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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-06-01

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No Music Festival June 2000 Junior Varsity
Grrlapalooza FREE Giant Sand
Scary Godmother Kl Mouse on Mars O du Maurier
New Qroo\/e J~er/es
June 23-July 2, 2000
Ernest &JulioGallo.
;^elus)A13- ftoflpne.   8?2 €100
7tckefrY)Aster 260 qtftft).
The Vancouver Sun
BCTV Features
Grrrlapalooza V
Giant Sand
Scary Godmother's Jill Thompson
Junior Varsity
Hal Niedzviecki
Mouse on Mars
No Music Festival
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
christa min
art and design:
jenny, josue menjivar,
photography and
aiden hopfner, naked
phone boi, ann goncalves,
luke meat, Jill thompson
bleek, steve dipo, ann
goncalves, hancunt,
jannine lasaleta, doretta
lau, katrina mcgee, randall
mindell, cat moore, katie
riecken, ellinda siu, tristan
"can't stay away, can
you?" winch
tania a, bleek, julie c, mike
c, bryce d, steve d, anna f,
jamaal f, robin f,  namiko
k, sam k, doretta I, cat m,
christa m, janis m, Julian
m, luke m, penelope m,
sam m, anthony s, mar s,
richard t
on the dial:
anna friz
nick bradley
matt steffich
us distro:
ann goncalves
linda scholten
Interview Hell
Vancouver Special
Louder than a bomb
Kill Your Boyfriend
Radio Free Press
Strut & Fret
Under Review
Real Live Action
On the Dial
He's the man with the exotic name who appeared out of
nowhere and gave us a wonderful cover. hls name is josue
Menjivar and he is what we here at DiSCORDER reverently
call a "Quark Ninja." God bless him and all his ninja
© "DiSCORDER" 2000 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
Subscriptions, payable in advance, to Canadian residents are
$ 15 for one year, to residents of the USA are $ 15 US; $24 CDN
elsewhere. Single copies are $2 (to cover postage, of course).
Please make cheques or money orders payable to DiSCORDER
DEADLINES: Copy deadline for the July issue is June 14th. Ad
space is available until June 21 st and can be booked by calling
Maren at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any
other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparent
or any other unsolicited material. Material can be submitted on
disc (Mac, preferably) or in type. As always, English is preferred.
Send e-mail to DiSCORDER at
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822.2487, our office at 822.3017 ext. 0, or ou
and sports lines at 822.3017 ext. 2. Fax us at 822.9364,
us at:, visit our web s or just pick up a go
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
printed in Canada Pepper   Sa n ds
DiSCORDER  Who are you (names, ages, instruments
Pepper Sands: Citizen A (bass, vox), Adam (drums), Jay Slye (guitars), Greg Macdonald (keys, guitars).
Rumour has it, Pepper Sands, that one or more of you
hail from the Yukon. Is it true? Inform us... what's in the
Yukon? Any bands from up there that you could tell us
about, or perhaps were an influence?
Why yes, believe it or not, the Citizen A and Adam both spent their
We were on both compilations with the same great song. We wanted to contribute to both as they are for 1) really great causes, 2) feature awesome local bands and artists, and 3) an opportunity to play
a couple of great shows with a few of those great bands. We used the
same song because when approached it was the only one from our
new EP, Welcome to...Pepper Sands, that we had finished. We
thought that the Good Jacket show at the Marine Club was fun. We
played with Thee Goblins, the Riff Randells and the Ewoks.
Ask yourself two questions and answer them.
What is it all about?
It's all about the rock.
Why can't we all just get along?
Er... next question.
Anything else to add?
Stay tuned for more PS recordings and shows all across this great
Forest Strays EP, 1998
Welcome to...Pepper Sands EP, 2000
Poly Plays
early rock years performing in the Yukon. There is a lot of snow
many loved ones in the Yukon; there are a lot of little thin;
in the
Yukon—little bridges, little buildings. You have to see it to believe it.
We also know that the Pepper Sands played Music Waste
'98, not necessarily the same line-up, however. How has
the line-up changed since then, and do you folks ever
intend to play at Music West?
The line-up from the Music Waste show in '98 has changed quite a
bit. Our former band mates and fellow Yukon chums, Jenny and
Lionel, thought that the rock 'n' roll lifestyle wasn't for them. Pepper
Sands played their last show with J and L at Music West last year. It
■ was a rousing farewell performance for two great musicians and
friends, but, as they say, the show MUST go on.
Sonny and Cher, Ike and Tina, Kurt and Courtney: how
do you feel about couples in music, Pepper Sands?
Er... next question.
You were recently a part of the Vancouver Special compilation, and you were also on one in the past entitled
Northern Lights Vol. ?. Have you been on any others?
We also noticed that you featured the same song on both
releases. Pourquoi, Pepper Sands? Who else did you play
with at the recent Good Jacket gig, and how did it go?
The Phenomenon of Craving
NEW 6 song EP Available on CD or 10" vinyf
Produced, engineered & mixed by:
Stephen Egerton, Bill Stevenson &
Jason Livermore at The Blasting Room.
Fot Wreck Chords P.O. Box 193690 San Francisco, CA 94119       V that was diverse and had political content." Women in all these
genres will be represented on
June 10th. The second night of
Grrrlapalooza highlights a number of punk acts, which the event
opportunity to witne
girls' choir, Shuswap artist Tania
Willard's paintings, and a sketch
comedy act. Beyond a unique
audience experience, the participating artists have a
In the fifth year since its inception, Grrrlapalooza has
grown, expanding to face the
challenges existing in an ever-
changing underground music
scene. Rather than be overshadowed by major label events like
Lilith Fair, Grrrlapalooza has
taken on genres that continue to
be dominated by men. This year,
the event will kick off on June 9th
at the Vancouver East Cultural
Centre with an evening of
women in hip hop, hosted by
Kia Kadiri and featuring DJ
Ariel, Off the Record, Ndidi
Cascade, QB with Vinyl Richie,
Sarka Kocicka, and DJ Splice.
While women have been has "traditionally" focused on,
scratching and rapping long as well as visual art, a fire per-
before Jurassic 5, they still formance by Kira of Firebelly
seem   to   qet   neqlected   ... . . . event
from major labels, tours It's not about making moneyor catering   wom
and even underground    to a specific audience, it's more about    °9an
compilations   such   as developing an ongoing event that incor
cTentt i t°akeseaT    Pontes radical thinking and political
women events, like analysis into its agenda.
Grrrlapalooza, or albums
like   Fat Beats  and Bra
Straps to remind us that women
are producing some excellent
hv nnmikn knnimntn
by namiko kunimoto
work with those they
with. Maultsa
Meegan Maultsaid, the coordinator, says that Grrrlapalooza
started out as a "vehicle for
women artists to showcase their
talents. The original idea was to
create a space where women of
different mediums, including
musicians, film makers, spoken
word and visual artists could
work together to present a show
and comedy by the 30 Helens.
Bands performing include
Unspoken (electro-acoustic
sounds from Mikela and Co.),
The Haggard, Uncouth, Tegan
and Sara, Che: Chapter 127
and drag king Barrett & Co.
Meegan points out that the
show is less about spotlighting a
headliner group as it is about
bringing together a diverse
group of strong women artists.
Nowhere else would one get the
compete with men jusl
heard. It's not about making
money or catering to a specific
audience, it's more about developing an ongoing event that
incorporates radical thinking
and political analysis into its
agenda. It's really too bad that
instead of bailing on Lilith Fair,
that Sarah didn't contact me and
uld have
■e interesting i
We're off to Winnipeg for the
National Campus/
Community Radio
why should you care?
If you are a local band, we can
distribute your demos, CDs, 7"s,
etc., to the campus and
community radio bigwigs.
drop off up to 25 copies
before June 9th@CiTR
call Linda® 822.1242
for more information
what we listened to while turning this bitch out
frank zappa 200 motels • buzzcocks operator's manual • refused songs to fan
the flames of discontent • the haggard a bike city called greasy • half Japanese
greatest hits • zoogz rift & marc mylar nutritionally sound • solex solex vs. the
hitmeister • medeski, martin & wood tonic • marc ducret un certain malaise •
sonic youth 1000 leaves • marc ribot y los cubanos postizos muy divertido! •
skinny puppy too dark park • andrew wk girl's own juice ep • the distillers s/t
• iron maiden number of the beast • bob dylan blonde on blonde • hank
williams III risin'outlaw • youth brigade/swingin' utters • merle haggard &
willie nelson poncho and lefty • the residents george & james • the residents
stars & hank forever! • de la soul vs. dj splice • the melvins crybaby • marvin
gaye live • devo greatest misses
get these online:
«©_ Vancouver
Suck in Black
(Lance Rock)
If you failed to notice Lisa Marr's
wicked streak during her days in
cub, you might be surprised to
hear what she does with her LA
band, Bu<k There's an attractively hard-living, up all night
drinking and smoking, Kim
Deal-ish pissed-off quality to her
voice here, and when Lisa
screams, "I'll give you something
to cry about" (just one example,
from "Get My Goat"), it seems
wise to take her at her word.
Pepper Berry, the guitarist, keeps
up with the singer on both the
loudness and cleverness fronts,
playing bagpipe-like bits, a snippet from "Yankee Doodle Dandy,"
and faux-incompetent leads, as
well as the huge chords required
for the big, big sound produced
by this speedy three-piece.
Apparently these seven noisy,
tuneful songs were recorded in
one day. Wow.
www. sympathyrecords. com/buck
The Bell Jar
When I think of Vancouver all-
female three-piece bands, it's
The    Dishrags     cub,    and
Maow that first come to mind.
Different as they were, they had
a few things in common, like
being cute (or tough-cute), clever,
and playing simple, catchy,
youthfully petulant (and sometimes loud) tunes. The Bell Jar
consists of three females too, but
they seem determined not to be
cute or simple, or even to look
exactly like a band. Instead,
these are three grown women
playing songs that seem drawn
from sources as varied as psychedelic, blues, and very early
metal. The singer, Caroline
Hamel, plays a bit of keyboards,
as well as the sort of over-the-top
freak-out guitar usually reserved
for the other sex, then sings of
adult discontent with icy-cool
control. Since she's so good
looking, plays guitar so well,
and does the singing, you might
expect this to the be the Caroline
Hamel show, but when I saw
them live a few months ago, the
very solid rhythm section was
just as interesting to watch. Jodi
Doll, the only one not held in
place by a mic stand or drum
stool, jumped merrily around
with her bass; CC Rose, on
drums, kept her head down and
hit the skins with an intensity that
was downright sexy. There are
just five songs on this CD, but it
leaves a bigger impression.
The Good Jacket Presents:
Vancouver Special
I've had my heart broken by a
few compilations and, given the
name of this one, I was already
feeling a bit stung when I slid it
into my CD player. Fortunately,
Thee Goblins forced me to
snap right out of it with the very
first song. (Either you like something this goofy and garage-bubble-gummy or you don't.
Apparently I do.) And there are
23 more tracks on Vancouver
Special, including offerings from
Neko Case (who can't help
putting  a  bit of that country
thang into her song with The
New Pornographers), The
Secret Three, Pepper
Sands, Shindig! '98 champs
Clover Honey,        Riff
Randells, July 4th Toilet,
Pipedream, and one of my
local music heroes, Steve Hamm,
making an over-the-top appearance as half of Canned
Hamm. There's a massive variety of styles here, and some of
the songs are dead serious,
some are dead silly, and some
are a very pleasant surprise,
which is exactly what I want
from a compilation. Not only
that, but the proceeds go to A
Loving Spoonful. A winner.
What a good month for CDs!
Support your local indie record
store—buy them all. •
local demos
The word is in that last month's
installment of these very adventures ended with a self-congratulatory decision to cut short in lieu
of wandering, though the preceding column had shown none
of this tendency towards maintaining focus. How amateur. My
sincerest apologies. I'll be keeping it brief this time. You know,
for the people.
TACKLEBOX is some kind
of Vancouver all-star band featuring a member
and someone else. They're pretty metal (God bless), and the guitar work is to be admired, but
the singer only caught me on
one of three tracks. Must see
live. Been seeing ads.
Coolest tape of the month
goes to The Enticer by Victoria's
PANTY BOY. Hand-drawn alligator in toupee, "Rrr, ladies, rrr."
Good stuff. Music is favourite
too: lo-fi Beck/Ween/Make
Up. Sounds cliche, but take a
chance, why don't ya?
Hardest fuck-yeh rockers of
the month goes to Seattle's
RIVER RATS. Maybe this is my
favourite. Straight up punk rock
then roll. When are they coming
to town? When are they recording again? Hurry. (phirat@hot-
KEN LODE of Abbotsford
has a really interesting voice, but
it's trapped under infinite layers
of shitty, overproduced, '80s
television theme pop vomit.
Someone should take the vocal
tracks and remix them.
THE LOLLIES feature two
Canucks, one Yank, and one Brit
(all ladies, mind you), and entertain with songs like "Green Card
Marriage," "She's a Lesbian
Now," and "I Could Do a Better
Job of Being Famous."
Unfortunately, their particular
brand of lo-fi pop is a little too
repetitive for me. Either their
voices or their vocal recording
technologies fail.
And finally, JUMPSTART
hail from Merritt and either
attend high school or only play
high school coffee houses. Their
limited, but finely honed, brand
of nostalgia is pleasing if not
engaging. (No contact)
July issue deadlines:
)kmg: june 2
ork: iune 2 6
I get sick when I hear know-it-all
white journalists start talking
about "Africa's problems." Over
and over you hear the same litany
of catch phrases: "ethnic" violence, "not ready for democracy,"
"the hopeless continent," the
"seeming inability of African
states to develop in peace." All
this, of course, is just a thinly
veiled re-inscription of the same
deeply ingrained racism that justifies the exploitation of the poor
and the brown: a modern "White
Man's Burden." But media coverage is not my point; it simply
serves to justify the unconscionable inaction of the world
powers. North America, Europe,
and the UN stood by two years
ago when Sierra Leone was overrun by the RUF, while children as
young as six were forced to watch
their parents slaughtered in front
of them and threatened with the
same if they didn't join the RUF.
The few foreigners in Freetown
were pulled out because it was
"too dangerous" to remain. International attention went from little to
none after the last foreign journalists were recalled, a situation
which allowed the RUF to engage
freely in one of the most brutal
campaigns of the century. Tens of
thousands of civilian deaths later,
a regional peace-keeping force
managed to secure an uneasy
peace. The great powers didn't
even bother to make excuses for
their negligence. The big difference, of course, between Sierra
Leone and certain other cases of
human tragedy was "strategic
value" and profit. Although most
citizens of the nation have never
seen a diamond in their lives,
Sierra Leone has some of the
world's largest diamond fields, so
it was in the West's interest to
keep the war going: buy diamonds from the rebels at lowered
prices then sell them arms at inflated rates. To make an even tidier
profit, sell arms to the government
package (even after the weapons
moratorium, ihe British government admitted to providing
weapons to the SLA forces). There
was no UN intervention because
there was no American interest in
stopping the conflict. Unlike the
former Yugoslavia, where the
Serbs were some of the last opposition to NATO expansion into
Eastern Europe, or East Timor
where   the   fighting   eventually
Indonesian oil production, Sierra
Leone's value was actually
increased by destabilization
(dropping the price of its diamond
exports). This brutal "revolution"
has been the best thing to happen
to the international diamond
traders (including several
Canadian companies) in many
years. When people ask why the
West should intervene in genoci-
dal campaigns in the developing
world there is only one answer:
the West creates and sustains
these dependent economies, the
colonial legacy of the Western
nations is responsible for creating
artificial, unstable national boundaries, the West profits from the
poverty of developing nations by
exploiting their cheap natural and
human resources, so the West has
a responsibility to help clean up
the mess it's made. These problems aren't foreign or remote, they
show up in our everyday lives...
Next time you think about buying
anything made with a natural diamond, think about the real human
I of the retailer's appealing
20%-off dis,
. We, i
, share a huge responsibility for this continuing massacre
and others like it. If we're already
happily paying for the rockets,
guns, and machetes that are
destroying these nations, why do
we refuse to pay for the food,
bandages, bricks and mortar
needed to rebuild them? •
National Hip Hop Week:
Get up, Get into it, Get involved!
Pay attention, 'cause class is
in session. There is a new
movement building: a generation of peoples that are
infected, motivated, and invested by the intensity of hip hop
culture. And we're sick and
tired of being portrayed in the
media—and the music—as
th#gs, bitches, pimps, pl~yas,
and h#stlers who sport major
coin, ice and as being uneducated. So what can we do
about it? We must fight back, let
our voice be heard, unite, create, and educate by getting
involved in National Hip Hop
Week (NHHW).
Now I know that National
Hip Hop Week may be a new
concept or idea to most of you,
and it should be, 'cause this
idea is only getting underway
last year's event at CJSF Radio
93.9 cable FM. Last year myself
(Needle Kineval) and Nick-o-
tine organized a special day of
focused programming at CJSF
called To The Breakadawn:
Celebrating Hip Hop Culture.
This special day of focused programming was a 24-hour celebration and exploration of the
roots of hip hop culture and also
of the hip hop scene in Vancity.
But this day was also something
i. It was an opportunity for
the hip hop community to get
access to media—campus/community media—to represent hip
hop like only hip hop heads
could. This access was given by
inviting anyone who was interested in doing a radio show for
a day to grab some air time
and speak their piece and represent their knowledge. And
damn, Vancity did represent!
Out of the 24-hour day, 25
heads who have never done a
radio show before did 18 hours
of programming. And if you ask
them (eg. DJ Hedspin,
Birdapres, Eph Roc, Kilo-Cee,
The Promised Land collective
and others) they'll let you know
how much fun it was to be
involved in both the broadcasting as well as the event!
It is these same principles
that are driving NHHW in the
year 2000. CiTR Radio has
joined CJSF Radio to bring to
both of our airwaves this year's
theme: hip hop politics and the
politics of hip hop culture. Once
again we are calling out to the
hip hop community for peeps
who want to get involved.
Peeps, like you, who have
something on your mind about
hip hop that makes you happy
or sad, that you want to
express. Here's some of the
issues we are looking for peeps
to talk about: prison industrial
complex, war on drugs, the ele
ments of hip hop, stereotypes
in/of hip hop (eg. sexist perspectives, homophobia), mainstream vs. underground and a
whole lot more. It doesn't matter if you have been listening to
hip hop since "Rapper's
Delight" first came out or if you
got involved in hip hop just yesterday. If you have something to
say about hip hop culture and
you want others to know what
you're feeling, then contact us
immediately: CJSF (Anthony) at
571-9378 or or CiTR
(Bryce) at 822-1242 or citrvol- This
year the broadcast is taking
place at CJSF (and live on the
net on Thursday, June
29th and at CiTR on Friday,
June 30th. And to kick things off
II be a
SFU (in front of the library)
Wednesday, June 28th from
1 l:00am-4:00pm. Join us as
we build and create a national
Vancity's hip hop community,
giving them new opportunities
for empowerment. Time is short
so don't sleep—you don't want
to miss this opportunity! If you
missed the boat last year, don't
get lost in the sauce this year! •
Anthony Chung,
aka Needle Kineval By the time this little column
makes it into print, I should
be somewhere in Germany,
trying to convince either Mouse
on Mars, The Murder City
Devils, or The Causey Way
to let me be their new roadie. If
that fails, then I will be sitting in
the McDonald's across the way
from the best church ever in
Cologne, drinking a beer.
Whatever the case may be, I'll
be far, far away from the evils of
Vancity. I will be missing
my   Saturday   soccer   games,
It's a good thing I've got my
column to keep me busy—otherwise, I would have to be packing! The records that I am
listening to and reviewing right
now might be the last good
things I hear for a whole month
(trust me, the stuff they serve up
in the discos and bars of Europe
is stinky!), so I am going to make
the most of this. If I finish up on
time, I might run over to
Drippytown to inform them that
"a lot" is two words, and not
one. My good deeds never
cease! Oh, and I'm supposed to
start some other rivalries as well.
Beans suck,  Secret Three
rule. What else?
Oh yeah, records. Seeing
as how this is a review column, I
ought to get down to business, A
good place to start would be
with the new BIG JOHN
BATES record. I'm impressed.
John's got a good rock V roll
thing goin' on, and the four
songs on this release showcase
his talented songwriting and
playing   skills.   Featuring   I
red vinyl) 7" would be c
way to introduce yourself to a
local talent. He looks and sounds
pretty mean on this record, but
don't let that stop you from going
to see him play around town!
