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  UNIVERSAL
CANADA
fteteAMiie
WITH GUESTS
Sunday
March 16
THE RAGE »%
SHOW AT 8PM £2'L2L
~*' {^_j|
[Il*sM!th.:i
1 Mf_4_i^?2:
:>|,^^
\ Tues.
l^lj
March 25
Sunday
March _23
The Rage
Tix only $15+s.c.           w? «t
^ -^^
>*. j 6 ^1^
___-_i'/il< !![;_■
1 'Theatre
^       0
|fi
9 <8   8pm
H THE BEST IN WORLD BEAT! JJ
———******——
Pi
DJ SHADOW ^*
SUNDAY MARCH 30
, RICHARD'S ON RICHARDS
OF THE UNITED STATES DF_A^1ERICA.
_ „,.._. ....... Redd   Kross
Monday April 14
Ii jsaThe Rage   9pm ^^^
f ' '
Wfim
w
■Ml special guesls
4      THE Rl'GBl RNS
f Sat. March 29
Massey Theatre
_____—                __,
AVAILABLE   AT   ALL  TICKETMASTER
Saturday
March 29
OR   CHARGE   BY   PHONE   280-4444 March 1997
Features
SubCuit. Part Three
Leora Kornfeld
Puncture
Memphis Minnie
Luscious Jackson
Kokoro Dance
Veda Hille
Oh Susanna
Issue #170
•*>
editrix
miko hoffman
art director
kenny paul
od rep
kevin pendergraft
production manager
barb yamazaki
graphic design/layout
atomos, ken paul,
barb y
production
chris eng, anna f, erin
hodge, barb hsiao, alia
hussey, tristan winch
photography/illustrations
barb/andrew dennison,
laurence m. svirchev
contributors
barbara a, ken a,
james b. james b,
barb, brady c,
chris c, christian,
michael c, christina, bryce d,
glenn d, kevin d, chris e, anna
f, jon f, jovian f, karen f.
andrea g, gth, pieter h, sydney
h, jono, anthony k, namiVo k,
kenny, sean I, lloyd, janis
bmc, kevin p, peter s, Caroline
t, dave t, brian v
program guide
namiko kunimoto
charts
megan Im, barb
datebook
meeks
distribution
matt steffich
us distribution
megsie
discorder on-line
ben lai
publisher
linaa scholten
0   L   U   M   N   S
Cowshead Chronicles
Vancouver Special
Seven Inch
Between the Lines
Diary of Jonnie Loaf Boy
Printed Matters
Under Review
Real Live Action
Charts
On the Dial
March Datebook
Cover
Happy International Women's Day,
March 8, folks.
Illustration by
Cindy Jaswel.
O "DiSCORDER" 1997 by the Student Radio Sotiety of
tho Unrver.rty of British Columbia. All right* re.erved.
Circulation 17, 500.
Subscriptions, payable in advance, to Canadian residents
are $ 15 for on* year, to residents of the US A a re $ 15 US;
$24 CDN elsewhere. Single copies are $_ (to cover post"
ago, of course). Please make chocks or money orders
payable to DiSCORDER Magazine.
DEADUNES: Copy deadline for tho April issue is March
12th. Ad space is available until March 19th and can bo
booked by calling Kevin at (604) 822-3017 ext. 3. Our
rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not
limited to drawings, photographs and transparencies),
or any other unsolicited material. Material can bo submitted on disc (Mac, preferably) or in typo. As always,
English is preferred.
From UK to Langley and Squamish to Bellingham, CiTR
can bo hoard at 101.9 fM as well as through all major
cable systems in tho Lower Mainland, except Shaw in
White Rode Cal tho CiTR DJ In* at 822-2487, our office at
822-3017 ext. 0, or our rwws and sports Sn_s at 822-3017
•xt. 2. Fax us at 822-9364, e-mail us at: citrCunixg.ubc.ca,
visit our web silo at ht^>://www.ams.ubc.ca/media/c_T or
just pick up a goddamn pen and write #233-6138 SUB Blvd.,
r, BC, CANADA V6T1Z1.
Printed      In      Canada
1176 GRANVILLE ST, 608-GATE
MARCH   CALENDAR
FRI, 7th
CD RELEASE FOR
^0 FT
HENRY
WITH GUESTS
SILLONCONE SOUL]
& MYA SAXELL
SAT,   8th
BIG RUDE
JAKE
WITH GUESTS
THE MOLESTICS
(FORMER MEMBERS OF
SHE STOLE MY BEER]
WTHCUIfiJ!
THE
SATr   iSth
THE ACID JAZZ OF THE
MO FUNK COLLECTIVE
WITH GUESTS
MILLENNIUM PROJECT jyj
& DEVON
BLUE LIZARD PRESENTS
BMG RECORDING ARTISTS
JAYMZ B & HIS ROYAL'
JELLY ORCHESTR
AND TIM TAMASHIRO
610 ADVANCE • $12 AT DOOR
TIX: 688-8701
SUpf R SkJt%IF-ICK
TRENCH-ANTS
THE MALCHICKS
HOUNDS OF
BUSKERVILLE
EVERY SUNDAY  (e pm-i_» am;
THE SOUL KITCHEN
foth THE FUNKY GROOVES OF THE WORKS*
EVERY MONDAY-(ST^i^^-PM)        „ N<>
R O U G H CUTS   S   SplLUl_feRTP P E R S °0v^
HOSTED  BY  DOUG   DOUGHNUT
mmm..
NO COVER!_EVEf^TUESDAY    NO COVER!
THE BROWN DERBY
INVITATIONAL JAZZ AND JAM FESTIVAL
PLAYERS AND BAND INFO: 680-1250 _
h__tl]:d*H.l»5SgSlfPgt_
CUTTING EDGE NEW ROCK   m" m
HOSTED BY GRAHAM SCOTT
BOXCUTTER
THE CARTELS
i_____a__E___i
DAISY CHAIN
FIVE HUNDRED & CRAVE. BOIMEYARD
IflF-T-t'-H*..!
THE ALLEY BOYS from san diego
mwtm
THE  PASTIES
CD RELEASE FOR SCUBBEIM GRETCHEN
■R   FOOD   SPECIAL
4PIS/I  -6PIVI dear Mi
m  233-6138 SUB Blvd.,
V    Vancouver B.C. V6TylZJ  1
g    " cltr@unlxg.ubc.ca
" *' V. ^V^|8| ■Ft
*v-»-^  -y^^^^?-^ ..Li
-^r^V]
airhead
**■    *                             * '      "' **k
D»arSir»,
We have heard that your
magazine is specially good
in its field.
The music department of
Stavanger public library
would like, if possible, a free
copy of your magazine.
We will let our lenders discover something new in the
jungle of m u si cm ago/fa n-
zines unavailable from the
local book and magazine
The music magazines that
we have are very common
here in Norway, we therefore
want to see some other "hard-
to-find" alternatives for our
lenders.
We will be very pleased
to receive a sample.
Yours sincerely,
Olav Nikon
Stavangwr, Norway
Dear DiSCORDER;
As a member of CiTR, I
was disappointed and embarrassed by the opening remarks in the "Between the
Lines" column regarding review policy. If readers are not
clear on review policy, per-
hops it should be clearly and
politely stated with each publication. Andrea and
Christina's comments seemed
unnecessarily selfish and
rude. Many people would be
happy to be able to write their
own column, instead of whining about how people always
"waste their precious free
time by sending indie/punk
rock culture zines." Worst of
all was their recommendation
that writers and producers of
zines send stuff to other local
magazines. Instead, I suggest
that another DiSCORDER column be added to cover those
zines which are presently
being overlooked. I hope
that reoders do not associate Andrea and Christina'
exclusionary lock of tolerance with the rest of DiSCORDER and CiTR.
Sincerity,
Namiko Kunimoto
February 6, 1997
Daar "Editrix,"
Thank you for giving me the
opportunity to interview
one of my favourite bands,
The HANSON BROTHERS.
It was an extremely worthwhile endeavor. I would,
however, like to point out a
couple of things that were
"edited" to the detriment of
the piece. One: the laughter of Robbie Hanson.
Throughout the article you
changed his maniacal
cackle to read as
"[laughs]." For the record,
his laugh, when properly
transcribed, should read as
"Ha ha ha keh hehe he he
he heheh." I'm sure you
must agree the difference is
dramatic.
Two: the redundant
pluralization of the Vancouver Voodoo, which you altered to read as "Voodoos."
You fail to understand that I
must associate with sports-
minded individuals who are
merciless when it comes to
matters such as these. In the
future, you should always
consult the writer when
making changes to subject
matter that falls outside of
your personal frame of reference. These differences
aside, it was a pleasure
writing for DiSCORDER
and I am eternally grateful
for the experience. Now I
wanna end this letter.
Jason Stinson
Okay, one: the laughter of
Robbie Hanson. I'm sure you
have accurately captured the
mogic of his laughter in your
transcription, as is your job —
my job, however, is to ensure
readability and to try my best
to allot space to material I feel
justifies it. I felt that printing a
constant string of "ha ha he heh,
etc. "s would be redundant, besides the obvious fact that without being able to relate the intonation and other vocal
charoctistics, the "ha ha's ..."
are no belter personified than
the use of [laughs].
Two: please excuse my ignorance on the subject of the
Vancouver Voodoo. My mistake, point taken. At this time, I
should acknowledge the fact
that oftentimes, in my frenzy to
produce the paper, I don't always have the time to "consult
the writer" when something
"falls outside of [my] personal
frame of reference." If only life
were perfect and time was endless ... I would also like to odd
a few points myself: if ever any
of you readers are interested fn
submitting material to DiSCORDER, please feel free to call
the office and talk to me about
it. Also, for any of you current
contributors, if you shore concerns wih Jason (a first time contributor, and I thank him for doing so), I consider it just as much
your job to approach me if you
ore truly concerned with the finished product of your piece,
[ed.]
In response io Chris Eng's
letter in tha February issue,
You are not the "voice for everyone;" you can only speak for
yourself. Please do not ever presume to speak for me.
Anonymous
hey, just a li'l
note: due to
certain screw-
ups, dj noah's
column is missing this month:
don't worry,
he'll be back in
april.  sorry!
. jG€»wshead chrorucles •
part(twp of a few instatlrnents
"girl of my dreams, things are as bad as they seem."
(hayden)
jan. 15,1997 • 3:32 a.m.
dear larry,
i'm really not keeping my end of the deal here, i've tried to keep up but i keep getting
bogged down with petty details, keeping track of my life as i have been with the daily
entries in my filofax, the visiting of friends i haven't seen in a while; all that and trying to
keep my job which i seem to have almost been fired from last week, am i as bad as they
say? am i filled with the hatred they say i am? for the patrons? for some of those around
me? i can't think of one person i truly hate, can't stand? sure, more than a few of those, see
dead? well, maybe, but hate? takes too much energy, i still think of her. of them, larry, i tell
ya, one day this deadening weight will lift off of me and ... another time perhaps, today
wasn't so bad. i bought new drapes for my living room, eaton's was having some sort of
white sale which, for some weird reason, included these cotton drapes, strange, though,
on the way downtown i ran into a local comic book artist and when he asked where i was
going i told him i was off to eaton's and he seemed confused and asked why and for some
strange reason i couldn't tell him. just told him i needed something they had and left it at
that, i felt bad for some reason, like i was spending my money foolishly, saw jamie. just so
you know, i think i'll go to a movie tomorrow, something dumb,
gth...
jan. 19,1997 •1:45 p.m.
dear larry,
my father's birthday was last week and i didn't call him. his birthday is the same day as
elvis'. remember when we were at graceland — the second time — and i tried to get her to
take my picture dancing on his grave and she wouldn't? i remember the barbeque afterwards at the place on the interstate, the drive from memphis to new Orleans... actually, this
has nothing to do with anything, really, i've made the decision to move out of my place,
you know i've been here for almost eight years now and that has to be some sort of a
record, i'm thinking of moving into a place that's in the middle of skid row, it's true, i said
i needed a change and this may just do the trick, what's the worst thing that could happen?
selling a lot of shit off too. shelving, pots, pans, dishes, clothes, my couch, plus other odds
and ends, the girl says she wants some of my stuff, in fact, called herself a scavenger, she's
a good one, a keeper, hold a candle for me, my friend, but don't ever shed a tear, see ya
later.
■**- J
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wihw<»ft<«r«-'*iw WHERE
WHAT YOU WEAR
Last month I continued with my brief critique of
subcultural definition and interaction within contemporary capitalism (by way of a reading of
essays by Paul Chan and Tom Frank). I would like to
proceed with the previous critique's theoretical basis
and axis of concern, this time with a focus on certain
associated concerns, as a continuation and expanded
development of the issues introduced before. These
new topics are not in any way less important than the
first issues, as they comprise part of the sarne complex structure; there is no hierarchy of concern. Also,
I am explicitly writing with the intention of encouraging the extrapolation of theory into practice. Theory
can serve to identify further dimensions of issues of
concern, and thus also complications. Sometimes these
complications are so theoretically based, however, that
they become dislodged from the topics to which they
are supposed to relate. But theory can in the end help
to approach problems with a more complete sense of
appreciation and sensitivity. The difficulty lies in making theory responsible to the issue(s) it is attempting
to address. And in doing this, theory must also make
sense (in order for it to be useful at all). This is the
implicit intention of these articles: to help develop an
appropriate theory of eyerydayness for everydayness
— specifically for motivating collective action. Therefore, now as before, there is embedded within this
discussion an attempt to articulate such a theory, as
it should be placed, in the form of a dialogic practice.
For me, this practice takes the form of a provocation:
I am hoping to induce debate by arguing from a
"strongly held" perspective.
This month I will again examine issues around expression, focusing mostly on representation and "reading" as it applies to popular culture and the formation
of a positive notion of individual autonomy. This notion requires a certain conception ofthe subject that
is, in some respect, intertextualiy formed, and yet has
a basis within it for the possible establishment of a
perspective of involvement and appreciation that is
not totally dislocated by dynamic textual interplay.
This implies; a subject that emerges, in other words,
from within this tension, but that can still act with
initiative (this will be addressed more next month). In
respect to the theme of this issue of OtSCQRDER, I
would like to emphasize that there is a gender component to the constellation of issues that I am attempting to examine here, as there usually is for most
sets of issues, however diverse. Obviously, issues of
gender invariably affect and concern us all. Also, they
can significantly act as pressure points for motivating
action and introducing dialogue more generally. But
within contemporary popular culture there is a severe
challenge to the efficacy of such endeavors, limiting
the force or leverage that they may have once had;
the structurally biased system of relations and priorities organized by capitalism remains a persistent and
important factor here. The challenge is an effect of
the culture industry, with its influence as a vast and
amiable gate-keeping system, interconnected completely and obedient to the varied structures of capitalism. The impact of this influence esrablishes itself
in part through the usual drawback of recuperation or
co-option, but also through a more uniquely modern
and insidious technique of involvement. The critical
examination of this process is crucially important for
establishing cultural autonomy — and not just simply
presence — at this modern point of history.
I am, however, postponing the bulk of my analysis
of this very complex matter for next month. It will be
easier to get a sense of the critique if it is proposed
more concisely together. But in an affiliated subject
area, related to the challenging of complacent thinking around issues of gender, as well as fighting to
establish a provocative critical stance more generally, I would like to emphasize the importance of critical debate within our everyday lives — an aspect that
is not favourably served by popular culture. This often neglected and misunderstood form of interaction
actually helps to preserve the type of critical distance
and leverage that I feel Is becoming increasingly constrained through a transformation or redefinition of
all cultural dialogue into popular culture (as its new
forum/form of text/dialogue). With this transformation, the value of critique is re-established as rebellion in a limited sense, usually through being reclassified as novelty within style; thus reorganizing popular
culture in terms of commerce, dominated by an obsession with commodities, and encompassed by the
narrative guidance of capitalism. In response to this
type of pressure towards
unwanted compromise, I
would suggest that Feminism — or more accurately,
Feminisms, in particular —
help to serve the function
of increasing the presence
of critically minded and productive debate.
Very generally, Feminism is based in part on the
consideration and extenuation of excluded topics; as
well as working towards redeveloped conditions of
social/cultural/economic
existence that may somehow, more responsibly, represent a varied constituency. Obviously Feminism is
not a term or conceptual location to be thought of in
reductive terms; itjs very
complex and full of internal
contestation (which is
never really totally internal).
