sauces, and soup, you'll find,
lurking down near the cash-register end, two earthenware pots of
tolallydclicious marmalade. Snag
one for your lablc and you're set
The aforementioned coffee
kicksbultsuprcmcly;sm<x>th,rich,
never bitter; I've yel to encounter
a cup lhat wasn't fresh. Bul here's
the one place where things get a
bit sleepish—S.75 a cup and $.50
for each refill. So you gotla watch
your consumption. Il's probably
•ell.
The atmosphere in here is,
after such an accomplished rosier
of epicurean delights, a fringe
benefit. —Lxccpi for ihc excessive cigarette smoke, but heck,
thai just makes it feel all the more
like a genuine, unadulterated greasy
spoon. Which it is. Runs to about
a dozen tables, I reckon, and is
generally hoppin' of a week-end
moming, so bring something to
read if you're self-conscious about
standing at the door waiting for a
seal. The dishes are prepossessing cute folk-art-y patterns with
geese and milkmaids and stuff;
ihe coffee mugs tail and thick and
brown, the kind that retain heat
impressively. All of these details
unimaginably delightful whole if
you happen to be sitting at the
table against the south window
and the moming sun (well, noon
is "morning" to me) breaks through
the clouds and comes beaming
down upon you as you eat and
read the Province, out of which
e will 've taken Jeani Read's
column already. The place seems
to attract a big dyke clientele, which
il counterbalanced by a lot of blue-
collar, mack-wearing middle-aged
men; and in between these two
extremes the patronage runs the
gamul of everyone cix>l, hip, dis
enfranchised, politically correct
and in-, male and female, lhat
you've ever seen walking along
the Drive. Commercial Drive,
thal'd be, at William, two doors
up from Joe's. Local celebrities
spoiled chowing down here include members of Tankhog and
lhatoldcrew-cul bag woman who's
always accosting you on the Drive
with unintelligible epilhels. And
in ihe women's can, the lesbian
invcclivc on ihc wall is tempered
by forgivc-and-forgct altruism,
"..Everybody needs love. Even
those who have hurl you. Even
you.Evenme." Hey,on a stomach
full of Hot Pepper breakfast, I can
take even lhal; I can dig it. It's
cool. Plus, the plac
experience: if it v,
fact lhat the radio
ISL650,Iwouldnc
oul lhal "Round Round We Go"
by Trooper is now considered a
"golden oldie." Jeez, does that
date mc, or whal?
c is a learning
eren't for the
s tuned to C-
icthave found
LICK    ME
BITE    ME
CHEW   ME
ON ROBSON
^
EMM
1 PIZZA CO. Ii
Now serving coffee and salads too.
1175 Robson
681-1233
1937 Cornwall
732-8840
DECEMBER 1990 27 Going to a Go-G0?
THE BEST IN LIVE
RHYTHM & BLUES
EACH NIGHT
1300 GRAMVILLE (AT DRAKE)
FOR MORE INFORMATION CALL
681-YALE
: VANCOUVER'S HOTTEST BLUES NIGHTCLUB
Major Handy & the
Wolf Couchon Band
The Pontiax
Oliver & the Elements
The Original Sinners
Junior Wells
Mike Jacobs
Johnny V.
The Muddy Fraser Band
Oliver & the Elements
Closed for Christmas
The Demons
New Year's Eve with
The Demons
DON7 MISS JACK LA VIN'S JAMS:
SAT. 3-8 PM / SUNDAY BLUES MARATHON JAM SUN. 3 PM-MIDNITE
OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 a
Nov. 26
Nov. 27 - Dec. 1
Dec. 3
Dec. 4
Dec. 5
Dec. 6-8
Dec. 10 -12
Dec. 13-15
Dec. 17 - 22
Dec. 24, 25, 26
Dec. 27 - 30
Dec. 31 [ THfe HS_-^-  ' ±G&\NG- OV?
fffi-vrj wp /? ^j
o^l^rr^ii-y-.iA..--
p»« a HiAM-re... -Ju-nr a   %of
WU , I SA\P,   Ho^Hlrvf-   HAPPf-H*  -TM/VX  ASouT Llr'B   P»r* A MiAMTg ... 1\xvr /
5«*H«5 o*=   locSc   (A/M.-JOAJOU/OH".  H/trft   Tfci0.dfl*    E/^<W*0-*T>   I
exnSrtfVTiXL. SP/NT... /460M-T OWNERSHIP... /ir l-M<r SOKE ofw   / 	
DECEMBER 1990 29 nrrriv/
fJiVD CCmNCVDTV
1/IlLilIVj
IDI-K LUlMLi^KllS
FRIDAY NOVEMBKR 23
CFOX Monday Night Metal Shop presents from New
York. WEA recording artists THE BEAUTIFUL with
special guests DOGZILLA and THE SWALLOWS
SATURDAY 24
ROOTS ROUNDUP with special guests Capitol recording
artists THE LESLIE SPIT TREE-0
SUNDAY 25
Aquarius /Capitol recording artists JERRY JERRY AND
THE SONS OF RHYTHM ORCHESTRA
MONDAY 26
From Canary BIG BANG THEORY with special guests
IMAMU BARAKA
TUESDAY 27
Showcase: groovy g. chiefs of belief, fat
AMERICANS. THE FOOLS
WEDNESDAY 28
NELLIE'S ROOM with special guests SPOONDIVY
THURSDAY 29
Double Bill with CLUB OF ROME and A DAY IN PARIS
FRIDAY 30-
SATURDAYDECEMBER 1
BOB'S YOUR UNCLE with special guests SAME
DIFFERENCE
SUNDAY 2
KATHLEEN YEARWOOD
MONDAY3-
TUESDAY4
Showcase Nights
WEDNESDAYS
SARCASTIC MANNEQUINS
THURSDAY6
NAKED LUNCH and EMILY STOP
FRIDAY7
HANK BALLARD AND THE MIDNIGHTERS
SATURDAY8
DOWNCHILD BLUES BAND with special guests
DEAD HEAD COOL
SUNDAY9
MCA recording artists SKYWALK with special guests
MONDAY 10-
TUESDAY11
Showcase Nights
WEDNESDAY 12
TBA
THURSDAYS
DOBB AND DUMELA with special guests
FRIDAY 14
FIGGY DUFF with special guests
SATURDAYS
BOLERO LAVA with special guests
SUNDAY 16
BARON VON FOKKER with special guests
MONDAY 17
CiTR SHINDIG GRAND FINALS
TUESDAY 18
IMAMU BARAKA with special guests
WEDNESDAY 19
ATLANTIS BUS with special guests
THURSDAY20
From the UK, HAWKWIND with special guests
FRIDAY 21
STATE OF MIND with special guests REVOLVER
SATURDAY 22
THE ODDS with special guests REVOLVER
SUNDAY 23
Closed until the 27th
FRIDAY 28
THE HARDROCK MINERS with special guests
SATURDAY 29
Double Bill with GREEN HOUSE and CATHERINE
WHEEL
SUNDAY 30
Closed
MONDAY 31
New Year's Eve with ART BERGMANN
 '_r~_*-~_r._Er	
T <
OW^iNT
_p_>
zr jv_t__f>
tSeS    Wc
101_ _. c?      jTIvi
PRESENTATION
THAT LOCAL BAND
—~%l SeSsW, aa-TEE
Am
D€.3 • MwDlEgi'lP, OcW8G£
StfNAlittl--' DiSCORDER DATEBOOK
1 SATURDAY DOA with GBH and Aversion at the Commodore Ballroom... Bob's
Your Uncle at the Town Pump... The Derelicts and Gas Huffer at the Cruel Elephant... Bill
Bourne and Alan MacLeod at the WISE Hall... Blu Chunks at the Railway Club... Pontiax
at the Yale... Loraena McKenniltat the Vancouver East Cultural Centre... Vancouver Latin
Connections presents the Gran Baile Dance at 5588 Joyce Street... Boys' Life continues
at Studio 58... Breaking the Code continues at the Pitt International... POE continues at
Graceland... Ghosts in the Machine at the UBC Museum ot Anthropology... Day Without
Art (in recognition of the AIDS Crisis) at the Vancouver Art Gallery...