(Nearly Nude, Dept 3, 1396 W.
11 th Vancouver, BC V6H 1K8)
Hmmm... My dad seems to
like   the   new   RED   STARS
THEORY. Should I be a rebellious (not-so-youthful) youth and
disagree, or should I just admit
that "Naima," the instrumental a-
side to the band's newest 7",
sounds great? It's a pared-down
version of a John Coltrane
song, with a violin subbed in for
a saxophone. They don't call this
band dreamy for nothing! The b-
side is a bit weirder, being a
remix and all. Crafted by
Sientific American (who
should be hugely popular any
day now), this track features bits
of songs from RST's last full-
length, mixed up with some of
SA's own good ideas. I didn't
think I liked this band. I was
wrong. (Suicide Squeeze, 4505
University Way NE, Box 434
Seattle, WA 98105)
Here's another winner for
you—DEAR NORA. On Magic
Marker records, the label I owe
many thanks to for the release of
The All Girl Summer Fun
Band, this release sounds like
Portland really does have its finger firmly pointed upwards in
that "Number One!" kinda way.
This is a very lo-fi pop release,
four songs of sweet girl vocals
over pleasant guitars and simple
drum work. Some of these kids
are in Wolf Colonel, but judging from K and their overly-large,
under-appreciated roster these
days, I doubt that'll mean much
to many. Never mind. (Magic
Marker, PO Box 9342 Portland,
OR 97207)
Another band who didn't
receive enough attention with
their big US debut is THE
could tell you all the story of this
UK band, but instead I will
encourage you to go and listen
to their music. The 7" that I got,
Coney Island of Your Mind, features a strong title track, with
more singing (and better) than I
had expected. The two b-side
tracks are both instrumentals,
with lots of neat electro thingies
going on. That would be the
wave of now, but this band's
been coasting on it for a few
years, at least. (Matador, 625
Broadway, New York, NY
MACHINE sounds like a lot of
droney fuzz. No joke, I can't
really remember anything much
special about this. I just listened
to it three minutes ago. I guess
that's either because of my short
attention span, or because I'm
listening to a really good
Mojave 3 single. I think that a
bit of both makes me unsure
whether or not to recommend the
two tracks which feature some
average male mopey vocals and
some spaced-out guitar. Here's
the address, if that glowing
review touched you right in that
special mailorder place. (Bliss,
5879 Darlington, Pittsburgh, PA
And now, on to the cause of
my pleasant distraction. Two 7"s
by MOJAVE 3. Sometimes,
when they're not churning out
weird synthy old-guy music, 4AD
put out cool releases. Mojave 3
are one of the label's best bands
right now, and I was pleased as
all get-out to receive four whole
songs from a band I'm just learning to love. I saw the band open
for Gomez and enjoyed the
mellow sounds. I am pleased to
say that they sound just as good
recorded as they do live. All the
songs are well-crafted pop
songs, with no-nonsense vocals
atop lush musical arrangements.
I'm always a sucker for a trumpet  and   a   trombone.   (4AD,
wins some mad bonus points for
neat packaging for their new
Line Of Sight single. All trapped
up in a cloth bag is the way this
one landed on my desk, and
after trying to invent clever ways
to make the bag my own, I
turned my attentions to the
record inside. I'm very glad that
I did. The Electro Group make
very dreamy pop music which
sounds almost fuzzed up enough
to belong on a My Bloody
Valentine album. The Electros
aren't quite as adventurous, but
the band does manage to craft
two very beautiful pop songs
with enchanting female vocals
that float happily through the
brain... (Omnibus, no address)
Whoa. What's up with
BRASSY? This band is on
Wiiija, the label I will always
love for Huggy Bear and Bis,
and this sounds a bit more crazy
than recent label releases. At
first, I thought that this might be
a dj project, observing some
intense scratching skills on the
title track, "Work it Out."
Judging by the fact that the
spunky, noisy female vocalist
who made the first track shine is
still in action on the b-side, I
guess this is a band of sorts.
Whatever it is, it sounds pretty
hot. The people that got on that
Moloko song "Sing It Back"
last year should really eat this
one up. Two of the three tracks
are very danceable, and the
third is a cute show-off dj skill
track. (Wiiija, 17-19 Alma
Road, London, SW18 1AA, UK)
One last thing—if you people are too lazy to write to any
of these labels to get their stuff,
don't forget to try and find this
stuff around town. There are
plenty of nice little shops filled
with good records where you
can probably find a lot of this
stuff I write about. Also, if anyone knows where I can get a
copy of the new Milky
Wimpshake 7", I will smuggle you back as many crazy
drugs and bags of black licorice
from Europe as you'd like.
Promise. •
LPs • 45s • CDs
New & Used
This is the second installment
of Radio Free Press in column form so let's get a few
things straight right off the bat,
meathead. We know how it can
be when someone comes along
reviewing zines. We've read the
letters to Doug Holland at Zine
World, heard Factsheet Five's
Seth Friedman whine and Bleek
has personally given Hal
Niedzviecki shit about the
reviews in Broken Pencil. People
love to shoot the messenger
They figure if you are the pilot in
the zine reviewing seat, that you
are setting yourself up as an
expert But we don't claim to be
experts, just interested participants, okay? We do the Radio
Free Press show (Wednesdays 2-
3pm) and this column But we're
really just like you because, in
this game, you are your own
expert, dig? Mark our words,
postal about something we
write, which is fair enough. But
please take it easy on us, 'cos
we ain't claiming to be the be-all
and end-all. You must chill! Take
a bath with one of those bath
bomb thingies Feeling relaxed?
Okay,   let's talk  about zines,
Let's start things off with
some veteran punk per-zine hi-
jinks. Andy, creator of I'm
Johnny and I Don't Give a
Fuck, is back on top form. If
you've travelled through Andy's
tales before you know that
Andy's band is Vancouver's own
Submission Hold and that—if
memory serves—"Johnny" was a
brute from the first zine who bust
ed a large window or something... we think. Anyway, this is
a lovely 220-page mini-book
decessors. ($7 or so from PO
Box 21553-1850 Commercial
Drive, Vancouver, BC V5N
Also in the hand-written
punk per-zine category is the
much-loved Cometbus It's the
work of an old school punk rocker called Aaron and consists
entirely of his hand-written (very)
short stories about life, love and
staying true to your ideals. Even
if you don't share Aaron's
Ludditte idealism, there's no
denying that Cometbus is beautifully crafted. The layout is inviting, the prose accessible and
compelling. Whereas other
zines this personal degenerate
experiences as a launchpad for
Andy has a whale of a tale to tell
about his band touring in
-usty  v
led Kile
meeting old friends, comrades
and relatives. This is great handwritten material which should be
of incredible value come 20
years time when young rebels
are looking to their bitchin' pre-
sings o
($2.50US from PO Box 4279,
Berkely, CA 94704, USA)
As does Vancouver's Brad
Yung in Stay as  You Are
Rather than prose, he uses concise cartoons which mix clarity,
It's a pleasure to see work that
doesn't use it's cynicism cheaply. It's a crime that a comic strip
this imaginative and funny isn't
in international syndication.
Maybe the misanthropic tone of
the work would leave a bad
taste in newspaper readers'
mouths. At least Brad's putting
his misanthropy to a creative
use. (#5 available for $2 from
PO Box 30007, Parkgate PO,
North Vancouver, BC V7H 2Y8)
Which is more than we can
say for crazed Ontarian John
Doh. His Letters from the
Freakin' Edge Vol II consists
of crank letters to various
Canadian corporations. This is
hardly an original idea, but the
sheer puerile silliness and psy
chotic strangeness of Doh's
approach mark Letters out from
the more earnest competition.
Where others subtly expose the
hypocrisy and uncaringness of
the corporate world, Doh prefers
to s
e and ridicule his
in the most mean-spirited fashion. Anyone can put together a
photocopied mag full of childish
bad taste, it's quite another thing
to craft something genuinely
provocative and amusing from it.
The results here are mixed. At its
best,  this zine thrives on the
dynamism of combining stoopid
humour with nicely crafted
prose, but it occasionally degenerates into aimlessly lavatorial
snickering. ($3 from PO Box
2959, Hearst, ON POL 1 NO)
Another trip to the funny
farm comes courtesy of Vancouver's own Jason McClean, creator of Mister Bo-Bo Liberty
Mall. McClean—under the mysterious name of Bouffant
Schnauzer—has pilfered a Six
Million Dollar Man colouring
book and greatly defaced it,
travelling way outside the lines,
utilizing clashing pigments and
twisting the original intent entirely God only knows who
McClean's influences might be,
but there is some late-'80s work
by Kaz [Poop Deck Mysto
Cinema from Raw) with similar
abstractions. McClean claims
that there is another half of this
book called Volvo Rollbars and
that he has teamed up with
Seattle cartoonist Megan Kelso
for a "book arts show at the Sea-
Tac Airport." The exhibit is
named Low Tech Time Capsules
and is showing 'til July. ($5.60
from 713 East Pender Street,
Vancouver, BC V6A 1V8)»
Zines on the Web
Bubblegum Cage
Stay as You Are>
Kill Your
The Dormant Beast
Sometimes I see things that make
me stand still. One time I was
walking down Robson and I
noticed a book in a window. I
had never seen anything like it.
The colour, the intensity, the texture... so much about it drew me.
It was Le Sommeil du Monstre, by
Enki Bilal. It was beautiful—and it
was in French. Now, there was
a company about five years ago
that was publishing his stuff in
English, but it went under before
they did Le Sommeil. Recently,
Humanoids Publishing has been
re-printing all of Bilal's work. It
wasn't long before they did the
called The Dormant Beast.
Set in the future, it tells the
story of Nike, a man found as a
newborn in war-torn Sarajevo in
1993. He makes a promise to
protect Leila and Amir, the two
other babies that have come to
join him in the hospital. The
comic starts with Nike being
interviewed, for he has since
become the man with the greatest memory of all time. The year
is 2026, and Nike is program-
ming the memory computer. He
slowly remembers the promise he
made on his 18th day of life.
Amir, Leyla and Nike were all
separated after the hospital blew
up; the story tells us of Nike's
search for them. It's a very cohesive science fiction tale on par
with William Gibson. Espionage,
robot decoys, assassinations,
conspiracy, political reform
groups and, of course, religion
and the government all keep the
story moving.
I've never really been a huge
fan of sci-fi, and at times I found
the story a little heavy on the conspiracy side, but it's engaging
and easy to follow, even though
it jumps around time and place a
lot: from the underground to
space, or the war in Sarajevo to
New York, yet it flows seamlessly.
Bilal also refuses to conform to
one format. Most of his books
have excerpts from various print
media within the story, adding
yet another perspective. It's a violent, Machiavellian world Bilal
creates, and it's believable.
Bilal is one of the few comic
artists that uses pastels and charcoal. Furious charcoal lines with
murky, sketchy texture that still
manage to maintain a crisp and
stark line. Bilal also manages to
bury simplistic detail within the
kinetic energy of his art. It
demands to be touched with its
heavy tactile resonance. This
darkness is typical of every
dystopian vision, but Bilal drives
off the road with his flashes of
colour. Black, thick black, with
intense, vibrant, bright blue.
Grey, washed-out white with
angry, screaming red slashing up
the page. Very lush; it startles.
His only downfall is something I
call "The Kirby Syndrome" where
all the women look the same
save for different hairstyles. His
characters rarely emote, either,
but there always seems to be this
huge undercurrent of tension
within his pages. It's captivating,
and that's when the story comes
in and distracts you once again.
A lot of people, when asked
about favourites or known comic
artists from France, are quick to
mention Herge and Moebius. But
I find Bilal to be the unforgettable
one. The stories are intelligent
and interesting, and the art is
gorgeous and distinctive. What
else could you ask for? •
once there was an accordion-playing
audio art hot blues mama named anna
friz, she was the programming coordinator at citr and put up with all of our shit for
more than two years, now she's escaping
to the (relative) freedom of academia. we
love her and wish her lots of luck.
goodbye mommy! we'll miss you.
all the freaks at cltr. xox
t. keep li touch or dial
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photos by Ann Goncalves
Giant Sand is an incredibly prolific band
from Tucson, Arizona. Howe Gelb has led
the band through a meandering career that
is a 20-year improvisational experiment, and
whose various mutations include OP8, Friends of
Dean Martinez, and Calexico. Currently the lineup
is Howe Gelb, John Convertino and Joey Burns. I
sat down for a long rambling conversation with
Howe at soundcheck before their gig at the Starfish
Room on April 24 to talk of many things: recording,
losing your best friend and whether or not Captain
Beefheart is still hiding out in the Arizona desert
watching NBA. Howe claims the Captain lives in
Monterey, California, but all the rest is true.
DiSCORDER How do you like performing
solo versus performing with a band?
Howe Gelb: It's good for a bunch of different reasons, but mostly for writing. I used to live out in the
middle of nowhere, and I was alone all the time,
and now I've got a family going on and the interruptions come about every 12 minutes. When
you're as much of a scatter-brain as I am it doesn't
help the output. So on the road alone you got way
too much time to think. And that's good, sometimes... sometimes it turns into madness, but mostly
it's productive.
Do you do some of that thinking on stage
[Laughs] Oh yeah, yeah. That's kind of a lottery, it
depends what's up.
Tell me about your last solo album, Hisser.
Well, that was a moment when things got fucked
up with the inner circle. My best friend was dying—
that took two years—and at the very same time
there was just a lot of weird shit with family members, and I wasn't married then either, and everything was in a state of chaos. And John
[Convertino] and Joe [Burns] started picking up
■n with Calexico, so for the first time they
jnd; they weren't as conveniently
located. 'Cause the thing about Giant Sand was it
was growing more and more dependent on spontaneity, where we'd go into the studio and do stuff
and mix stuff up, and it wasn't possible if they
weren't there, obviously. Hisser was the result of
my meander in the living room.
And some of the material on Chore of
Enchantment was on Hisser first; like
"Temptation of Egg," which on Hisser is a
scratchy little tune that turned into the
"hit" on Chore.
Plus for me, when I was doing Hisser for that
year— you wake up in the middle of night and just
play stuff into your walkman or whatever you can
have set up... and then you forget about it, I mean
totally forget about it. Then at the end of the year
you have tapes all over the place and some of them
have these little nuggets on them that you'll never
hear again. So "Temptation of Egg" was like...
right when I put Hisser together I found a tape and
played it and heard that exact track and thought,
"Awww, that sounds like some old blues 78
record... all hissy and scratchy." Just to teach
myself a lesson I made that the lead-off track.
So when Giant Sand records, you all pile
into a studio, turn on the equipment and
just go for it, or do you rely on those midnight walkman recordings for raw material?
You don't wanna deny things that write themselves
in between times of recording, but you don't want
to worry about them either. You don't want to be
overly prepared. If you're not a very organized person, then if you're going into the studio it's no time
to try and be one, it'll just stress you out. Just
remember to forget everything 'cause it's already in
you somewhere.
With Chore, by the second session it was starting to happen. "Dirty From the Rain" and "No
Reply," they just didn't exist until a moment before
they were recorded. It's also really fun to do that, to
see who won't fuck it up. But I've noticed a bit of a
side effect from that: I don't know what we're going
to do tonight, and this method really disallows me
to rely on or have the satisfaction of knowing what
we're going to do tonight. Sometimes it concerns
me a little bit. [At this point the band is warming up
in the background with a demented Santana
cover..] Sometimes I think I should just leave, go
away, 'cause we're not really playing, are we? But
if we approach that point of discovery ourselves
every night—or try to—then we get jazzed by it
and that disperses itself in the evening's worth of
One of the best things about Giant Sand is
that you can hear the four-track hissing
among other sounds in
Yeah, I like it too. Air in the room is my favour
sound. But we get tempted. Like for this album they
wanted us to come up with a radio song. That's
why "they" allowed us to keep recording and working on it some more, because they hadn't heard
the radio song yet.
They just wanted a song with a beginning and
an end and a middle, and maybe a chorus that
gets repeated more than once? And I thought, "I
could do that." Shit, I'd love to know I could do
that at this point. [Sighs] But no...
One thing I like about Giant Sand is the
feeling that you're part of a strong community of musicians in the southwest.
How did you hook up with Victoria
Williams, for instance?
I met her through a friend who was in love with
her... And then years later, I was living up in the
desert, out in Joshua Tree— I was going in to a
friend's gig to sing a song, and I was helping
"Pappy," this ole feller that I grew to love. I was
helping him with some plumbing, and I just said,
"Pappy, you wanna go down to Hollywood and
sing a song with me tonight?" And we jumped into
my old Barracuda, I taught him the song on the
way down, and when we got to the club in LA one
of the first people we ran into backstage was
Victoria. She had broken up with Peter Case, and
she was just all friendly and funny, and we were
talking and yammerin'. A few weeks later she started coming out [to Joshua Tree]. And then we started hanging out, actually, and we started getting
close. When there's a woman and you like her
voice, you're attracted to her, you don't know what
to make out of it—so at first we're just kinda circling each other, like "there's something there that
seems like a big comfort zone." And we'd both just
separated or divorced from our married ones, and
they were both musicians, and I thought "I don't
wanna date musicians, not for a while! Anything
It was a mutual thing, it was like "ahh, let's just
play!" It's better than anything anyway. Lasts
longer. Lasts forever! And she ended up moving up
to Joshua Tree after we left, even took over my old
PO box. And her and John ended up going out for
a bit after that, kinda funny.
Do you listen to the radio much?
I listen to PBS stations mostly. It sounds like a goofy-
ass gimmick, and it drives these guys crazy, but I
like it when you get two or three radio stations on
the AM dial, all the way to the left where they come
in and start blending with each other. Immediately
if you leave it on the mind tries to facilitate them
all, and I really enjoy that. •
92^s2S!KEE [conducted on Easter Monday]
DiSCORDER: How come you're
working on a holiday?
Jill Thompson: Oh, I don't know
You just keep working, seven
days a week?
Six days a week. It's all about the deadlines, unfortunately. When I lived away
from the Chicago area, I'd come back
from holidays and my friends would
laugh at me. They'd say, "We never see
you without a lapboard."
What kind of deadlines do you
have these days? If you're working on your own books, does
that give you any more freedom?
Less freedom. I control more, so I have
more jobs that I have to do. Right now
I'm painting a Scary Godmother book,
which will come out in October, but it
has to be ready by July for it to be put
into production .. and seeing as how I
do everything except type-setting it,
there's just a lot of stuff that I have to get
done. I'm also working on the Chyna
comic for Chaos, so I'm doing two jobs
at once. I'm painting in the day and I'm
pencilling at night.
When you are given something
to work on, do they give you a
storyline, or a panel-by-panel
breakdown with the writer's
Both. A writer can either work from a
plot that tells you how many pages there
are, what happens on each page, but
then he allows you to break down the
action. Usually, after that, he will come
back into it and do dialogue from what
you have drawn. More often than not, I
work with someone who; writes a full
script, so it tells me not only how many
pages there are, but what goes on on
each page, who's speaking, and what
they're saying, so that I can figure out
how much space it will fake up in the
How difficult is it to work with a
Usually it's not difficult at all. I've been
lucky; I've worked with writers who
were very easy to work with. Either
they're really honds-on, or really harids-
off, depending on how you like it. Neil
Gaiman was really easy to work with.
Grant Morrison was realty hands-off. He
would do his job, and there was no further need for him to interact. That
I am a big nerd. People who know me
already know this. I'd like to be able
to hide this fact from strangers, especially cool ones like Jill Thompson.
Calling her made me more nervous than
I've been with just about any rock star
Jill is the author and artist responsible
for one of the most fun comic books out
there these days. Scary Godmother. So
far, she's done three full<olour, hardcover SG books, two holiday-themed
black-and-white comics, and, most
recently, a three-part series called Wild
About Harry. Thompson's art—which
has appeared in Sandman comics,
among others—is amazing. Now, with
SG, she does all the writing as well. If
you want to see some great artwork
attached to fun storylines about ghosts,
vampires, ghouls, and little girls, you'd
be well-advised to check out Thompson's
. but that's
needed to talk to I
what editors are ft
[I blab on about the new Jhonen
Vasqvez book I got, and how it's all
about deadlines, and contractual obligations I ask Jill about her own deadline
You don't get stuck in that kind
of stuff, do you?