But this fluid diversity and
self-critical nature is valuable and productive; it is an
asset, not a detriment. Because Feminism is active
and diverse, many areas of
concern are constantly reexamined, revealing new
points of departure for further analysis. This is a value
or method of organization
that I think is generally productive; it pushes the development of critical thinking into remarkably diverse
and minute areas, while recognizing the necessarily
ongoing nature of its own
project. Although this reference is too limited to offer a more representative
description, I would like to
emphasize, at least, the potential that exists here for
women as well as men. Because of its pluralistic and
_H
dynamic nature, Feminism has helped establish the
development of a multiplicity of sites for critical reflection and emphasizes that this critical awareness
becomes motivated, transforming into a variety of
attempts to apprehend unequal social conditions as a
basis for criticism and change. In this sense, Feminism is both pragmatic as well as theoretical. My intention with these essays is to draw attention to possible "tools" for criticism — such as the many approaches within/around Feminism — and to help extricate them as much as possible from the limiting
range of popular culture as it is presently manifested.
Certainly Feminism offers useful perspectives that help
creatively engage this effort, but that, as my introduction alluded to in relation to theory generally, need
involvement to become more powerful (take what is
there, use it within your own life, and become involved). More to come, hang on ...»
kitty poulin
carissa iee$o\i I JANE brooks t
MISH Mfl6MTIR6 OF SgATTlg, WA!
tmCCA WA6N6R 4 6LAMA Z60ROPF OF KAMLOOPS, BC}
JOSH OIPPASg t HIS 6RANPPA OF UEPEM, 0M!
TRACY BROOKS i NATASHA HANSOM OF PRgpgRICTON, NB!
PAVE CALLAHAN OF MONTREAL, ?Q\
FOR THE SMTKf STORY, CMCX OUT THE COHT.ST PAGE
AT THS MMT RSOORPO W BPSITB @
http://m Vancouver
by janis mckenzie
I last, my friends, the mo-
I have been dreod-
rivedl Soma months I receive
more local CDi han I have space
for, bul other months nothing
comet in at oil, ond I'm left lacing the little stock of CDs I've been
avoiding for months, the CDs I've
tried, really tried, to like, but just
can't. Here goes:
UNEVEN STEPS
Pacified
(Step and a Half)
Evan Symons and his band, Uneven Step* (including his wife,
Angela), have been oround for
years and years now, ond I've
never known much about hem,
including where hey fit in. Their
sound is obout what you'd expect
from a group of really sincere
computer nerds who were big
metal fans in the '80s and now
have a very expensive recording
studio in he basement: self-indulgent (although perhaps well-
intentioned) and apparently quite
unaware of what's been happening in music over he past ton years
Pacified is a CD*OM/CD and
obviously a lot of work has gone
into it — the CD sleeve is full of
information about the technology
ond how to use it, either on a Moe
or wih Windows — but I don't
really see why hey've gone to the
extra trouble. The visuals allow us
to see he sweatpants-wearing,
long-haired, sometimes screaming
band members, as well as lots of
the high-school-y artwork that
adorns al Uneven Steps products,
and of course he song lyrics, written out in a style hat reminds me,
at least (here I betray my suburban roots), of Zofo-ero Led Zeppelin. I'm sorry, Evan, Angela,
and company — I just don't like
it. (Please don't hurt mel)
JUNIPER DAILY
■lent)
THE ROSWELLS
The Roswells
(Tron •dimensional)
Boh of hese bands belong to hat
great, big category hat used to
be called — bock in he early
REM days — jangly guitar pop,
ond which I now (somewhat uneasily) hink of as a kind of slickly
produced, commerciol guitar pop.
Juniper Dairy bring out he big
guns, sort of: the CD is produced
by Ginger's Vincent Jones, ond
Michelle Gould (Taste of Joy,
Lava Hay) graces one of he
songs wih her backup vocals.
The Roswells don't seem to
have any big names participating,
ollhough I do remember one of
fhe unquestionably talented
singer/guitarists, Scott Fletcher,
from projects of years ogo. Boh
CDs are quite easy to listen to, and
even pleasant at times. The listener
does indeed feel in he capable
hands of experienced musicians,
ond he production (os I've said)
is very professional indeed, but
thatm
lovely (oil four of hem sing, and
very nicely), but there are no big
surprises or innovative twists here.
Juniper Daily is similarly reliable,
although or course in different
Yeah, these CDs are nice
enough and boh bands ore probably good, solid, live performers,
but if he true test of a pop song is
whether it sticks wih you for days
afterward, I'm sorry to say that
hese recordings don't qualify.
________________!
y,'7
mLifei$a
*/V{\  game -
UJ J
W^r^\^   _ri
*ffj  Isn't it?
i
m
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
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We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
(lev?. 4
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,JK   I *»* 1
Date: Thu, 1 3 Feb 1997 00:19:35 - 0800 (PST)
From:   "leoradcbcstereo.com' <leora©axionel.com>
Subject: Q&A, RSVP, NDP, OC, PDQ, ETC
Hello Andrea:
Yup, got your messoge. What's your deadline for his story? Should I just answer by e-mail? That
would be easiest. I think lhat would make for a cool article. Jusf run it as your e-mail to me (wih
the preamble below) and your questions and hen my response. Always Irying to push my agenda through, I know.
>Date: Wed, 12 Feb 1997 13:22:50 -0800 (PST)
>From: "leoradcbcstereo.com" <leoroOaxionet.com>
>Subject: Re: 1 1,22,33 etc...
>Hi Leora,
>This is Andrea from Discorder. I am the one who left you a message on your voice mail af work
>re: an interview (or cont'd interview of our original interview) for he March issue.
>l am kind of behind my deadline, so sorry to have to ask his but I kind of need you to answer
>ASAP ... I wasn't sure if if would be foster for me to come down ond see you at work or call you
>or ask you over e-mail. Just in case, if it's he third one here are my questions:
>What exactly did you do at CITR?
If I con remember the early '80s, does hat mean I wasn't here? Well I was, so here. Now, what was
he question ... what exactly did I do at CiTR? I remember wearing lots of ridiculous new wave-ish
clothes ... and handling the on-air duties for he 2:306 pm show on Friday afternoons (now occupied, oddly enough, by a combination of he noiz show and Nardwuar). It's worh noting, as well,
hat for one term I actually hod a class (English 3-0-something, taught by he late Warren Tollmen, personal friend of many beat poets) during lhaf air shift. Guess which octivily took priority?
>UJh_t do the words 'Indie cred' mean to you?
Those words are os scary to me as political correctness. Legislated, mediated tolerance ... what
a joke. Legislated, mediated, socially sanctioned cool ... almost as big a joke. Music or art is
good or if isn't. And he fact of he matter is — and you don't have to like his fact — hat to get
hat music or art to a significant audience, organizations are invariably involved. Thinking hat
someone is more noble because hey're doing their thing for a tiny, elite audience and running
around wih a K Records logo tattooed on heir shoulder blade is ridiculous.
>What's the blygest posltiue of working for the CBC?
Being able to put my high school French to work for he first time since grade 1 1, e.g. "etiquettes
jounes seulement apres 1600 heures" = yellow lags only after 4pm (parking lot rule).
What's the blygest neyatiue?
They recently demolished the cafeteria and replaced it with the broadcast 1 studio. Now
here's no central place to go for bad coffee and glimpses of Kevin Evans.
>What's the difference between a host and a DJ?
A DJ is usually a hockeyhaircutted, ill-informed, obnoxious philistine. But he real difference is a
host gets paid more.
With the success of so many female artists on the pop charts currently, do
>you think there Is startlny to be some equality In rock and roll, or do you
>think the industry is just exploiting a trend?
The industry exploits everyone. It's o business, remember? And if people thought anything other
than hat, here were sadly mistaken. But I've still got to say, how about hat Alanis?
>What is the purpose of Realtime? Do you feel any responsibility to address
important Issues and present a certain forum for discussion for your
listening audience, or Is the show, as you see it, simply a music program?
The purpose of Realtime is to make you and you and you realize hot you have more in common
han you think wih your fellow 1 8-34 year old Canadians, whether hat's by playing Sloan discs
or talking to people aboul waiting in line to see he new improved Star Wars.
I've always thought hat Realtime is more han a music program ... otherwise it could be a
bunch of discs and it could be taped. Pari of he 'magic' (to use an overused Hollywood-ish term)
of Realtime is he live aspect and he spontaneity and the fact lhat even a nine year old kid in
Toronto can call up ond talk to Jeff McDonald from Redd Kross obout his (i.e. he kid's) band.
In terms of issues, as in capital T issues, I don't see hat as Realtime's mandate. It has a lot to
do wih he fact hat he show is on Saturday night and here's only so much hought you can
expect people to put into things on a Saturday night. So a debate about, say, mandatory HIV testing — probably not — but a vote on he old Courtney vs. he new Courtney, absolutely.
>What do you hope your listeniny audience gets out of the show?
I hope people get heir $36/yeor worh out of CBC AM, CBC FM, CBC TV, and CBC Newsworld.
So consume it while you can.
>Ulhat is the most incredible thiny you'ue euer seen?
A nun playing a slot mochine at Benny Binion's in downtown Las Vegas.
>Ulell, those are them, Again, I apologize If this seems rude, but I am kind of
behind the point where I should be, as usual, and I hope the timing isn't
>too inconuenient for you.
>Thanks
CBC Re@ltime's
<leora
kornfeld^
<by andrea gin>
^.eora'itoofc
7 Items 239.8 MB in disk     J05.4 MB *
Radio e-mail the wwv
EMSaindie-cred ^*       cin-con
with guests
global hi-fi
perspective
Thursday
March 20
Tickets at the doer.
For more info, call 822-8998.
7   ESEgSECHB Andrew
Dennison
Nothing is better than miso gravy
and fries with a local activist, feminist,
queer woman musician exfraordinaire. I
met with Meegan Maultsoid of Puncture
(comprised also of Brent Anderson on
guitar, Kevin McCandless on bass, and
Lisa Wearing on drums) and talked
about what it is like to be a front-woman
in a hardcore band, the mystery of the
"queer band" category, and connecting
with youth through music. Future plans
include a US tour in June, a CD release
on Candyass Records in October, and a
6-8 week US tour to follow.
is The bond is political, and I'm a queer
and people know hat. It's important hat you're
supportive of hat. Basically, [to] put it his way, if
you're uncomfortable going on tour and playing
in San Francisco ond playing wih bands like
Tribe 8 and playing wih a bunch of dykes, hen
you shouldn't join Puncture. Because we do an
array of shows.
DiSCORDER: Do you have people that say,
'Okay, well, I'd better go.'
Well, here was one guy hot come; he was an
amazing bass player, but I just knew by his energy that he was very, well, not a very liberal
hinker. It was just interesting, like, we were talking and he was like, 'Have you guys seen hat
new Metallica video?' I said, 'No, I'm not really a
Metallica fon.' And he goes, "Cause they're all,
like, wearing noil polish ond stuff, and they just
look like a bunch of faggots.' And I just looked
at him and I was like, 'Get out. Just get out.' So,
in a way I feel bad hat I didn't make he equation
to him hat I am a queer and hat's why I was
offended. But I was like, I don'l even need to go
here wih him. I thought it was enough to say,
'Get out.' Like, 'You're not welcome here,' [hat]
kind of hing.
Thor* aren't a lot of bands like yours —
most of tho 'queer, feminist bands' are
coming from tho Portland area, but they
sort of have a different sound than you
... Why do you think that It is? Let me
start by saying, I think ifs really good
that you are there. Because ifs important.
Otherwise it would bo totally ghotto-izod.
'Oh, those queer girl  bands' ...
8     march
Mmmhmm. The 'Queer Punk Indie Bonds.' Yeah,
I don't know. I respect all hose bands a lot. I think
it's really important hat here ore queer bands.
Like Team Dresch, who'll tour he states and go to
these little communities and 100 kids will come.
And I hink it's really important that hese kids can
go, who are maybe already feeling isolated or
hey live in a community where maybe it isn't
okay to be queer, and hen hey see hem, ond it
is like a role model. Team Dresch are really open
about being queer, they're very political aboul il,
and if you speak to hem, hat's part of what hey
want to do. They want to empower young people
to feel comfortable, to join he revolution — to be
out — and to feel safe wih hot. So in hat way, I
respect hose bands hat ore out here doing
something hat's sort of untreaded territory.
They're being out, they're being queer and trying
to tap into youh culture.
You're doing that too.
Yeah, we are. I guess what I'm Irying to say is hat
I respect hose bands for what hey do; but musi
cally, I can't say I am a fan of hose bands.
Probobly he only band hat I can say hat I am a
fan of [musically] hat is into he queer sort of hing
is Team Dresch. I respect hem all. They are really
cool people. But I don't listen to hat kind of musk.
I listen to Tool, Roge Against he Mochine, I listen to
Helmet, Sparkmarker, Quicksand. All he music hot
I like and I listen to is oil hardcore. It's all heavy. I
do find it problematic hat hat genre of heavy
music — of course, hose bands are all different in
heir own ways — is mole-dominated and it is primarily straight, or people hat aren't out. Like he
singer in Tool, he's queer. Most people don't know
hat, go see a Tool concert. It's like, fucking 17 and
1 8 year old redneck guys. If hey knew he was
queer hey'd flip heir shit. But I just find hat even as
a woman, hat it's interesting to do heavy music,
where I'm not your typical female frontf>erson. In
heavy music here are some bands hat I've seen
from New York wih women and he music is really hardcore. But he women are still very female:
hey have long hair ond big tils and hey are still
"I am interested in empowering and supporting queer youth,
but it's only one of the focal points of what Puncture does. I
write about a lot of other things I feel passionate about. I write
about abortion and pro-choice issues, about AIDS awareness,
about class issues, about finding inner strength. I'd like to ultimately be an artist who steers youth away from the MuchMusic
culture and the commodification of peoples' identities and
instead helps facilitate learning. If we could activate yi
and get them pissed off at the system, maybe we could
stranger movement that could fight the right wing
pushing hot. Yes, it's hardcore musk but it's really
not, too — it's slill digestible to men. Ifs tike, 'Cool,
it's heavy and she's got big tits so ...'
tfssoxy.
Yeah, it's still sexy. It's sexy-heavy. Whereas
Puncture's not sexyheavy. It's jusf heavy. And it's
political and it's in your face. I have tattoos and no
hair. To some people, even some women, I hink ...
his is a funny hing. What did one of my friends
say he oher day? She was talking about Puncture
and his friend says, 'I can't believe you like hat
band. It's his woman who looks like a pre-pubes-
cent boy, who's always going on about something:
"Fuck his, fuck hat.' She's always mad.' I guess
it's just funny what some people consider art.
What's digestible to some people . . .
To thorn, aesthetically.
Exactly, whereas Puncture isn't [digestible]. I hink
it's pretty obvious hat I'm queer, or if not hot
[hen] I'm o pretty intense woman [who's] pretty
strong, and obviously, I am not afraid of men. It's
an interesting hing. It's what I've always wanted
to do wih music. Before I even started TickleTrunk,
I'd look around at bands I liked, and I was like,
This is intense. I like all hese bands [and] I really
like he music, but it's all men. How come here's
no women doing it?' Then I started to be aware of
women hat were doing it, and topping into and
appreciating what hey are doing, but slill not really being a fan of heir music.
So, instead of saying, 'Why do I liko this
music — all this men's music?' you asked,
'Why don't more women like this musk?'
Because ifs exclusionary is ono reason, I
guoss. Do you ovor talk to thoso men
about why thoy aro not more out? But I
guoss, in a way, ifs bullshit, because if
you look at some artists who aro supposedly not out, but everybody knows it ...
Yeah, I don'l know. I guess it's up to he individual
artist. For some people it is totally integrated into
heir music. Like Tribe 8. That's what hey do. I
don't consider Puncture a 'queer band.' I feel affiliated wih hose bands, but I also feel affiliations
wih oher bands hat aren't queer. I am he only
queer person in Puncture, and I hink it would be
ostentatious of me to say, 'Puncture's a queer
band.' Because hey ore group members, hey contribute and hey are committed to Puncture, and
hey are straight. They're supportive of me. They
are not homophobic. That would be like us saying
[hat] Puncture is ocluolly a straight band because
hree people are straight. I'm a minority, so here-
fore ... When people ask, 'Is Puncture a queer
band?' I say, 'I'm queer, I'm out. No, Puncture's
not queer' I don't care if Out magazine talks
about us, but it's not my main goal.
I didn't know it was such a category:
'You're in tho queer group. You'ro not.' It
seems sort of stupid.
Well, his came up wih me and Jody from Team
Dresch talking about Candyass putting out a
Puncture CD. Some people express surprise: Wow,
hey're going to put out a Puncture album?' I hink
it's because Candyass is his vestibule of indie rock.