2 SUNDAY CiTR presents Michael McClure. Ray Manzarek, Crazy Fingers Band.
TXI Whizz and Ross Barrett at the Commodore Ballroom. ..LudwigsTape Release at the
Cruel Elephant... Kathleen Yearwood at the Town Pump... London Quire Boys at the 86
Street Music Hail... Hugh Fraser and Vejiatthe Vancouver Community College ... Sing
Out! with Pete Seeger, Bob Bossin, Themba Tana, Stephen Fearing. Uzume Taiko at the
Orpheum... Boys' Life continues at Studio 58... Breaking the Code continues at the Pitt
International... POE continues at Graceland... Sabine Taylor exhibition continues at the
AMS Art Gallery... Rose Ann Janzen exhibition continues at A Walk is	
3 MONDAY CiTR presents Shindig '90 Third Round action with Mind the Gap.
Octrackterand TBA at the Railway Club. ..CiTR Classics NightatthePitPub... Boys' Life
con tjnuesatStudio58...SabineTay lor exhibition continuesat the AMS Art Gallery...Rose
Ann Janzen exhibition continues at A Walk is	
4 TUESDAY Tree Frogs and Elvis Love Child at the Cruel Elephant... The Sweaters
atthe RailwayClub... CiTR World BealNightatthe Pit Pub... Boys'Lilcontinues at Studio
58... POE continues at Graceland... Sabine Taylor exhibition continues at the AMS Art
Gallery... Rose Ann Janzen exhibition continues at A Walk is	
5 WEDNESDAY Sarcastic Mannequins at the Town Pump... Bob's Your Uncle at
the Railway Club.. .CiTR Hot Wednesdays al the Pit Pub... Boys' Lifecontinues at Studio
58...Breaking the Codecontinues at the Pitt International...POE continues at Grace land...
Sabine Taylor exhibition continues at the AMS Art Gallery... Rose Ann Janzen exhibition
continues at A Walk is	
6 THURSDAY Funhouse at Werdocleb with The Crusaders at the Cruel Elephant...
Naked Lunch and Emily Stop atthe Town Pump. Bob's Your Uncleatthe Railway Club...
CiTR Cool Thursdays at the Pit Pub... Boys' Lifecontinues at Studio 58... POE continues
at Graceland... Breaking the Code continues at the Pitt International... Sabine Taylor
exhibition continues at the AMS Art Gallery... Rose Ann Janzen exhibition continues at A
Walk is	
7 FRIDAY Bob's Your Uncle at the Railway Club... Hank Ballard and the Midnighters
at the Town Pump... Spirit of the West at the Commodore Ballroom... Battlefield Band
at the WISE Hall... Jim Byrnes at Hogan's Alley... Breaking the Code continues at the Pitt
International... Boys' Life continues at Studio 58... POE continues at Graceland... Sabine
Taylor exhibition continues at the AMS Art Gallery... Rose Ann Janzen exhibition continues at A Walk is	
8 SATURDAY Green House at the Cruel Elephant... Bob's Your Uncle atthe Railway
Club... Downchild Blues Band and Dead Head Cool at the Town Pump... Jim Bymes at
Hogan's Alley... Breaking Ihe Code continues at Ihe Pitt International... POE continues at
Graceland... Boys' Lite continues at Studio 58... Sabine Taylor exhibition closes at the
AMS Art Gallery... Rose Ann Janzen exhibition continues al A Walk is.    ..
9 SUNDAY Flop House and Bedlam Rovers at the Cruel Elephant. . Skywalk at the
Town Pump... Heart with Cheap Trick at the Coliseum The Judith Marcuse Dance
Company at the Dance Centre... Breaking the Code continues at the Pitt International...
POE continues at Graceland... Boys' Lile closes at Studio 58.. Diana Gatrill exhibition at
the AMS Art Gallery... Rose Ann Janzen exhibition continues at A Walk is	
10 MONDAY CiTR presents Shindig '90 Third Round Semifinals at the Railway
Club... CiTR presents Jane's Addiction, The Pixies and Primus at the PNE Forum... CiTR
Classics Nighl althe Pit Pub... Diana Gatrillexhibition at the AMS ArtGallery Rose Ann
Janzen exhibition continues at A Walk is	
11 TUESDAY Feathered Pens with Susan Cogan at Ihe Railway Club CiTR World
Beat Night at the Pil Pub... POEcontinues at Graceland... Diana Gatrill exhibition at the
AMS Art Gallery... Rose Ann Janzen exhibition continues at A Walk is	
12 WEDNESDAY Dirt Tape Release with Touch _' Go's and Phineas Gage at the
Cruel Elephant... Hardrock Miners at the Railway Club... Kenny Barron Quintet at Ihe
Vancouver EastCultural Centre... Billy Cowsill at Hogan's Alley... CiTR Hoi Wednesdays
al the Pit Pub... POEcontinues at Graceland... Diana Gatrill exhibition at the AMS Art
Gallery... Rose Ann Janzen exhibition continues at A Walk is	
13 THURSDAY Fastbacks at the Cruel Elephant... Hardrock Miners at the Railway
Club... Billy Cowsill at Hogan's Alley... Dobb and Dumela at the Town Pump... CiTR Cool
Thursdays at the Pit Pub... Festival ol Lights- Hanukkah at the Vancouver Art Gallery...