Not anymore. That stuff all kinda came
when I worked for DC Comics. All that
"oh my gosh, the writer's late" or, you
know, things would happen where
books would be late, and they would be
the assembly line's lap. Thatv
ly the penciller, who then passes it on: to
the inker. I have had to work under
some pretty horrific conditions, like
[employers saying] "do this book in two
weeks," me saying "I can't do this in
two weeks," and them saying, "well,
we'll find someone who con." Thai does
happen. I'm not sure how often it happens now, but it has happened in the
How long were you doing artwork before you took on Story
I've been working in comics professionally since 1 was about 15 or 16 And t
say professionally because somebody
paid me to do comics It wasn't very
good work, but I was paid. I started
Scory Godmother in 1997, and I'd
been working for DC Comics for seven
years before that. I had been full-lime
What was your first published
My first published work was in an
anthology comic called Just Imagine
Comix and Stories, published by a company here in Illinois called Just Imagine
Comix. I used to work for them at conventions. I would help man the table.
Really what it meant was mat they let
me come with and then hang out in the
artists' section to see all the guys who
drew comics. There came o time when
they were putting something out and
they needed four more pages, so at one
of these little conventions, they had a
character called Bananaman—not to be
confused with the Nickelodeon
Bananaman, this was much earlier—a
superhero parody. It was a bunch of
puns and gags put together into a short
story. I drew it ot a convention, and then
went around to a bunch of different
artists and asked if they would each ink
a panel. They all took pity on this poor
tittle girl who had drawn this comic, and
everybody inked o panel. That was the
first work that I did.
Speaking of comic conventions—
you just went on a cruise?
Yes, a big comic book convention on..1.
That's kind of scary!
I always thought that comic
book fans could get a little
weird, and it would be scary to
be stuck on a boat with them...
No, they weren't weird. They were really nice people. Sometimes I was afraid
about that, too I had a lot of friends
saying, "It's going to be horrible! You're
going to be trapped on this boat!" I just
figured that a boat is like a giant hotel,
i go away to conventions for weekends
or weeks, and I usually stay at the convention the entire time The only difference was that there was going to be
water around me. In my many yeors in
> taken away from them. Most guys are
pretty responsible about anything that
might be on *R-rated" thing; the retailers I know keep it up and away from
anything that younger children can get
to The people who want it know where
it is. Little kids don't have fo gain access
With Scary Godmother, you're
aiming at a full range of ages.
Have you had any experiences
with young kids getting into that,
and then moving on to the others that you've drawn that are
more adult?
There are a lot of reasons why I started
Scary Godmother, but one of them was
because everything I've ever done up
until this point, I really don't feel com-
fortaWe showing anybody else. A retailer wrote in that he sold a copy of Scary
Godmother to a four-year-old boy, who
was bothering his mom to buy it,
because he liked skeletons. It made me
feel really good. That was the first comic
that he ever realty wanted. Maybe he'll
[eventually] working his way up to all
the other genres and types of comics
that there are. I just wanted to moke
available to little kids stuff that I felt hod
brought me into comics myself. It seems
like a nice alternative to Arcm'e or whatever else there is...
Archie got boring, manl They ;
totally PC'd him upl
1 stili pick up Archie every once in a
while, to see whot's going on, because
those were the comics that I realfy loved
when I was growing up. That's what
helped me move on to Marvel Comics,
and DC Comics, and Fantagraphics
and all the different types. Everything
that was considered a joke in those
comics is now considered offensive I
always thought it was weird, because I
knew it wasn't good to make fun of people who weren't as smart as you, or
people who weren't as attractive as you,
but whatever. That was the whole joke
with Moose, Midge and Big Ethel.
[Now] they gave everybody a reason.
Moose is dyslexic. He wasn't stupid.
Dilton, the nerdy guy, they gave him a
friend in a wheelchair. Not that these
people shouldn't be included, but to
throw them in there willy-nilly makes it...
saying, "I must create a comic that the
children can read " Weil, no, I guess I
am. I'm not dumbing it down
f didn't even know about your
new series, Wild About Harry,
until I stumbled upon issue two.
Issue one had already come and
Really. Oh my. I completed that a while
ago. Issue three is the exciting conclusion to the story of Harry the Werewolf,
who gets kicked out of his mom's basement ond ends up wreaking havoc all
over the Fright Side. He's quite the
mooch, quite the selfish little bugger, but
he's still loveobfe. I make him do horrible things to just about everyone. I really like him, because he's the funnesf to
He's the comic book collector of
the bunch!
Yes he is. He's on amalgamation of a
lot of things. He's like Felix Unger and
Oscor Madison mixed together. The
sloppy Oscar, and the realfy nit-picky
Felix, because he has to have everything just his way He's a lot of Ignatius
Reilley from A Confederacy of Dunces,
and he's several really hard-core science fiction fans mat! have met throughout the years. He's the hard-core comics
collector that everybody knows from The
Simpsons, but that we know from real
life. He's olso my way of indulging all
the weird stuff that I like.
Okay, I need to do a bit of a
musk tie-in, seeing as how this
is going into a musk magazine.
You said you were listening to
Moby earlier; what else do you
listen to?
Oh gosh,., what's the name of the band
that I've been listening to a lot these
days? The name of the CD is 69 Love
Magnetic Fields.
Yeah, thafs ft! I share a studio with other
artists, so a bt of the stuff I listen to is
their stuff. I like the Reverend Horton
Heat, I was listening to some Michael
Nesmith the other day . the old stuff. I
like old country. I like to listen to jazz,
and ! like a lot of the music released on
this small independent label called
Okkadisc. They do a fot of jazz stuff
and experimental things.
Are you familiar at all with "The
Jill Thompson  by Julie C.
people who've made me scared, They
were fairly unusual.
What was the cause behind the
The Comic Book Legal Defense Fund. It's
an organization which helps people in
comics get legal aid because most of us
don't make enough money to hire
lawyers. It's usually used to help defend
First Amendment rights. I know that
Canadians have quite an obscenity law,
and a lot of comics that your Canadian
creators do sometimes can't get back
over the border. Every once in a while,
a shop owner here in the US is carrying
something which somebody deems
unsuitable for children because they
think all comics ore for children, or a
parent will buy something and say "look
what was available to my child!" [The
Legal Defense Fund] helps by providing
lawyers so that people's shops aren't
you can't use any of their foibles as
story plots any more, because that's like
fun of them. I just want there to
be a comic that's fun, that's goofy,
where some people are funny and some
people are not so funny in it. That's why
I'm doing Scary Godmother.
I've only seen a few comics
aimed at kids these days, and
most of them just aren't very
They're very preachy. The story lines are
too short and simple. Something with a
bit more to ft might be better... I'm a big
fan of short stories. I used to love little
eight-page Archie stories. Hopefully I'll
make lalthough I still gotta think of
some) some short Ifttle Scary Godmother
stories, some little stories that don't take
22 pages to tell. First ond foremost, I'm
trying to make a comic that I like, and
' . likes it, that'
oing out
Chicago Scene," as it appears to
the rest of the world? Chicago
has become every indie and
post-rocker's dream city. Are you
familiar with labels like Thrill
My deadline keeps me from going out
as much as I used to When we can, we
like to go out to see new bands, but I'm
nowhere near as up on stuff as I used to
be. My studio used to be right down in
the middle of if all, by Wicker Park, but
then it got too pricey. There's a lot of
music stuff going on down there. I used
to be right down in it. Now I'm further
north, and it takes planning to go out. •
By Mar Sellars
DiSCORDER How did you form Junior Varsity?
Matt: I always answer this one—Kim, go!
Kim: I met Matt at college. One summer my sister came
to visit and taught me bass. Then we just started.
Matt: I always wanted to play drums, so a friend of mine
let me borrow a crap drum set and Kim and I began to
write these goofy stupid little songs. We played once in a
kitchen, the two of us, and we got a good response so we
got a guitar player... then we had a couple guitar players
before we finally found someone who could tolerate us
for long enough to play a show, record, etc.
You guys have gone through a few guitar players on record as well?
Matt: Right. That was Sean. We met him at a show
where he was dancing like a wild man. So we started
talking to him and I asked him if he played guitar and he
said sort of. So we said, "PERFECT! Do you want to be in
our band?" And he said, "I guess."
How did you find Rebecca?
Matt: Well, Rebecca played in a local band called the
Jewws. And we played shows with them, so when Sean
left she was the automatic choice.
Who do you appeal to?
Matt: Emma.
Kim: She's our youngest fan. She's three.
Matt: We're making a tradition of playing this elementary
school every year at their "Good Conduct Carnival." It's
either really young kids or...
Kim: Nerdy pop kids.
Matt: We really can't figure out that grade 6 to college
age gap. They're way too cool for us.
Do you ever get flack because of your bubble
gum highschool image?
Matt: Not to our face.
What's with all the 7"s and comps? How come
you guys have never put out an album before
this one (Bam Bam Bam, Peek-A-Boo)?
Kim: We like to keep it in small doses.
Explain the Junior Varsity-Vancouver <
Matt: It's the Beesley-Hammond nightmare.
Kim: It's just 'cuz my sister lives there and \
enough to have us play and have her friem
Matt: Kim is a BC girl anyway by birth.
Where'were you born?
Kim: New Denver in the Kootenays. It's close to Nelson
So what's your favourite Vancouver band?
Matt: Are you trying to get us in trouble?
Kim: I hope my family doesn't get too upset, but I'm
going to have to say Zumpano.
Matt: I'm going to have to say Loverboy.
Are you serious?!
Matt: No, I'm not serious. I think I'd have to say it's a
close one between The Evaporators and The Smugglers.
It's a tie. See, if you said who was my favourite band in
the area I'd have to say Bum—they are one of my all time
favourite bands. But it doesn't count.
Would you guys ever leave Texas?
Kim: I think I'm a little more likely to leave, but Matt was
born here and he seems pretty happy.
Matt: Yeah, I love Texas.
Has it ever snowed where you live?
Kim: It freezes occasionally.
Matt: It snowed in 1990, like 10 years ago. Yeah, not
too often, but when it does the entire city shuts down. The
snow isn't even sticking on the ground and it's like, [in a
Texan accent] "Cancel school! I can't drive."
You guys are going to Japan. Is this your first
Matt: It's Kim's first trip.
Well, I meant as a band. How did that all happen? Are your records released over there?
Matt: We're told we have a little bit of a following there.
I don't know... we'll see. We've had a 7" released on a
Japanese label. We're on a compilation there and I've
been there with a couple different bands like the l-4-5s
and when I was in the Wontons.
You're in the Wontons?!
is gracious
Matt: I was. I'm not anymore. I'm on the record.
The "Extra Spicy" 7"?
Matt: I'm extra spicyl The Wontons toured Japan. So
we've done a lot of networking, having connections. I've
met lots of really nice people who are helping us out.
Kim: We also kind of returned the favour with Panther
from Japan. They came here.
Matt: And I released a record by them.
Are you guys going to come to Canada anytime
soon? More importantly, Vancouver?
Matt: I think we have to.
Kim: I'd love to... it's just I don't hove any vacation
because I started a real job last summer. I get 2 weeks a
So you do have day jobs. What are your day
Matt: Believe it or not, Junior Varsity is not paying the
bills. That reminds me, Kim, I think we need to talk to
Travis at Peek-A-Boo about that. We need raises
Kim: Yeah.
What's your day job?
Kim: I'm a civil engineer.
Matt: Rebecca's a receptionist at a hair salon and I'm a
registered nurse. It's really hard to pull off that whole teen
thing when you're a registered nurse. Yeah! I'm a teen
rocker! I'm an old man!
Yeah, you guys have been getting older over
the years and it must be getting harder and
harder to pretend you're in high school.
Matt: It was really hard for the album, only for me,
because Rebecca's only 20 and Kim looks younger then
she actually is... but for me we had to pick special pictures
where I didn't look so old. I probably shouldn't be saying
this in an interview, but I'm not as young as I once looked.
Yeah, I've got the album and sorry to say but
you guys don't look like you're in high school.
Kim: Hey, I still get carded.
Yeah, it's 21 though. Don't they just card everyone?
Matt: Not me. Actually I have a funny."getting carded"
story. A waitress that looked much older than me when
she looked at my age she was like, [in an old hag voice]
"Oh my god! You're older than me!" She looked really
Kim: I hope she doesn't read this.
Matt: I hope she can read!
Kim: We'll do a 902Wand go from highschool to college and then our next album will be post-college—real
Matt: Well, I consider myself the Ralph Macchio of rock
'n' roll. I can be 38 and still trying to play in some
teenage band. I'm in another band called The Raspberry
Shakes with Rebecca and a 16-year-old boy.
Kim: He's like the daddy.
Matt: Yeah, I'm Uncle Matt.
What would you do if you had four million dollars?
Kim: Four million, huh? Well first, I'd quit my job, anc
second, I'd travel as long as I could without working—
everywhere. And then if I was getting close to running out   I
of money I'd buy a small village in Spain and live there for
the re
With foL
nillion I would buy Rebecca as many
license and buy her a hair salon. And then I would rent
out the Astrodome and invite all my favourite bands and
play a big show. I'd make Bum get back together and the
Evaporators—they really couldn't fill up the Astrodome,
but it'd be fun. So, I'm up to about a hundred thousand
dollars there. I'd buy a lot of old cars—I'd fix up my old
car. That would be about three million. I have a '60s
What else is next for Junior Varsity?
Matt: We're doing a split with The Kung Fu Monkeys
from New York. We've got a new song on a Peek-A-Boo
compilation. Other than that we're saving up vacation
time to go to Canada. We want to tour across Canada
with Maow.
What's your advice for the kidz?
Kim: Matt, you get to use your quote!
Matt: Don't be a fool, stay in school!
Kim: I wish I had a zinger, but I don't. My advice for the
kids is be a teenage bonehead for life! Whatever that
■■■"■' •'
Coming in JULY...
New Bomb Turks (07041
BlackheartProcession iojwi
PHAT Tuesdays
$1.49 Wednesdays Editor of Broken Pencil and all-around indie jet-
setter, Hal Niedzviecki rode into town on April
27*" in support of his new book We Want
Some Too: Underground Desire and the
Reinvention of Mass Culture (McClelland &
Stewart). I met Hal at the Wise Hall where he and
other up-and<oming hipster writers were reading
from their materials thanks to organizer Brad Cran
of Smoking Lung Press. For you kids not in-the-know
yet, Hal Niedzviecki is the recipient of the 1999
Alexander Ross Award for Best New Magazine
Writer from the National Magazine Awards
Foundation. Hal's previous books have been Lurvy,
the farmhand's side of that whole Charlotte's Web
fiasco, and an anthology of Canadian urban
authors called Concrete Forest. Hal also is a correspondent ofCBC 2's late-night program Brave New
DiSCORDER Okay, tell us about the book.
Hal Niedzviecki: Well, We Want Some Too is a
book about underground culture and pop culture
and the space where they intersect. It's how pop
killed the underground and colonized our minds.
That's the short, snappy phrase I've been using.
There's a lot of discussion about the way that pop
culture has become a seminal part of our lives and
some of the problems that it causes. One of the
things that it does is eventually compresses the
space for underground culture until it doesn't exist.
I think that's the point we are in right now where
there's not really a valid underground culture, it's all
basically part of this pop universe.
What is pop culture?
What is pop culture? That's a pretty good question.
I think that everyone has their own definition of it.
Yeah, that's what I think. When you look at the con-
ent of your average zine or the content of your
average cable access show or website, I don't
think that you're finding "radical" content. You're
not finding a lot of "smash the state!" or anar-
» chism or anything like that. You're usually finding people who basically just want to find a
voice in pop culture in the way they feel they
should be allowed to.
Somehow it's become almost crimi-
Exactly. People are very suspect. We've really narrowed the parameters where only certain kinds of anointed sources can anoint
people to become pop culture participants
and everyone else is a passive observer and
we have this swelling of people who are saying "no, I want to be that," you know, "/
'want some too." That's where I think you're
getting this methodology where the main-
Istream is saying "Oh that's underground,
that's weird" when it's not really, it's usually
pretty understandable stuff. It's just simply not
focus-grouped and marketed to death.
The subtitle of your book is
"Reinventing Mass Culture." What
does that mean?
It's what we've been talking about. The core of
the book is looking at how people are trying to
subvert these narrow parameters. They're not
underground. They're not pop culture. So they're
really trying to reinvent this terminology in a way
that allows communities to hear their own voices
reflected. Now we have a situation where millions
are all watching the same thing...
And it's becoming more American.
Yeah, exactly. And it keeps getting narrower and
narrower until there will be one TV station, one
celebrity [chuckle]...
And owned by one company.
One product and that's that. I think we're seeing a
reaction to that. Not to deny that pop culture is
important. Not to say "well, we're not going to listen to pop music anymore" or "we're not gonna
watch TV," but to say "yes, this stuff is important, I
mean it's taken up a lot of our energy and time and
history and what we want in return is what it's
always promised us. We want to be superstars...
individuals. We want to be our own celebrities."
So are zines dead? That's the question in
the last issue of Broken Pencil.
An Evening with Hal Niedzviecki,
Canadian zine god and media critic.
 by Bleek (Cougar Mellencamp) Swinneyy
Waves and writes about zines and other cultural
defects for The National Post. Hal interviewed yours
truly over the phone over a year ago now. He
asked me about pirate broadcasting in little oT
Merritt, BC, where I just came from. Hal was jovial.
Perhaps a bit too jovial as he asked me questions
and chuckled easily at my self<onscious answers. It
occurred to me that Hal might have been sampling
some green, controlled substance but that's just
between you and me, okay? Now it was my turn to
ask the questions, and boy did I make them silly.
Keep in mind this quote from Malcolm
McLaren: "By the dawn of the seventies, the philosophy was that you couldn't do anything without
a lot of money. So my philosophy was back to
'Fuck you, we don't care if we can't play and don't
have very good instruments, we're still doing it
because we think you're all a bunch of cunts.' I
think that's what really created the anger—the
anger was simply about money, that the culture had
become corporate, that we no longer owned it and
everybody was desperate to fucking get it back.
This was a generation trying to do that." (from
Please Kill Me, the Uncensored Oral History of
Punk by Legs McNeil & Gillian McCain)
Everyone comes at it with their own ideas, and part
of the problem is that people don't know. Is a painting of McDonald's fast food workers in poses of
glory pop culture? Some people would say "yes,
it's just ephemeral pop culture." Other people
would say "no, it's high art." I think those distinctions are being broken down every day and that's
one of the things I address in the book: these difficulties we're having saying "no, that's unimportant
pop culture" and "that's important high art" that we
have to think about.
What is underground culture?
Well, one of the big things in the book that I argue
is that there is no longer an underground culture. I
think that what we are seeing now in pop culture is
people who want to have a voice in that intangible
world of pop culture and are finding that they're
not able to so they're turning to other mediums—
pirate radio, zines, independent publishing, all
kinds of different ways of giving themselves a
voice, the voice that pop culture always promises
but doesn't really deliver. It becomes what we think
of as underground culture, when really it's simply
people who would rather be in the mainstream of
pop but aren't finding ways to do that.
So it's not so "out there," it's just that the
avenues have become so narrow these
Well, I think there were a lot of good points made
in the issue. I think that if the zine as we know it...
what we call a "zine" is on the demise and going
out, that there will always be independent periodicals. There will always be independent publishing.
Whether we call it a zine or something else it doesn't really matter. Until these questions are answered
and there are viable opportunities for people to
hear their voices and take part in the pop culture
world, there will always be independent publishing.
So Broken Pencil is still going in a sustainable direction?
Broken Pencil is doing alright. We don't have any
big plans to fold or anything. We're pretty happy
with the way things have been going, keeping that
dialogue going and being the bridge to a lot of different ideas and actions.
When did you know that you wanted to
be a writer?
Well I don't know. I never had a big "flash." It was
never like... I didn't have that epiphany in kindergarten or anything. As soon as I was, like, vaguely conscious of my own desires I had always been
writing. Eventually I began to take it more seriously and just sort of slipped into it. It was never like
"I'm gonna go out and DO THIS!" you know, it was
just like I had had something I wanted to say and
started to find a way to say it.
When was that?
Well I got a little more serious in late high school,
started writing stories and stuff and then in university I wrote for the campus newspapers. I was writing fiction and started sending it out to little
magazines and getting the occasional acceptance.
I never really laid down the career path, you know,
but gradually it just occurred to me that it was the
thing that I loved to do and it was the only thing
that I was really good at [snicker] so I'd better do it!
So what is your opinion of the BC underground culture as far as music, zines, film
and other art?