Jody and I talked about his, what her reasons are
for expressing interest in Puncture. She was like,
'Dude, I love metal. I'm not exclusionary. I'm not
jusl ot he punk forefront. Beyond hat, what you
ore doing is original. It's heavy music, but al he
front here is his queer woman. There are all hese
different components hat make up Puncture, hat
make it a more interesting band. As far as he local
scene [goes], I am pretty critical of what is going
on. I hink it's tragk hat here aren't more political
bands. Bands willing to take a stand on issues.
They are afraid to take a stand, or afraid of offending. Or, some people just aren't political — hat's
not heir reason for playing music. They don't see
he correlation. For me, I'm political in he way hat
I express hat, and in he way hat I am involved
politically as on activist is through my music*
1997 £ <*> by Anna Friz «g>
If asked to name a famous
female blues performer,
most people wall think of
Bessie Smith or Billie
Holiday. Who they won't think of
is the woman whose musical style
was instrumental in shaping the
urban and Chicago blues sounds;
the woman who influenced
everyone from Muddy Waters to
Chuck Berry, and was one of the
first 20 musicians elected to the
W.C. Handy Hall of Fame. She is
perhaps the most influential yet
least talked about woman in blues:
Lizzie Douglas, better known as
Memphis Minnie.
She was born in Algiers, Louisiana in 1897.
In 1904, Memphis Minnie and her family
moved to Walls, Mississippi, a tiny community
or "wide spot on the road" just across the river
from Memphis, Tennessee. Minnie hated farming life and began running away to Beale Street
in Memphis, escaping the backbreaking work
and pitiful wages paid to black women labourers. ("I take my cue from scholars like bell
hooks. Daphne Duval Harrison, Paul Garon
and Beth Garon and use the term "black" to
denote people of African-American heritage.)
Minnie received her first guitar at age eight,
and music became both an obsession and a
ticket to freedom.
Minnie gained experience travelling with a
Ringling Brothers show through Texas. There she
became a professional show-woman and learned
to deal with the pressures of touring as a single
woman; by all accounts, she was a "hellcat" who
could take care of herself. Memphis was her
stomping ground, though; in the dubs on Beale
Street she jammed with other musicians and
eventually met touring partners, bke so many
other poor black people in the South, Minnie
was drawn to the city despite persistent racial
discrimination. In Memphis, Minnie found
inspiration among performers like Furry Lewis,
Frank Stokes and the Beale Street Sheiks. She was
part of a vibrant community that was developing a thriving culture and playing blues with a
signature style.
By her own admission, Minnie was a
"down-home girl." She was as willing to play
dives and juke joints as the swank clubs.
Minnie was beginning to gain notoriety for her
finger-picking style, her vocals and her own
songs like "When the Levee Breaks." She eventually moved back to Memphis, where she
played as a duo with "Kansas" Joe McCoy.
Minnie and Joe were discovered by a Columbia
Records scout while playing in a barber shop.
It was Columbia that first billed Lizzie or "Kid"
Douglas as "Memphis Minnie," and Minnie
retained the name for the rest of her life. The
first single featured only Joe on vocals; the
third release, "Bumble Bee," was sung by
Minnie alone and became one of the most
popular songs of that period.
Memphis Minnie began
recording in 1929 at a time when
the female-dominated "Classic"
blues era (featuring vaudeville
singers such as Bessie Smith, Ma
Rainey and Ida Cox) was drawing
to a close. Blues recording in the
mid to late 1920s shifted from
female crooners to guitar-playing
male country blues artists, like
Furry Lewis, Barbecue Bob and
Peg Leg Howell. This reflected a
social change as much as a musical change: hiring black men to
fill jobs once held by black
women was a sexist practice not
limited to the entertainment industry. These
country musicians played in juke joints, at
home or at parties, at dances and in small
clubs, often relying on seasonal labour to make
ends meet. Country blues reflected rural experience and an emerging African-American identity. It was also exciting new dance music that
inspired greater individualism in couple and
individual dancing than previous square dances
to non-blues styles.
It was with this self-accompanied,
autonomous style of music that Memphis
Minnie found her niche. Minnie began recording at a time when mainstream cultural notions
claimed that men were better than women at
most jobs, and that black women, like white
women, belonged at home. She played "like a
man," and was paid "like a man," which meant
she earned a paltry $15 per usable recorded single side, while the Classic blues women singers
earned between $125 and $200 per side. Minnie
wrote her own material, managed her own
career and was known for her guitar picking as
much as for her voice, whereas almost all Classic
singers sang songs written by men and were
accompanied by men. By the end of her career,
Memphis Minnie had released nearly 100
records. Her style ranged from the country or
down-home blues to the urban blues, the postwar blues and the Chicago blues.
Minnie switched primarily to the Vocation
label in 1930, with a few side projects with
Okeh, Decca and Bluebird. On Vocalion, Minnie
was part of the "race" series that included musicians like Tampa Red, Georgia Tom and Leroy
Carr. Records in this series were 35 cents instead
of the regular 75 cents. Minnie and
Joe moved to Chicago to continue
recording. Here they developed a
duet style reminiscent of vaudeville,
a "c'mon-baby, no-you-can't-have-
it" musical dialogue.
By 1934 a new combo style of
blues was becoming popular. Now
blues singers were accompanied by
bass, drums, piano, more guitars,
harmonicas and other wind instruments. Performers who urbanized
their sound and incorporated swing
rhythms were drawing crowds and
making records. Minnie successfully
bridged the gap between the solo
country blues and urban combo
blues. She was a modern blues pioneer and
extremely influential to other musicians in the
mid-thirties and beyond.
Minnie began recording with Decca in 1934-
35. Unlike Vocalion, Decca attributed the recordings to "Memphis Minnie and Kansas Joe" (as
opposed to the other way around as on Vocalion
releases) in recognition of Minnie's growing
stardom. It was also her songwriting talent and
guitar skills that turned their recordings into
hits. Minnie and Joe broke up in 1934, and
Minnie went on to develop a more sophisticated
sound than the rural blues she had been recording previously. Some called her "the female Big
Bill (Broonzy)." She would go on to make a
record every few weeks for rhe next two decades.
Part of Minnie's musical transition from an
elaborate finger picking style to a more pianolike rhythm guitar can be attributed to her work
with Lester Melrose. Melrose aimed to sell
records that were danceable, records that were
geared for juke boxes in bars. Columbia and
Decca recorded the slick sound that Melrose
manufactured in sessions that included
Memphis Minnie, Tampa Red, Sonny Boy
Williamson, leroy Carr, Roosevelt Sykes, Big Bill
Broonzy and Big Joe Williams. Though some
accuse him of creating a monotonous blues
sound, Melrose successfully transformed individual performers into combo musicians.
Minnie did manage to retain her grittier
vocal style, and avoided piano accompaniment
on recordings between 1938-47. She also was the
first of her peers to play electric blues guitar and
really grasp the single string-picking style of
Lonnie Johnson. T-Bone Walker and B.B. King
would later expand her innovations into their
own signature Memphis style.
The 1940s were Minnie's bestyears. Playing
with her second husband. Little Son Joe, Minnie
cut her two biggest hits: "Me and My Chauffeur
Blues" and "Nothing in Rambling." But music
was changing again: smaller independent labels
were sprouting up and by the early 1950s,
Minnie's competition were not peers like Big
Bill Broonzy but young musicians like Muddy
Waters, Jimmy Rogers, and Little Walter. R&B
and jump blues were becoming popular.
Minnie began playing Chicago-style blues with
a bigger sound, and she was managed by the
same team that managed Muddy Waters and
Sunnyland Slim. Touring was never easy: while
playing a festival in Washington DC with Sonny
Terry and Brownie McGhee, Minnie and the
other black musicians were barred from eating
at the same table or sleeping in the same hotel
Memphis Minnie was considered "rough" by
all accounts: she chewed tobacco and dipped
snuff, gambled, drank, swore and spoke her mind.
Though she was constantly being told what she
was not allowed to be or do as a black woman,
Minnie defied convention and was in every way
an independent woman. Her songs reflected the
life she had lived: down-home songs such as
"What's the Matter with the Mill" and "Frankie
Jean;" songs she wrote while hustling and playing
on the street in Memphis and Chicago like
"Hustlin' Woman Blues," "You Can't Give It
Away," and "Down in the Alley;" "I'm Gonna Bake
My Biscuits" and "Keep On Eatin" and other
songs about food, cooking, and hoodoo tradition.
Minnie's blues were very much an expression of
her race, class, and gender. At a time when
women were conspicuously absent from the blues
scene, Minnie's innovations of traditional blues
forms and her ability to change styles with the
times maintained her popularity for nearly three
decades. Minnie refused to be "kept in her place"
and it was her headstrong example that encouraged modern blueswomen like Etta James and
Koko Taylor to be equally outspoken and successful on tha'r own terms.
Minnie's career was waning by the late 1950s,
when she recorded for smaller and smaller labels
and toured less. After suffering a stroke in 1961,
Minnie faded away from the scene. She was
eventually moved to a nursing home, where she
lived until her death in 1973. •
More info: • Garon, Beth and Paul. Woman
with Guitar: Memphis Minnie's Blues. New
York: De Capo Press. 1992. • Cohn, Lawrence et
al. Nothin' But the Blues. New York: Abbeville
Press. 1993. I wandered down to the Chateau Granville on the afternoon
of Feb. 7th to interview two members of Luscious Jackson.
Who exactly I would be interviewing remained a surprise —
no more of a surprise, however, than the pink decor of the
dining room in which the interview was set up to take place.
Much to my delight, drummer Kate and "a little bit of
everything (samples, guitar, etc.)" Gabby — the half of
Luscious Jackson that I interviewed — were happy to jaunt
across the road to the Sugar Refinery, where we could grab
a coffee, smoothies, and talk in a much more inviting atmosphere.
DiSCORDER-. I understand that when Kato and Jill mot,
they were putting out'fanzines,' or 'lines,' around Now
York, your hometown, called Cheap Garbage for Snotty
Teen* and Decline of Art, respectively. What were they
about? Or what -was yours [Kato] about?
Kato: Mine was Cheap Garbage for Snotty Teens and I did lhat
wilh a friend from high school. Basically, we were music fanatics
and it was just sort of a vehicle to write snotty articles about our
favourite bands, meet them, ond go to sound check and get on the
guest list. Stuff like lhat. Not unlike what fanzines are today. We'd
put in cartoons lhat our friends and stuff did. It was just ihis creative
outlet for music-obsessed teenagers.
Magazino production, ovon if it's a small 'zine, can bo
very demanding. Did you learn a lot from it and how
did it fit into your music schedule and tho band's
schodulo?
Kato: For me, it was more like a *hing to do after school. I mean, my
social group was the music scene. I didn't like participating in after-
school activities or play on team sports or play in the school band or
anything. I would go and hang out at the record store wilh my friends
and then go see bands and talk about music and play music. It was
just something we did for fun. I think all of us grew up in a very creative environment, in New York City, downtown New York. And a lot
of our parents were involved in the arts or in writing or whatever, or
sic/ When it hits
c five times, so I
v people just
mputer really
in musk. So if seemed like a natural outlet. Just do it yourself w
kind of the whole idea of it.
Gabby: Yeah. [Sings] 'One good thing about it
you/ You feel okay' ... I just heard you say mu
had to sing lhat song.
Kato: But also, itwas all pre-computer age, and n
make a really good lookin' magazine out of a c
easily. This wos all handwritten and xeroxed, and we'd s
xerox paper from our after-school jobs or whatever. Now it seems
really easy. But we're gonna do a fanzine for our fanclub, in fact,
on my computer.
What was going on in your lives when tho band 'took
off and when, in your opinion, did it realty 'take off
for you?
Gabby: I ihink the band's hod so many stages. It could be when
people started liking ihe demo tape. I was bartending at ihe time and
[we] got good responses. Or it could be when we loured, when we
started doing our tours. We did Lollapalooza ond we had our first
record out ond we didn't know if onyone really knew who we were
yet. And then we saw lhat we had a decent-ized audience from
that tour ond lhat seemed like the beginning of some-ling realy good.
Kato: I ihink, for me, al ihe time lhat I joined this bond I was playing in two olher bands. One of the bands I was playing wilh was
called ihe Lunochicks, ond they had been touring, ond I was kind of juggling oil ihis stuff, and I was working. I hod
been working full-time in a photo archive, and then
I started working port-time 'cause I hod so much
going on. I -link ihe bond really 'took off' when
we oil quit our jobs. For a year, we were all living
on eilher unemployment or off our savings.
So what would you say to someone who
walked up to you and said, 'I really liko
what you do, and I wanna do it too, and
I have some friends and wo wanna do
It.' What kind of advice would you give
thorn?
Kato: What my sort of vague advice is, is to put
yourself out there and really give your demo out to
anybody, everybody. In our cose, it realty worked.
JiM and Gabby gave their demo, before I was in
t\e band, to Mike Diamond from ihe Beastie Boys,
'cause he was a friend, just to see what he would
think, hie ended up storting a label ond that's what
label we're on. And lhat ended up working really
well for fhe band as for os notoriety and clout and
stuff like lhat...
Gabby: ... But as for as advice on how to get
into it musically and stuff, unfortunately not everyone is going to know a Mike Diamond or a whatever, but you'll get connections somehow, if you
give your tapes out.
Kato: Yeah, just put the information out there and
don't sit in your room sulking, playing guitar and
sulking, lhat no one has discovered you yet. You
gotta do some legwork, you gotta ...
Gabby: ... bo proud and put it out there. Play
what sounds good to you ond don't be afraid to
Injst yourself... even if what you're playing is two
notes only for a whole song. If thot's moving you,
chances are it might move someone else.
Who aro your musical horoos, and by
lhat I moan, who do you really respect as
Gabby: I tend to love the classics, like Jimi
Hendrix, ihe Stones, ond Marvin Gaye ... Stevie
Vfender, Bob Marley
and relationships ore something lhat everybody
con identify with.
Gabby: I think Jill's been a great lyricist from the
beginning, but everyone's got a right to their opin-
Kato: Yeoh, love is a universal theme lhat's very
hard lo write anything original about. If I wos
going to write a love song — or something about
love, or a relationship — I would be clueless and
lhat would be the limit of my output, so I appreciate Ihe skill.
What about 'one thing?' It talks about
'tho people who hold tho power.' Who do
you perceive those people to bo?
Kato: For people who come from o privileged
place, it's often hard to understand why people
who are in a less privileged ploce are the way
they ore, or why ihey are not able to get out of
where they are.
Gabby: It's kind of like denial, and it's easier on
you to close your eyes and not do anything about
it lhan to be aware. Who knows what to actually
do about it, but if you've got some consciousness
to help, or sing about if, or whatever you wont to
do. It's a real touchy thing, ihough, because sometimes you just feel stupid expressing those kind of
thoughts. I'm very interested in politics but I feel
very inarticulate when it comes to it, or not as
knowledgeable os I'd like to be. But we're all
human beings ond when you see stuff, you see it.
There was amazing crap going on when lhat song
was written: we got a new mayor, a new governor, so many laws were passed, budgets cut, it
was amazing. It's scary lhat a lot of mothers are
going to have to struggle now [lhat] there's no
safety net. I think in Canada, you guys hove a
much belter system.
Do people with power affect you In your
lives  as musicians and in tho music
. when I think of
the records I most
love ... and Neil
Young ... it's funny
hese mega-legends.
Oh and Led Zeppelin.
Kato: No apologies necessary. The Slits are really big heroes of mine. I don't know if I have any
megoheroes, musically. I get into many, many different things. There are certain people I respect
who have been in ihe musk business lhat might
seem really strange, like Dolly Parton. A lot of people think she's just big hair, big tits, a backwoods
woman, but she's octualfy an incredible songwriter
and one of the first female country artists who sold
millions of records. I tend to be more influenced
and inspired by female artists too, like Bonnie Raitt
or the Judds.
Gabby: And the Breeders really knocked our
socks off.
Tho album has boon criticized for its 'toon
angsf-like lyrics. All of tho songs, with
tho exception of ono [ironically called
'one thing'], aro about love. Mary Ann
Marshall in MS. Magazine [v.8 #4] commented that tho lyrics have 'an adolescent fool of having boon written alono in
a room on tho verge of a nervous breakdown; they don't sound tho work of a
band whose members aro flirting with
thirty.' How would you Kko to respond to
this comment?
Gabby: Jill did write a lot of the songs alone in
her room, so I guess it's not altogether wrong, as
far as the alone in your room thing.
Kato: I'm somebody who views our lyrics as a
listener because I'm not writing them, and I
enjoy the lyrics lhat these folks write. I identify
with a lot of these subjects on ihe new album,
rm very intereeted in politics but i
P88L verv inarticulate when it comes
to it. op not as Knouasdsosbis ae rd
lae to be. But were au human beinse
and when vou eee etupp. vou eee it.