POE continues atGraceland... Diana Gatrill exhibition at the AMS An Gallery... Rose Ann
Janzen exhibition continues at A Walk is	
14 FRIDAY Fastbacks at the Cruel Elephant... Figgy Dull at the Town Pump... Shari
Ulrich, Roy Forbes and Bill He nde rsonatthe Vancouver EastCultural Centre...Billy Cowsill
at Hogan's Alley... POE continues at Graceland... Diana Gatrill exhibition at the AMS Art
Gallery... Rose Ann Janzen exhibition continues at A Walk is	
15SATURDAY FastbacksattheCruelElephant...BoleroLavaattheTownPump...
Billy Cowsill at Hogan's Alley... MC Hammer at the Pacific Coliseum... POE continues at
Graceland... Diana Gatrill exhibition at the AMS Art Gallery... Rose Ann Janzen exhibition
continues at A Walk is	
16 SUNDAY Baron Von Fokker at the Town Pump... Geoff Carter and Michel
Bonnemaison exhibition atthe AMS Art Gallery.POE continues atGraceland...Rose Ann
Janzen exhibition continues at A Walk is	
17 MONDAY CiTR presents Shindig '90 Grand Finals at the Town Pump with Benl.
Windwalker and the Third Round Winner... CiTR Classics Night at the Pit Pub...
Waterboys at the Queen Elizabeth Theatre... POE continues at Graceland... exhibition by
Geoff Carter and Michel Bonnemaison at the AMS Art Gallery... Rose Ann Janzen exhibition continues at A Walk is	
18 TUESDAY Imamu Baraka at the Town Pump... CiTR World Beat Night at the
Pit Pub. exhibition by Geoff Carter and Michel Bonnemaison at the AMS Art Gallery...
POE continues at Grxeland... Rose Ann Janzen exhibition continues at A Walk is	
19 WEDNESDAY Atlantis Bus at the Town Pump... Bruce Caughlan at Hogan's
Alley... CiTR Hot Wednesdays al the Pit Pub... POEcontinues at Graceland... exhibition
by Geoff Carter and Michel Bonnemaison at the AMS Art Gallery. Rose Ann Janzen
exhibition continues at A Walk is	
20 THURSDAY Hawkwindat the Town Pump... Amanda Hughesat Hogan's Alley...
CiTR Cool Thursdays at the Pil Pub... POEcontinues at Grxeland... exhibition by Geoff
Carter and Michel Bonnemaison atthe AMS Art Gallery... Rose Ann Janzen exhibition
continues at A Walk is	
21 FRIDAY State of Mind and Revolver at the Town Pump... Amanda Hughes at
Hogan's Alley... POE continues at Graceland... exhibition by Geoff Carter and Michel
Bonnemaison at the AMS Art Gallery... Rose Ann Janzen exhibition continues at A Walk
22 SATURDAY CiTR presents Skinny Puppy and Tankhog at Ihe Commodore...
The Odds and Revolver at the Town Pump... Amanda Hughesat Hogan's Alley... The Fault
at Vancouver East Cultural Centre... POEcloses at Graceland. ..exhibition by Geoff Carter
and Michel Bonne maisonat the AMS Art Gallery...Rose Ann Janzen exhibition continues
at A Walk is	
23 SUNDAY Geoff Carter and Michel Bonnemaison exhibition at the AMS Art
Gallery... Rose Ann Janzen exhibition continues at A Walk is	
24 MONDAY Geoff Carter and Michel Bonnemaison exhibition at the AMS Art
Gallery... Rose Ann Janzen exhibition continues at A Walk is	
25 TUESDAY Absolutely Nothing
26 WEDNESDAY Geoff Carter and Michel Bonnemaison exhibition at the AMS
Art Gallery... Rose Ann Janzen exhibition continues at A Walk is	
27 THURSDAY The Hot Shots at Hogan's Alley... exhibition by Geoff Carter and
PROFESSIONAL QUALITY DEMOS
FULLY EQUIPPED 8 TRACK
$12/hr INCLUDES ENGINEER
DEADBEAT
STUDIOS
(604) 687-5803
A Walk
28 FRIDAY Hard Rock Miners at the Town Pump The Hot Shots at Hogan's Alley .
The Neville Brothers at the Queen Elizabeth Theatre Zappacosta at the 86 Street Music
Hall Hank Williams: The Show He Never Gave at the Vancouver EastCultural Centre...
exhibition by Geotl Carter and Michel Bonnemaison at the AMS Art Gallery Rose Ann
Janzen exhibition continues at A Walk is	
29 SATURDAY L7 at the Cruel Elephant... Green House and Catherine Wheel at
the Town Pump.. The Hot Shots at Hogan's Alley... Zappacosta al the 86 Street Music
Hail Hank Williams: The Show He Never Gave al the Vancouver East Cultural Centre...
exhibition by Geoff Carter and Michel Bonnemaison at the AMS Art Gallery Rose Ann
Janzen exhibition continues at A Walk is	
30 SUNDAY First OrderBealingattheCruel Elephant... Robert Cray atthe Orpheum
Theatre. Hank Williams: The Show He Never Gave at the Vancouver East Cultural
Centre. Sylvia Grace Borda at the AMS Art Gallery Rose Ann Janzen exhibition
continues at A Walk is	
31 MONDAY The Wongs and Gorilla Gorilla at The Cruel Elephant Sons of
Freedom al Ihe Luv-a-Fair... Art Bergmann at the Town Pump Bachman Turner
Overdrive al 86 Street... Tragically Hip. Northern Pikes, Sue Medley, Paul Hyde, Jim
Byrnes. The Continentals and The Champagne Orchestra at the Vancouver Trade and
Convention Centre... The Jeff Healey Band and Meatloaf in the Renfrew Complex at the
Pacific National Exhibition... Hank Williams: The Show He Never Gave at the Vancouver
East Cultural Centre. . Firsl Night at the Vancouver Gallery... Sylvia Grace Borda at the
AMS Art Gallery... Rose Ann Janzen exhibition closes at A Walk is	
Arts Club Seymour  1181 Seymour
Commodore Ballroom 8 70Granville
Cruel Elephant 837 Davie
86 Street Music Hall BC Enterprise Centre
Firehall Arts Centre 260 East Cordova
Frederic Wood Theatre 6454 Crescent Road, UBC
Graceland 1250 Richards
Hogan'sAlley    730Main
La Quena Coffee House 1111 Commercial
PacificCinematheque 1131 Howe
Paradise Cinema 919 Granville
Pit Pub Basement. StudentUnion Building, UBC
RailwayClub 5 79 Dunsmuir
Ridge Theatre 3131 Arbutus
Starlight Cinema 935 Denman
Station Street Arts Centre 930 Station
Student Union Building 6138 SUB Blvd, UBC
Studio 58 Main Bldg, Langara Campus, VCC
Town Pump 66 Water
Vancouver East Cultural Centre 1895Venables
WISE Hall 1882Adanac
Yato 1300 Granville
W^r*
lJO
^_>_av. ***■
(jAll!