It's hard to say, I mean I think the same issues are
applicable all across Canada. I think the scene in
Vancouver (I mean I don't know much about the
rest of the province), but I think it's healthy. You
have things like Smoking Lung [Press], Arsenal
[Press] and Anvil. There's been some great stuff
coming out of that scene like Michael Turner's
(Hard Core Logo] work and people who have managed to move on to the next tier. You've got The
Blinding Light, I get their e-mails all the time, and it
looks like they're doing some great stuff. I think
there are some really energetic people, maybe
even more so than Toronto in terms of some of the
stuff that's happening. I think it's a healthy scene
but it suffers from the same problems.
What projects do you have coming up in
the future? Do you know yet?
I'm working on a novel and a collection of short
stories that I have been working on for a couple
years and are coming toward completion. I'm
going to keep working on Broken Pencil and there
are a lot of ideas that I want to follow up on that
came out of writing We Want Some Too... that will
probably be another book of essays and cultural
criticisms, one of these days.
What makes a great zine?
Well, I think a great zine has a certain vibrancy. It's
unconventional but not deliberately so. It is simply
reflecting the mind pattern of the individual or individuals that create it. A great zine is...
It should be like eavesdropping in some
sick sort of way?
Yeah, exactly. You're peeling back someone's skull
and just seeing what's going around and... you
don't think about it too much and don't think about
it too little either. It's just great stuff that explodes on
the page. You hit a great zine and it's like writing
you don't find anywhere else.
What's your favorite cartoon?
You mean like TV?
Urn... I don't know. I like South Park. I like The
Simpsons too.
Any guilty pleasures?
Uh... masturbation?
You feel guilty about that?
Sometimes, you know, if it takes too long.
So I saw you on TV with that Richler kid.
Yeah, yeah. They cancelled his show.
They did, did they?
It was the only good show on Newsworld.
How often were you on there?
I was on there two or three times. I did a couple of
things for them. It was fun. They were very good.
They had good bits on that show but they cancelled
it. The show actually appealed to young people
and actually had a point of view that was contrary
to the positive marketing environment that the CBC
is fostering, so no more of THAT!
What's   the   best   thing    about   being
I like hockey. I've got this little hockey rink near my
house where I can go. You know, in America it
would be a crack den or something!
I'm American, by the way! But I do agree,
Have you ever defaulted on a loan?
No one ever gave me a loan.
Ever tasted cat food?
No. No I haven't.
Are you sure?
My brother did.
Your brother did!? What did he say?
I don't really remember. It was the hard kind, the
kibble-y kind of stuff. We were like four or something. He didn't comment. • I really didn't know what to expect from these guys when we wandered backstage to interview them.
CiTR's crew for this mission consisted of myself, Firstfloor Radio's Goulash, and Plutonia's naked phone
boi (Tanner Liskop). When I introduced myself as "Rich " to Jan he introduced himself as "poor." Tone set.
Turns out they're as laid-back, quirky and original as their music. Revelation.
We all squeezed into the small room at the back of Richard's on Richards with Jan St. Werner
(Dusseldorf), Andy Toma (Cologne) and Dodo (London). After investigating the coffee pot it turned out
jsical domain again, where it's displaying all these tech-
id then again making them become something musical,
iking music with different tools or something. Totally for-
non-music music, and I think Microstoria is like...
there was none to be had. Goulash, howeve
The excellent sounds of Seattle's IQU boomed
in the background. We were half-yelling. I
had brought along one of my trusty toy synthesizers for them to play with. Jan continued
to play it while Andy answered most of our
questions. Naked phone boi kept his clothes
on and snapped away with his 35mm. We
got to talking about this tour and how it differed from the previous one accompanying
Stereolab two years ago. We had yet to see
how they were working on stage this time
-.affeinated enough for the both of u:
is good.
or further, or however you want to look at it,
niques or all these predefiniti
Like adding another level, but not starting from
getting about music. It's like Marcus says: it's li
[struggle for translation]
Dodo: Becomes music again.
Andy: Yeah.
Is this way of thinking or working taken into Mouse on Mars?
Andy: Yeah, definitely. Mouse on Mars
mouse on mars
>usly chops up things   I
Andy: Last time was as a duo and this time we play with Dodo. It's a different setui
and we play differently together. Bass, guitar, drums—it's rock.
DiSCORDER Listening to the latest Mouse on Mars release, Niun Niggung, someone
might be led to believe that the use of live instrumentation is more present than in previous albums, and this appears to be the case.
Andy: There's also more processing as well. Sounds quite acoustic, but in the end, the work itself was quite
processed, digital.
In the past few years it seems that more and more artists are releasing work that tries
to break down the sometimes not-so-obvious division between "electronic" and
"acoustic" music forms with mixed results. In many cases the two worlds don't seem
like one; on recordings like these, the fusion doesn't really happen, and the division is
still there—maybe because the interface to the different worlds is so different. Mouse on
Mars, however, seems to have mastered this fusion.
Andy: Well, we don't really think about this fusion. I think we think in sound fragments, its parts and elements and fragments. The source, whatever it is when it has been recorded, we see as a digital form, and
there's a difference between live-played music, which you hear and then it's gone, and recorded music,
whether it's recorded on tape, or hard disk, or whatever medium, it very much reflects the medium it's
recorded with, and so we don't have to think about that. It's a preposition that we don't need because if
doesn't take us anywhere. If you would divide it into "this is an acoustic sound, and this is an electronic,
this is digital, this is analog," in the end it's all on CD and it's melted onyway, 44,100Hz
[Andy talks about friend Marcus Pop of Oval.]
Andy: He doesn't talk about the music itself because ir's something that comes together, it's your perception that makes it worth being listenable ot giving if musical content. It's jusf something he doesn't think
about, something he would never explain. There's no point in talking about the musical aspect of what he's
doing. He wants to folk about the definitions of what he's doing and about the circumstances and the setup
that you use to do something, and so music is much more like a model, a system, a language.
And where does Microstoria, a project between Jan and Marcus, fit in with that?
[Dodo feeds us American cigarettes]
Andy: I think Microstoria takes this kind of basic idea of thinking about the possibilities of what you use
and taking them to a certain extent or expanding them or taking them to a certain extreme. Whereas Oval
is in a way very much displaying the actual method of making if, Microstorio in a way goes either back
by haitch c plutonia with goulash
photos by naked phone boi
ive concept. It's
hable or usable is in a way getting
involved or gets sucked into this situation you're in.
We get onto the subject of digital distribution. Mouse on Mars
has made available an MP3 of "Distroia" not available anywhere else. Process simple: e-mail them, and they send you
the MP3.
Andy: It's something we offer, like an extra idea.
So what about CDs? What is the future of music
distribution? When you can download entire Mouse on Mars albums for free from random ftp sites, is the CD a thing of the past? Do you think that's a good thing?
Andy: The aesthetic side is quite nice. Already the change from vinyl to CD is something that people were
talking about. I don't care really, the music is most important, the only problem is maybe...
The revenue stream?
Andy: That's maybe the main problem.
And vinyl?
Andy: CD will finish but vinyl still will be arour
will be [a] different type of organization that rr
loaded. The capitalist system we live in is like...
frightened about the MP3.
Jan: Actually we want to put more MP3 files 01
Andy: It's like an extra.
And their approach to composition? In the mom,
about what's coming next.
Andy: We don't know what's next, but there's something next and as >
there will be something We don't know what it will be like
I was curious to know whether or not your work with Stereolab on the Cache Coeur
Naif EP a couple of years back, and the following tour, prompted you to work with
more live instrumentation.
Andy: Actually, we've always been at that point. As we said, it's not important for us, it's more like a challenge to expand further. We've played in this combination since 1994, so it's not that we haven't used
instruments, we've done that from the very beginning It's more in the way we use the studio, and what we
do in the studio.
The result being (in this boy's opi
of each others'differences (if ther
. In a way, record companies, they vanish, and [there]
ces you get benefit [royalties] from what's been down-
s so massive. I don't really bother about it, I'm not at all
hat we just give away.
t. Maybe the secret to being years ahead is to not think
5 see something coming,
nion) a beautiful marriage of sounds, electronic and acoustic, i
e were any to begin with), with a natural flow not experienced too often
Andy: We don't understand why people think electronic music has to be rigid.
Maybe it's because people see sci-fi film robots talking in static form, and so that's i
Jan: I'm sure ifs Hollywood, Walt Disney.
Walt, baby. *
futl photo shoot by naked phone boi available online at For the last three years, unbeknownst to most Canadians, the normally conservative town of London, Ontario has been building up
a reputation as a meeting spot for international "noise" and avant-
garde music. Since 1998, three annual installations of the No Music
Festival have drawn artists and dedicated noise fans from around the
world to a three-day celebration of musical experimentation extraordinaire. The culminating point of each festival is a performance by
guests of honour, hosts, and local London legends the Nihilist Spasm
Band, who have been devotedly pounding out their distinctive anarchic
noise in London since 1965.
Perhaps because of its unlikely setting—the event seems better
suited for some hip New York locale than the historic Aeolian Hall in
prim and proper London—the No Music Festival has a certain indescribable magic. If it were held in a major metropolis, it simply wouldn't work. For one, there would be too many people for the limited
seating of the magnificent Aeolian Hall, which comfortably held a
few hundred on the busiest festival nights. Furthermore, London is just
inconvenient enough a location to attract only the truly passionate
out-of-towner, which makes for a very receptive, fully engaged audience rarely found at high-profile events. Lastly, the uniqueness of the
festival allows organizer Ben Portis to demand a fairly unconventional level of commitment and involvement from the performers Almost
all of the acts were present for the full three days of No Music, watching each other, mixing with the audience, and actively participating
in all of the festival's peripheral events.
Having scrimped and saved for months (you just can't go to something like this without bringing lots and lots of merch money for all the
hard-to-find items on sale), secured a bed to crash in at Mom's, and
exhausted the potential jokes about our destination ("We're going to
London! No, the other London"), Mo and I set off for one of the
coolest experiences we've ever had.
Catch flight at 9:00pm. Meal consisted of lasagna with green salad
and that great generic Italian dressing only airplanes seem to have.
Mo wonders aloud whether my great love of airplane food signals
some worrying deep-seated problems. Got exposed to the worst film
I have ever seen, The Bachelor with Chris O'Donnell, apparently a
remake of a Buster Keaton classic. Yuk. Three-hour shuttle to Mom's
house in London, full fridge, cable TV Mo and I crash with Montel on
the box. Mom gets home, offers to drive us to Aeolian Hall, which we
gladly accept. The hall is located in "the wrong side of the tracks"
area of London which locals refer to as "East of Adelaide." Chuckle
briefly over this notion. Meet John Clement and John Boyle of the
Nihilist Spasm Band about five seconds after getting out of the car.
Very friendly, made us feel welcome, and were amazed we came all
the way from Vancouver (a theme that persisted throughout the festival). Entered the giant hall: beautiful red velvet curtains, huge stage,
incredibly high ceilings. Mo and I have a seat and realize we're
going to be spending most of our time here for the next three days.
Ben Portis, organizer of the last three No Music Festivals, came
onstage and welcomed us all, and without any unnecessary chatter
announced the first act of the evening, Eric Stach and Doug Innis.
Eric Stach, who now lives in Sarasota, Florida, is an improvisational
saxophonist who sprang from the same London scene as the Nihilist
Spasm Band. Doug Innis is a cellist from Newfoundland. The two performed five different pieces verging on Ornette Coleman free-jazz,
compelling musical communication like they play together every day.
(The two haven't played together in something like 15 years ) Stach
switched from baritone to soprano sax throughout the performance
while Innis sawed away mercilessly—I was surprised he even had a
bow left afterward. This was definitely the most "musical" portion of
the entire festival, and a nice start to the weekend.
The next act for the evening was The Black Auks, also from
Newfoundland. Almost taking a tip from the Spasm band, they too
play every Monday night for whoever wants to come. Five members
on a variety of instruments ranging from mandolins, banjos, violins,
and a collection of "musical" children's toys that any two-year-old
would kill for—though I dare say the racket would rapidly drive any
parent insane. The show was nice and loose, everybody having a
good time. I learned later that one of the members, Neil V. Rosenberg,
is the professor of folklore at Memorial University. Way cool.
The third and final act gave over to more of the visual side of the
fest—Gary Hill, John Boyle and Paulina Wallenberg-Olsen. Gary Hill
"researches into the conditions of perception and of interpretation of
images and words through the realization of installation." Ohhhhhh
kaayyyyy... John Boyle is a drummer and finger-pianist for the Nihilist
Spasm Band. Paulina Wallenberg-Olsen is a Scandinavian vocalist.
Their performance began with Paulina's melodious voice ringing
through the theatre with Nordic chants while Gary, armed with a hand-
icam, circled around her, projecting her and her bizarre wedding
dress/hockey padding (don't ask) on a 10'xlO' screen behind. He
then focused his camera on a flat exposed speaker that Paulina was
singing through, projecting its vibrations on the screen. The speaker
reverberated with every sopranic note, while Hill poured rice into the
speaker cone, then water, then set it aflame. The rice, the water, and
the flames danced and leapt into strange circular patterns, both chang
ing and mimicking the sound. John Boyle then joined in on his homemade "spasm" drums. What ensued was composed of Hill playing
jarring samples on a synth, Boyle pounding away, and Wallenberg-
Olsen yodeling powerfully enough to make Jewel lock the doors on her
van and hightail it back to Alaska. Not that she shouldn't anyway.
After the three performances everyone in attendance was invited
next door to the Forest City Gallery for the No 99 record release
party. No 99 is a five-CD box set documenting last year's festival,
featuring Jim O'Rourke, Solmania, and Borbetomagus, among others. The gallery's small back room was also to be the site for
"Interplay" on the two following nights, a chance for all the artists
involved to collaborate, improvise, and basically jam with each other.
I meet some pompous jackass from a Toronto university radio station
who comments that my appearance resembles someone here to see
Jim O'Rourke, "but that was last year; didn't you know?" He, meanwhile, looks like a deranged REO Speedwagon fan just out of Betty
Ford. I'm about to retaliate, but I spot the bar and swallow my rebuttal down in the form of a few pints. No need to make enemies; I am
on vacation after all. Home to sleep. Tomorrow record shopping and
Wake up still deaf. Go visit downtown London. First stop: Doctor
Disc. One of the best record stores in the world. Find Yellow Magic
Orchestra's first album for only 8 bucks, Raw Power on vinyl for only
a buck. Bump into Eric Stach, talk about last night; spot Mayuko and
Ranko from Mne-mic flipping through Lynyrd Skynyrd albums. London
is beautiful Tons of punk girls and Korn boys.
Aeolian Hall at 8 o'clock totally packed with out-of-town hipsters
just here to see Lee, I presume. Lots of disappointed latecomers later
in the evening when they find out he played first.
Lee Ranaldo played with Paul Dutton, a free voice improvisational soundsinger and a member of the Toronto music group CCMC
since 1989. He started the evening croaking and squawking, sounding somewhat like a disemboweled waterfowl. Quite unnerving.
Ranaldo's set-up was what you've come to expect from the Sonic
Youth guitarist: delay, distortion, and dissonance. The two had a
lengthy duel, Lee using the walls, floor, and guitar for his foil, and Paul
using throat, teeth and tongue for his. Lee ended the performance
walking through the audience chiming finger-cymbals while Dutton
continued his non-verbal onslaught. Not the kind of stuff you're likely
to see on Much Music any day soon, but it sure is fun to imagine the
video. Outside for a smoke and back for round two: Undo.
Undo comprises Christof Migone and Alexandre St.-Onge. The
No Music press release calls them "quiet noise." All the audience
were exposed to, though, were two men sitting on chairs in the dark,
with televisions on either side broadcasting live images of their faintly lit faces. Each wrapped a flashlight and a microphone in a Ziploc
bag and inserted the objects into their mouths. What followed for the
next 20-odd minutes was simply the sound of the two swishing the
bags around inside their mouths with the visual accompaniment of
their faces illuminated on the TVs. The sound? Well, not surprisingly,
it sounded like two men swishing plastic bags and mics around in
their mouths. Following this, a third TV began playing a video loop of
one of the men opening a can of escargots and stuffing the contents
into his nose and mouth. The two performers proceeded to do the
same. For half an hour. No sound, just two men stuffing facial orifices with tins and tins of escargot, which they did not swallow, but
rather allowed to dribble and plop out of their mouths and all over
themselves and the stage. This was the only time during the three-day
fest that I saw people leave mid-performance or boo when it was
over The only problem I had with it was that it seemed to lack any relevance to noise-icianship or the fest itself. Oh well. After that, a beer
was definitely in order.
Stuck in the earplugs in anticipation of one of the most intriguing
musicians (although he prefers the term "designer") of the last 10
years, Aube. Aube is the recording name of Japanese musician
Akifumi Nakajima. He has been releasing his own brand of sound
design since 1980, always using only one source material for each
audio event or recording. Tonight's source was a one-voltage controlled oscillator. He manned his table of various effects and built a single pulse into sporadic syncopated chaos. You could almost have
grooved to it if you weren't literally stuck to your chair by the sound
he was creating. This is audio you can actually feel, folks. It's amazing how entranced the entire theatre was watching a small bearded
Japanese man turn knobs. Tumultuous applause followed, but we
couldn't get anywhere near as loud as what he made a single ohm
do. Outside afterwards, even the kids that missed Lee were buying
Aube CDs. Voice Crack next.
Voice Crack are Andy Guhl and Norbert Moslang. They reside in
St. Gallen, Switzerland and utilize "everyday cracked electronics" as
instruments. What this means is that they utilize electricity, finding low
level pulses in common everyday items.
However, what was so incredible about this duo's equipment for
the No Music Fest was that most of their devices made sounds triggered by light, rather than human contact. Naturally, the stage was
pitch black while they played. They shone strobes, bicycle lights, flashlights—any kind of hand-held light that could "make" a sound. And
the sound? Think of playing with your grandfather's short-wave radio
while using a blender to change stations... in the dark. I feel like I'm
being operated on on a steel dissecting table in space... and I'm not
minding one bit.
Everyone with passes is allowed next door for Interplay. Meet up ^^Mm
Art Pratten's collection of homemade "prattivarius" violins
with Ben Portis in the flesh, after seven months of e-mail tag. Thank him
profusely for this wonderful event. He invites Mo and I to the No
Banquet, a brunch before the exhibition tomorrow. Artists and press
only. We are more than honoured to accept.
Oy vey! Interplay! Picture a "stage" (a platform five inches from
the ground) in a small dark room filled with about a hundred people,
almost half of whom are the performers themselves. Then picture
being able to call individuals from the roster of all of the festival's performers to play jams in infinite eccentric combinations. Spasm Band
vs. Eric Stach. Ranaldo vs. John Boyle. Black Auks vs. Spasm Band.
The intermixing went on until the whole noisy structure threatened to
topple over but didn't. Everyone was so focused in making each jam
work that it was a pleasure to witness. This continued for hours into the
night, numbers dwindling gradually until I believe the number of performers present far outnumbered the audience. Exhausted as we
were, we couldn't bring ourselves to leave until the last note had finished. Home by 4:00, tried to unwind with cable TV, but only Altered
States was on, so sleep was pretty sparse. (Try relaxing to
and you'll see what I mean.)
Wake up for the No Banquet at the London Regional Art and Historical
Museum for 12:00. Chat with Jason Bellchamber, resident of London
I. There
few of whom speak the
:tly, but there's a surreal
wer, that surreality does
view He's busy dis-
ind producer of the No 99 bo
something somewhat absurd about eating
urn full of bizarre experimental
same language. Hard to put your finger on exc
tinge to the experience. We note happily, how
not detract from the enjoyment of good mousi
Annoy the hell out of Lee for a two-minute
cussing digital track recording with Tim Glasgow, the soundman for
the festival. Upstairs to the gallery for the grand opening of a 35-
year retrospective on the music, art and spectacle of the Nihilist
Spasm Band. The exhibit put into perspective how fucking important
these seven artists are. A massive installment of the band's homemade instruments and artwork, videos of live performances, memorabilia and much more only got Mo and I even more excited that we
would actually witness them in action that night. When I get to talk to
Lee, everything I was going to say flies right out the window, so I talk
to him about his stolen equipment and guitar tunings. Like he hasn't
heard that before. Picture Chris Farley smacking his head, doing his
"Stupid! Stupid! Stupid!" routine.
Back home to relax, watch the movie Billy Madison in French
(surprisingly, it gains something in the translation), Aeolian Hall by
8:00 for Unclean Wiener.