Kato: When you're signed to a major label you
are basically dealing
ivith big business,
and in effect, you
become part of this
business. Decisions
money and selling,
ond not necessarily based
on what's best for the band or the fans. It can get
so far removed from your motivation as a musician that you con get really turned off by it. You
have to figure oul what your limit is, and that lakes
Gabby: You gotta stay balanced, you gotta
keep your integrity, and you gotta do what makes
you happy. We have a lot of ears on this record.
Kato: And the only ones who are going to look
out for your interests are you and your band-
mates, and you hope that you and your band-
mates see eye to eye on whot you're trying to
accomplish. And you have to keep reminding
yourselves about 'these people in power,' and
that we're actually the ones who are in control of
Do you have a theory on what deja vu
is?
Gabby: Oh man, I was just thinking about that.
Kato: I just read an article about deja vu and I
hod always thought it was your brain firing the
same information twice, so you feel like you've
experienced it already. I mean, neurologically.
Gabby: I hear it's when you're realty tired, you
get deja vu. I've gotten deja vu a lot ond I keep
on hoping that it means something good but I
always have the most typical, average day when
I get deja vu. I think it's a fun feeling.
Kato: Sometimes it can really freak you out. But
I tend to think lhat it has a neurological explanation rather than a psychic phenomenon.
Gabby: Rather than you just keep reliving this
life over and over again. •
WID IVIAR S*
SAT fiAJCKK   1 S*
/AOtM AA/VR  1 ?*>
S/VT #VtAR -3_.»*-
CHEAP WINGS
& CHEAP DRINKS
JAM WITH
CRAZY DAVE & THE
HYPERDRIVE
RETRO DANCE PARTY 1
PARTY NIGHT
GREAT SPECIALS
X-FILES SUNDAYS
SEE IT HERE FIRST
7 PM & 9PM
THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUIDING, 6138 SUB BLVD. • 604-822-6511 kokoro <tano>
endergraft
DiSCORDER spoke with Barbara Bourgel and Jay Hirobayshi of Kokoro Dance
to find out more about the "heart, mind, soul, and spirit" of Kokoro Dance, which
has been regarded as one of the more controversial dance companies in
Vancouver Their starfe body make-up, shaven heads, and nude bodies always
offer a visual appeal that sets them apart from the mainstream. They have collaborated with numerous artistic groups in the city. Besides Co-Artistic Directors
Barbara and Jay, Kokoro Dance is comprised of Gerald King, Lighting Designer;
Tsuneko Kokubo, Costume Designer, and Robert J. Rosen, Composer.
Their next show is a remounting of Sunyata, being held at the Vancouver East
Cultural Centre from March 12-22, in honour of their 10th year dancing in
Kokoro. It promises outstanding visual appeal through textures of sweat, mud,
and breath. Inspired by the etchings of Guslav Dore for Dante's The Divine
Comedy, Sunyata offers a surreal experience for which Kokoro Dance has
become known. Sunyata best represents what Kokoro is about: strong visuals,
great music, and kinetic magic.
DiSCORDER: Who and what is Kokoro Dance?
Barbara: Wc are a modem dance company that has been around since
1986. In fact, its our 1 lth year, but we are celebrating our 10th
anniversary this year. We are interested in exploring the aesthetics of
where eastern and western modem dance-forms meet. 1 have ballet,
modern, tap, and musical theatre in my background and over the
course of Kokoro Dance, we have become interested in the eastern
aesthetic known as butoh.
What is butoh?
Barbara: Butoh is a dance-form which originated in Japan. The first
actual performance of it was in 1957 and it is accredited to a man
named Tatsumi Hijikata. It is a very stark aesthetic, based on, in pan,
a reaction to influence on western modem dance and ballet on Japan.
Its had an influence worldwide since its inception. There have been a
lot of people influenced by the work and have experimented. Several
companies in Seattle do that kind of work and several other people
across Canada explore the ideas of butoh. Its not a technique, its not
like the western, modem dance technique — you couldn't really compare it to Graham or Nimone. Its more like a philosophy of an and life
mixed together. Butoh artists are interested in finding an original
expression thats true to the individual.
Within the butoh aesthetic, you are painted white, with shaven
heads, bare bodies, loin cloth wrapped around ... is that something which is inherit to butoh or something which you thought
would look visually appealing on stage?
Barbara: The painting while is inherit to butoh. 1 think that within
Japanese butoh it originated from using rice powder — its very connected to the earth and the cycles of life. We like it because it
enhances the way the body appears. [When! you don't wear much
clothing, all the muscles and bones and the way the dancer appears,
is quite in the forefront. Its not hidden by any clothing. It really offers
a vulnerability that we're interested in. [Theres] a real visceral connection with the people who are watching — what it means to be
human and how that feels and how the body moves within that context. So we incorporated it because we liked the way it looked and
enhanced the bodies and the shape of the bodies and therefore the
feelings that it creates.
The complete visual impact is really stunning, especially with the
lighting and shadows created.
Barbara: Yes, its illuminating in more ways than one. It really pulls
the form of the body out of that kind of hiding ... not hiding, but the
way which we are used to looking at bodies which is clothed and
hides the essential movement and the essential expressiveness of what
the body is capable of doing. And also, the white make-up really does
help the way you can use lights and we like that, because it felt like
painting with lights on the bodies.
Has this ever caused you any problems in terms of reaction from
conservative dance forces or in terms of funding?
12   march
Barbara: Not the painting of the
body, but the nudity has impacted
both positively and negatively. Its not
the nudity of the male form, but the
nudity of the female form that has
been difficult. Breasts are political and
in our society ... people have difficulty viewing breasts for whatever reason ... I'm not sure. But the nudity
definitely has had impact. And we are
known for that. It does create a kind
of controversy, I suppose. I'm so comfortable with it now, I dont even
think of myself as nude with the
white body make-up — to me, that is
a costume and I wouldn't be so comfortable on stage if I was nude without the body make-up. Some people
find it shocking and some people
don't. Its very Individual. Its certainly political — thats for sure.
A lot has been written about the
controversy of Kokoro.
Barbara: We have never thought of
ial. We have a desire to create works that speak
to people and I suppose because we put ourselves on the line all the
time, that in itself is controversial. Wc push certain boundaries. Like
what people think modem dance is, or what people think butoh is, or
what people think theatre is. And that challenges peoples perception
of what it should be on stage or what they want to see on stage. I
think that is where the controversy lies. As artists, we are just people
expressing these ideas we have ... essentially, what dilemmas human
beings face and what it feels like to be in the human skin and all that
entails. Us very complex and, of course, not all people see it that way
... Wc dont set out to be controversial. That is not our aim. Our aim
is to create work that speaks to people in a very concrete and real way
about our ideas and our feelings and the sense of our society. The
kind of things we face, we all face as human beings.
When you are starting out to create a work, in terms of the creative process, who is more involved, yourself or Jay?
Barbara: Well, it_. really a collaboration. We've been partners in life
and art for 17 1/2 years and it. kind of a chicken and egg question —
which came first... its really hard to say.
Here's Jay now. Hijay.
Jay: Hi, Kevin.
Barbara: We discuss everything. I might have more movement ideas
one day ... but everything is like the two of us. If Jay wasn't involved
in a process, or I wasn't involved in a process, it would be a different
process, because we work in a really collaborative way. Sometimes
that causes friction, because finding a way of talking about things is
always the hardest way. But in general, 1 think that we work very well
together. 1 hope that we support each other in the weak areas that
each a
: of us has.
Do you start off with exploring a particular idea of looking for
something that is visually appealing?
Barbara: What always comes first is the movement. Its not that we
dont have a concept — we usually [do], but we work in the studio to
create movement and then explore that movement and then find out
whats in that movement. Because movement is 99% metaphor, it has
weight and merit all on its own. We all move as human beings. We are
not robots. Movement is connected to ideas to memory to emotion.
For example, cooking or cleaning the house is a movement. Wfe try to
find out whats in the movement and identify that. Usually, no always,
its about something.
Who are the more memorable groups that you have collaborated
with?
Barbara: We have a core creative team ... We have worked with a lot
of jazz groups over the last seven years. And I guess the highlights
would be in 1992: Bats with the Kane Taylor Explosion, and in 1995:
White Hot Core with Hard Rubber Orchestra.
Jay: Wc are always interested in working with any musicians who
we seem to run into all the time. We've worked with both Katari
Taiko and Uzume Taiko, and with Peggy Lee — cellist — Adrian
Clark on keyboards ....
Barbara: I think any collaboration in itself is a highlight. Life is an
artistic process. Wc find that very exciting and challenging. Its what
we love.
Jay: Wc have worked with a lot of visual artists as well... Wc enjoy
working with artists from all different disciplines.
"We don't set out to be controversial. That is
not our aim. Our aim is to create work that
speaks to people in a very concrete and real
way about our ideas and our feelings and the
sense of our society. Tlie kind of things we
face, we all face as human beings."
Given the difficulties associated in operating a small dance company and government funding cutbacks, how has Kokoro managed to survive?
Jay: We've worked for the first six years without any ongoing Canada
Council support .... We still survive on very little money, even though
we now get some. Basically, we perform a lot. Wc work for nothing the
rest of the time (laughs). Wc are still living below the poverty level and
sacrificing our future [laughs] for our art at the moment.
Beyond Sunyata in March at the VECC, what's next for Kokoro?
You'll be around ten years hence?
Jay: I expect so. Wc seem to have no shortage of things we want to do.
Wc are going to be doing the Jazz Festival, probably the Folk Festival
as well, and a lot of free outdoor performances around the city. So
people will likely bump into us one way or another. Every year now,
we do a piece at Wreck Beach.
It made the news!
Barbara: Yeah, all those naked bodies on the beach brings down the
CBC**
1997 £> w-1Gam Poetry and women
in view
10am-12pm Womyn in folk
12-1pm cooking show
1-2pm Japanese invasion
2-3pm the cowgirl show
with Oh Susanna
3-4pm Sri Lankan wo
4-5pm queer Loud women
5-6 pm health show
6-7pm women in punk
7-8 :3 0pm art panel
di scussion
8:30-9:3Opm women
worldbeat
9:30-10:30pm live from
thundergr r rI ra d i o
hell:   gaze
10:30-11:30pm  women   in   ska
11:30pm-12:30am   erotica
a pd   inus i c
12 : 3 0-3am    women    in
i n dustrial music
SUBSCRIBE  TO DiSCORDER
48tl^RECIEVBrA CiTR .RROMO F>AOj$!
7^"
|OV
fysr^
K.
I YEAR: $15 CDN   $USl5 US   $24 ELSEWHERE
DiSCORDER, 233-6138 SUB BLVD, VANCOUVER, BC   V6T IZI
BRAND NEW GOB & ANOTHER JOE CD/LP
JVow playing!
gob & Another Joe
Sat March 22 @ Seylynn Hall
GET IT HOW!!!
M STORES HIHTOWER^
13 E^gai®iffi iiiiniiiniiii
fall in not death      to lire is impure
things are more beautiful      when they're obscure
to fall is not death     to know is not me
things are more beautiful     when they're hard to see
from "strange, sad" (Spine)
Learn to recognize the beauty of your own back,
from "INSTRUCTIONS" (Spine)
^^ .,      <#*>"
llll Ulii
fed* Hille it balancing a number of projects. Having recently released Spin**,
her third album, she has just completed a piece called "Cockroach"
for choreographer Deborah Dunn
(which will form part of the KISS
Project), is currently working on a
Canada Council-funded album about
Emily Carr with local cellist Peggy
Lee, and anticipates resuming the
mutidisdplinary perfomance parties
she started organizing last summer
with Dunn and comedien Christine
Taylor. Ved* and I met in early
February to talk about her writing.
Krista: I find that the lyrics of your tongs on
Spine are very emotional and very personal.
Is It ever difficult to bring what Is essentially
very personal Into a public domain?
Veda: I'm not as specific as I used to be. I used
to really get a kick — particularly on the first
record — out of being very, very specifically
personal and specifically exposing myself, and
I've moved away from being that precise. I
think the songs are more couched in some
story language, even though they are pretty
much always about specific incidents and feelings. I'm working more on writing stories
about them and using them as springboards.
It's pretty intense doing shows for me, but I
like that, and it's less about exposing myself
now. It's a lot more about being a musician.
It sounds Ilka you are learning to be raw In a
different way.
Yeah. Learning to be raw in a way that's not
dangerous. I guess everything's dangerous. But
there was more ego involved before in the
danger. It was more about, 'Hey look at this.
I'm exposing myself to you.' And it had to do
with pointing the finger at Veda on stage. I
think I'm still central to the equation, but I
don't need to be recognized the way I used to.
I definitely see the move toward obscurity on
this album, compared to your earlier stuff. In
the song 'strange, sad,' I think you talk explicitly about the beauty In obscurity. In things
that are hard to see.
know everything that's going on.
It's sort of a general state of being human —
that we don't know everything that's going on
— and we keep trying to figure it out. I think
that purpose is kind of essential: continuing to
strive to figure out what's going on and to
place ourselves in the world. But even if we do
find our place in the world, I don't know that
we'll stay there. We can't rely on things
remaining solid. And also, I don't think you
necessarily have to find the story I'm working
on. If it correlates to a story in your own life,
then that's an accomplishment for me.
I wonder, also. If you are writing songs that
are deliberately obscure, how do you feel
about being asked about what you are deliberately obscuring?
One thing is that I don't know how deliberately they're obscure. I think part of it is that I
understand what's going on in them, and in
some ways I've been surprised that it hasn't
been clear in the end. Like 'Slumber Queen:' I
thought I'd written a story from beginning to
end. But I don't think people are really getting
the story anyway, so I don't know how deliberate it is.
I am thinking a lot about how much I want
to reveal. How much of my personal life do I
reveal to people when they ask, or even when
they don't ask? Because I really appreciate
knowing about people's lives, particularly people whose music I like, it becomes really important for me to know how they lived their lives
and if the things that I like in their music are
sort of carried through. But I'm learning more
about being private, which I think is also
important. I think I know how to answer questions in ways that satisfy me.
Thafs something I think about as an Interviewer, because I'm empowered to ask questions. I try to anticipate boundaries so that I
won't be asking questions that are invasive. I
remember listening to an interview with Ani
Difranco. She expressed frustration with having to do Interviews and having to elaborate
because she says that she's put this music out
and people always [have] a desire to get more.
It's a tough call. Some of it changes day to day.
I had an interesting experi-
Hs| ence on Co-op Radio where
we asked for phone-in questions — which I'd never
done before — and we only
got one question. Someone
asked what race I was and
what my sexual orientation
was. Which is something —
not the race part, but the
orientation part —that gets
talked around in a lot of
interviews, but most journalists would never say, "What is
your orientation?' At the
time I said, 'I'm white. You're
going to figure that out,'
but I wouldn't elaborate on
r Ivriota.   To
other than what's in the
songs. And I'm still trying to figure that out:
do you just say it or do you not? I do think that
things like that are expressed in the music
enough, and part of me thinks it doesn't matter. Anybody can listen to the music and put
their own life into it. But on the other hand,
maybe it is important for people just to say
things out loud.
I guess around something like sexual orientation, there has been so much silence that
obscurity has a different connotation. I think.
In part the answer depends on who the question Is coming from.
And we need to have people who are willing
to say, 'I am this,' and not have it be something
to be ashamed about. It's interesting though,
because I am primarily straight, but because
I've hedged the bet so often in interviews and
because I used to have more of a dyke haircut,
people, I think, have assumed that because I
was hedging it's because I'm gay, but I cant say
it. it's a tricky backlash thing now where I dont
want to talk about the fact that I'm not gay.
You can use silence and ambiguity In positive
ways. And I think there Is certainly a lot more
appreciation even within lesbian and gay
communities that identifying someone can
be a pretty oppressive thing when thafs
used as another way to exclude someone
else. I think that has a lot to do with why
we're talking in terms of 'queer.' Ifs still a
rejection of a mainstream, but Ifs more open
to people who are identifying themselves in
ways that subvert the norm but don't feel
specifically gay or lesbian.
There's a lot to be explored there still, in
terms of what to say clearly. Have you read
any Annie Dillerd? She's a writer who is very
influential on Spine. She deals with the big
topics of beauty and terror in the world. She
is a naturalist and a philosopher, I guess. She
examines the basic why we are here, how little we know. So much of being on the planet
is about continually remembering that we
don't know what's going on and we just
have to keep going anyway ... It just all
points toward blindness, which can be beautiful in itself.