wMW'M:*%-i&
DECEMBER 1990  31 ■_-_■ 111; i > 7. v. __■_■
ARE YOU SERIOUS? MUSIC 8:00AM-
12:00PM Ihe newest new music
Ligetl. Dhomont. Schittke. Lu-
takowski. Sirfwtstie Information
on concerts, recordings, composers with Ian Crutchley
THE BRUNCH REPORT 12:0012:15PM
News. sports, weather ond more
with the CiTR News. Sports and
Weather Departments
THE ROCKERS SHOW I2:I5-3:00PM
Reggae. Rock Steady and Ska with
George Barrett
THE SUNDAY NEWS MAG 5:00-
5:30PM Coverage and analysis of
UBC News plus news and sports,
daily editorial commentary, entertainment reviews and reports
on events here at UBC. all in a
THE  AFTERNOON   REPORT
1:15PM SeeMondov
BLOOD ON THE SADDLE 1:15
Country music  tc
host-poke Jeff Gray
AVANT PIG 3:005:00PM Avant
garde thuggery wifh Pete
Lutwyche first Tuesday each
month: World Music Exploration
THE CTTR DINNER REPORT 5:00-
5:30PM See Monday for details
B.C. FOLK S:30-7:OOPM The thoughts
and music of B C 'folk' artists.
hosted by Barb Waldern
THE UNHEARD MUSIC 7:0O-9:OOPM
Demo Director Dale Sawyer provides some insight into the best
and the worst of fhe newest Ca-
sible magazine package. Andwe
promise, no traffic reports.
HEARSAY 530-6.00PM CiTRs literary arts program needs YOU to
submit your works for on-air performance or reading (by you or us.
formation, news, interviews, political analysis from the global cultures of resistance hosted by
Horacio de la Cueva. alternating
Sundays with De-Compositions.
RADIO FREE AMERICA 10:00PM-
12:00AM Join host Dave Emory
and colleague Nip Tuck for some
extraodinary political research
guaranteed to make you think
twice Bring your tope deck and
two C-90s Originally broadcast
on KFJC (Los Altos. California)
_____■>'<[•:: i >7:Vt-*_______
THE MORNING SHOW 7:J0-8:16AM
From the famous siren to the not-
so-famous BBC Radio News Reel,
wake up with the CiTR Morning
Show. News, sports, weather and
scenic view' reports, features, entertainment reviews and Alberta
hog prices.
BREAKFAST WITH THE BROWNS 8: 15-
11:00AM Are you blue? Get
Brown! Your favourite brownsters
James and Peter offer a savoury
blend of the familiar and exotic in
an excitingly luscious blend of aural delights! Tune in and enjoy
each weekly brown plate special.
THE AFTERNOON REPORT 1:00-
1:15PM News, spi    .andweather.
MEKANIKAL OBJEH NOIZE 1:15-
3:00PM    A rru,    oi miasma of
happened and didn t? The latest
in dance muse and interesting
drama? Every second week With
Lupus Yonderboy
___r..^];iai,7.Y*-__«
THE MORNING SHOW 7:30-8:lSAM
See Monday for details.
MY HEADS THROBBING 8:15-
10:00AM Inan ideal universe.there
will be recordings from the UBC
School of Music on the first
Wednesday of the month. Coming up in the next months: Contemporary Players and the UBC
Orchestra
UVE FROM VENUS  10:00-11:00AM
Tilly
SWINGIN'  SINGLES     11:00AM-
12:00PM Do you like singles? I do.
tool Join me Felicity Dunbar and
smell the rubber each week!
THE AFTERNOON REPORT    1:00-
1:15PM See Monday for details
PAULA'S MUG 3:00-5:00PM The only
alternative to KLYN
THE CITR DINNER REPORT    5:00-
6:30PM   See Monday for de-tails.
HANFORD NUCLEAR *NO* SCOTTISH
LODGE 6:00-7:00PM    Why ain't
there ever any voconcies? Well.
Rowena ain't leaving either
MOVING IMAGES 10:30-11:00AM
Jon host Ken Maclntyre as he takes
you on a tour through the silver
ks. other people's
ihing el
spinner June So  leler.
THE CITR DINNER kEPORT 5:00-
5:30PM See Sur   k :y for details.
FACING THE MUS _ 6:00-8:00PM A
music/informo onal hour with an
emphasis on c wareness and sanity with Wayne Davis.
BOXER SHORT BOYZ 7:00-9:00PM
Wear boxer shorts and walk with
THE JAZZ SHOW   9:00PM-12:00AM
»at 1
3rd Tom Catby the great doomed
trumpeter Lee Morgan A fine
session but not released until the
'80s; wtth Joe kieMcLean(altosax).
McCoy Tyner (piano) and Lee's
best friend Art Blakey and others.
10th BanWabttarcndAttoclatat.
a warm and lyrical record by one
of the founding fathers of the tenor
saxophone. Ben shares fhe stage
with Coleman Hawkins (THE
founding father of the horn) and
Roy "Little Jazz* Eldridge(trumpet)
and the underrated Budd Johnson (tenor), al backed by a great
rhythm section that Includes" Papa
17th Into ma Cool, one of composer-arranger Gil Evans' milestone recordings. Wonderful soloists: Johnny Coles (trumpet). Jimmy
Knepper (trombone), Budd Johnson (tenor), etc. driven along by
such people as Ron Carter (bass)
ond EMn Jones (drums).
The Jdzz Show tokes a vacation
for a couple of weeks but will be
back on the 7th.
_____■ _U-*M*7:Vfc___BB
THE MORNING SHOW 7:30-8:15AM
See Monday for details.
32 DISCORDER
Shess
> on
ARE YOU
SERIOUS
MUSIC
JIGGLE 7:00-9:00PM Hare Mikey Hare
Mikey .Mikey Hare Mikey Hare Hare
Gav Hare Gav. Gav Hare Gav
Hare. Hare Hore Gav Gav. Hare
Hare Mikey Mikey.