If you haven't seen Unclean Wiener yet, please take advantage
of the fact that these delightful weirdos live in this city and play quite
often. Petra Erstenuk began the show by singing a beai
terrupted, on a dimly lit stage, until two men, yelling like they had
just been released from the London Asylum, walked through the audi-
"n clown costumes. Petra disciplined them '
guage until they went away, only to return in the
ss later and be invited onstage to literally make as much bloody
s possible. Films displaying bassist Shawn Bristow eating dis-
arded condoms off of the road and a gangster film that could easi-
:ular dis<
NSB's electric razzo (note earplugs)
ly have been directed by The Residents played c
lights surrounded the stage as Galen Curnoe tried on a various assort-
of hats while drumming furiously. The set ended with Shawn and
Galen "dying," and Petra trying to bring them back... to no avail.
Time Of Death: 21 hours 12 minutes. Ready for the enigma that is
Mne-mic are a female duo from Tokyo, Japan. Ranko Onishi
screams, Mayuko Hino doesn't. Ranko walked onstage with a fireplace bellows in one hand and a mic-ed bottle of water in the other.
She opened the bellows and let it naturally let air out, creating a high
pitched sigh that lasted about a minute or so. Each time it ran out, she
lifted the arm again to perpetuate its "breathing." An accomplished
Butoh dancer, she danced with the bottle in hand. You could hear
every aquatic sloosh and splash, kind of a "breathing underwater" if
you will. Mayuko emerged and took command of her table, which
contained a Roland SH 101 synth, theremin, and about 10 effects
pedals. (Anyone out there heard of an "Xtortion" pedal?) She expertly wobbled and smashed at a sheet of metal wired to her effects, creating a thunderous cacophony. At times she even mounted her effects
table, using her knees to hit pedals. What she managed to create on
a decibel scale is indescribable. All I know is the instant she started
playing I realized I had forgotten my earplugs at Mom's house, and
immediately ran to go buy some in the lobby. Ranko wailed and cried
throughout the pandemonium, then sat in a chair and proceeded to
flail her body repeatedly onto the ground. This is noise pure and simple, with an emotion and meaning behind it I one day hope to understand. I require many, many cigarettes afterward.
On to the stars of the festival (and of the previous two), the legendary Nihilist Spasm Band. Bassist Hugh Mclntyre was regrettably
absent, but lead man Bill Exley took charge with the wit and charisma
he had been showing all weekend. After introducing the members of
the band, he went into a new song entitled "Meat Eater." "I did not
climb to the top of the food chain to eat salad!" he boomed in his
deep oratorical voice. The band then broke into their racket like
they've done since '65 (and hopefully continue to do) the only way
they know how. John Boyle on kazoo and drums (this ain't your grandmother's kazoo), John Clement on guitar and drums, Murray Favro on
guitar, Art Pratten on water pipe and vioims (handmaae Dy mm, •:■■*.
refers to them as "the pratt-a-varius") and Bill Exley on vocals and
cooking pot. It was a wonderful thing to witness these men, so obviously used to playing together, come up with these improvised methods of sound. It struck me only then that the Spasm Band are true
nihilists in the sense of simply "just saying No" to mundane musical
restraints such as structure, tone, or melody. After inviting a few guests
on stage (including Paulina Wallenberg-Olsen doing a brilliant version
of "No Canada," a Spasm Band classic), it was next door again for
part two of Interplay.
Paul Dutton vs. Erstenuk (Unclean Wiener) vs. Guhl (Voice Crack).
Pratten (NSB) vs.Guhl vs. Rosenberg (Black Auks). Moslang (Voice
Crack) vs. Aube vs. Clement (NSB). Curnoe (Unclean Wiener) vs
Boyle (NSB) vs. Aube. Hino (Mne-mic) vs. Exley (NSB). And soon,
into the night...
Wind up discussing Jodorowsky films with a local kid. Just sitting
back and witnessing both spectator and performer realizing that
something truly unique and special was happening, and like all free-
form improvisational music, could not be recreated. A meeting of cultures and styles and generations; collaborative magic forged by
mutual respect and (anti)musical solidarity. Mo and I say our goodbyes to everybody and somehow feel like we're kids on the last day
of summer camp, hugging people who were strange faces just a few
days ago and promising to keep in touch. We're both secretly already
planning our return trip for the next year's festival when the word that
there will be no future festival begins to circulate. We're disappointed,
but it does make this year's experience all the more meaningful—we
know it would be too hard to replicate anyway. Flight tomorrow. I
think I read that the plane is showing A Straight Story, the new David
Lynch... Yeah, flyin' ain't so bad. •
Mne-mic's ear-piercing set up Strut & Fret
Presented by Ruby
Friday, May 12
Performance Works
Subtlety, seduction, subversion
Three of the sweetest S-curves in
life and not one of them within
wailing distance of this production. Its politics got through customs, and technically, the thing
chugged along like a shiny new
Beemer. it wasn't boring. But
then neither is being beaten over
the head with a blunt instrument.
In a staggering array of
numbers, the tireless cast of five
satirized everything that a yuppy or an arts whore
could be accused of We had
road rage, sex enhancement
videos for couples, New Age
mothers, Bard on the Beach,
Ikea cartons recycled as homes
for the homeless (that one I found
offensive, though probably not
for any reasons they intended),
insensitive tourists, hopelessly out
of touch social workers, the
exoticization of people of colour
and much, much more. And lest
we forget how cultured we are,
a few hapless right-wing yobbos
were trotted out for a round of
ridicule There were lots of inside
jokes (mostly arts-related) to flatter the audience. All in all, I'm
reasonably sure that no one
learned a fucking thing Not too
good   from   a    show   whose
The problem with such obvious satire is that everything
comes thundering through the
front door. Without the element
of surprise, we are also deprived
of revelation The barbs were up
on the radar screen long before
they hit. Targets were so broadly
drawn that even the guiltiest parties in the audience couldn't possibly have seen themselves in
these grotesque, overblown
stereotypes. How could they be
expected to? Much of the content felt like weekend supplement
fodder and whenever an issue
surfaced with a potential for rel-
aged to penetrate to the
personal where provocation and
change really begin   It all got a
How tragic then, that so
much was wasted on this. Pots of
money for a start. The set was
simple yet elegant—a circular
flip-screen facilitated text and
video projection while two
stages enhanced the main performing area cable, but in this
production, four of Vancouver's
finest jazz musicians often came
off sounding  like  hired guns.
The performers—Carmen
Aquirre, Diane Brown, Shawn
Macdonald, David Mackay, and
Ian Ross McDonald—were highly skilled and their physical theatre technique had me gasping
with admiration. The nastiest
and best-aimed piece was a
pop-up adventure story of a
boy's journey from family dysfunction to Youth Rehab. While
one actor read the story, the others played it out in perfect synch
as the book's pop-up tabs were
pulled in and out. Shawn
Macdonald was a special joy to
watch. He's endlessly inventive,
laugh. At
.able   he   ,
times I almost felt that
al's heavy-handedness
tying him down when he
wanted to fly.
Eleven people are credited
with the creation of Rubycab.
Maybe that's how many it takes
to make a Big Mac out of a
cabaret. But then, anything can
get co-opted these days.
Presented by Boca del
Saturday, May 13
Fireball Arts Centre
Seeing this play was like getting
a present that you knew your
friends wouldn't think was cool.
But you love it and you're going
to wear it anyway.
In the middle of a black
stage, a pink-lit playhouse waited like a shard broken loose
from a dream. Into it walked
Pearl, an extravagantly dotty
lady pulling a convoy of little
wagons and miniature shopping
carts. They contained her family—three animal hand puppets
and a ragdoll, all chattering and
whinging at her. Of course they
were aspects of her psyche and
if you wanted you could follow
the complex and beautiful allegory as the story unfolded, but
as Pearl herself might say, "Let's
not get into that." It was just as
rewarding to accept them all as
autonomous characters. As well
as playing Pearl, solo performer
Linda Putnam voiced and animated every one of these critters.
Co-ordinating this bedlam was
no easy feat and Putnam's skill
was at its best when things really got chaotic.
Try to imagine Blanche
Dubois channeling Pee Wee
Herman and you might begin to
picture the wonder that was
Pearl. Obsessive to the point of
needing a special outfit for each
activity, she had a handbag full
of I,
,1 of avc
ance tactics for blowing off difficult or unpleasant thoughts.
Always busy, but never doing
anything (as the Bear was fond
of reminding her) she fluttered
about like a nurturing typhoon.
Yet we always had an
uneasy sense of the outside
world pressing against her anxiously ordered universe—a feeling that was strengthened by the
set design. Whether it was
unfriendly landlords or the dentist she needed but couldn't
afford, the critters forced her to
question her acceptance of it all
Putnam's material and performing style rode a fine line
between unintentional hokiness
and a high parody of the same
For the most part, I'll never know
which it was, but that was part
of the play's seductiveness. Just
when you'd snuggled down giggling into the surreal tweeness of
her world, a blast of cold air
would come in through a side
door. In one such scene, she sat
in a tiny rocking chair, prattling
about her successful drive home.
To "take her mind off things,"
she'd turned on the radio just in
time to catch an interview with a
Central American woman
recounting months of brutal torture at the hands of her country's
government. As Pearl methodically related the story in all its
horrific detail, you had to wonder if we were still in the same
play. Then the action folded in
on itself and you realized that
our space auntie had been setting us up for a challenging
encounter with reality. The story
tripped on, becoming a sugar-
coated nightmare of unfinished
business and fruitless tangents,
made all the more sinister by
Putnam's fairytale delivery.
Whether dealing with trivial
issues or trivial excuses for ignoring big issues, Putnam never let
you off the hook once the penny
dropped. What allowed this all
to go down so stealthily was the
dreamy world that she pulled
you into. Disarmed by the s\
s of it all,
l,ke c
child with my hands between my
knees and learned that I must be
careful of all that stuff that eats
up my time and keeps me away
from what I really want. Good
advice and we've heard it
before, but in the strangest way,
Pearly Mama made the consequences  of  ignoring   it  much
Jf" ******
k /S
, \ ^ i i i
]       lOaW-^'
 111 IJyT
\\\\\   " h
i J :     v
i TA
: /^\j
Vr~v>/    !      \>
• house
• techno
•hip hop / rare groove
• ambient / downtempo
• breakbeat / electro
• trance / progressive
• vinyl, cds, mixtapes
• turntable cartridges & accesso
• mens & womens urban clothin;
102-1252 BURRARD ST (at Davie)
(604)     893     8696
c^sxgs^ Scjs©a@  ^3M^gstons?a
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is August 15,2000.
, -^
DESCRIPTOR! 5 wordsorless):
"    233-6138 SUBBlvd., Vancouver, BCV6T1 Zl fax: 604.822.9364
» 4*i~e. WOO Video Philter
Canadian television: the
yawning saga of a country that barely tries. In this
spartan nation, "Government
arts funding" can be translated
"money to lazy shits who don't
want to do a decent days work
while my hard earned tax dollar
gets pissed away." We are
deprived on a daily basis of
good quality, domestically produced television entertainment.
Apart from the one or two excellent programs available, usually
involving either Rick Mercer or
Don McKeller, we have to make
do with a lot of crappy turn-of-
the-century costume dramas that
equate quaint with cutting-edge,
and an equal number of crappy
comedy shows more hoary than
Catskillsapalooza 2000.
Which is why it's always
better to tape the only five good
shows on North American TV
and head straight to the British
TV section at Videomatica to fill
in the gaps. With the veritable
collapse of the UK film industry a
few decades back, the British
government began pouring funding into television production
companies   like   Channel   4.
Instead of making feature films,
British talent directed their efforts
into   theatre-quality   t
.  The
suit ha<
been a cornucopia of riveting
which have been screened in
recent film festivals, and many of
which are available for rental as
well as showing on Canadian
cable channels like Bravo and
Innovative and provocative,
the recent spate of British minis-
eries to be ferried across the
Atlantic have easily demonstrated what great television looks
like. Although these Anglo-
imports are rife with classic
Victorian fiction adaptations
(Austen, Bronte and Dickens fans
need never starve for on-screen
petticoats and good manners),
more post-modern works also
One of the most status-quo-
disturbing is Queer as Folk, a
five-and-a-half hour trip through
Manchester's gay scene which
was produced in two parts—the
first series of eight episodes
filmed in 1999 was followed up
by a three-segment coda in
2000. While othe    '
ture gay characters who quip
and dance and have multiple
partners, Queer puts the boys-
who-like-boys front and center
and never takes its eyes off of
them as it peers into the dark,
and brilliant, aspects of their
lives. Notorious for it's explicit
involving a character only 1 5
years old, Queer as Folk doesn't just use the homo mystique
for a few quick laughs and a pat
lesson on inclusion. Amidst the
hilarious writing, camp characters and endless nightclubbing,
a very real group of men is
revealed in its full humanity. At
the centre of the male-strom are
Vince and Stewart, two lads
who have grown up gay together, but who remain "just
friends," despite the rather obvious longings of the too-nice
Vince for the flagrantly egotistical, blatantly sexy Stewart. Into
their mix of nightclubs and day
jobs comes (prematurely, of
course) Nathan, a teenager who
makes his way from the suburbs
down to Manchester's infamous
Canal Street in the hopes of
beginning a shagging hobby.
What makes Queer as Folk such
a mesmerizing view is the fabulous writing; these characters
are never patronized into being
anything more than flawed, but
fabulously funny, humans.
"Bumholes. I offer up to you
rows upon rows of bumholes."
These are the opening lines, not
from the out-of-the-closet-and-sit-
ting-in-your-front-room Queer as
Folk, but a 1995 Dennis Potter
opus, Lipstick on Your
Collar The year is 1956 and
the place is the War Office in
London. The reference to nether
orifices is made by one of the
officers staffing the stiflingly
boring Russian Translation
Department as he attempts to
add a little levity into the crushing atmosphere. Set during the
Suez Crisis, Lipstick on Your
Collar examines—in a surrealistic style fans of Potter's former
work, The Singing Detective,
would recognize—the generation gap of late-'50s England, a
trench that became a chasm in
the early sixties when London
started swinging for good. The
stiff-upper army officers of the
Translation Department are pitted, culturally and attitudinally,
against their clerks: Mick, a
would-be drummer who spends
his days imagining the entire
staff cutting loose in lavish rock
'n' roll dance numbers; Pete, a
career corporal who beats his
wife and intimidates anyone
lower in rank; and Frank, a
Welsh dreamer who wants noth-
i than to worship <
Dial 604.669.5414
Pushkin. Much of the
revolves around Frank as he
woos the blonde bombshell who
lives in the upstairs flat. While
the performances are good,
especially Ewan MacGregor as
the rock-obsessed Mick, the
story is a little forced, and there
are a dozen too many dance
numbers. If more time were
spent understanding the older
instead of just showing
how out of touch they are, the
differences between the two sets
of soldiers might introduce some
poignant insights. As it is, the
young men fall into puppy love
and the old rave for war and the
maintenance of Empire. Then it
A more interesting statement
on Britain's political and social
history, and one which makes
better use of the surreal, is
2000s Gormenghast
Starring Mick Jagger's secret
lovechild, Jonathon Rhys
Meyers, as a social-climbing
kitchen slag, Gormenghast is a
skewered fairy tale about caste
and tradition which looks fabulous and plays like a dream. In
the hermetically sealed earldom
of Gormenghast, which is run
not by its titled lord but by a
giant book of ceremonies, the
Earl Groan has a teenaged
daughter, a wife and twin sisters, as well as the usual trusty
retainer (played in Cro-Magnon
glory by Christopher Lee). The
story opens with the wails of the
heir to the seat as he slips from
his mother's loins, only to be
instructed not to return to her
presence until he is at least six
years old. Meanwhile, in the
bowels of the castle (a building
which seems to encompass two-
thirds of the entire earldom)
a kitchen boy—born to the
kitchens, and thus condemned to
live out his life as their servant-
decides to take his fate into his
own hands and escape. Young
master Steelpike soon works his
charm on various members of
the royal family and their staff as
he aids and abets the castle
intrigue. The veteran cast of
British performers peopling
Gormenghast, including Lee,
Zoe Wattanamaker, Richard,
Stephen Fry and John Sessions,
leave nothing to subtlety in this
outrageous (and eminently
watchable) fantasy whose only
ifall  is a  ridiculous
misogynistic side-story. By the
grisly conclusion, primogeniture
and class systems are stirringly
denounced in a way that would
seem heavy-handed in many
projects, but which fits this fairy
tale perfectly.
Less message-heavy, but just
as atmospheric, is 1998's
Ultraviolet, a science fiction
thriller of the X-Files paranoiac
variety. Little do you know, as
you skim through DiSCORDER,
that vampires are infiltrating the
world. They look like you and I,
but they're infinitely more charming and they prefer not to sun-
tan A very select group of
people has been chosen to
make up an ultra-secret adjunct
to the police department. Their
one assignment is to find bloodsuckers, who are identified as
carriers of the V-virus, and neutralize them. The only valid
excuse you could have for not
being interested in watching
Ultraviolet is an aversion to
entertainment. Nothing deep is
going on here, though the series
is rife with meaningful stares and
allusions to incurable diseases,
but the moody look, brooding
performances and killer story
make this an easy six-hour romp.
If you're an X-Files junkie starving for a little pay-off, or just a
fan of the dark, dank and sus-
penseful, Ultraviolet is your rent.
Pay-off is a rare bird in the
forests of commercial North
American TV; for every Sex in
the City, there are a dozen
Shasta McNastys. While I don't
claim that British TV is an overall
better product than the 100
are graciously allowed by Rogers to
subscribe to, by snapping up a
few quality UK programs to supplement your meager North
American supply (just until Anne
of Green Gables: Anne's
Retirement Home of Dreams
comes on) your entertainment
II be e
H              a               p              p              i              n
On Lovers
It's best to keep your eyes closed. And cross your fingers. If they mov
e their lips to speak, insert your fin-
gers inside their mouth. Then it might last just a little longer.
On Loving
It is undecided whether it hurts more or less to do it privately. There is
no choice, however, when it comes
to whether you should do it at all.
On Love
It's not what you think it is. But the trick is finding someone who is c
s wrong as you. •
DiSCORDER readers are
young, hip, and ready to
buy your products!
Advertise with us and be
seen by 17,500 party
animals in BC, Washington
and Oregon!
J MY   BOOK: june 21
DEAD    ART: june 27
dial ms. hancock for the hookup:
604.822.3017 ex.3
; : ,-S'
nm Under
Beachwood Sparks
(Sub Pop)
While I've lived on the West
Coast all my life, I've never experienced that fabled Californian
"mellowness." I've been to
California once and that was an
eleven-day rush-to-all-the-tourist-
attractions bus ride—believe me,
there's nothing mellow about
that. Come to think about it,
there's been nothing mellow
about me. Between final exams,
work, and various other things, I
could probably use another trip
to California—or anywhere else,
for that matter. So what does this
have to do with anything? Well,
Beachwood Sparks are from
California and their self-titled
debut is full of mellow, country-
tinged rock music that most will
associate with the late
'60s/early '70s. Don't think that
these songs were rejects from
some made-for-TV movie producer who couldn't get the rights to
any country-tinged rock music
that was actually made in the
late '60s/early '70s, though.
These songs are played with a
freshness that makes you want to
wear your cut-offs and go hang
out barefoot in a sunny patch of
grass. Or at least, that's what
they made me want to do. I wonder if my neighbours would mind
if I borrowed their lawn?
Cat Moore
Bright Eyes
I'm in a good mood, and b'ehl
is responsible. Bright Eyes keeps
finding its way into my CD player in the mornings, while I'm getting ready to go out, and right
before I go to sleep. It's too
happy for essay writing; I keep
wanting to dance instead of pondering gender performativity. But
I digress—I should be talking
about how supergreat b'ehl is.
The music lives up to the colourful, childlike watercolour cover
art by band member Allison
Somers. Her art reminds me of
the really great books my mom
used to get from the library and
read to me before bedtime. Eye
candy and ear candy all combined into one blissTuI experience...   could   a  girl   ask  for
This Winnipeg quartet is all
about pop tunes, sweet vocals
and sunny days. Even the rainy
day songs on the album are
charming. It's quite fitting that
their label is called Endearing,
because if I only had one word
to describe b'ehl, it would be
endearing. They're like a
favourite younger cousin: intelligent, sweet, energetic and talented. The songs are very well
crafted, honest and simple. If
78   AAJ^Jf.   WOO
only I could hit those high notes,
I'd be singing along in the car
and even on the 99 B-line bus.
Doretta Lau
Chappaquidick Skyline
(Sub Pop)
Some CDs exist in a narrow
band of reality accessible only
rarely and never predictably.
Listen at the wrong moment...