There Is a song that I was particularly curious
about •bellyflsh.' I felt very strongly that
there was a metaphor underneath the literal
stuff, but I couldn't understand It
Thafs an interesting one about how much I
want to reveal, because ifs a very powerful
song for me and very painful. But essentially, ifs about sexual regret, an awareness
of how much you put into your body over
the years. Ifs all mixed up with sex and
being young and suddenly feeling the
weight of all that you carry around from
that ... Having to be aware of past and
future and how they come together in your
body specifically.
I think a lot of people who are not professional writers use writing to work through
stuff. One of the things a therapist will suggest that you do Is keep a Journal, start writing. There is that personal element In the stuff
you do.
I'm trying to change that, actually. I'm tired of
that. I think I've written enough that was
about working through things earlier. I'm
moving into something that is more about
writing and less about exposing. I think the
personal will always be there. I think we're
lying to ourselves if we think we can exclude
ourselves from the process.
I just started therapy about eight months
ago, and that was my major fear, that my writing would just start to be all this therapy speak
stuff that is not interesting to people or useful.
But in fact, the opposite has happened ... Now
that I have an outlet for the really personal
stuff that I'm working through, I'm just really
not interested in using that in music. I don't
need to talk about my shit. I want to talk
about things other than myself right now. I
want to write stories.
How do you see that changing not so much
the content of what you're writing about but
the process of writing?
Ifs very different. When I first started writing,
I would write whenever I was in a huge emotional state, and now when I'm writing ifs usually more because I've decided I want to write.
There is still definitely an element of just being
a slave to the muse, and if you feel like writing
you do, but now I don't usually feel like writing because I'm upset or terrified or in love.
Now I feel like writing because I feel like working the craft."
. 1997 ^) first met Suzie Ungerleider, aka Oh
Susanna, when we worked together
a couple of years ago. Then Oh
Susanna played at a show I put on at the
Railway Club in July 1995. None of us
realised then that it was her first show as Oh
Susanna, although as soon as we heard her
sing we had to suspect that she might
become famous someday. The moment she
stepped up to the microphone, holding her
acoustic guitar out at arms length from her,
leaning over to the mic as if she wasn't sure
she liked it, and started belting out the song
which shares her name in a sweet, gutsy,
yodelly voice, the whole room went dead
quiet. Everyone, drunk or sober, in the middle of conversations or arguments or just
reading the paper, turned toward the stage
and watched, transfixed, until her set was
over. This is the kind of effect Oh Susanna
has on folks.
This interview is from part of a conversation
we had on February 8th, just a couple of hours
before she had to be at the airport to fly to
Toronto for shows there and in New York.
Janis: I saw your picture in The Province, and
someone told me that you even had your picture in Billboard. How does this happen when
you don't even have a CD out yet?
Suzie: Oh, God [laughs]. I don't know how it
got ... it's all a big network of the Canadian
music scene, and it's even gone into the US. It's
like one person says something and they pass it
on to someone else and they pass it on to someone else, and then pretty soon .... Luckily, peo
ple like it enough to talk about it. 1 think what
happened was that the Toronto Sun put this article that Denise Sheppard wrote about me online and the guy asked for a tape and he gave it
to this friend [Larry Leblancl who works at
Billboard and he wrote a litde thing on it. And
he prides himself on featuring independent
music and musicians in such a huge industry
magazine. He's like, 'I will do a piece on somebody who's totally unknown'... 1 don't know
if anybody really saw it...
I want to ask you about the
CD too. When is it coming
out, and whafs going to
be on it?
It's the same exact music
as on the tape — same
recording. I got it a little
bit cleaned up because 1
didn't master it at all; I
didn't even know what     *
mastering was ... So it's the
same music — it's got seven
songs, so it's a long EP, a short
LP. It'll be about ten dollars.
Great.
1 wanted to make it a nice, nea
... It's being distributed by Outside Music.
So is it your own label?
Yeah [laughs). It's called Stella Records. Part of
it's because of Stella guitars, these old mailorder guitars. I bought one at Highlife.
Is this it in the picture? It's a beautiful little
guitar — it's kind of small, isn't it?
It is very small. I was thinking that the
Dreadnought that I had, which was a beautiful guitar, was awfully big. And I saw this one
at Highlife, and this friend of mine in Toronto
had one, and said, 'Hey, you've got to buy one,'
t, little package
and it was only 80 dollars. Cheap! I mean, it's
sort of like the equivalent of having a tinny
whorehouse piano kind of thing. Apparently,
Leadbelly played a 12-string Stella ... There's
something nice about having something with
character, and then it's got a woman's name —
you know, Stella, which is a real '50s name,
like Marlon Brando in Streetcar Named Desire.
And there was something Chris Douridas said
about the songs on my tape, that the writing
was 'stellar,' and there's the whole star thing,
and the sky, and I really want to focus on the
elements when I'm writing: water, sky, stars,
space, things like that.
I must have seen you play one of the very
first times you were on a stage. Was that the
first time?
I'd been onstage before, but that was the first
time 1 was Oh Susanna. Um, I had done stuff
in college like once a year at this talent/coffeehouse night, and all year I would [puts on
exaggerated movie star voice] look forward to
this chance to go onstage ... That show that
[you and I] did together was the first one as
Oh Susanna.
I think it must take a lot of courage to go
onstage all by yourself bke that and play your
own songs.
Part of it is scary and part of it is kind of an
egomaniac, control thing where you go, at
least I know what's going to happen and I don't
have to worry about anybody else. It's been
really nice when I actually have collaborated
with other people, and there is a point where I
go, 'Oh I feel lonely onstage, all alone.' You're
right, it is courageous in some ways, but I don't
really think about it.
No band politics!
That's it — yay, no band politics! I can work
with people when I feel like it, and not work
with people when I don't feel like it.
Please don't take this the wrong way ... I
think that part of the reason you're doing so
well is that you're doing something that no
one expects. You're young, and you're playing these really old-sounding songs, and
you're not doing it in the sort of scene where
people might expect that, and it just blows
people away, they didn't see it coming. How
did you ever get into something so different
from what everyone else is doing?
Probably by not even knowing
-•-£,. what everyone else is doing
llaughs]. By being an ignorant person and not following what was going on. So
in some ways I don't
think it's very weird, that
what I'm doing is very
different. It's so ironic,
because people really do
think of it as new or different, and 1 think what
I'm doing is totally continuing with the whole history of
music or rock music or folk/people's music. It combines all the elements. 1 think I went back in time a bit, like 1
listened to the Rolling Stones or I listened to
the Sex Pistols or something like that, and I
always was interested in the American Graffiti
soundtrack, and then 1 kind of traced back and
got interested in pre-rock and roll...
You started doing your own research.
Yeah. I come from a pretty academic background, so to me it makes a lot of sense to
research and trace a movement.
But that couldn't have taught you to sing like
Well, listening to lots of people ... I was a really
*0$$T.&&'
fc
good imitator for a long time, and then I think
that by singing more and more and figuring
out what kind of music I liked, 1 found a style
that is my own but borrows heavily, heavily,
heavily, from other people.
Because technically, this is not entry-level,
the sort of singing that you do.
But I've always been interested in singing. 1
haven't always admitted it to people, but I've
always thought of myself as a singer, and 1
never really admitted it to myself, even, until
recently, that 1 would take it and use it for
something, not just to have for my own, not
just to have it be a private thing that I do. But
you're right, I've always been attracted to
kind of outrageous singers. I mean, Mick
Jagger ... like John Lee Hooker or Kate Bush
or Pat Benatar ...
That's so funny, because you don't sing anything like any of those people.
I know! But to me ... When I look out and
think about where 1 came from, everything
makes total sense, but of course I forget that
other people have no idea what that is.
That's what I'm curious about, because it is
kind of hard for somebody like me. I think
of your music as being kind of
cowboy/blues/folk, um, those sorts of
things, and there probably is a whole genre
of that sort of thing, and 1 don't even know
what it's called, and I don't even know who
the great heroes of that scene are. So do you
have recommendations for people as to what
else they should listen to if they like what
you're doing?
Well, for a long time I moved away from any
specific band or ... it's kind of a contradiction, but I got into it by listening to Hank
Williams. Hank Williams, Patsy Cline were
kind of turning points in what I would listen
to, and listening to that led me to something
more old-style, more nameless. I'm interested in the persona of people, and the
unique voice, but I'm also interested in the
nameless, faceless ...
Thafs the folk, and the blues, tradition, right?
Yeah. I started listening to Folkways records,
and compilations of actual recordings of people who live and work in this rural setting
and no one knows who they are, and it's just
so much a part of their lives that they just do
it and there they are. I wouldn't be able to say
who they are — they don't have recording
contracts or anything. Someone just says,
'Sing into this machine,'
and they go, 'Oh, okay.'
So does that lead you to
feeling a little odd,
because you're a middle-class, educated
woman, and you're
singing this really
folky, uneducated
music?
It's  funny.  A   friend
wrote me an e-mail —
how bourgeois, an e-
mail — and he said, he
was     talking     about
Ashley Mclsaac, he said,
'Some of us get into this
ancient music because we
have good taste or we're
middle-class or you know,
we're interested in anthropology, but some of us are
from Cape Breton.' And yeah,
they aren't there as tourists, but 1
like being a tourist, and 1 don't
feel guilty, I don't think.*
15   E^_3__5£__ between __»_§
fflS-Wltf ffl*M by Christina   ■.'•t
As Ihe bl-line soys, I am
now writing this column
solo. I see this os o good
opportunity to see if I have it In
me to write every month without
someone present to kick my butt
into gear when I gel lazy.
Lately I have been looking at
my situation, comparing it to
emo zines. I see emo zines as
an example of taking emotional
turmoil ond turning it into a beautifully finished product. This is
why I chose to dedicate this issue to reviewing a few emo zines
lhat I have recently picked up.
I am running low on stuff to
review, by the woy, so send me
your masterpieces, kids. Contrary to what my nasty little spiel
in last month's intro suggested, I
am really no! a mean, critical
person. Have a beautiful spring
and pray for sunshine.
'Christina
...and only the tree* were
left standing... #_
(24pp. quarter size)
Upon reading this zine for the
first time, I was a bit confused. I
found it to be reflective of o co-
tharsis on Chris' behalf; however, I was so overwhelmed by
lines
the intense release of anger lhat
I didn't have Ihe opportunity to
focus in on the actual content of
the zine. Upon a second reod-
ing, I wos impressed.
This zine heovily focuses on
Chris' emotions regarding the
disintegration of a friendship. In
...only the trees... she manages ■
to accurately depict the mix of
confusion, anger and hurt thof
comes when a relationship itart
was once on important port of
one's life ends.
I think that one of the
strengths of Chris' writing is thot
she deals with subjects relevant
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get   10*
'hen  jou
bring in t__i<
to her lite in a very raw form.
She does not over-articulate issues so that they become removed ond somewhat stifled for
Ihe sake of being concise. However, her writing is not forced
and diched, as is the case with
many zines lhat are focused on
anger, which is refreshing Chris
is working towards regaining a
sense of self-Jove ond stability in
her life; this is an
amazing opportunity to see her work
in pfOOJ***. {This is
the gjn who makes
all of those Morious
straightedge (*hirts
so many kid* ot
show* have been
sporting lately ...
rod I) Send $1 to
Chrl* ot 5111
fcedooo Drive,
Horth Vancouver,
8C,V7R3K1
ONE   MILLION
RAINY DAYS
(4pp. eight she)
, This is without a
I doubt    the    most
I beautiful   thing   I
Vhafe ever read.
'Adam Miller rocks my world so
har6 that sometimes I forget that
ortyorte else exists, I kid you not,
In One Million Rainy Days,
Adorn ls taking a break from the
longer form writing of Kids With
Goggles in order to concentrate
on his ability to beautifully
weave together ihe emotions hat
come with lonelim
cence and confusion. As
everything, he doe* so with flying colours.
This zine flows like poetry
without being overly metaphors
cal. His words and feelings
piece together effortlessly, he
layout is beautiful, qnd the visuals meld together wilh the WOfd*
so completely that#Ksre}*0 footing of unity between #» two.
This kid rocks. A*k hkn for info.
about his acoustic tapes when
you write him. Send an IRC ta
|.Adam Miller at 4119
Wentworth Avenue South,
Minneapolis, Minnesota,
55409.
"she is laughing to stop
herself from crying"
(20pp. half *ize)
Usually I review zines written
by my friends/acquaintance*
or complete stronger* in ihis column. Because of lhat tradition,
reviewing thl*_Jfi* was difficult.
I do not hav* the positive personal bias towards the author
ihot 1 have wj&fny friends; however, I lodfc iKtt -cwplete ano-
nymtty thot f hove Wifcitrangers.
Bacous* of <■*»* I almost chose
not to review thi* Jtdne, but I felt
compelled ta isecause
1 so strongly Identified
with the content. Plus,
the Wfo it a Morrissey
quote {howcon you go
wrong with that?) and
the "Stile prince" layout
rod»d my world I
ttiis zine involves
Ihe wlhor reflecting on
her childhood, then
transforming ihot to her
current depression. She
spends o substantial
port of this zine contemplating the view others
hold of her in relevance
to her emotionol state,
specifically ihe foct ihot
externally she comes
off o* one who has a
lot going for her, but internally she feels incredibly alienated and confused.
While I would not say that
this zine is similar to ...andonfy
trees... in content, I would
place them in the same grouping. They are two zines
focussed heovily on reclamation of one'* right to happiness.
Send $ 1 to Brie at 1 805 Dublin Street, New Westminister,
BC, V3M3A2.*
W.
Jfc£rl<y_'~^€,lo   «
;v|_..U good used pop '■'/..   broad**/  f^
2flfe» V'culture clothing ^Ijr
— STOIFG*-
SPRING CLEANING SALE
*50% OFF COMICS AND BOOKS*
}*S0% OFF USED CDs AND RECORDS*
*20% OFF NEW CDs AND RECORDS*
*20% OFF TRADING CARDS AND SUPPLIES*
^COME SOON, COME OFTEN - LIMITED QUANTITIES.
SALE ENDS MARCH 4. 1997, 6:00 P.M.
16   march 1997  ' Well, I'm off to Jo-
pan for three
months. Send
hate mail and 7"s to My Successor, c/o DiSCORDER. I'll
bet you anything s/he won't
waste nearly as much space
with personal anecdotes and
opinions as I have been since
September. Maybe s/he'II actually (gasp!) review records
once in a while!!! Unthinkable! At any rate, it's been fun.
THE SOFTIES' first full
length album, It's Love, managed, one might say miraculously, to melt my unromantic
troll heart and, in doing so,
become one of my favourites
of early'96. Seeing them play
at St. James' Community
Square was a highlight of my
summer (I even stole their set
list for a souvenir). Now they
have a new 7" and a new
album oul; this perfect little
piece of vinyl is more of their
delicious trademark slush. I
love how clear their guitar
sound is (no fuzz is good!). I
love how unaffected and
sweet Rose's voice is. I love
The Softies' perfect harmonies. Love bve love love love
love love bve love love love
love love love love love. Sickening, eh? (K Records, PO
Box 7154 Olympia, WA,
98507)
A project called The
Apraxia Composer Series has
released Volume 1 of their
document of modern composers. This first 7" record
features pianist KEY
RANSOME on one side performing two piano compositions titled, collectively, "Early
Preludes." The first is fairly
upbeat, while the second is
very minimal and slow. On
ihe other side is CHERYL E.
LEONARD (actually clarinetist Matt Ingalls), whose
piece, put together from clarinet and tape effects, is called
"Nether." It's a nice, experimental song, Ihe first two
thirds of which is fairly minimal while the last third is more
cluttered and interesting. This
project is of definite interest.
(Apraxia Music Research, PO
Box 85155, Seattle, WA,
98145)
JUNIOR VARSITY*
Gol To the Icecream Social
is on Peek-A-Boo Industries,
the same label as the 1—n
Titans, and the band's style
is similarly childish and sub-
competent but still unique. Junior Varsity do peppy, '60s
garage punk with cute vocals
and neat rockabilly guitar on
"Hot Rod" and "La Tapotia."
All five songs are short, fast,
and crunchy. And hey, this
7" was recorded in Vancouver! (Peek-A-Boo Industries,
PO Box 49542, Austin, TX,
78765)
Montreal ska band THE
PLANET SMASHERS ore
another group who have
recorded at JC/
DC Studios in
our town. 'The
80 Bus" has a
leisurely   beat,
while       "Unci.
Gordie" begin* and
ends with a strange,
countrified   walt2
"Beans," an Intimi*
dators cover,  is
good instrumental pie
with brass solos. (Jump
Start Records,  Colder
Square, PO Box 10296
State College, PA,  16805
0296)
I think that the loss of
sound quality can be a definite drawback to pressing
7"s, particularily if you're
used to more audiophilic formats. Thus, the 7" mix of DJ
FOOD'S "Sonic Soup" is a little thinner than would be
ideal, although the strangeness of the music holds its
own. These guys have
crammed every conceivable
tempo into the track, and since
what is broadly labelled
"dance music" generally depends on the speed of i t s
beat for further
sub-
classification, lord
knows what this is. You
can't really dance to il either,
unless you are a dancing fool,
oblivious to tempo shifts.