PERMANENT CULTURE SHOCK 9:00-
12:00AM Permanent ('per-md-
ndnf): lasting, intented to last, indefinitely. Culture Ck5l-chdr): (1)
the civilisation of a given race or
nation at a given time or over all
time; (2) the raisingof microorganisms in specially prepared media
for scientific study. Shock (shak):
(1) violent collis'
I I IH _—
THE MORNING SHOW 7:30-8:l5AM
See Monday for details
WHITE NOISE  8:15-10:00AM
ilimbing  t
bient
soundscapes. grungy old prog-
rock olbums. 7W<n Pack* dnd WS
Burroughs With Chris Brayshaw
NOW YOU  HAS JAZZ     10:00AM-
1:00PM   Jazz with Tommy Paley.
THE AFTERNOON  REPORT     1:00-
1:15PM See Monday for details.
FLEX YOUR HEAD 3:00-5:00PM
 HARD JINX—
 ERIC CORE—
THE CITR DINNER REPORT    5:00-
5:30PM See Monday for details
ARTS CAFE    5:30-6:00PM    Be updated, be with it. be informed
r cultural event happening in
TOP OF THE BOPS 6:00-7:OOPM Musical chef Marc Coulevin boils up
a tasty pot of gumbo stew.
1 c. rockabilly fools
2 tbsp. wild western swingers
2 tbsp. rompin' R&Bers
4 tsp. jumpin bluesmen
3 tsp. country swingers
a pinch of doo wop
a zest of cajun and zydeco
and a dash of surfin* intros
Stir well and simmer. Bon appetlt!
OUT FOR KICKS 7:00-9:OOPM
Wildbeat protest youth with Pat
and Lisa.
UVE FROM THUNDERBIRD  RADIO
HELL 9:00-11.-OOPM   Local music
played by Adam. Ed, Tom, Janis
and Andy from 9 to 10. Live bands
from 10 to 11. Shindig1!"
6th Bombshells
13lh Sarcastic Mannequins
20th Pee Wee Manson
SOUND OF REAUTY 11 .-OOPM -1:00AM
Experimental Rodio, with Vson!
Featuring environmental sounds/
found noises/information/propaganda and the wortd'sethnic and
experimental musics from the auditory fringe. Live! Contributions
welcome    Practitioner: Anthony
MEGABLAST! I:00-4:00AM liftm
weights II make ya bigga, but lift
nigga': Bushwick Bill. Geto Boys.
mon .'myrtic
house': The Afros
.HMHj;< >7.V_ _■___■
THE MORNING SHOW 7:30-8:l5AM
See Monday for details
SCRAMBLEDEGGS8:15-10:30AMA
virtual potpourri of sounds from
the smooth to the crunchy. Music
to help you get your toast down.
VENUS FLYTRAP 11:00AM-1:00PM
Gregs gonna play lots o hip
hoppy.rappystuff Andhesgonna
say lots o dumb things. Tune ir
brothers and sisters
THE AFTERNOON REPORTI:00
1:15PM See Monday for detoils
IT'S NOT EASY BEING GREEN 1:15
2:30PM The greenest of the CiTR
DJ crop try to germinate and take
root on the air If you are interested in CiTR programming
portunities. call the Program Director at 228-3017
ABSOLUTE VALUE OF NOISE
3:30, 4:00-5:00PM  Found sounds
THE CFTR DINNER REPORT 5:00-
5:30PM See Monday for details
HOME VIDEO INTERNATIONAL 6:00-
9:00PM Movies remixed for radio
Taping this program is strictly prohibited.
FOR THE RECORD 6:30-6vi5PM Excerpts from Dave Emory's Radio
Free America Series
HOMEBASS 9:00PM- 12:30AM Get
out your flared pants, put on your
dancing shoes and prepare yourself for 3 1/2 hours of house, new
beat and d little disco and rap
Dope jams and fresh beats for a
groovy evening with DJ Noah on
THE SATURDAY EDGE 8:00AM-
12:00PM Steve Edge hosts Vancouver's biggest and best acous-
tic/roots/rogue folk music radio
show. Now in its sixth year on CiTR!
Roots music from around the world.
the World Cup Footbal Report at
11:30.
THE BRUNCH REPORT 12:00-I2:15PM
News, sports, weather and an appropriate amount of more
POWERCHORD I2:I5-3:00PM
Vancouver'sonty true metal show,
local demo tapes, imports and
other rarities Gerald Rartlehead
and Metal Ron do the damage.
IN EFFECT 3:00-5:00PM The Hip Hop
Beat brought fo you by DJ's
Somethin' Smooth. BZ Jam and
Chazzy B. and Rhythm Sniper J.
THE SATURDAY MAG 5:00-5:30PM
See Monday for details.
THE YAP GAP 5:30-6:OOPM Hear ft
ELECTRONIC
SMOKE.. ./DECOMPOSITIONS
ONE STEP
BEYOND/RADIO
FREE AMERICA
INCOHERENCY
BREAKFAST
WITH THE
BROWNS
SOULCHURCH
FACING THE MUSIC
CONFESSIONS
OF A COFFEE
ADDICT
DAVID
LONGRIDGE
!W:I:H«M.'l»mi
LIVE FROM VENUS
SWINGIN'SINGLES
[___3_I_______7,
HANFORD NUCLEAR
PERMANENT
CULTURE
SHOCK
OPEN
COUNTRY
JOY/OPEN
SEASON
____]_l__i_l
TOP O'DA BOPS
UVE FROM
THUNDERBIRD
RADIO HELL
_3_______a
NOISE ONE/
NARDWUAR/
NOISE TWO
!_______
THEY>
HOME VIDEO
INTERNATIONAL
KERENTAFFEHRZ
THE NEW
AFRICAN
SHOW
RADIO
FREE
PARKING
rsto
y Antje Rauwerda
RADIO FREE PARKING 10.00PM-
1:00AM A radio show with a lite-
force all its own Mixes come from
seemingly nowhere much like the
radio signals you pick up An aural
parking tot for the muses. No expectations. No disappointments.
THE ELECTRIC ENEMA 1:00-4:OOAM
Darren plays mellow stuff and Tom
plays harsh stuff but sometimes
Tom plays mellow stuff and Darren
plays harsh stuff Darren and Tom
don t really exist   No heavy disco
*nmHii:tT--i^::ih-*nm
Once again, the crack CiTR Sports
Team will be covering the UBC
Thunderbird in action in selected varsity games in ice hockey, football
and basketball. Play-by-play action
pre-empts regular CiTR
ICE HOCKEY
Friday January 18th at 7:30pm vs.
University of Alberta
Saturday February 2nd at 7:30pm
vs. Unrversityof Lethbridge
Friday February 8th at 7:30pm vs
University of Saskatchewan
Friday February 22nd at 7:30pm vs.