Poof! Where has all the genius
gone? Chappaquidick
Skyline's debut is one of those
CDs. Erin liked it once, now it
makes her angry. For me it's perfect when I'm feeling neither
aggressive nor political, neither
progressive nor retroactive. Just
a bit of comfort music. Exclaim!
exclaims that it's from Mr. Joe
Pernice, of Pernice Brothers
/Scud Mountain Boys fame,
but I'm afraid all that name dropping did me nothing. Goes well
with Irish cream, maturity, hypersensitivity, tears.
(Emperor Norton)
I had intended to start this
review something like this: "A
modern take on French '60s
porn-music, complete with
naked waif girl on the cover,
perky boobs and all." It seemed
fitting... the tracks all seeded to
be lifted from a porno, a
"classy" French porno at that.
You know the kind: funk with the
back, an organ or something
similar providing a slick, if not
sexy, groove that makes your
groin muscles contract.
However, on reading the
inlay I found the original purpose of this record was a little
different: "Cinemaphonic is
production library music.
Background music... Unearthed
from forgotten libraries, [this
CD] is a collection of vintage
grooves created by talented
musicians who worked steadily
for years cranking out tune after
tune for use in film, television
and radio production." Very different from my original thoughts.
I don't recognize any of the
contributors, and maybe that's
the point. These people have
been working (mostly in Europe)
producing some great electronic
based funk and grooves, with little or no recognition. And finally, a decade or two later, we get
to hear them all.
This album makes me feel a
little dirty, voyeuristic. Even
though I've managed to live 24
porno, if I were to see one, I'd
want to watch the one that had
this soundtrack. It would be
svelte and sleek, yet just dirty
enough to make me feel sexy
and horny... umm... I mean, I'm
glad they've released all this
Anthony Monday
The Walls Ablaze
(Mr. Lady)
The increasing ease with which
a person can record and
release an LP is undeniably a
good thing. Unfortunately, the
consequent increase in the
quantity of music being released
has, in some senses, led to a
decrease in quality. More crappy stuff gets released, CDs
become clogged up with substandard tracks and talented
artists—like Sarah Dougher—
spread themselves too thin.
So, hot on the heels of the
new EP from Cadallaca—one
of Dougher's various projects—
comes the follow-up to her last
solo LP, Day One, which
appeared on K Records. The
Walls Ablaze continues the
indie torch singer approach of
that recording. This time around,
though, Dougher has a sturdier
rock backing and develops a
style that tends towards standard indie rock, with jangling
guitars to the fore.
It's a pleasant sound but it
hardly stands out in the increasingly crowded marketplace.
There's nothing here as haunting
or poignant as the best songs on
her last LP, she's not in such
powerful vocal form this time
around and the whole thing is
marred by a rather weedy production job.
Dougher, like a lot of
today's musicians, seems to lack
focus and the faculty for self-criticism. A considerable talent is
Figure 8
For some strange reason, every
time I've set out to listen to this
record, I've fallen asleep. It
doesn't matter where I am,
either. Last night, with a desk
lamp shining almost directly into
my face, I nodded off sometime
during the middle of the album.
Also strange is the fact that
there's probably no particular
part of the album that sends me
off to the land of nod—it just
happens. It's not as if it's just
Elliott and his guitar either; most
songs feature a full band and a
few songs utilize a string section. I've also been well-rested
lately, so I'm not overtired. No,
if I may make a diagnosis, my
drowsiness is most likely caused
by two things: the length of this
album and the prettiness of the
songs. Fifteen (the 16th track is
one of those throwaway bits
included in every other CD these
days) very pretty, very polished
songs are bound to cause anyone to fall asleep very quickly.
By the evidence I've gathered
during my waking moments, it's
a good album—the songwrit-
ing's there and everything—but
perhaps it's too nice a record for
its own good. Or, at the very
Cat Moore
here is where tomorrow
Imagine pop-punkers Punch-
buggy playing emo music not
very well, and you basically
have Ottawa's endgame.
Ironically enough, the reason for
this comparison would be
because endgame's drummer,
Andrew, played rhythm guitar,
and vocalist/guitarist, Bryan,
played guitar and sang in
The sad thing about it is that
it is quite probable that there
are a lot of aspiring rock stars
out there who can play emo as
good, if not better, than this trio
without even trying. This album
sounds like it was all done in
one take, and unfortunately, I
don't mean that in a good way.
Endgame is loose and unpolished and it barely sounds like
they care. The rhythm section
can't keep it together, and what
are supposed to be difficult and
intelligent-sounding time
changes simply sound like mistakes and noise. Not unlike a
bunch of high schoolers with lots
of potential, but A LOT of hours
in the garage ahead of them.
Out of the eight tracks on
this, the only one that really
turned my crank was "Summer's
Away," which sounded a lot like
early Jawbreaker, or even
some of the new Jets to Brazil
stuff. Despite the lofty comparisons, this CD really does not
warrant them.
I knew Punchbuggy had lost
their edge, but their worst output
bettered this.
Mike Chilton
(SeeThru Broadcasting)
From the remains of Brainiac,
John Schmersal ascended with a
4-track in hand and began
developing material that eventually saw the light of day
as John Stewart Mill.
Discovering then that he was
sick of Kentucky, John scurried
up to New York and formed
friendships with Rick Lee and
Steve Calhoon of Skeleton
Key. The trio, with their many
odd musical interests, developed
Enon and blessed us with
Believo! is one of those discs
which is always difficult for the
lazy music critic to describe.
And I am that critic. Enon is listener friendly in so many ways,
with its abundant melodies,
these boys could enjoy a large
cult fan-base. Perfect post-rock,
college radio, deconstructionism
furthered still by the swell production of Barkmarket's Dave
Sardy. Getting the point, my
friend? One of their main tools
of craft is the element of noise:
LP pops, strangled alarms, carefully/poorly chosen samples and
distorted vocals create beautiful,
difficult listening.
8/eelc Emerson Winchester III
Great Lakes
It's like being in The Muppet
Show... you know that happy-
go-lucky country twang with the
dull piano. All I picture are felt-
headed creatures bopping up
and down, side to side, smiling
their demonic felt smiles. I'm
flashed back to the seventies,
shag carpet and all, and the
Swedish Chef is wiggin' me out
because he has REAL hands...
REAL   hands,   and   a   PUPPET
No, its not like that. At least,
not entirely like that. But the part
about the bopping muppets is
bang on. These three chaps from
Georgia play with all the
earnestness and simple honesty
that they can muster—I believe
that—but the music that they
play seems ideally situated in a
seventies basement pleasure
den, with orange carpets and
shaggy hair-cuts There's just a
few too many organs, clarinets
and dull pianos along with their
stylishly out-of-tune voices and
quiet electric guitars for my
tastes. I think I just have a problem with the '70s. It's my issue.
I'm dealing with it in my own
special way, but Great Lakes
is not helping me. Every time my
roommate plops on the CD, and
those Air Supply sounds skip
down the hallway to my room, I
can't help but get palm sweats
and have flashbacks of polyester
t-shirts and brown everywhere,
^brown and orange everywhere.
Not good.
I mean, if you like the '70s
and are down with things like
funk, and shag carpets and
Supertramp, this is your kind
of record. I, on the other hand,
will be hiding in my room, away
from all the polyester and disturbing muppets.
Anthony Monday
A Little Bit of Something
(Mo' Wax)
There are three things that I
should've seen 14 years ago but
didn't: Big Black, American
Music Club, and the original
Bones Brigade. Unlike good
records, good skateboard
videos are rarely reissued, so I
can only read about The Search
for Animal Chin and Tommy
Guerrero, "one of the greatest
skateboarders of all time."
I picked up this CD so I
could write "Washed up skateboarder tries and fails at making
music." There. I said it. But it's
not entirely true. Unlike Mark
Gonzales' crappy performance
art and poetry, A Little Bit of i
Something is surprisingly good. I
Seems like Guerrero did every-
vnery) caff
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23-Joty ©^ thing on this album—from playing all the instruments to recording himself (he makes sure we
know it—his own name appears
on the liner notes eight times).
His songs are instrumental and
short. Although he hits a few
Adult Contemporary rhythms,
the Latin guitar is clear.
Guerrero's music makes me
want to open the curtains and
let the su... I mean the clouds...
forget it.
I'd gladly trade A Little Bit of
Something for a copy of Animal
Chin, but until I find someone
who's stupid enough to make a
lopsided trade, I don't mind
holding onto this little album.
Christa Min
Fought Back and Lost
(Sympathy for the Record
Like their kindred spirits The
Oblivions, The Hard
Feelings know that the roots of
rock 'n' roll lie in the blues, and
they play with a sincerity that
most bands seem content only to
ape. What's even more surprising is their age: I'd guess that
these guys are barely in their
twenties, guitarist Schooley
being in his late teens when he
formed The Revelators, a
short-lived group whose only
album for Crypt Records spat
out more razor-sharp garage
punk blues songs than a nest full
of vipers. And that's how his guitar playing sounds on Found
Back and Lost: slithering, sliding, sending shivers down your
spine full of moonshine. Bassist
Andy Martin and drummer Trey
Roblez (along with former Jack
O'Fire frontman Walter Daniels
on mouth harp) howl and bark
along, keeping the voodoo beat
steady and ready to go! go! go!
No hard feelings here, just some
fine back-porch, smokin' torch
swamp swagger that me likes a
Bryce Dunn
Survival Sickness
(Burning Heart/Epitaph)
When I first heard this young
Swedish quintet, I made some
instantaneous comparisons to
musical brethren The Make
Up and The Delta 72, bands
who incorporate the sounds of
'60s garage and soul to send
their message (in the case of The
Delta 72, to simply shake a tail-
feather, and for The Make Up,
to shake a tailfeather while saying Yeah! in a quasi-religious
style). But for our European
friends, this is only half of the
message. After listening to their
latest manifesto, it goes much
deeper, to an almost educational level of self-awareness about
your own surroundings and the
life you live every day. It's like if
all the great socio-political figures of the last 40 years got
together to throw a party, this
would be their soundtrack. The
lead-off cut, "I Wanna Know
About U," takes a simple but
catchy guitar riff and loops it
around a questionnaire about
self-realization while "The
Reproduction of Death" contemplates the issue of economic
consumption feeding off of physical needs to the point of
exhaustion but rocks the joint
with Kinks-like proficiency.
Such is the formula behind this
revolutionary band. In a time
where music is intended to be
enjoyed simply for the style, The
(Inter-national) Noise
Conspiracy sets fire to your
feathers in the hopes that you'll
be thinkin' while you're dancing
your ass off.
Bryce Dunn
Inward Journey
(Good Looking)
He was one of my earliest
favourites in drum 'n' bass, and
he still is. In the drum V bass of
late, I'm hearing a lot of spiky
basslines wrapped around
rhythm sections guaranteed to
tear you apart. It's nice to be
reminded by artists like LTJ
Bukem that the jazzy and sublime are completely compatible
with this genre. This two-disc
release also contains some
down-tempo tunes that are slick
and funky. In fact, one track contains a three minute cello solo,
and it fits beautifully. For those
who enjoyed Earth: Volumes
one and two and the variety
contained within, Inward
Journey will definitely be to your
liking. The beats are still driving,
but the cool basslines keep the
overall atmosphere mellow,
making the album very listen-
able on and off the dance floor.
It's unfortunate that he wasn't
able to make his appearance at
Sonar recently, but to make
things better for now, it couldn't
hurt to give this one a listen.
Samuel Kim
Macha Loved Bedhead
In Name and Blood
(Sub Pop)
Here's some advice to anyone
about to embark on a big trip:
take good music with you. Mix
tapes often do the trick, but it
never hurts to take along a few
new albums to add a little spice
to your life. As I sit here in the
middle of the Netherlandish
nowheres and listen to bad Top
40 radio, I am thankful that
when I go my friend's apartment, I can crank up my
Bedhead CDs, watch
Powerpuff Girls on Cartoon
Network, and feel as though I
never left home. To give you all
an idea of the sitch here, I sent
my friend three CDs for her
birthday—Le Tigre, Jerk
With A Bomb, and Air All
three are still in their plastic
wrap, gathering dust on her
bookshelf. Ikes!
I've been listening to my CDs
while she's away at work, and
it's doing wonders for the jetlag.
The collaboration between the
Brothers Bedhead (now defunct)
and Atlanta's Macha is one
which   inspires   nothing   but
happy thoughts in my head. It's
a shame that it's only an EP, as
the ideas at work here would
have made for a brilliant full-
length. The Bedhead boys laid
down the basic frame of the
songs, and Macha went and
lushed them out. There's nothing
like hearing some big horns
attached to the beautiful mean-
derings of traditional Bedhead
fare. Ahhh... I think that I even
like the mellowed-out, telephone-
button sounds of the cover of
Cher's "Believe." Not just an
annoying novelty, it comes
across as a viable song without
all that dance-y crap tacked on.
I do not dare to try and play the
new Devils CD while my
friend's at home. This ever-hard-
rockin' band is not, shall we
say, Dutch-techno-fan-friendly.
I'm sure there are a few crazies
over here who like the band,
though, as they're scheduled to
play a metal festival at the end
of May. I'm crossing my fingers
that I can go, just so that I can
be the cool one standing at the
front who already knows all the
words to all the songs on the
new album. The Devils' third
release shows that they are the
eternal purveyors of cool. If
you're not aware of the magic
of this band, live or recorded,
check out their new, big label
release. The music is as tight as
ever. The lyrics are also as smart
as ever. I've got to stop listening
to this awesome stuff, or I'll
never remember how to speak
Julie C.
Party Girl
On stage, Carolyn Mark is a
gorgeous drunken charmer who
bats her eyelids while swearing
like a prairie trucker; so at first
listen Party Girl seemed unremarkable in comparison. A bit
flat, a bit more poppy than I
expected—a bit, well, average.
However, a few more turns on
the CD player have brought out
the highlights. Mark, former
Vinaigrette and the other half
of The Corn Sisters, has a
voice that sneaks up on you
sweet and low. Where did she
pick up a drawl like that in
Victoria? She recorded this
album in studios, bars and farmhouses across Canada in some
very talented company. The
boys and girls croon the backup
shoo-wap, and there's a beautifully subtle trumpet on "Don't
Come Over Baby" that is worth
the slow tunes that follow. It's all
about life lived and love lost on
the Canadian honky tonk, so sit
you down, buy another round
and give it this album the
chance it deserves.
Anna Friz
After years of toeing the line
between over-the-top punky pop
and sellout shite, The Mr. T
Experience have taken their
eyes off the real prize and fallen
into a potty hole of their own cre
ation. Covering themselves in
personal isolation booths, the
lads laid down what they
believed was a book on rock 'n'
roll but only managed enough
content for one of those flyers
that bonds itself to your windshield after days of rain. Boo.
Hiss. Shame.
What You See
(Fat Possum)
Fat Possum has been on a quest
to find "authentic" blues sound,
preferably in a gin-joint back in
the southern swamp, preferably
played by some gold-toothy-grinning oldster of 70. And thanks
to the Possum we have the likes
of T-Model Ford and RL
Burnside back on tour. But
blues is a living tradition, and
people live the lives they sing
about—it may be true that that
RL Burnside keeps his fridge
chained and locked shut to keep
his kids from stealing his food,
but it's a story that's quickly
becoming the stuff of urban
white folklore. So before the
blues is hopelessly typecast,
bring on Super Chikan.
This is the kind of blues that
drives a big-ass Chevy pickup.
James "Super Chikan" Johnson
ain't no Mississippi delta shack-
dwellin' hoodoo man, he's pure
trailer park wah-wah pedal truck-
stop blues, with some deep
southern rhythms tossed in for
good measure. What you see is
what you get for sure—songs
like "El Camino" and "Okie
Doak" make you want to dance
late at night and swill cheap
American beer until your
cheatin' baby comes home. He's
soulful, he plays a heavy groove,
he scats like Screamin' Jay
Hawkins, he crows and cackles too—he's all that and a bucket of chicken. "My mama told
me you better be careful yodel-
ing like they white folks, they
might think you a coyote or
Anna Friz
You Can Always Get What
You Want
(Thrill Jockey)
Trans Am is one of the first
wave of US post-rock groups
that followed in the wake of the
original early-'90s UK scene.
Although post-rock has becoming synonymous with lame post-
Slint guitar instrumental, Trans
Am are closer to the "true" spirit of the genre. That is to say,
they use rock means for non-
rock ends and vice-versa. This
creates a dynamic tension all
the more powerful because
Trans Am put the two elements
(rock and non-rock) in such radical opposition. You Can... highlights and celebrates the
differences between musical
styles, creating a genre-bending
friction that sends sparks a-fly-
The two main elements at
play here are '70s-style head-
banging rock and nu skool
breakdancing electro. When the
two are brought together the
effect is pretty phenomenal.
Unfortunately, much of this
album is made up of tracks
which highlight only one or
other of the elements. This is,
perhaps, a function of the disc's
format—basically a compilation
of rare, previously released
material. In this context, the
moody electro stuff fares better
than the rather pointless rockier
tracks. What this reveals is that if
Trans Am's (mostly instrumental)
tional content, it comes from the
same sense of haunted alienation that gives Detroit techno its
Still, in all its abstraction,
Trans Am is a beguiling and
forceful band. And, in its
raggedness, this album acts as
an excellent introduction to their
range and raw power.
Sam Macklin
White Pepper
"Back to Basom" from Gene and
Dean Ween's seventh studio LP
sounds like a contemporary
attempt to simulate a fictional
mid-'70s collaboration between
ELO, Wings and Mike
Oldfield Meanwhile "Bananas
and Blow" is an out-and-out
homage to Jimmy Buffet and
"Pandy Fackler" is a love song
for a destitute prostitute. These
should not be good things. But
Ween have always been driven
by their malevolent deity
Boognish, who commands them
to make the unthinkably distasteful strangely appealing.
White Pepper is the by now
familiar mixture of satirical-
but-loving pastiche and
perception-altering psychoactive
abstraction. Sadly some of what
made earlier efforts, like their
magnum opus Pure Guava, so
wonderful and unique is absent.
The boys have moved toward a
more homogenized psychedelic
soft rock sound and ditched a lot
of the lo-fi waywardness that
gave the early works their unconventional edge. The fact that the
lyrics aren't as appallingly offensive this time around is probably
no great loss, though.
More to the point, this
album is packed to the pips with
grade A Ween moments: the
analogue wooshes on "Exactly
Where I'm At"; the caustic sitars
on "Flutes of Chi"; the hilarious-
yet-touching lyrics to "Even if
You Don't" and "Falling Out";
the very metal onslaught of
"Stroker Ace"; the drunk-ass elevator music of "Ice Castles"; the
atonal electric piano solo on
"Pandy Fackler."
People often look aghast in
horror when they find out I love
Ween. "Why?" they beg slack-
jawed. Well, all the answers are
on White Pepper. This band's
imagination, daring and craftsmanship put the rest of the indie
rock scene to shame. Next to
Gene and Dean, just about anyone looks like a bore, a snob or
a downright incompetent. Hail
Sam Macklin
thursday, june 22, 9:30pm
Jazz Fest
Saturday, june 24, 8pm
Bob Murphy Trio
Bunco & the Single
Malt Quartet
Wednesday, june 28, 8pm
Bunco & the Single
Malt Quartet
friday, june 30, 8pm
Bruno Hubert Trio
Sunday, July 2, 8pm
Alita Dupray Quartet
Noel Bennet Trio
cafe opens at 8 pm
3611 west broad way
738. 1 959
19 E^§SSHSjB Real Live
Wednesday, April 26
It's not often that you get to see
four legends of dub performing
together, but that's just what
Sonar offered the dub faithful at
the Blood and Fire Sound
System show. Trinity (aka
Wade Bremmer), Dillinger (Lester
Bullock), and Ranking Joe (Joseph
Jackson) each performed a marvellous set to the sounds chosen
by selector Steve Barrow. Despite
the somewhat disappointing
turnout (the stage side was filled
to about two-thirds capacity), it
was nice to see many of the usual
suspects in the crowd: you know,
those people whom you don't
actually know and never see
except at shows... but you see
them at EVERY show.
Despite the mediocre turnout,
the energy of the faithful made up
for any energy that might have
been lacking due to numbers.
The show started a little late, but
was well worth it. While Trinity's
delivery was the smoothest, it
was Ranking Joe that put on the
most entertaining set of the
evening, moving repeatedly from
the stage to the crowd and back,
feeding on the energy on the
dance floor. Dillinger and
Ranking Joe also put in entertaining sets and Barrow's choices
were immaculate. The final number featured all three Blood and
Fire DJs on stage freestyling with
local rappers Ndidi Cascade
and Matriarch QB. Nice. My
only real problem with the show
was the atmosphere of the bar
itself. It really sucks to see a dub
show in a smoke-free bar!