Whoah, trippy, dude.
BLACK TEA are the
"Winners of the World's
Worst Rap Competition," and
for good reason. Their rhymes
are horrible, they rap off beat,
and the music sounds canned.
The song title that gave me the
most trouble, "Homocyde,"
was thankfully a typo. This 7"
is mildly entertaining but I can't
figure out if the artists' intentions
are serious or not, and that
bothers me. (Teach Records)
Following, perhaps, in the
footsteps of Strain, another
local hardcore band has released material on Germany's
Heart First. CAPONE's W/>o(
We've Shared is dark and
hard, with vocals that sound
as if they have been spat from
the gut. "Resolution" and
"Awakening" are heavy
and slow, and "Retract"
\ and "Summit" are heavy
and fast. (Heart First,
Bockhstr. 39/10967
Berlin, Germany)
Another local band in
a different vein of sound is
GOOD HORSEY. Their "Emperor Nick" b/w "Pink Pages"
7" is original and well crafted,
but has unshakable '70s prog
influences. I kept thinking of
Yes as I listened lo this single, and that frightens me,
since I ordinarily avoid thinking about Yes as much as possible, (c/o Scratch Records,
109 W. Cordova, Vancouver,
BC, V6B 1E1)
Bye-bye. •
£■-*• •# •• •£*• •*••£•••£■ • £*• •*? ••■£..■£••#••£•••<.■•■£•••{.•*•■*
THE PRIMRODS * TRISTAN PSIONIC
THE ALLIED NATIONS' VICTORY TOUR
March
21 - Winnipeg, MB @ Wellington's
22 - Regina, SK @ the state (licensed)
23 - Regina, SK @ the state (All Ages)
24 - Calgary, AB ® multicultural
25 - Saskatoon, SK @ amigo's
26 - Calgary, AB @ the republik
27 - Edmonton, AB @ the rebar
28 - Victoria, BC @ the limit
29 - Vancouver. BC @ picadilly |
30 - Seattle, WA @ tba
31 - Portland, OR (_■ tba
melodiya    sonic unyoi
The Allied Nations'Victory IsHow Certain * 7" single
THE PRIMRODS & TRISTAN PSIONIC
Live in Vancouver
Saturday, March 29 @ Picadilly Pub from    the    diary    of   jonni
<   j'<*#<  Feb 5th Feb 11th
Tho« i,^-L. *_. .1      . i-..»-.,. Ur Witchdoctor Hiah-
e    loaf    boy
favo
Those hocks of fhe CRTC
nnr At Hi rv_   ..      -.
"7 "u^s ar me LKC have rul«d in
'    VVh,,e ™ d'scoficafion ol
3th vile
- is unc
'scoficofion is indeed «
ogolnst Nature, howr
Hon   of   CRTC  ?! ? , m v,ola
«^"72?J&__^_»
'ons Act,
-'rea by fhe complainant, Mr. J.l.
"uiouDy me complainant Mr I I
nensive to the general community. Ho>
ri' > «>™munity in question is th«.;
fening oudienc
question is the lis-
1 1.     1
ctranyo*-er deod^forthotmofte - —    Y
. j' we h°ve «o choice, but to ,
ludgernenifo,^^^'^
While this moy vin^jca
°nd I will refer to her <
3 render a
^ate DJ Dinette le-
a pervert
Feb 11th
Lawyers for Witchdoctor Highball have threatened to sue me for
covert acquisition of his snores.
They say that if I insist on using the
sample of his snores for the
Witchdoctor Highball Symphony,
they will slap me with a court injunction. They also claim that the
name Witchdoctor Highball™ is a
trademark owned by Witchdoctor
Highball. There are legal precedents. They point to Elvis™. You
need a license to be an Elvis impersonator, they told me. "I do not
want lo impersonate the
Witchdoctor," I said, "I just want
to use his snores. I want to name
my symphony after him, because
his snores inspired it."
"If you want to be inspired,"
they said, "you must be prepared
to pay a royalty." I told them that I
could not afford to. "Then we will
see you in court," they said. I told
them that I could not afford a lawyer. "Do you think that is our problem?" they asked. "Do you?"
My only consolation is that the
Indie Cred t«dg« have penalized
the WUchdoctor 20 point* for being such a bastard. His lawyers, of
course, are appealing the decision.
Feb 21
f*7Zr6      dcohost>eVirgi^urra^
:x ■*■*■ **$* _i oi P*yci»> «"*
*ar»d 1° k"°* W „il _ colories In ° «>a°,
spoon ol h~*om '»m^ ^rocy.
IWW ond Gomblo. «      0,>s„0  ,, *ol o
^'*_i!:
Proctor "**■•
1     mnWe something
-Vlurroy Wanfs us to
form a band called the
Pop'o-Bysmols.     He
would sing scot poefry
and drum ofiomilfe carton, while I ployed the
volm   jfi   the   bock-
ground, I fold him mat
Proctor and Gamble
Would sue our as_eS   1
suggested calling our-
-^ves the Indiecreds.
We could not agree on
the band name, bul
kind of fat-tree tot ..-■••-, ■ want ana —
^h:^StcS"4
?S__ ond e-^^STrf m o«-
Wo.cMf. °""eo7co.-oo .nogozin;,0™
rv»A«se CaWm W«'« an"     tl_ are trying »
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ever"        _______P-W      ***"*   ■'
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.... i.Wea our first
*°ng. I^caiied "Potato
eyes/store from be-
hmd/herburjops^ww,,.,
curtain." Mym_yfdoe
n°' 'ike the lyrics; H0 is
"•ore into the imagery _
of plastic shoy^r cur,::
'a|nsJ
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TOP 103 + THREE
WORLD AFRICAN MUSIC
SINGLES CHART LAST MONTH
COMING AGAIN SO SOON PT I ♦ J 0EY5TAI. ROSE    1
LOVE MC RMM S
RETURN Of THE MACK ARANTK 1 J* 3»
Wm/WHAT A DH-f SB***! * D« MM* RMM .    It
PONY (EXrtNDfD) COLUMBIA 12* I
IN_5AlO«fOIMT«.*R*tUCXKI*»ljg CDJ 12* 4o
MmsmmasifxxrMmmxMMHMC impulse*       9
SHOW M£ THE WAY/NOSOOY          ELEKTRA 21
STRONG LOVE AffA*                      Wi 12
NO WAY/lfT M£ KNOW PHUT MIX)        EXPANSION 41
Boifeado./Nubia                                  RvfcoWc 51
Ba_ To living Again                                  WB 47
My Woman                                          Priori* 25
Organized Conhllion                             Concord Villa 29
U»YouHigU/Hc?^ll'Wbn1Hc^%M<>na|UK) 3
SlarSang 50
Afro Blu* Cy-J-bEnl.   43
M.AndM/v Jon_ Sank Graonl    *
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Samba Da Zona/f_|a Com Am» VlfcHd Pocific   o
'   *~ "dHimsJlAM*sunav ArianKc 16
AlbFrM/Uaraing-loo HonayDadng   15
JTK.
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P«ol. G* R«xtv (Paul Jacbon Jr)
Y-lvdayi
Good LowAo** Fran A Diitoico
7% AlAbom You/U« Your H-irt
ii.bi_-
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RuS and Rogg^d/Ordna™ Man
V_og.Col«
LiH. Block Samba/VAw Oct. Coni_
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SiimI Scan- "Downlown'
The. MOLE
^A-;. Or '^fk
,      SUNDAYS
CJV8   1470'AM
^•TO'PL.tV'FOPr vol
MARCH   1 997
EL TOPO EL PEEX
1   SKARAVAN
2. NUYORKAN SOU
J. JAZaN*
4. LOVE ROM A DISTANCE
S.MR.X
JAZZ JAMAICA JYKOCtSC
MAS1BS AT WORK GIANT STEP
TITO PUENTE/INDIA/COUNT BASIE      RMM
BERES
JASON MllfS
JWIOLEDEE OLDEES
SY RISBY AIN'T LOVE WONDERFUL  I
PAUUNHO DA COSTA GROOVE
ORTHEIA&ARNES DRIVE ME TO LOVE
HUGHMUNDEU RASTAFARI'S CAU.   I
0CH0 FEAT. CHICO MENDOZA MAJNABUCA
5. S«rgioM*nd_(
T. Phil Wood.
I. Ra* & dirislionA<ua_
?. Praslon Shannon
3. Th.Qu^BoyVC Kinds
«i Mow Your Hand |R«mix)
Dawning Danca/C«rul«_ Blu*
Now TKol W.'r* Don»/Only You
VAafiOnTonighl
Trill.
Cap*fiom/Canlina
Rio D* Jan.ro
Doii Pra La/Nada Sta Como Ante
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Tn*Oock/Midnigl<lk>M-nphis
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D-fSouHr-JK) 62
GianlSHpl2" 27
Irma (Holy) 70
Bla_Tcf> 100
M«a 74
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Spirilu. Un. 12- ••
k_,___,l7M0 44
18   march 1997 Going Native
STEPHEN WRIGHT
(Dell Publishing)
Reading Going Native is like
mistakenly channel surfing into the middle of ^
a Quentin  &
Tarantino film festi- f**;/
val. For a while, the M t ,
narrative thread is
tenuously snagged iflE___fI_
on the rear M
bumper of an old
Ford Galaxie
but is blown off i
somewhere
near Creepy
White-trash,
Nevada
and is
caught be
the prevailing
winds on Route
66 and heads west with
everything else that is more
than slightly twisted or bizarre. Like the hitchhiker, he
appears to have no destina
tion other than the highway
itself and the endless personalized worlds of the cars and
cabs that appear before him.
In other words, this is a
total road book, a road
book where you
are the
rest stops
h a t
Wright decides, seemingly at random, to drive
you into. Going
Native is a '90s
novel, taking its
structure from independent movies
and its character from a
Seven-Eleven. Wright conveys the empty desperation of
his cast by describing in stunning detail the physical landscapes that surround each individual's personal abyss.
Whether it is the successful
suburbanites getting smashed
on daiquiris at the bar-bo, or
their next door neighbour
smoking crack behind the local mall during his lunch
break, Wright reveals that the
strange and desperate are
always close-by and all it
takes to get sucked into their
abyss is a trip to the nearest
mini-mart.
Numbers in the Dark
ITALO CALVINO
(Vintage)
Italo Cal vino is a modernist Aesop. His stories are fables, drenched in the clarity
of bright lunocy. His writing
crystallized the moment when
a certain slant of light reveals
the one detail that will define
a life. The instant when nothing is obscured and the per
ception is shaped only by the
topography of the perceiver's
mind. Whether it is the old labourer whose day
ruined by
the finding
of a pearl
necklace,
or   the   li-
brarlon
who defeats
an entire
regi ment
with a cleverly utilized
card catalogue (at bst,
somebody
found a use for
t h e m I ) ,
Calvino's deft
brush quickly
fleshes out humanity's face ir
an overwhelming
diversity of expressions. He
lends us the eyes of a young
Italian boy to reveal the ridiculousness of the modern obsession with numbers. Then, with
the same ease, he uses the
eyes of a Scottish clan chief
to explore the concept of war
over ideas by the light of a
single candle. His stories have
the truth and honesty of folk
tales but escape the never-
never bnd quality that often
seems an inescapable part of
the genre. His characters
advertising thafs
bvlttolast
^017(eyfJ)fori^>
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1 f^_t r4 i
•
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user name: pavement mi the secret word: warmwinters
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M0
have the feel of faces at a family reunion, familiar but not
obscured but the repetition of daily
viewing. Together, these
two aspects
combine to
imbue the
work with
a sense of
I universality, a fairy
tale for
the twentieth cen-
u ry .
Numbers in
t h e
Dark is
what
would
have
happened if Rod Sterling
could have had J.D.
Salinger write episodes for
the Twilight Zone.
In Thm Skin Of The Lion
MICHAEL ONDAATJE
(Vintage Canada)
Ondaatje is a shaman,
dreaming a past more real
than any history. He presents
characters as if they were gifts
wrapped in old newspapers;
eoch layer of print is a facade
that is first obscured, then provides access to the truer,
deeper story beneath. When
the last layer is stripped away,
you hold a piece of history in
your hand, something mundane that has become magical. An old knife, a bolt, an
earring — each piece has
been granted power and
meaning because it now has
a pbce in the story of life. The
knife was used as a skate
blade by Finnish loggers
who, in the morning, skated
to work on frozen rivers and
when the night had fallen,
they skated with torches and
found a small place for joy in
their hard and lonely lives.
The bolt is a politician's
dream of a monument made
real by immigrant labourers
who ate their lunches in the
middle of the night, lashed to
steel girders so the wind could
not throw them off into the
darkness that surrounded
them. The earring once worn
by militant actresses who performed in illegal gatherings
of immigrant workers and
their families, the earring she
lost the day the bomb in her
bag exploded in the middle
of a busy street. In The Skin
Of The Lion mystically transports us into the complex lives
of the people that created our
world and somewhere in their
pain and joy, a sense of continuity, of unity, is forged."
vepKSfieep-B
UNCHAIN YOUR MIND. THINK INDEPENDENT.
"brighten the corners" is in stores now
2742 WEST 4TH AVENUE!
ALL EVENTS ARE FREE!
19 ®^aa©3i under.
review
APHEX TWIN
Richard D. James Album
(Sire/Warner)
Richard D. Jamas has always
been something of a contradiction — his affectations for guns
and tanks imply an anti-establishment conviction that wouldn't
accept $200 000 from Pirelli tires
to use his music in its ods. Similarly, his music is a clash of di-
chotomous elements; a certain
melodic musing infected with
heart-attack car alarm rhythm pot-
terns. A friend of mine daims that
on the newest Aphex Twin CD,
James has gone jungle, but ploying a lot of drums very fast does
not a jungle CO make. His recent
alliance wilh Tom Jenkinson (aka
Squarepusher) is quite evident, although James' latest
sonoric experiments make
Jenkinson look positively mainstream. Tracks such os "4" and
"Peek 824545201" best illustrate the dual persona of James',
although "Fingerbib" is almost
Kraftwerkian in nature. One
can perhaps best describe James
as what would result from the unholy union of Philip Glass and
Frank Tovey (remember Fad
Gadget?). But as prophetic as
most of James' material is, while
listening ta the saccharine-sweet
melodies of "Milkman" and "To
Cure a Weakling Child," I can't
help but ihink lhat ihe Aphex formula and its obvious metaphor
for ihe inconsistencies in modern
unban life are getting a bit tired.
I also don't think he cares much
what I, or any of you, think.
GartlS Giesbrecht
ANTI-FLAG
Die For Your Government
(New Red Archives)
Those of you suffering from seasonal adjustment depression
know that high school is not a
soothing atmosphere. Righteously
thinking so, I skipped my two afternoon dosses the olher day and
fled to CiTR, hoping to smash my
blues wilh some good punk rock.
Unfortunately, upon arrival, nothing helped to lighten my mood.
AFI, The Viletones, The
Queers, Snuff, The
Ramones, and even The
Swinging Utters were all boring. Then I remembered the
brand new Anti-Flag album I
had seen in ihe dj booth. I played
it. It rocked. The band ripped
through 17 tracks of orgasmic Oi
wilh such wild abandon lhat it got
me out of my rut. Il wos so excellent lhat I was more lhan happy
to forgive them for their phony
English accents.
Such a smorgasbord of subjects! Insane authority got its
credit in 'Police State in the
USA,' -You've Got to Die for Your
Government,* "Red, White and
20   march 1997 £>
Brainwashed," "Kill the Rich,"
and the roof-blowing "Fuck Police Brutality." Dumb jocks in
mohawks got what ihey deserved
in songs like "Drink Drank Punk,"
and "Punk by ihe Book." Rich, little poseurs in spikes had their
asses kicked by 'Davey Destroyed the Punk Scene' ond
"Summer Squatter Go Home."
The album even has a couple of
love songsl
The album includes a meaningful and informative article
about the survival of Punk in Pith-
burgh, written by some guy
whose name escapes me. There
was also o quote from my favourite group. The Dead
Kennedys, which every punk
album should have. "Tell Mr.
President that I'm jerking off!"
Jon Fleming
BEAUTIFUL SOUTH
Blum I* the Colour
(Go Discs Ltd./Potygram)
Fans of Beautiful South will
appreciate ihis album along with
those who enjoy nSyfim in words.