University of Calgary
BASKETBALL
Saturday December I st (time TBA)
vs. University of Victoria
Saturday January 12th at 8.00pm
vs. University of Lethbridge
Saturday January 26lh at 8:00pm
vs. University of Alberta
Saturday February 9th at 8:00pm
vs University of Calgary
B.C. High School Baaketbal Final
Saturday March 16th, time to be
CWUAA playoff schedules tc
_■"< i■ ii'P•-■.';».'/_■
ARTS ANTJE RAUWERDA
BUSINESS MANAGER CHACK LI
CURRENT AFFAIRS KIM TRAINOR
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT LUC DINSDALE
EXECUTIVE ENGINEER ADAM SLOAN
LIBRARIAN JEROME PRINGLE
MOBILE SOUND LINDA SCHOLTEN
MUSIC LLOYD ULIANA/RANDY IWATA
NEWS KIM TRAINOR
NEWS FEATURES TRACY DOLAN
PRESIDENT
PRODUCTION
PROGRAMMING
SECRETARY
SPORTS
ROBYNN IV
MIKE LYSENG
RANDY IWATA
JOEL FRANSEN
JEFF PATERSON
STATION MANAGER LINDASCHOLTEN
VICE PRESIDENT BARBARA ELGOOD
VOLUNTEER COORD R BILL BAKER
BUSINESS LINE 604/228-3017
DJ UNE 604/228-2487 (228-CiTR)
NEWS UNE 604/222-2487 (222-CiTR)
FAX LINE 604/228-6093
ENVOY ID CITR.FM
STAND IN LINE ROOM 233.
EAST SIDE. SECOND FLOOR OF THE
STUDENT UNION BUILDING. 6138 SUB
BOULEVARD. UNIVERSITY OF BRITISH
COLUMBIA. VANCOUVER. BC.
CANADA V6T 2A5
____»■. ;//a'/»j .*:»_■■
The biggest and best Shindig ever is
booming to a huge-o close for 19901
Come on down to the Town Pump on
the 17th for the Grand Shindig Finals
with First Round Winner Bent. Second
Round Winner Windwalker and Third
Round WmnerTBAdsthey perform for
**nnmw:itiH 4^m*nnm
CiTR provides free airtime for Community Access by groups and individuals. If you or your group would
like to say something to someone
j. please call the Program
it 228-3017.
Dese here charts on your right are
organised according to airplay as
compiled from the playsheets fiHed
out by CiTR's programming staff.
CiTRwelcomes any musics with
open ears. Submit at will. We will listen.
Stay tuned forthe biggo huge-o end-
of-the-year Chart-o-Rama next ■■.liM'aai-i;(.i.:.i-:._'i^*K.____■__■
Fastbacks Very, Very Powerful Mctor(Popharra)
Various Artists Another Wotld(Antler-Subway)
Young Gods  Young Gods (Wax Trax)
Squirrels Wftof «*•»*• (Poplama)
Bob Mould BlackSheets otfain (A&M/Wgin)
Hilt Call the Ambulance Before I Hurt Myself (Nettwerk)
Cocteau Twins Het or Las Vegas (PolyGram/4AD)
Shirim Klezmer Orchestra _.OM/)^andHo«*#rodfc/) (Northeastern)
Slayer Seasons In the Abyss (Geflen/Del American)
Afros KJcfcln'.A/to*Wcs(CBS/RAL/JML)
Tankhog Hoa*«o/B»aufy(Zulu)
The Fall A Sides (PolyGram/Beggars Banquet)
Megadeth gust In Peace (Capitol)
Chris &Cosey Reflection (Wax Trax)
A Split-Second Kiss ol Fury (Caroline/Antler-Subway)
WilliamS. Burroughs DeadCty Radio (MCA/Island)
Moev The Early Years (CD Presents)
SunRa Purple Wfc/rf(A&M/Virgin)
DharmaBums _Mw(BMG/Frontler)
Various Artists Hoty Word (Rhino)
Les Rita Mitsouko <*Q(A&M/Virgln)
YoussouN'Dour Sef(A&M/Virgln)
Charlatans Som#frf»ndry(PolyGram/Sltuation2)
Mojo Nixon Of* (Capitol/Enigma)
Various Artists Duck and Cover(Cargo/SST)
MCTerrorT The Ufe and Times (Nofcd Productions)
Sammy Davis Jr Decca Yean (MCA/Decca)
Public Image Ltd Greafes/Hff*, So far (A&M/Virgln)
Primus frizzle Fry (Caroline)
Vomito Negro Human: The Cross on Nature's Back (Cargo/KK)
Various Artists Smiles. Vibes A Harmony (Cargo/De Milo)
Motorhead Birthday Party (Capitol/Enigma)
KodelV P©»e«»ed(Cargo/KK)
Jellyfishbabies Unkind Truth About Rome (Pathetic Romantic)
FiggyDuff Weather Out the Storm (A&M)
Cat Rapes Dog God. Guns _ Gasoline (Cargo/KK)
Various Artists Laches Lousees (Cargo)
LLCoolJ Mama Said Knock You Out (CBS/Def Jam)
Dyoxen First Among Equals (Cargo)
Daniel Schell & Karo The Secret of Bwlch (Crammed Discs)
Noise Unit Response Frequency (Antler-Subway)
Copernicus Nu»(Nevermore)
Various Artists Billboard Top Country Hits '64 (Rhino)
Soul Asylum And the Hone Rode on (A&M/Twin\Tone)
Sacrifice Soldiers ot Misfortune (Fringe)
Meat Beat Manifesto :. Armed Audio Warfare (Cargo/Wax Trax)
Judas Priest Painkiller (CBS)
Various Artists Billboard Top Country Hits 66 (Rhino)
Kate* Anna McGarrigle Impurity (Capitol)
Various Artists - Soundtrack *oa_*///(Denon/Rampant Music)
Inspiral Carpets L/Te (WEA/Mute)
An Emotional Fish AnF/no«ono/Ffe/)(WEA/EastWest)
Tuxedomoon Divine (Crammed Discs)
Skinny Puppy Too Dark Park (Nettwerk)
Gabor. G. Kristof Le Crl du lezard (Crammed Discs)
Ferron Phantom Centre (A&M/Chameleon)
Steve Shehan Arrows (Crammed Discs)
Delerium Syrop/»n*on(Dossier)
Swallow Sou/puw(SubPop)
The Men They Couldn't Hang The Domino Club (BMG/Silvertone)
Don Cherry Mu/Wfcu#/(A&M)
Galaxie 500 ThlslsOutMusIc (Rough Trade)
King Swamp WJ-.etofood(A&M/Virgin)
Tannahill Weavers CullenBay (Festival/Green Linnet)
Various Artists Best ot the Girt Groups (Rhino)