Whether you're puffing or not,
the smoky haze of pot and cigarettes blending with the light
show is an essential part of the
dub experience. Then again,
what does the city of Vancouver
care about people enjoying a
Saturday, April 29
Stanley Theatre
The Guerrilla Girls opened to
a crowd filled with the hippest
and most outraged art scenesters.
Of the Artropolis series, this was
the most highly anticipated show.
The conscience of the art world
was finally here. And just in time,
considering all the greasy palms
down   at   the   Vancouver   Art
The Girls, masks grimacing
viciously, strode on stage, huck-
ing fast-flying and dangerously
overripe bananas into the audience. Between ducks and lunges,
I noticed with disappointment that
only two measly gorillas had
crossed the border to shake
20 i^«. WOO
things up. Two! Somehow I had
imagined an entourage, a fleet,
at least a sextet, of masked
avengers But I guess rubber,
fake fur and just a few angry girls
can still cause a minor revolution
Predictably, they began by
narrating the tired stereotypes
and multiple difficulties women
artists have had to face, covering
backlash spawned by their own
token amazon victory tales. From
there, they discussed posters and
campaigns from the comfort of
the on-stage armchairs
Generally, though, the show
lacked the punch the politics
seemed to promise. Even the
Guerrilla fatigues failed to shock:
gone were the fishnet stockings,
the backless dresses and orange
socks displayed in the past. The
masks were fearsomely hilarious
as usual, yet matched with bodies bedecked in a modest, all-
black pants suit and jumper.
Taking time to explain the inside
jokes of their recent crusades, the
girls—introduced as Frida Kahlo
and Kathe Kollwitz—shamed the
film and theatre industries, pointing out that since the inception of
the Oscars, only two female
directors have ever been nomi-
/ing ir
the "Tribute to Georgia
O'Keefe," performed by Patricia
Ludwick and Susan Astely. The
50-minute (!) monologue was in
painfully boring contrast to the
humor, insight and sarcasm of the
girls; here, the height of the dramatic action was when Georgia
O'Keefe rhetorically asked the
audience if we liked mint tea.
When the Guerrilla Girls
returned for question period, the
nitty-gritty of art/activism/politics
was delved into in detail. Why
had they charged $40 per ticket
if they want to involve the masses? Why critique texts that had
made positive contributions to
writing? With their fame, had
they sold out?
Artfully, the girls answered
with a combination of earnest,
frank dialogue, jokes, riddles and
evasions. Still, let's hope that next
time they book two shows—the
pricey fundraiser night, and the
low-budget, hands-on activist art-
making five-buck extravaganza.
Namiko Kunimoto
Saturday, May 13
Marine Club
For New Music West, Endearing
Records put together a swell-as-
hell showcase. Too bad for those
who saw Bif Naked instead. I
parked so far away from the
Marine Club I missed the first half
of Porter Hall's set. So did a
number of people; the place was
nearly empty to begin with. The
lead singer was sick, but still
managed some rough yet energetic vocals with indecipherable
lyrics. The "meat stinks" sticker on
his guitar was groovy. The quartet from Calgary put on a fast
and loud show for those of us in
When Vancouver Nights
took the stage, a crowd had finally formed. Dan from Destroyer
played guitar, making more than
one indie kid betray a little emotion. The lead singer possesses
funky keyboard skills. She and
Dan sang an off-key, but pleasing
duet. Maybe her cool purple
dress/pants outfit was affecting
my perception, but the music had
this vintage feel to it. Something
was missing though. The crowd
was there, but the energy hadn't
peaked yet.
Maybe I'm biased, but things
picked up when b'ehl took the
stage. I've been digging their
album Bright Eyes and wanting
i them live. The verdict: fun.
(I <
inted r,
arks, but thought it would be
overkill). Their bassist, Bob
Somers, has a lot of energy. Their
music had a lot of energy. The
vocals of Allison Somers and
Melanie Barnes sound just as
sweet and clear live as they do
on the album. But it was clear
who the majority of the crowd
had come to see: Plumtree. As
always, the band was charming.
Contrary to the sucky Chart magazine review of their new album
("they gave us 2 out of 10"), the
girls did not sound like moose. I
don't know how anyone can mistake the upbeat, pop-rock sound
of Plumtree for an awkward animal. Lumbering they were not.
The girls from Halifax got (some
of) the crowd dancing, or at least
bobbing their heads. I spotted
one or two people singing along.
I'd never seen or heard the
Salteens. The description I had
received: "They are poppy. Their
songs have a lot of ba-ba-ba-ba
in them." They lived up to it. At
first, I could only see the girl with
the tiara. I thought the vocals
were hers. Pretty sultry. Then I
stood on a chair and realized
that they belonged to Scott, the
singer. Very retro. Marcia from
The Brady Bunch would have
been in love. On the long trip
back to the car we passed by
three clubs, but no one looked
like they had as much fun as we
Sunday, May 14
Commodore Ballroom
I didn't experience The The until
1992. It was then that my high
school sweetheart, who was
about to get deflowered, chose
Mind Bomb as his soundtrack.
From that pivotal evening in the
Calgary suburb of Canyon
Meadows, I have associated The
The with lust, angst, and intensity
(three emotions that I find hard to
come by in my pot-addled,
numbedout 20s). So it's no wonder that, breaking up with said
boy in 1994, I couldn't listen to
The The anymore. I couldn't GO
THERE. And, incidently, Matt
Johnson didn't release another
album for seven years after
1993's Dusk, so I wasn't forced,
out of curiousity and fanlust, to
visit the lair of The The again
I wasn't prepared for the
tracks from The The's recent
album Naked Self and they hit
me "zero at the bone." Playing in
front of a bare brick wall set and
soaked with red lights, Matt
Johnson looked ultra old-school
alternative in black jeans and a
black button-down. He was so
fucking good. His band was so
fucking good—all three members
had vastly different styles (resulting from their differing musical
backgrounds in hard rock, jazz,
and country) that complimented
each other to perfection. Any
musician that plays with the army
that is Matt Johnson had better be
very resilient, and the current
members of The The have each
worked with legendary personalities. Drummer Earl Harvin was
playing with Sly & the Family
Stone when he was only 13. He
was funky, heavy, and raw like
sushi. Lead guitarist Eric
Schermerhorn (Iggy Pop) was
a sonofabitch, coaxing strange
and beautiful moans and shrieks
from different guitars. Bass player
and soprano singer Spencer
Campbell (Frank Sinatra,
Kenny Rogers and Merle
Haggard) had finger skills as
enormous as his comrades', but
what really stood out for me were
his gorgeous, haunting backing
vocals—like J. Mascis, only in
tune. Rumour has it he's a castrate The The tore through a lot of
material from Naked Self, as well
as old faves like "Beat(en)
Generation," "Armageddon
Days," "This is the Day,"
"Heartland," and the highlight of
my night, "Infected." When they
played the latter, I got more excited than my dog does during off-
leash hours at the Nelson Dog
Park—spazzing, convulsing,
drooling and providing my companion with much amusement. It
was cathartic. When it was over,
I felt alive and lusty and very,
very grateful. If you missed what
may well become my favourite
show of 2000, take heart: Matt
& Co. hinted that they would be
coming back at the end of their
Monday, May 15
Wow, Sonar is finally starting to
become one of Vancouver's few
viable venues for dub and reggae. This Monday night it was
The Mad Professor's turn.
Although I was a little disappointed that he didn't bring a live
band with him this time, as soon
as the show itself got underway
all my trepidation evaporated.
The Mad Professor cranked
out beat after beat, seamlessly
melding atmospheric dub with
heavy drum and bass beats that
kept the crowd in a frenzy all
night long. I must say I was rather
surprised by the beats... but then
again, dub is one of the roots of
drum and bass, so I shouldn't
have been taken aback I spent
the entire show dancing beside
the speakers feeling my internal
organs vibrating to the droning
bass: a sublime experience.
In true collaborative dub
form, the Mad Professor and his
free-styling sidekick (whose name
I forget) used the show as a
showcase for artists on his record
label (Ariwa) rather then the Mad
Professor's own work. Track after
track from such dub luminaries as
Lee "Scratch" Perry were
worked over and transformed
into the Mad Professor's own
insane vision. At one point late in
the night, he had cranked so
many bass heavy samples
through the speakers that it
seemed like the entire sound system was about to meltdown. The
show also included a rather
weak guest appearance by local
MC Ndidi Cascade. Considering the heavy shit I've seen her
drop, this was a bit embarrassing, and she seemed to know it.
Otherwise the show was stellar.
What else can I say, besides the
fact that anyone who missed this
show because it got lost in the
hangover from NewMusicWest is
Wednesday, May 17
When it came time to perform
"Smells Like Teen Spirit," a guy in
a Boyz II Men t-shirt strutted on
stage. He was the Leif Garrett
lookalike that the Melvins had
picked out. He didn't know the
words. Who doesn't know the
words to "Teen Spirit"? Instead
he said, "Come closer! Look at
my nipple!" I spent the rest of the
night staring at King Buzzo.
What a man.
Christa Minimum
Friday, May 17
The Commodore
I wanted to go to this show
because I have a soft spot for the
bands that coaxed me through
the transition from the world of
Def Leppard, Iron Maiden
and AC/DC into musical realms
somewhat less fixated with multi-
million dollar stage props. That
beat-up cassette with the white
cover and the graphic logo of
The Smalls plopped in the center stands as an icon of this time.
Strangely though, during my
hibernation, the cozy days of old
smelly venues seem to have been
replaced by a standardization
reeking of the big money tickets.
As we lined up for tickets
with a fairly large pack of other
concert-goers and got carded by
some fella wearing a headset,
my friend turned to me and
asked, "Are we at the right
show?" We climbed the stairs,
and then checked our coats.
Because this is mandatory. Oh.
With the curtains still drawn
(you'll just have to imagine the
drah-ma), Punchdrunk began
the night with what was probably
of what is probably
i   fa
cheesey love song (the heavy
chorus-effect on the guitar told me
so), slowly whittling away the
musings of tender romance and
displacing them with a deviant
sex rhyme c/w shampoo bottle
sodomy. I think the voice was
supposed to be that of Axl
Rose. At this point my friend and
I were wondering what the curtain would look like on fire.
From then on, it was nothing
less than full-on Metal assault.
Here's the recipe: start—flat line
of noise at two-million beats per
minute—stop... every song. Still,
I admire the spectacle and sheer
power of it all: lots of nonsensical screaming, bright flashing
lights and banging heads, and
dammit, how long has it been
since a band has made the table,
the chair, the glass of beer and
my ribcage shake? Yeah, it
shakes, but it shakes like a passing train—standing dangerously
close, you kind of shut your eyes
and feel the force of the thing, the
wind, maybe smile a bit, and
although you take note of the
experience, you sort of look forward to the way that the silence
will rush back after it disappears.
I was hoping that the train would
maybe derail and run me over,
splatter my guts all over the walls.
Never did. They did, however,
impress me with the thematic content of their last song, which, if I
heard correctly, was about
turkey. I suppose they might have
been referring to the country.
Anyway, not nearly enough
songs have been written in praise
The Smalls were able to
offer a bit more breathing room
in terms of their arrangements:
measures of mid-tempo sludge
and negative space from the various voices did pique my interest
periodically. There were also
some enjoyable moments reminiscent of the shuffling guitar
thrash of ancient Metallica,
before... well, you know. But, following the primeval stomping of
their openers, Edmonton's golden boys seemed to put out a comparatively lackadaisical vibe, the
anti-charge being led by the
band's noticeably subdued vocalist. Likewise, my energy began to
We checked out early after
my newly acquired sensitivity to
successive power-chords threatened to develop into a full-blown
rash. Or, perhaps our premature
departure was due to the latent
sense that we were being stalked
by some evil presence within the
venue itself.- There was that, too.
Steve DiPo ^   htkAcflm
| JUNE 16 |-
***• velvet
HE brand new unitHE
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I   l\/A V  I O      Ihe bond lhal hos loksn Ihe UK by iloim Is now
£] [D^gSSKS© On The Dial
9:00AM-12:00PM All of
time is measured by its art.
This show presents the most
recent new music from around
the world. Ears open
12:00-3:00PM Reggae
inna all styles and fashion.
3:00-5:00PM Real-cowshit-
caught-in-yer-boots country.
alt. 5:00-6:00PM British
pop music from all decades.
SAINT TROPEZ alt. 5:00-
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER  FM     6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual co
munities of Vancouver and
tened to by everyone. Lots
human interest features, background on current issues and
great music.
HELLO INDIA   8:00-9:00PM
Geetanjali   features  a   wide
range  of  music  from   India,
including classical music, both
Hindustani and Carnatic, popular music from Indian movies,
Ghazals,   Bhajans  and  also
Quawwalis, etc.
THE    SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl. With your hosts
Checkmate, Flip Out & J Swing
on the 1 & 2's.
12:30-2:00AM     Hip hop
and R&B with DJ Klutch, techno
and house with DJ Decter. Lotsa
great tracks—come smell what
we're cookin'l Stay up late and
VIBE  2:00-6:30AM
8:00AM Spanish rock, ska,
techno and alternative music-
porque no todo en esta vida es
BROWNS 8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delights! Tune in and enjoy
each weekly brown plate special. Instrumental, trance,
lounge and ambience.
POP SCENE alt. 11:00-
GIRLFOOD alt. 11:00-
3:00PM Feeling a little
French-impaired? Francophone
music from around the globe,
sans Celine Dion.
5:00PM Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM Join the sports
department for their eye on the
FILIBUSTER alt. 6:00-
7:30PM Oppressed instru-
eleased from captivity!
of breakbeat, worldbeat and
other eclectic sounds.
PIRATE   RADIO  alt.   7:30-
9:00PM    Formerly    "Love
v at c
jnds a
jlectronic,  with your hostez
AUDIO VISUAL alt. 6:00-
7:30PM Critical theory,
debate and dialogue on art
and culture, set to a soundtrack
EEP-OP-ORP alt. 7:30-
12:00AM Vancouver's
longest running prime time
jazz program. Hosted by the
ever-suave Gavin Walker.
Features at 1 1.
June 5: The Cecil Taylor Quartet
with Steve Lacy and the
Donald Byrd - Gigi Gryce Jazz
June 12: Drummer Roy Haynes
with jazz legends Paul
Chambers(bass) and Phineas
June 19: Jazz Festival preview
with Marketing Director John
June 26: Focus on early modern jazz (Charlie Parker, Miles
Davis, Fats Navarro, Max
Roach et al).
12:00-3:00AM Hosted by
Trevor. It's punk rock, baby!
Gone from the charts but not
from our hearts—thank fucking
3:00-6:00 AM
SHOW 6:00-8:00AM
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Torrid trash
rock, sleazy surf and pulsatin'
punk provide the perfect scissor kick to your head every
Tuesday morn with Bryce. Kill-
11:30AM- 1:00PM
Vancouver's   only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted by
CONTEMPORARY        1:00-
2:00PM   Poetry, piano and
3:30PM Music for families
and little people.
4:30PM     Featuring     That
Feminist Collective from CiTR.
10,000    VOICES        5:00-
*wob " —— "
(J33 IS
-r 5:00PM Poetry, spoken
word, preformances, etc.
8:00PM Hardcore and punk
rock since 1989.
8:00-9:00PM Greek radio
CIRCLES 9:00-10:00PM From
there to here, from now to then
and back again. Shiva to
shava Sense. Nonesense
Sound to silence   Samsara.
alt. 10:00PM-12:00AM
Noise, ambient, electronic,
hip hop, free jazz, etc.
DEN alt. 10:00PM-
12:00AM      loveden@hot-
3:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
3:00-6:00AM 100% West
Coast rap. Huge giveaways,
with your host like no other
Shawn Powers.
7:00-9:00AM A perfect
blend of the sublime and
absurd, with your refined and
exotic hosts Jack Velvet and
Carmen Ghia.
10:00AM Japanese music
and talk.
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
12:00-1:00PM DJ Hancunt
urges women to get down with
their cunts while listening to
women in jazz, funk, rap,
soul, world beat, disco and
THE  SHAKE   1:00-2:00PM
3:00PM 'Zines are dead!
Long live the 'zine show! Sam
and Bleek present the underground press with articles from
'zines from around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
7:30PM Info on health and
the environment, consumption
and sustainability in the urban
context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
7:30-9:00PM sleater-kinney,
3 a few
9:00PM   Independent and
from an ex-host of Little Twin
BY THE WAY alt. 7:30-
9:00PM Let's give alternative
media a chance-VIVA VINYL!
7"s new and old, local cassettes and demos.
FOLK OASIS 9:00-10:30PM
The rootsy-worldbeat-blue-
conjunto show that dares call
itself folk. And singer-songwrit-
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindwa
Bhungra! "Chakkh de phutay."
HOUR      12:00-3:00AM
Mix of most depressing,
unheard and unlistenable
melodies, tunes and voices
REEL MUSIC 8:30-10:00AM
Soundtracks   and   classical.
11:30AM Crypto-cryptic and
too much '80s vinyl. Roots of
industrial (ha!), atmospheric,
avant garde and contemporary outer limits material.
Phone-in marriage proposals
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE & MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
2:00-3:00PM Comix comix
comix oh yeah and some
music with Robin.
6:00PM Movie reviews and
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM Roots
of rock V roll.
RADIO     HELL 9:00-
11:00PM Local muzak from
9.  Live bandz from   10-11.
11:00PM- 1:00 AM
6:00AM Loops, layers and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers. http://pluto-
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real rock 'n' roll debris.
10:00AM-12:00PM Email
requests to
12:00-2:00PM DJ Splice
and AV Shack bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
Essays, poetry, social commentary, and conscious music
listen to Z95.
3:30-5:00PM Nardo inte-
views the stars. Have a good
NOOZE & ARTS 5:00-
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa & African music
from around the world.
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
SHITMIX alt 12:00-3:00AM
The Shitmix a
weekly. Chai
Correspondents: DJ Marr, the
s Erin,
DC. Cohen, the Rev. Dr. K
Edward Johnson and Wine-
Jug Hutton.
SHOW 3:00-6:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.8-9AM: African/World
roots. 9AM-12PM: Celtic
music and performances.
SAREGAMA 12:00- 1:00PM
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Anna,
Jim and Paul.
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
TABLETURNZ alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.—Guy
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
There's something different...
fresh in Spanish.
AlexTornillo   6?  Rocko Wallaby   Alternative
solono minimo
The first show featuring Rock
in Spanish music in Vancouver.
El primer programa de Rock en
espanol en Vancouver.
6-8 A.M.
SI   CiTR 101.9 FM / UBC
Porque no todo en esta vida es "salsa".
National Hip Hop Week:
noon to 6 pm, Friday June 30TH on CiTR 101.9 fM
Conscious discussion + Beats.
23 nmmmm  CiTR
The monthly charts are compiled basecf on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "June" charts reflect airplay
over May). Weekly charts can be received via e-mail. Send mail to "majordo-" with the command: "subscribe citr-charts"*
1 the makers
2 the spitfires
3 plumtree
8 dilated peoples
9 supreme beings of leisure
10 i am spoonbender
11 elliot smith
june long vinyl
Dck star god
in too deep again
this day won't last at all
all hands on the bad one
mind the gap
the platform
s/t pi
sub pop
1 gene defcon
2 the mooney :
3q and not u
4 the spitfires
5 belle
June short vinyl
13 bis and brendan canty    the u
n niggung
n them*
18 beachwood sparks
19 salteens
20 radiogram
21 ween
22 mudhoney
23 the need
24 savath+savalas
25 death cab for cutie
26 pepper sands
27 Jurassic 5
28 delta 72
30sarah white
31 another joe
32 christine fellows
33 kings of c<
34carolyn mark
35 sonic youth
he has left u
journey inwards
the crybaby
short-term memories
white pepper
march to fuzz
the need is dead
songs for trains...
we have the facts...
welcome to...
quality control 12"
macha loved bedhead
little   army
thrill   jockey
ninja tune
2 little birds
party girl
nyc ghosts and flowers
touch and go
7dj a-trak
8 the moves
9 hot hot heat
1 1 riff randells
12 the odd numbers
13 lambchop
14 tremolo falls
15 the real kids
16 unwound/versus
20 microphones
hot and informed
slick black cat
patty duke covers
enter ralph wiggum
you're no r'n'r fun
thrift shoppin'
top quality r'n'r
stone's throw
mr.   lady
heart of industry
damaga done
king of the monsters
1 the birthday rr
2 riff randells
3 dixie's death pool
4the nasty on
5 forecasts farewell
6 thee goblins
7 boy vs. girl
8 new hedron
10 sparrow orange
11 the reverberators
12 cathode ray
13evan symons
14 clover honey
15 solar baby
18 soldier of misfortune
19 belle bete
20 full sketch
june indie home jobs
the   torch
she rides a bike with an engine
lester bangs
behind  the  red  sun
golden  tokens
heap wonder
ange  peeler
talk   about   me
words like happiness
up  the   downside
everybody   dies
love   stains
are   the   Breaks
IDAYS,     12-2PM
1 de la soul
2 tony touch
piece maker b/w diaz brothers
3 moka only
live from rio
4 Jurassic 5
quality control b/w twelve
5 dilated peoples
the  platform
6 de la soul
ooh I
7 quannum mc's
i  changed  my  mind
8 coca brovaz
super brooklyn
9 ghostface killah
one   b/w   Saturday   night
10 eastern conference
all   in together
anna's   top   five   rea
quit   my
job   as   programmin
g   coo
1 4am phone calls about logger
2 i'm too young to be everyone's
3 1,000,000 training sessions
4 dead air
5 " i have this great idea for
a phish show
top   five   reasons   wh
ss   citr
1 all the beautiful freaks
2 7 years on the air
3 brand new studio to play in!