As per Beautiful South's nevercs-
yel-changed attitude, the lyrics
reveal stories of despair in this
plastic wodd where "you can't
breathe ihe air through ihe thickness of the smell and you can't
see the hair through the grease
or the gel."
Tragic poetry is vocally expressed in upbeat, happy tunes
accompanied by joyful-quirk-funk
music lhat smacks of traditional
BSouth; tales reveal the woes of
an unsatisfying marriage to be,
a whore's wish, a struggle wilh
drink, a starving girl, a wodd
gone mod and the loneliness of
many in city life. The joy expressed in the sounds will keep
one from going loo for down
when hearing these tales so blue.
You can walk away filled wilh
energy to continue the fight for
justice and the creation of heaven
on earth in a wodd where some
greedy people Iry to claw at our
faith in humankind and make us
forget about respecting the earth
beneath our feet.
BODYJAR
Rimshot
(Revelation/Shagpile)
I have been told lhat Australia's
Bodyjar put on a great live
show, so I bought, whot ihe heck,
I'll pick up the CD and give it a
whid. Rimshot is full of upbeat
pop punk mode so popular nowo-
days by many Epitaph bands. I
kinda like the first few songs, but
the CD as a whole locks lhat pop
charisma, ihe kind of stuff that
makes a song stick in your head
and forces you to carry the tune
wilh you throughout ihe doy. The
song "Windsok* comes close to
fiat, but not realty. There is a song
obout skateboarding and a song
about some bricklayer wilh one
arm. Overall, it's an OK CD. If
you're into that "Epitaph
sound," you might like this, but
for me it takes a little more to
keep my attention.
THE CRUMBS
The Crumb*
(Lookout)
I feel bad. I just finished writing
a review birching at Lookout
Records for not releasing any-
ihing olher lhan cubpop from
ony "new" bonds, ond ihen ihey
turn around ond release this. I'm
pretty sure that The Crumbs
have been around awhile, but
this is iheir first full-length on Lookout ond I like it. It's pretty old-
school wilh snotty sounding vo»
cats and lots of leather jackets
and stuff on the cover. It sounds
to me like an album of upbeat
Queers songs. There's also one
really, really cool instrumental
Dove Tolnai
DEAD AND GONE
God Love* Everyone But You
(Alternative Tentacles)
The press kit on this ensemble
reads something about how
ihey've been compared to bands
such as Scratch Add, Tool and
Neurosis. Would Alternative
Tentades lie to you? They're pretty
much on the money. God Loves
Everyone But You is suitably
"heavy" and grim. This Italian
(according to the good people at
Scratch Records) combo never
lets things get dull, though. God
Loves Everyone But You (the shock
value of that title must be significantly greater in Italy) is chock
full of nifty twists ond lurns, tempo
changes, counterpoints, mood
swings, ond some lovely, primal,
staccato guitar work. Dead and
Gone sound like the real thing.
Though odes ta decay, immolo-
tion and Armageddon hardly
seem like a novelty in the wodd
of rock 'n' roll in ihis day and
age, Deod and Gone play as if
it mattered.
le marteau
DRAGSTRIP
Reaction Time
(Shredder)
I dig that whole punk underground schtick lhat's been around
for awhile now. The latest edition
ta the ever growing roster of automotive influenced bands is
Drags trip.
Reaction Time isn't surf, although it is instrumental, and ihey
don't have a lot of 'cor" songs.
The music rawks throughout,
sounding like it belongs on the
soundtrack for one of "hose drag-
ster/'and they walked oway"-
type oction, blow-up, "only available through ihis TV offer' videos. They also do a nice cover of
"Don't Fear the Reaper." I always
thought ihe Shredder label lineup was kinda weak, but
Dragstrip pulls on easy 4.79
in the rock and roll quarter
mile of trock.
Rev. Norman
SUM DUNLAP
Time* like This
(Medium Cool/Restless)
Slim Dunlap returns with another solo album ond it's a laid
bock, lightheortod affair. If you
can picture Slim and the boys
sittin' around on the porch in
some tiny, rural American town
relaxing, sippin' beer, playin'
some tunes, you'll get a sense of
whot this album's about. Slim
treats us to some no frills pop
songs ("Gidfriend" and "Times
Like This"), some blues/honky
took ("Not Yet" ond "Chrome Lipstick"), a sloppy Stoneey tune
("Cozy"), and a sod, lonesome
country song ("Hale This Town"),
with o little messin' around
thrown in for good measure ("Jungle Out There"). Come to think
of it, Times Like This (leisurely produced by "anyone handy")
could almost be a long lost
Replacements record (hmm
Anyhow, it's obvious lhat Slim
Dunlap is playing music for his
own enjoyment; not to be rich
and famous or to change the
world. It's easily one of the
most unpretentious albums I've
Fred derF
ELECTRIC SKYCHURCH
(Moonshine)
Electric Skychurch, named
after a concept by Jimi
Hendrix, produces a
psychedelia not wilh guitar pyrotechnics but on a mountain of
synths. Vocalist Roxanne
Morganstern provides the only
orgonic element. Lots of donee
acts have used this formula but
never with such an apparent identity crisis.
On the Together EP the
Skychurch seems unsure if it's a
populist crossover act or a group
of raw, underground, analogue
bashers. The first trock, 'Deus,"
suggests the former. Despite the
length (nine minutes), Roxanne's
soothing vocals and the slick production are instantly accessible,
and nausealingly chirpy. Things
get better later on, with the tribal
acidity of 'Dun Dun" being suitably propellent and the ambiance of "Ascension* being quite
pretty and original, ihough veering dangerously close to new age
music. Electric Skychurch, while
showing promise in two opposing directions, just doesn't
have it together enough to
craft a thoroughly satisfying
listening experience.
Jovian Froncey
rl H AND TW ROADRUNNERS
FI and co. (all grease and tattoos)
ore a Chicago five-piece who
have the sound of Reverend
Horton Heat (wif* a rockin' sax
odded) mixed with a healthy
dose of Social Distortion-style
"social conscience" fyrics. For example, "Run Johnny Run" chronicles ihe troubles lhat befall a
mixed-race couple and other
tracks bemoan the decay of
North American society. Thot
doesn't mean this CD's a bummer
The majority of the CD is
pretty straightforward and fast,
wilh ihe odd change of poce occasionally "hrawn in. On the track
'What Ihe Hell,' ihey rip off the
riff to "Sea Cruise" and odd a
blue beat to it (that's ska to you
young'uns). Overall, it's pretty
raucous wilh the occasionol bout
of shouted background choruses.
I was engaged throughout ond
could actually see this crossing
over to the mainstream with
proper exposure. In the meantime, fans of the Rev. and his ilk
should get this.
Sean law
IGNITE
Pa*t Our Mean*
(Victory)
interesting release. Hi
Ignite is your average California hardcore band playing heavy
music for angry teenagers. There
is nothing new or original about
ihis CD and that's why I don't like
it. This is not to say I don't appreciate good hardcore, because I
do, but only if it tries to be somewhat unique or attempts something new and interesting.
Unfortunately, Ignite falls into
ihe same old, boring trap lhat a
lot of olher dull and mediocre
bands have fallen into recently.
If you want a good, new
hardcore album, don't buy this
one ... try somelhing from Strain
or Neurosis instead.
Chris C.
ORANJ SYMPHONETTE
May* Mancini
(Gramavision)
When I ihink of composer Henry
Mancini, the first association
lhat springs to mind is junior high
band class. Then I think of The
Pink Panther Theme." Russell, on
older student, used to play a tomtom solo in the middle of ihe song.
This memory ends up with the
image of Russell taking his rather
oversized drum sticks and whacking me across my arm at some
point during class. This was all
quite comical ta him.
I guess what I mean is that
when I think of Mancini, I don't
think of light entertainment. Instead I think of physical pain.
Fortunately, thanks to the
Oranj Symphonette, I now
have a more positive connection
to ihe man's music. Yes, The Pink
Panther Theme' is here as are
most of Mancini's best known
tunes: *A Shot in the Dark,"
'Days of Wine And Roses,'
'Moon River,' ond "Baby Elephant Gun," a medley of
"Baby Elephant Walk" and
"Peter Gunn."
Players Malt Brubeck, Ralph
Carney, Joe Gore ond Scott
Amendola, along wilh producer
Pete Scaturro, take ihe gloss off
the tunes, executing them from a
voriety of styles: free-farm jazz,
lounge, punk, ska, reggae. You
get ihe idea.
Apparently, this energetic
ond eclectic new band has
more works planned for the
future, so il appears they won't
be limiting themselves to being
a mere Mancini cover band.
Perhaps they could take on
Johnny Mandel and his
theme from MASH, so I can
high demons.
Michael Chouinord
ROBERT POLLARD
Not In My Alrforxe
Robert Pollard is the lead
singer from Guided by Voices
ond this is his "solo" album. This
isn't much of a departure ihough,
as al! GBV members make appearances here. Slock, lo-fi guitars guide Pollard's intoxicated
proclamations, as usual. This album could grow on you if you let
it, but il makes me tired — sorry,
it's just not in my airforce.
Kevin Dimples
THE POUMONS
By Surprise
{Independent/PO Box 1106
Station, Wndsor, ON, N9A6P4)
Sloan's influence on Canodian
independent music is unmistakable. Many bands have taken
that group's songs for names
while others just try to emulate an
aspect of the diverse pop sound
lhat makes its home in Halifax.
Wilh a baker's dozen of lo-fidoi-
ity recordings (the cover even glorifies their monophonic sound).
The Poumons' jangly pop-
rockers are produced by
Sloan's Chris Murphy. It's no
coincidence when you consider how similar the former's
songs are to the letter's.
This is a relatively new band,
however, so I ihink it's safe to give
them time ta develop iheir own
style (how many people said
Sloan was just another Sonic
Youth ripoff?). Sure, the performance is on the sloppy side, but
never let it be said lhat this is a
bad thing!
Comparisons aside, By
Surprise is a strong record in
its own right, so buy it for a
Brian Wieser
PULLEY
Esteem Driven Engine
(Epitaph)
Pulley is made up of fragments
of Ten Foot Pole, Face to
Face, Strung Out and No
Use For a Name. It reminds
me a lot of Ten Foot Pole, but
way better — tighter, faster
and just really, really good. I
have to admit that the Epitaph
name and the cheesy cover
had me fearing lhat this would
be just another we're-punk-
and-we're-gonna-prove-it release from that giant American
money machine. Not so. This
is good shit.
Dave Tolnai RADIO TARIFA
(WoHd Oreuif/106 Cleveland
Street. London. England W1P5DP)
Originally recorded in Spain in
1992, /Jumbo Angelina hos finally seen the light of day on
North American shores. Combining African ond Iberian elements,
the nineoiece Radio Tarifa has
crossed the Strait of Gibraltar
wilh magical ease as witnessed
on this, their debut olbum. A
medieval spin bubbles over the
14 songs as vocalist Benjamin
Molina weaves his spell over the
hypnotic rhythms.
Percussive-based, Rumba
Argelina is spiced with a myriad
of traditional instruments ranging
from bouzouki to Arabic ney. As
well, modern instruments like electric guitar and saxophone grace
the recording. In search of a
unique sound lhat blends fie past
and present. Radio Tarifa mine
the soul and culture of Spain
and deftly combine African
rhythms with a rare touch. Well
worth a listen.
Pieter Hofmann
RED HOUSE PAINTERS
Song* For A Blue Guitar
(Island)
Songs For A Blue Guitar won't
captivate the dance crowd with
another butt-shuffler like the
"Mace
' Suffice it to s
Mark Kozelek probably could
On iheir fifth release, San
Francisco's Red House Painters continue in the realm of melodic hazerock lhat also takes a
sidelong glance taNefl Young's
Crazy Horse. What was originally to be a solo project by head
Pointer, Kozelek, has ironically
turned into the band's most focused olbum to date.
Dividing the album into Iwo
camps, the quartet work with
Cohen-esque sensibilities on the
more subdued Iracks while on ihe
olher side of the coin, they scuff
iheir shoes wilh a more electric
southern-dirge sound, as on ihe
instantly likeable and potent
"Make Like Paper."
Deconstructing a handful of
songs, including an acid-
drenched version of Paul
McCartney's "Silly Love
Songs," the band plunges
deep into sonics that would
make the cute Beatle blush.
While their version of Yes'
"Long Distance Runaround* is
awkward, a tasteful rendition
of the Cars' "All Mixed Up"
segues with subtle delicacy
into Kozelek's sombre "Revelation Big Sur."
Songs For A Blue Guitar's
melancholia is stripped of any
suffocating baggage. With
tasteful support, Kozelek
threads his sombre cartography on the landscape of the
brain, massaging the lyrics
and music with plaintive inflections. While there is an inescapable hint of rawness, this
album is a well-rehearsed and
carefully recorded album,
making the disc sound spontaneous and utterly fresh.
Pieter Hofmann
THE RHEOSTATICS
The Blue Hysteria
(DROO)
Believe it or not, rock music once
sounded fresh. I remember fondly
the joy I felt when I was six or
seven and heard The White Album and Let It Bleed for the first
time. Nobody in my school knew
this stuff existed. It was ail mine.
But this was bock in a time
before rock music was polluting
every mall, television sel and
hockey arena. Frankly, very little
since has excited me — save the
odd post-punk band or intelligent
songwriter.
Then one day, aboul four
years ago, I discovered The
Rheostatics' Whale Music, and
I was just plain giddy. These guys
had seemed to have just broken
into my memory bonk and turned
what they found into my life's
soundtrack. It's a work I return to
many times, and I don't know if
I'll ever hear anything else like it.
The band's new album, The
Blue Hysteria, comes close
though. Let me summarize it by
saying lhat like anything by them,
it's hard to summarize. It is eclectic, layered, funny and touching.
Dave Bid in i tells his usual tales
of growing up and Martin Tielli
continues to create lush textures
wilh the guitar that I can only
compare to the amazing Bill
Frisell. As a singer and lyricist,
one minute he sounds like he's
just accidentally killed his best
friend while another he's hushing
a baby to sleep.
Current drummer Don Kerr is
not quite os nimble as Dave Clark
(I confess to wanting ihe job myself) but his personality fits well
with this ever-maturing group.
And hey, he plays a nice cello.
Being the bassist, Tim Vesefy
will always be underappreciated,
and I will continue this by
underappreciating him in the review. But I'll add he is
underappreciated for his bass as
well as keyboards, guitar, vocals
and songwriting.
There ore many stand out
tunes. "Four Little Songs" is virtually a survey of history of the last
35 years of music. But the most
impressive track is "A Mid Winter's Tale," a wonderful eightond-
o-half minute piece about snow,
depression, abandoned trucks,
"the white silence of the coming
blue fires," and a lot lhat will remain a mystery. The guitars just
seem to melt away ot the end.
Spring has arrived?
Michael Chouinard
SCARED OF CHAKA
Masonic Youth
(Empty)
THE X-RAYS
Double    Godzilla    with
(Empty)
I've been drooling over these latest Empty Records efforts for a
few weeks now, so it's fine time I
wipe off my chin and give you
the skinny, minny, on the platters
du jour. Scared of Chaka are
three Alberquerque, New
Mexico lads who serve up zippy
garage-pop ditties in no time flat
— try to imagine The Mr. T Ex
perience all sucking helium and
drinking too much coffee and
you'll see what I mean.
If lhat doesn't whet your appetite, ihen Iry ihe second outing
for Nottingham, England's drag
punks. The X-Rays This foursome plays gritty, two-chord, visceral blasts of rock with a singer
who may have sucked on one too
many tailpipes when he was
young. Still, if songs like "69
Dodge Charger," "Mustang,"
and "Lyin' Son of a Bifch" don't
spin your wheels, you could always play the last tune after "Ballad of Coop N' Annie* which is
the entire olbum played back-
wards - no joke.
Bryce Dunn
SNEAKER PIMPS
Becoming X
(Virgin)
Sneaker Pimps has all those
qualities that the market demographers love: hip harmonies wilh
catchy, bass-laden, sliding, slow
rhythms but not silly ond grotesque like most Iop40 outfits.
Upon first listen, Bjork
Gudmunsdottir, Portishead,
ond The Bristol Massive come
to mind, and lhat's not a bad
thing I If it wasn't for their name,
they'd probably be a hit somewhere sometime. They have one
certifiable hit, "6 Underground,"
which is also featured as a remix
by Mellie Hooper ond it's smooth
— smooth as a fine Scorch rolling down yer throot. Am*... bad
points? Truthfully? The chan-
teuse's voice isn't ihe greatest I've
ever heard, but if the public enjoys the likes of vocals of Liz
Phair, Jewel, Beth Gibbons, Juliana Hatfield (ie,
the undivos) then I guess
there's no problem.