Love Dolls Love One Another (Buy Our)
Chrome AlenSound!racks-1977 reissue (Touch & Go)
Chrome Halt Machine Up Moves -1979 reissue (Touch & Go)
Annihilator Never, Nevertond(MCA/Roadracer)
Adeva! Adevo/(MCA/Smack)
Bo Diddley The Chess Box (MCA/Chess)
Gregory Isaacs Heartbreaker(Rohit International)
Charles Mingus Charles Mingus with Orc/>e«/ra(Denon/Nippon)
Soul Hunters Just In the Nick of Time (Contempo)
Kathryn Tickell Common Ground (Stack Crow)
Poison Idea Feel Ihe Darkness (American Leather)
Laughing Hyenas L/Te of Crtme (Touch & Go)
Various Artists nte7WrdM/r»d (Third Mind)
Criminal Nation Release the Pressure (Nastymix)
Civilised Society You Were WamedU'opn/Mank: Ears)
Various Artists Selections trom Rubalyal(WEA/Elektra)
Holly Near Singer In the Storm (A&M/Chameteon)
lusrfinger Ales Im Grift(Notz & Wasser)
Vomit Launch Mr. Spench (Mad Rover)
Eggplant Sad Astrology (Dr. Dream)
Daddy Hate Box Sugar Plow (New Rage)
Screaming Trees Something About Today (CBS/Epic)
The Dwarves Blood Guts + Pussy (Sub Pop)
Vanilla (Festival/Green Linnet)
Altan The Red Crow (Festival/Green Linnet)
The Bags The Bags (Stanton Park)
Andy Wilkinson Texas When Texas Was Free (Adobe)
Not for anger and despair, but for peace and a kind of home
- suicide note of Lewis Hill, founder of KPFA Berkeley, 1957
___H_HP-M*liJ-f4:iiJ;M:t(4-V<i]
The Surprerne Angels Supreme(Nashboro)
The Swan Silvertones love Lifted Me (Specialty)
Marion Wlliams B<xn/o$/ng/heGo*pe/(Spiritfeel)
Mahal'ia Jackson Greatest Hits (non-Columbia)
Al Green He Is the Light (A&M)
Mahalia Jackson Newport 1958 (Columbia)
Clara Ward Gospel Concert with the Ward Singers (Roulette)
The Soul Stirrers With Sam Cooke (Specialty)
Montreal Jubilation Gospel Choir sett-titled (Justin Time)
Gospellers of N.Preston. N.J Free At Lasl (Solar)
Complied by Dave Langllle and Mark Harrln
w*mL9*n*mm*a i_ ■ =< _ _ =o_ __ _•_ _* w
Paris "The Devil Made Me Do It" 12" (Tommy Boy)
Big Daddy Kane "'Cause I Can Do It Right" 12* (WEA/Reprise)
Too Short "TheGhet1o"12*(BMG/Jive)
LLCoolJ Mama Said Knock You Oul (CBS/Def Jam)
NWA "100 Miles and Runnin'" 12* (Cargo/Ruthless)
Candyman Candyman (independent)
Eric Band Rakim "In the Ghetto" 12* (MCA)
Intelligent Hoodlum Back to Reality (A&M)
De La Soul "Peas Porridge" 12* (Tommy Boy)
Yo-Yo Stompl-V In the 90's (Ruthless/Priority)
Compiled by BZ Jam and Rhythm Sniper J
■■ ;m _fii. 11 :fii vo:«•*:«■? m ya 4 _• j _* <•_■
Skinny Puppy Too Dark Park (Nettwerk)
Clock DVA Burled Dreams (Cargo/Wax Trax)
Various Artists Sound Generafor(Spiral)
Noise Unit Response Frequency (Antler-Subway)
Front Line Assembly "Provision" 12" (Third Mind)
Cat Rapes Dog God, Guns + Gasoline (Cargo/KK)
Lead Into Gold Age ol Reason (Cargo/Wax Trax)
Cassandra Complex Hn/and(Cargo/WaxTrax)
Meat Beat Manifesto ArmedAud/olVorfare(Cargo/WaxTrax)
Various Artists AnotherWorld (An tier-Subway)
Compiled by June Scudeler
.mumum^;?_i..i*u=i»j-.-*_tv*_»]_* _•:
Moev i7teFa/tyyea/*(CD Presents)
Fastbacks Very, Very PowerfulMotor(Popllama)
The Logic Conspiracy "I Hate' (demo cassette)
Squirrels WricffG/ve*?(Popllama)
The Picasso Set "Betrayed by Rita Hayworth" (demo cassette)
Public Image Ltd The Greatest Hits, So Far (A&M/V'irgin)
Jane .Addiction RitualDeLoHabitual(WEA)
Waterboys Room to Roam (MCA)
Les Rita Mitsouko fl?F'(A&M/Virgin)
Sammy Davis Jr Decca Years (MCA/Decca)
Complied by Jerome Prlngle
w*nuw*%%%m. 1111 -_»]; i :i m :<-__ _ o _r (•■_■____■
Jazz Butcher "Mr. Odd" (PolyGram)
Soul Hunters "I Am Your Party Chemist" (Contempo)
Tankhog "Tears" (Zulu)
Posies "Golden Blunders" (WEA/DGC)
Henry Rollins "In Praise ot Black Sabbath" (Atlantic)
Cocteau Twins Heaven orta* Veyos(PolyGram/4AD)
Jane's Addiction "Stop" (WEA)
Anthrax "Got the Time" (MCA/Island)
Babes in Toyland "Swamp Pussy" (Rough Trade)
Sammy Davis Jr "The Birth of the Blues" (MCA)
Compiled by Pat Carroll and Usa Chrlstensen
~1:W;J*-1:(«MTJ4--*I.1»BB___________
Garlic Boys Garlic Boys 7* EP (Public Bath/Alchemy)
Beat Happening "Redhead Walking" 7" (SubPop)
Nirvana "Sllver"/"Dlve" 7* (SubPop)
Hammerbox "Kept House"/"After All" 7" (Big Flaming Ego)
NWA "100 Miles and Runnin'" 12" (Cargo/Ruthless)
Pop Wil Eat Itself "Dance of the Mad" 12" (BMG)
Skinny Puppy "Tormentor" Maxl-CD (Nettwerk)
Various Artists Japan Bashing Volume 2 (Public Bath/Alchemy)
In the Nursery "Sessudlenl" 12" (Cargo/Wax Trax)
The Derelicts "Misery Maker /"Wash" 7" (SubPop)
Front Line Assembly "Provision" 12" (Third Mind)
KLF "What Time Is Love" 12" (Wax Trax)
Poesie Noire "Toulouse" Maxl-CD (Antler-Subway)
Sisters of Mercy "More" CD-Single (WEA)
Crimeand theCity Solution "I Have a Gun CD-Single (WEA/Elektra)
Tackhead " Dangerous Sex" 12" (SBK)
Paris "The Devil Made Me Do It" 12" (Tommy Boy)