5 fringe benefits (can you spell sv
laAa+i 2)cz Sana-
is^L^m*^ Datebook
I  Ambushers, The Silencers@Anza Club; Lou Pride@Yale
WED 28 Exhibitions: Sex in the City Launch@Naked; Spygirl, Bunco
& Single Malt Quartet@Jazz Cellar;  Big  Bill Morgenfield,  Bob
Margolin@Yale; Honeysuckle Serontina@Brickyard
THU 29 David Sanchez@Vogue; Stevie Vallance Quintet, Anna
Lumiere Quartet@Jazz Cellar; Ellen Mcllwaine@Yale
FRI   30   Ottmar   Liebert@Vogue;   NoMeansNo,   the  Ruby  Doe,
Removal@Graceland(Seattle); Libeatos, Bruno Hubert@Jazz Cellar;
Lexanculpt, Enkephaline@Club 23; Studebaker John@Yale
FRI JUNE 2 Elliott Smith@Commodore; Ekeem, Ambiente@Club 23;
The Radio@Sugar Refinery; Fatneck Petersen@Yale; Lead Pipe
Church, New Town Animals, GG Dart Ray & the Spoilers@Brickyard
SAT   3   Lou   Reed@Queen   E;   Galactic,   Dirty   Dozen   Brass
Band@Commodore;      Jah      Cutta      &      the      Determination
Band@Chameleon; Just Cause Live 2000@Seylynn Hall; Parlour
Steps@Sugar Refinery; Dead Model Shoot, Brundlefly@Brickyard
SUN 4 Gaia@Sugar Refinery; Brickhouse@Yale
MON 5 Solex@Brickyard; Texas Flood@Yale
TUE 6 Millennium Project@Sugar Refinery; Gerald Charlie@Yale
WED 7 "Double O Seven"@Pic; Julie Doiron, Damien Jurado, Jen
Wood@Railway; JayhawksORichard's; Leslie Harris@Yale; Felchers,
Blackouts, Ring@Brickyard
THU 8 Brad Turner Quartet@Sugar Refinery; Taylor James@Yale;
Following Horus, Cuban Neckties, Freak@Brickyard
FRI 9 Grrlapalooza featuring DJ Ariel, Off the Record, Sarka
Kocicka, DJ Splice, B-Girls, Ndid Cascade, Matriarch QB, Kia
Kadiri@Cultch; Kinnie Star@Starfish; Donald Glaude, Dana D., Math
Genius@Club 23; Under the Table, Otaku, Howard Roark@Sugar
Refinery; lndestructibles@Yale; DSK, Sun Like Star, Default@Brickyard
SAT 10 UBC Sailing Club Groovin' Hanger Party@Jericho Sailing
Centre; Dick Dale, Velvel@Commodore; Grrlapalooza featuring 30
Helens, Tegan&Sara, Che Chapter 1 27, Fire, Uncouth, the Haggard,
Drag Kings@Cultch; DOA, Jim Byrnes, Bocephus King, One Trick
Rodeo,   Flannel   Jimmy   (benefit   for   Bjossa)@Vogue   Theatre;
Web@Sugar Refinery; lndestructibles@Yale; Creed, Sevendust,
Nickelback@GM Place;     Newwaveaoke     (feat.     I     Mudder
SUN 11 Gaia@Sugar Refinery; Brickhouse@Yale
MON 12 Texas Flood@Yale; Of Florecian RomancesOBrickyard
TUE 13 Millennium Project@Sugar Refinery; Nigel Mack@Yale
WED14 Cowboy Junkies@Commodore; N Sync@GM Place; PHHIK
CD launch@Cultch; Droppin' Science (local drum V bass show-
case)@Anza Club; Midnight Moving Too Fast launch party (feat.
readings by S.R. Duncan, Shane Koyczan, Susan Cormier, Karen
Rempel, C.R. Avery,  the Svelte Ms.  Spelt)@Bukowski's; Janet
Panic@Sugar Refinery; Mocking Shadows@Yale
THU 15 Eye of Newt Collective w/Passion of Joan ofArcOBIinding
Light;    Uz    Jsme    Doma,    Loud,    Jack    Assassin@Brickyard;
Zubotta@Sugar Refinery; Terry Edmunds@Yale
FRI 16 Strapping Young Lad, Brand New Un1t@Commodore; Steve
Wright & Mazinaw@Chapters Robson; Brent Carmichael, Intrinsic,
Bradley@Club 23; Sitki, P:ano@Sugar Refinery; Blues Power@Yale;
Nine Days@Richard's; New Pornographers, Thingy, Optigonally
SAT 17 Saturnhead, Run Chico Run, Team Strike Force@Railway;
Reset, Subb, Men O' Steel@Java Joint; Rich Hope, Linda McRae,
Mac Pontiac@WISE Hall; Urban Folk Caravan@La Quena; JP5,
Stagmummer, The Commies, Les Tabernacles@Brickyard; Blues
SUN 18 Vandals, Bigwig, Chick Magnets@Legion Auditorium
MON    19   Alkaline-Big   Sugar   in   DubOCommodore;   Texas
Flood@Yale;     Victory     Gin,     Spinoffs,     Bitchin'     Cowpunk
TUE   20   Sockamagee   presents   Head,   33   Revolutions   Per
Monkee@Anza Club; Twisters@Yale
WED 21 Willy MacCaulder@Yale; Forty Fives, Distortion Felix,
THU   22   Ween@Vogue;   Willy   Brown's   Sambalicious   Jazz
Band@Jazz Cellar; The Nasty On, Notes from the Underground, The
Cinch@Pic Pub; Hal@Sugar Refinery; Jason Buie@Yale; Solarbaby,
Cinderpop, Ani Kyd@Brickyard
FRI 23 Holly Cole@Orpheum; Junction, Soup@Jazz Cellar; Tobias,
Carlos Miguel, Kuma@Club 23; Antimatter After Hours@Sugar
Refinery; Paul Delay@Yale; Jerk with a Bomb, Octant, A Luna
SAT   24   Mark   lsham@Performance  Works;   Steve  Wright &
Mazinaw@Silvertone Tavern; Bob Murphy Trio, Bunco & Single Malt
Quartet@Jazz Cellar; Gastown Jazz (1-8pm)@Gastown; Jude
Bowerman@Yale; Moka Only, Telepathies, Occidental Crew, Dirty
Circus, Kyprios, Mr. News@Brickyard
SUN 25   Lazy Cowgirls, Sons of Hercules, Hell Caminos@Pic;
Tammy Weis Quartet, Noel Bennett Trio@Jazz Cellar; Gastown Jazz
(l-8pm)@Gastown; Jordan Cook@Yale
MON  26  Keb Mo@Vogue; Bobo Stenson@Cultch; Springer-
Ducommun Group@Jazz Cellar; Fat James Band@Yale
TUE 27 Wynton Marsalis@Orpheum; Alvin Cornista, Sahara
McDonald   Que
Sockamagee   presents   Th<
Amsterdam Cafe  302 W. Cordova St. (Gastown) 683 7200
Anza Club 3 W. 8th Ave.  (Mount Pleasant) 876 71 28
Arts Hotline 684 2787
Astoria Hotel 769 E. Hastings St. 254 3636
Bassix 217 W. Hastings St. (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1 354
Black Dog Video 3451 Cambie St. 873 6958
Black Sheep Books 2742 W. 4th Ave.  (at MacDonald) 732 5087
Blinding Light 36 Powell St. 878 3366
Boomtown #102-1252 Burrard (at Davie) 893 8696
The Brickyard 315 Carroll St. 685 3978
Cafe Deux Soleils 2096 Commercial  (the Drive) 254 1195
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities   1022 Davie St. (at Burrard) 689 3180
Cellar Jazz Cafe 361 1 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101 9fM 233-6138 SUB Blvd. (UBC) 822-3017
Club Vesuvius 1 176 Granville St. (downtown) 688 8701
CN Imax Theatre  999 Canada Place 682 4629
Columbia Hotel  303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville St   (Granville Mall) 681 1531
CNB Skate and Snow 3712 Robson St. 682 5345
Cordova Cafe 307 Cordova St. (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial Dr. (at 17th) 879 0154
Crosstown Music 518 W. Pender St. 683 8774
Denman Place Cinema   1030 Denman St.   (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St. 662 3207
DV8 515 Davie St.  (downtown) 682 4388
Fifth Avenue Cinemas 21 10 Burrard   (at 5th} 734 7469
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
F.W.U.H.  Beatty 552 Beatty St. (downtown) 687 7464
u ^<> woo
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings St.   (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 41 24 Main St.   (Mt. Pleasant)
Hollywood Theatre 3123 W. Broadway  (Kitsilano)
Hot Jazz Society 2120 Main St.  (Mt. Pleasant)
Hush Records 221 Abbott St.
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott St.  (Gastown)
Luv-A-Fair   1 275 Seymour St.   (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville St. (Richmond)
Moon Base Gallery 231 Carroll St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre Smithe & Seymour (downtown)
Otis Records 1 176 Davie St.
Otis Records 1 340 Davie St.
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards  (downtown)
Paradise 27 Church  (New Westminster)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre 3440 Cambie (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre Hamilton & Georgia
Raffels Lounge   1221 Granville  (downtown)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
669 5414
647 1161
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir St.  (at Seymour)
Richard's on Richards   1036 Richards St.   (downtown)
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs)
Ridge Cinema 3131 Arbutus St.  (at 16th)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards St.
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Singles Going Steady 3296 Main St.  (at 17th)
Sonar 66 Water St.  (Gastown)
Starfish Room   1055 Homer St.   (downtown)
Starlight Cinema  935 Denman St.   (West End)
Station Street Arts Centre 930 Station  (off Main)
Sugar Refinery   1 1 15 Granville St.   (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Tribeca 536 Seymour
Tru Valu Vintage Robson (downstairs)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville  (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Futuristic Flavours 1020 Granville  (downtown)
Video In Studios   1965 Main  (Mt. Pleasant)
Vinyl Rekkids 76 W. Cordova (Gastown)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Wett Bar 1320 Richards  (downtown)
Whip Gallery 209 E. 6th Ave  (at Main)
W.I.S.E. Hall  1882 Adanac (the Drive)
Women In Print 3566 W. 4th  (Kitsilano)
685 5585
681 1625
687 6794
738 6311
877 1676
687 0499
291 6864
876 9233
683 6695
682 4171
689 0096
688 3312
683 2004
681 E
988 2473
688 8385
685 5403
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
689 3326
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
732 4128 Live Hip Hop
in Vancouver
Monday, June 12
The CROSSFADE Turntablist Showcase Series with:
DJ Roc Raida
X-Ecutioners, NYC
Sonar, 66 Water St.
$15 @ door. Ltd $10 advance tix @ FWUH, FF, Bassix
Thursday, June 22
The inaugural edition of the
lll-A-Mental underground hiphop concert series with:
Cali Agents aka
Planet Asia & Rasco
The Next Big Thing in West Coast Underground,
Slum Village
featuring Jay Dee
(The Ummah - the beats behind A Tribe Called Quest)
Gangstarr Foundation
URB Next 100
Richard's on Richards, 1036 Richards St.
$15 @ the door - No Advance Tickets
 Arrive early to ensure entry	
Plus: Del & Blackalicious - July 24
e-mail spectrument(a)
for concert updates via our e-mail list MODEST MOUSE
The barren polar cap and the cold dusty moon....two number one tourist destination for those that want some time
alone. What would one listen to on the moon? Pink Floyd?
Oh well, here we go. Northwest pop sensations, MODEST
MOUSE, go the route of fellow compatriots Built To Spill, by
jumping uncompromisingly into the major record label game.
Noisy, yet showing refinement and a "Let's do what we do
best" confidence, this their Sony Records debut, shows no
signs of trimming the margins of their infectious brand of
pop balladry. Believe will feel the gravitational pull
between the Moon & Antartica!1 Disclaimer: this doesn't
sound like Pink Floyd.
Dr. Earle and his Dukes return to
update the alt-country-rock Phd
that was last yearss The Mountain!
A scholar from the school of hard knocks. STEVE EARLE.
like celebrated fellow No Depression Dean Lucinda
Williams, has done a lot of living - and still has a lot of living
to do. Welding bluesy rock with Nashville balladry and a bit
of Texas boogie. Transcendental Blues captures Earle's
honest roots vision across a wide palate of songs. Gorgeous
aching bluesbreaks like "I Don't Want To Lose You Just Yet"
to "Lonelier than This" — not exactly the kind of songs for
cruising with the top down — make this the perfect record
for those ready to soak in the grit still clinging to the bathtub
of the Stones Exile on Main Street! I
The new electro-prog phoenix has
risen from the ashes of the
Northwest's resident Can/Neu
experts — Jessamine! Trading in
their streamlined low-end grooves,
FONTANEUE take on a more freefloating jazz inspired prog
tact. Finesse and ordered beats give way to Bitches Brew-
esque slabs of funked out bounce. Now throw in a tinge of
classical experimentalism a la Steve Reich and things really
start deconstructing on this pleasing all-instrumental debut.
This should sit tightly with both Trans Am and Tied Tickle
Trio fans alike!
CD 16.98 LP 16.98
Wearing the school tie and wool shorts on a muggy
Wednesday, you make your way up to the caf for a
bowl of carrot and broth soup. Three hours 'til art class, you
pass on the marmite on toast sandwiches., ah the humdrum
routine.'Countless days filling your journal with the musings
of this romanticised boarding school life. "Fold your hands
child you walk like a peasant"... the lastest page in BELLE &
SEBASTIAN'S twee-pop scrapbook, see's this Zulu fave
embrace their pastoral Glaswegian settings, adding harpsichord, flute, viola and contrapuntal pop phasing a la Nick
Drake fronting the Zombies! Yes it is timeless, but their time
is now.
CD 16.98 LP 16.98 available june 6
Flying into Rio...what are you think-1
ing? The Brazilian sun. the Copa
Cabanna, Mardi Gras... well yes, but
perhaps the audio travel agency
should note that Brazilian music is truly a star attraction.
Amon Tobin's quirky electronics got the ball rolling as the
bossa-breakbeat revolution has finally caught on. More
rhythmically dense than Arto Lindsay, more wood-windly
than Beck's Mutantions hommage, these 12 tracks are the
perfect Ninja Tune getaway.
CD 16.98
Creatively packaged with 6 interchangeable front covers, this
nifty remix record features a group
of Hefty Records artists tweaking the I
angular compositions of their b<
SLICKER! Featuring rework wizardry from I
Esp, Mice Parade, Savath and Savalas, and Delarosa. the
SLICKER sound-art/drum 'n' bass model gets nicely skewed
as Hughes' gatherings of tones and beats are scattered
across each remixer's plot graph. Liberal ii
whimsical juxtapositions make this one of the n
remix workshops this year. Recommended!
CD 14.98
1972 W 4th Ave,
Vancouver. BC
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
Avenue II CD The second installment in
this fine collaboration.
DIANOGH Battle Champions CD/LP
Little known but much loved Chicago post-
LOOPER Mondo77 CDEP/10"
Sophisticated beats from this smashing ex
Belle & Sebastian
am not a treemdoom CD/LP New on
Kindercore....pop with the fans and whistles
people have asked about these neat indie-
The legendary On-U-Sound series plays
ARAB STRAP Elephant Shoe CD Finally
out in America, the album to listen to just
when you think your lite got bad.
ALL Problematic CD/LP H-A-R-D-C-O-R-l
Further proof of the rebirth of r-o-c-k!
LEATHERFACE Horsebox CD/LP The cult
of Leatherface is alive
CD/LP Live they live up to their name.
MIKE INK Studio 1 12" series! Wow!! Gas
fan alert. The re-issue of this legendary 12
Various DARLA100 4CD A cheapo box of
blissed out indie pop.
Various LOVE BALLADS CD Features
Spring, Ciao Bella, Figurine, Cherry Orchard
and more.
GYPSOPHILE Unaneelmi CD New material
from this French pop style merchant.
SUMMER HYMNS Voice Brother and
Sister CD/LP Elephant 6 supergroup... the
new Neil Young!
Finding a new home on Brooklyn's
Kindercore Records,
DAVIES sounds relaxed, unquirked
and ready to exercise his considerable verve for off-beat West Coast pop! Serene ballads made
mostly of stripped down guitar and piano arrangements, on
Barbarians. DAVIES lets his dense melodic pop artifice
breathe with a new "less is more" confidence. The only talent
out there that can match RICHARD DAVIES' enigmatic oddball
dash is perhaps Plush's Liam Hayes... perhaps they can have
a debate, and perhaps Stephen Merritt of The Magnetic
Fields could chair the panel. I'd say this is great, but we end
all our ads that way.
Perennial Zulu faves, BLONDE REDHEAD, know
how to keep their audiences guessing.
Beginning a love affair with post-Sonic Youth
dissonance, their early recordings featured careful noise-pop sculptures that magically balanced
expansive walls of sound with minute textural
melodic intricacies. Then came In An Expression
CD 16.98    LP 16.98  AVAILABLE JUNE 6      of ^ Inexpressible, which blissfully reverberated with a New York 77 no-wave artyness and
easily made most critics "best of" polls. Now the
trio shift their focus towards melody... White
Album era Beatles, arrangements of treated
piano and voice and smooth flowing layered pop
songs. Ecoute.
CD 16.98 LP 16.98
Ani Difranco s Righteous Babe Records oversees this
"once in a lifetime gathering ot singers, players, and
talkers giving props to one of America's most outspoken
and influential artists." Recorded at Woody's rock'n roll hall
of fame induction, this neat collection of tunes features
great interpretations by Billy Bragg, Ani Oifraneo. Country
Joe McDonald, Jack Elliott, Tim Robbins and even a few
from Arlo Guthrie! A nice complement to the Billy Bragg
and Wilco Woody Guthrie tribute.
CD 16.98
The milk turned sour sometime between late Friday nite
and sunset Saturday. The trip wires were set.
Distracted after a long night interfacing into the Trux's
lastest blues platform. "This is post-modem
blues". "Trying to squeeze more juice out of the electric
company?". "How can you connect the dots on ttiis guy's
e/v reading?" "Give 'em 120 volts...parallel, Johnson."
Come ride the firey breeze of the Royal Trux!
CD 16.98 LP 16.98
MUSIC: 1948-1980 3CD
Garnishing an ecstatic review in UK's WIRE
Magazine, this 3CD encyclopaedia of earty
electronic experimentalism is "the finest survey
of the electronic avant garde, ottering a sampler
of diverse and contradictory trends in electronic
music, while at the same time creating a treasure trove of hard to find and previously
unavailable gems." A thorough archive, this
indispensable box set connects the oscillating
dots between the major players, Cage, Ritey,
Lamonte Youag, Eno etc, while also introducing
some obscure pioneers along the way. A fine
source pack for fun on your pocketbook, OHM
puts much of today's electronic music into
context. Put your headphones on. leat through
the nicely appointed 96 page book, and think
forward 15 years to when this is the text book
to a Sonic Boom: Sound An Explosion class! *
3CD 49.98


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