Young Fresh Fellows "Divorce #9"/"HaUoween 247" 7" (Popllama)
Code Assault "Action" 12" (Technika)
Criminal Nation "Insane" 12" (Nastymix)
High Performance "It's Just Funky" 12" (Nastymix)
LudwigVon88 "LS.D.(OfEthlople"7"(Cargo/Houlala)
Sonic Youth "Dlsappearer" 12" (DGC)
Shinehead "The Real Rock" 12" (Elektra/Af rican Love)
Kicking Back with Taxman "Everything" 12" (Cardiac)
Buffalo Soldiers "Penny" CD-Single (Luke/Effect)
Soup Dragons "I'm Free" 12" (PolyGram/Big Ufe)
White Boy Worry "Survive" 12" (Axis)
The Hummingbirds "Tuesday" Maxl-CD (PolyGram/Rooart)
The Grifters "Dlsflgurehead" 7" (dOink)
Coffin Break "Lles"/"Pray" 7" (SubPop)
BrtanEno&JohnCale..."BeenThereDoneThat"CD-Slngle(WEA/Opal)
Electric Ferrets "Into My Brain" 7" (Dionysus)
Cathy Gilliat "Need" 12" (8 Productions)
Tit Wrench "Go Back to Europe" 7" (Vinyl Communications)
Head's Up "Corny Style Pizza" 7" (Roadkill)
ConnieLush "Giving Away" 12" (8Productions)
No Empathy "Agrippa"/"Saw Off Your Horns" 7" (Roadkill)
OluRowe "One Nation" 12" (Cardiac)
SideF-X "I Can't Sleep" 12" (Nastymix)
T.F.L T.F.L. 7" EP (Empty)
TheNext School "Profitsof Unity" 12" (Chrysalis)
Smersh "AIP"7"(Albertine)
Digital Underground "Freaks Of the Industry" 12" (Tommy Boy)
Sludgeworth "Follow"/"Angry Man" 7" (Roadkill)
Omoide Hatoba "Surfin' In UFO" 7" (Public Bath/Alchemy)
Thee Hypnotics "Half Man Half Boy" 12" (BMG/Situation 2)
The Werefrogs "It's Real'V'TIn the World" 7" (Trance)
Misa "Shake the House" 12" (Motown)
LivingColour "Final Solutlon'V'Sallln' On" 12" (CBS/Epic)
MKM^I*rtfiWiM«l»l_fi1r***£H^_i:iaWWi_B
Blasphemy "Not a Love Song" (from one-track demo cassette)
Mary "Loving Ivy" (from three-track demo cassette)
Logic Conspiracy "I Hate" (from four-track demo cassette)
The Waltons "In the Meantime" (from demo tape cassette)
Me. Mom & Morgenthaler "Heloulse" (from demo cassette)
Video Bar-B-Que "Subway SAM" (from six-track demo cassette)
The Azure "Jelstreams" (from demo cassette)
Za Za & the Angels "Dr. Nightmare" (from Rare First Recordings)
Watch Children... "Kinda Retarded" (from nine-track demo cassette)
Trembling Mi msies "GetWell" (from George Jettons K arm a)
Toxic Jimmy "Shark Attack" (from Assault with a Funky Weapon)
The Picasso Set "Betrayed by Rita Hayworth" (from demo cassette)
Mary "Gallow's Pole" (from three-track demo cassette)
Emily Faryna "I Gotta Big Gun" (from Return ofthe Repressed)
The Wake "X-Ray Visionary" (from demo cassette)
Edible Pumpkins "Desert Wind" (from demo cassette)
Crash Dummies "Exerclslngthe Demons" (from Greatest Hits Demo)
Falling Spikes "Take" (from demo cassette)
Thieves of Silence "Time Rolls On" (from demo cassette)
EJ Brule "Freedom of Speech" (from demo cassette)
Fat Americans "Yourself" (from Food, Folks and Fun)
Excited First Daughter "Open Pores" (from demo cassette)
Looney Tunes "Shimmy Girl" (from ten-track demo cassette)
Flem "Satanic Versus Satanic" (from demo cassette)
12 Midnite "Suicide Ride" (from five-track demo cassette)
Common Language.. "Dead WhlteHorse" (from Common Language)
Henry Ferguson & Juba "Battle Cry" (from demo cassette)
Birth Defects "One Step Away" (from demo cassette)
Robert Musso "Surakarta" (from Absolute Music)
Excited First Daughter "The Sand Kings" (from demo cassette)
From Beyond "Numbskull" (from demo cassette)
Dead Head Cool "Waiting" (from three-track demo cassette)
Greenlight "The Green Light" (from demo cassette)
Rockaway Revue "I Could Love You" (from demo cassette)
Darkling Thrushes "Hall of Souls" (from four-track demo cassette)
HooverEffect "Zombie" (from I Sth Wonder otthe World)
Ironing Pants Definitely "Off Pants" (from demo cassette)
James Dean "Never So Soon" (from demo cassette)
New Beatles "Centre ot the Universe" (from demo cassette)
Minimalist Jug Band "I'm a Lousy Love" (from demo cassette)
Puke Theatre "I Love You,..." (from twenty-track demo cassette)
SoundButchers "Morning Sky" (from four-track demo cassette)
Picture Paintings "So It Seems" (from demo cassette)
Uneven Steps "Choices" (from demo cassette)
Tin God "Miles lo Sunrise" (from six-track demo cassette)
Rattled Roosters "'57 Cadillac" (from Get Wild!)
Long Named W. Coast Band. "Palm Tree Song" (from demo cassette)
Foreign Factor "Thanx 4 the Ride" (from one-track demo cassette)
Big As Life "Freedom" (from one-track demo cassette)
Dogzilla "Die Mauer" (from one-track demo cassette)
DECEMBER 1990 33   BOXING DAY SALE!!!
%
%
£\0_0_ ©®___[P£_©tf ®D@©g AKl® ©Z^
.Wt
ONE DAY ONLY
\_A_7_i®Kl[l©_2)_4_V ®L__©Ll___[_]_iK g@TTG(]
@_@® = ©_@®
ODYSSEY IMPORTS
VANCOUVER'S   ALTERNATIVE   RECORD  STORE
534 SEYMOUR ST BETWEEN  DUNSMUIR AND WEST PENDER

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