Christian
JAMES TAYLOR QUARTET
Minion Impossible
(Acid Jazz/Hollywood)
The hammond organ id king (in
particular the B-3)l Can there ever
be too much hammond-based
music? And what is it about that
instrument — created as a cheap
home product in the '30s —
which has become such a legendary and fetished instrument of
jazz and pop? Today the instrument is associated with such
greats as '60s jazz-blues funkster
Jimmy Smith, exotica experimenter Earl Grant and sublime
minimalist Ernie Freeman,
among hundreds of others.
James Taylor Quartet's
Mission Impossible is good, but
at times uneven. 'One Mint Julep' and 'Goldfinger" are wonderful, but ihe cover of "Mission
Impossible" itself can't hold a
martini to the likes of Finnish surf
band Laika and the Cosmonauts' version on Secret Agent
S.o.u.n.d.s. However, this is not
to belittle what is really a solid
release (perhaps being a
hammond fiend I have such high
expectations thai no mere mortal
can please my growing hunger
for that ultimate, searing, ecstatic
hammond solo which exists somewhere out there in the cosmos...).
J. Bold!
TURKISH DELIGHT
(Castle Von Buhler)
This is one of those many pieces
of music lhat I really want to like,
I try ta like, but I just can't. I almost like it, but there's somelhing
holding me bock. I think mainly
it's the fact lhat there's already
one Sonic Youth, so I don't see
the need for another substandard
one. I'm not a big fon of "art-
core" as a musical styling any
way, so to hear if done halfassed
is like fingernails rubbing a cat
backwards on o blackboard.
Get them to call me when they
develop some of their own
style and we'll talk.
Mr. Chris
TWILIGHT CIRCUS
In Dub Vol. 1
(M)
This was produced and performed by Ryan Moore in ihe
Netherlands and Vancouver.
Dub recorded in Vancouver -
- surely an ideal of the West
Coast chiller.
Dub and techno albums tend
to be more unified in tone than
rock V roll and indie records.
These mellow songs melt into one
another, creating an easygoing
vibe lhat is wholeheartedly dub.
In the classic style of albums like
Prince Jammy and King Tub-
by's His Majesty's Dub, the
whole album is instrumental
Most Iracks are classic dub,
wilh heavy bass garnished with
drums, synlh and the odd screeching or gurgling sound effect. The
use of violins in "Valley of the
Dub* inclines toward less purist
Deadzone.
This is just another dub album;
it's not particularly challenging,
but it's good that people keep
making this peace-loving music.
Anyway, nobody really expects
a challenge from good old dub.
These tunes help you get vertical
and stay there.
James Bainbridge
HILDEGARD WESTERKAMP
Transformation*
(DIFFUSION    i    MeDIA/
empreintes DIGITALes)
The musical realm that
Hildegard Westerkamp inhabits is one of pure sound exploration. She records and manipulates natural as well as human-made sounds to create intricate and delicately woven musical tapestries. Her music was previously available as cassette-only
releases on her own Inside the
Soundscape label and on two
compilations.
Transformations is the first
comprehensive survey of
Westerkamp's fascinating music.
Empreintes DIGITALes specializes
in Canadian experimental and
elecjroacoustic music, and consistently produces carefully engineered and well-annotated releases. Transformations lives up
to lhat reputation. The five compositions span the years 1979-
1992 and trace the maturation
of Westerkamp's work.
"Fantasie for Horns II," composed for tape and live performer
dissects, slows down and repeats
vorious recorded horn sounds, be
it French hom or fog horn, to create a melancholic ambience.
The Norberf Ruebsaat poem
"A Wolk Through the Cily" forms
the structure on which
Westerkamp constructs a complex urban soundscape lhat brilliantly captures ihe texture of Vancouver's Downtown Eastside.
In the three thematically simi-
lar pieces of 'Kits Beach
Soundwalk," "Cricket Voice,"
and "Beneath the Forest Floor,"
Westerkamp explores not only the
nature of sound but also the sense
of time and ploce inherent in whal
we normally consider ambient or
background noise. Found sounds
are at times manipulated and
other times presented au nature!.
The sound of ciccodas accompanied by plucked and struck cactus spikes in "Cricket Voice," a
raven call contrasted by creek
sounds and an array of electronically manipulated sounds, as in
'Beneath the Forest Floor," are
sound environments conjuring up
a myriad of images.
Westerkamp's sonic explorations highlight our intricate
aural world with an almost
zen-like focus.
Peter Sicker!
VARIOUS ARTISTS
Project Echo
(K)
This is a K Records compilation. I
feel like I don't need to say anything else. It's like saying
"Steinway Concert Grand" to a
pianist. But just to give you some
background information, this is a
compilation of 7" releases from
the International Pop Underground series.
This is a perfect CD for those
who have a strong basic foundation of love and passion for independent pop music with sweet
melodies and weaving harmonies. Because from there, you can
build up on your musical tastes
and let the punkier, metallier tunes
broaden your horizons. I'm
speaking from experience, as I
am a hardcore melodic pop-a-
phile. You'll find such ditties by
Lois, Wandering Lucy, The
Softies, Honeybunch, Heavenly and Versus. As for the
building blocks, there are bands
like Copass Grinders, Some
Velvet Sidewalk, Modest
Mouse and KARP. Like I said
before, I feel like I do
e this r<
cool kids probably own each of
these 7"s already. Consider this
your super-duper, hi-tech, handy-
dandy, computer-age version of
a amazingly diverse and quality
VARIOUS ARTISTS
Psychotrance 4
(Moonshine Music)
Funky Scottish slam dj's Orde
Meikle and Stuart McMillan
get international on Psychotrance
4, the first ond second volumes
of which presented Mr. C (The
Shamen) and Darren Emerson
(Underworld) respectively. This
showcases Slam's label Soma,
one of Europe's leading underground labels. Slam indude two
mixes of their own "Dark Forces"
and two olher Soma trocks. DJ
Sneak and Space DJ2 are also
featured.
This captures ihe exciting vibe
of Slam's current location, ihe
Arches, a major player in Glas-
*'s   fa,
club   I
Slam choose techno trance
with a happy, housey twist,
producing over on hour of
grooves which make it impossible not to boogey.
James Bainbridge
VARIOUS ARTISTS
Punkorama Vol. 2
(Epitaph)
Well, Ihis is more like it: the real
schtuff. There was a time when
people used to buy albums by
bands on the Sub Pop label without ever knowing what the band
sounded like. Epitaph seems to
have gone the same route. Volume 2 of Punkorama serves up
some of the finest ond not so finest. Missing is ihe most obvious
Offspring from this compilation, but ihey're out of the
game now anyway.
Instead, ihe hits on this CD ore
carried by such bands as Down
By Law, The Joykiiler,
Pennywise, Poison Idea,
NOFX, SNFU and DFL Also
included are the newly reformed
Descendents along with blasts
from the past such as Bad Religion's "Give You Nothing" and
T.S.O.L's "Code Blue," which
happens to be about 15 years
old (ihe lyrics can definitely attest to lhat). The CD starts off
great, seems to log in the middle, then picks up again right
near the end, so if you learn how
to program your CD player to
skip the dull songs, you're all set
to bug out.
SOUNDTRACK
Mortal   Kombats   More
Kombat
(TVT)
The masterful merchandising
empire of Mortal Kombat continues with 15 new tracks exclusively recorded for this compilation. Most of the cuts are leaning
towards the industrial sound with
artists like Chemlab, Sister
Machine Gun, Crawlspace
and others. And then there's also
some techno-progressive-house-
heavy-metal hybrids as well — including Killing Joke, The
Crystal Method and Juno
Reactor.
The album is really high energy and moves at a frantic pace
much like the now legendary
video games. As well as having the same energy as the
video series, this album also
uses mony samples from the
games to form most of the connections between the songs
and the game's characters. If
you love the games, love the
movie, love the first (platinum
plus) soundtrack, then you
don't need to be reading this
because you probably already
own this compilation.
Brian Wright realliveaction
JUSTINE
Friday, January 24
Western Front
EaHier that evening, the girl
mused about what she had
heard of this band, Justine,
and having never before
heard them herself, found it
difficult to imagine this all-
woman, experimental four-
piece from Montreal. Would
they be poppy? Would they
croon, would they cry, would
they be ... newage?ThegiH's
fears were quickly quelled as
she entered the doors of the
Western Front and what she
had had trouble pinpointing
earlier on in her head now
materialized before her. She
immediately decided it was
nof a four-piece, but a nine-
piece: keyboard/synth,
saxophone, drums, bass,
chapman stick (created by a
certain Mr. Chapman somewhere in California sounding
something in between on
electric harp and a double-
bass). In keeping with the
tone of experimental jazz-fusion, the instruments had their
own intrinsic value but also
became strange, previously
unheard relics with sides to
band on, tabula rasas reserving resonance for the right
sized shoe, not necessarily
part of a pair. Imagine if you
will, Jad Fair dressed in a
bonhomme suit, reincarnated
into a variety of instruments
played by four Quebecois
women. No, no, imagine the
soundtrack created for the
CBC biography of that silly
French woman Coco or Loula
or whatever (Bye bye, mon
cowboy). And the authors of
this soundtrack are Giles
Vigneault and Nana
Mouskouri and they have it
in their heods to do a remake
of "Waltzin Black" by The
Stranglers but can't get
along. So they take a break
and try their hand at costume
design for the same biography and design a skin-tight,
vinyl bonhomme suit and cast
Jad Fair as the heroine.
OK, now forget all that derivative nonsense and suspend the language barrier.
Imagine something you've
never heard before, but like
a deja vu, it's all eerily familiar — and right when it starts
getting awkward, normalcy
22   march 1997 £)
comes creeping in again with
a song about food. Food for
thought, a recipe for culture.
With equal parts experimental jazz-fusion, funk, pop and
"noise art" with a base in traditional French-Canadian
folk, Justine is une language
fantastique ... bon appetitl
Syndey Herman t
THE SMUGGLERS
ZUMPANO
MALCHIKS
Saturday, January 25
Starfish Room
1996 Shindig finalists the
Malchiks got the call to
open for this triple bill of local bands on a night which
would prove to be an interesting study of contrasts, both
in music and style.
Tsawwassen's favourite
ska band set the tone for the
evening with a fun
and defiant set, and
easily got the large
enthusiastic crowd
that turned out to see
them in motion on the
dance floor. They are
obviously still young
and evolving musically. Right now, the
Malchiks are a band
that pretty much flies
on the basis of being young and brazen and there's nothing wrong with that,
especially if you consider what they're
doing to help keep
teens off the streets
in Tsawwassen.
In a bit of a contrast to that was
Zumpano, who
are a calmer and
much more hardboiled
band. The touring they
have done on their blest release shows the way they
have really settled into performing the new songs live.
Dave Carswell from The
Smugglers now plays guitar for them and adds a nice
dimension on vocal harmonies. Maybe, it was because
I (23) was in the upper end
of the age spectrum at this
show, but I definitely thought
they kept things moving in the
right direction with a typically
solid and sophisticated set.
Anyway, these two bands
provided an effective set-up
for The Smugglers, who manage to put the best of the
Malchik and Zumpano
worlds together in one. In the
spirit of their (then) forthcoming European tour, they held
weiner eating, dancing, and
kissing contests (the last one's
prize was the chance to kiss
a Smuggler of your choice)
where being excessive was
moreimporlonttban being good.
Distractions are what
makes Smugglers shows so
much fun, but they also put
on a good set of music, fueled
by their live performance as
the in-house band earlier that
night on RealTime's Beach
Party. There's not much to say
that hasn't already been said
about them, but they are definitely one band that defines
the spirit of rock and roll.
Looking good and sounding
good, they ended the night
in style and showed us all a
little about what it means to
serve, protect, and entertain.
Andrea Gin
TRICKY
Friday, January 31
Richard's on Richards
If anyone went to Tricky intending to see the man behind
the murky, grocvebased music,
they went home disappointed.
The sinister prince of trip
hop (a genre name that he
doesn't like) slunk onto the
dark stage at 1 1 30. Dusky
red lights came on and the
band began to grind out
"Ponderosa," one of the
stand-out tracks off the 1995
LP Maxinquaye But the creative force of the group kept on
the synthesizer, his bock to the
audience throughout the song.
His bandmates weren't so
bashful. Using the mic stand
as a pivot, chanteuse Martina
settled into a twisting automo-
tism while she provided a sugary counterpoint to Tricky-
darker lyrics and sounds. The
rhythm section was solid, able
to duplicate most of the wide
range of grooves that are
sampled onto the albums. In
several songs, particularly fhe
cover of Public Enemy's
"Black Steel," the guitar was
souped up to a grunge-like
punch that left many in the audience commenting on
Tricky's hard live sound.
When he took over the vocals to PreMillenium Tension's
"Tricky Kid," his face lit up by
heartbeat pulses of red light,
Tricky took control. The other
musicians became a hand to
hold his voice and synthesized goodies out to the
crowd. That being
the case, one of my
few complaints of
the show was that
his vocals, which either nature or hobbies have already
turned into a muddy
gurgle, were sometimes lost in the mix.
Even when singing, Tricky is
impenetratable.
Most of the time his
head is spinning
and his legs are
shuddering so fast
that his face becomes a hummingbird-like blur. In the
brief moments
when he's not moving, there's a mask
over Tricky's face thot
reminds one of the
metallic foce-paint he
wears on his video for
"Hell is Round the Corner."
The mask is his intensity, a guff
between the largely happy-
go-lucky audience and the
manic, nihilistic intensity of
this artist. Evidence of this was
"Sex Drive" which mutated
into the scream-chant, "I'm
paranoid."
Aside from that song and
a blistering, extended version
of "Vent" in the encore, Tricky
pretty much stuck to the recorded material. The most notable exception was a near
ten minute synthesizer solo
that interwove muted electric gull
cries with mechanized voices.
After a strong hour and o
half and a short, scorching encore, Tricky was gone. The
length of the show was a disappointment after rumours of
longer performances by
Tricky earlier in the tour, presumably to make up for opening act Jeru the Damaja
jumping ship.
Seeing Martina awash in
green light, sexy and
crooning next to Tricky growling from the dark, reinforced
the eroticism that comes along
with paranoia in his music —
an eroticism not unlike the
phantom in Phantom of the
Opera, another artist working
behind a mask of neurosis.
CJT
LUSCIOUS JACKSON
TEN DAYS LATE
Friday, February 7
Rage
I wasn't sure if I would have
a good time or not. I wanted
to, sure, but I just wasn't convinced. I wasn't sure how big
the turnout would be (tickets
were a little pricey), I didn't
know if there was an opening band, and I was tired and
wasn't getting my energy bock
fast enough. There were just a
lot of unsolved variables there.
I put them all to rest after I
walked in and found out Ten
Days Late were opening.
You can't see me right now,
but I'm giving the Horns of
the Devil Salute. They
RRRRRRROCKEDI Man, they
kicked out the jams. I hadn't
heard them since they did
their first 7", but they have
onfy gotten exponentially better. Keep an eye on these ladies! They're a nitro-powered
indy car on the fast-track to
fame! Unfortunately, I think I
was the onfy one dancing, but
I guess everyone was saving
their energy for the feature
performance.
Q: Are Luscious
Jackson the funkiest women
in the wodd?
A: Yesl They rock harder
than a Magikistl I started
dancing the second they
started, and their exhortations
to "get on the floor, let's dance
some more" just added fuel
to the disco inferno burning
in my heart. They suffered a
bt of grief on their tour where
they opened for the Beastie
Boys — general verbal
abuse by people who didn't
want to see them and wanted
to know where the Beasties
were, anyway. It must have
mode them all bust up with
happiness inside to pby the
first night of their tour in front
of a crowd that called them
back for not one, but two en
cores. They were smiling a lot,
so I'll just take that as a yes.
Their music, by its very nature, inspires fevered dancing, and I will go back and
see them again whenever
they return. Yeah, I had some
kinda fun.
Plus, they let me dance
on stage with them, and that
didn't hurt matters any.
Mr. Chris
NEWWAVE-OKE
Saturday, February 8
Railway Club
Maybe I need attention. Not
that I was deprived as a child,
but that's one of the only reasons I can think of as to why I
wholeheartedly throw myself
into karaoke constantly. Not
once, reluctantly — but all
constantly, enthusiastically.
That evening was no exception. Scarcely was I in the
door before I had sbpped my
John Henry on the sign-up
sheet and was up on the stage
doing my unique rendition of
Gary Numan's "Cars."
The Railway Club was
packed that night; people
were lining up outside for 45
minutes to get in. People were
pumped for New Wave-Oke.
I guess New Wave was an
experience shared by all of
us. Go up to any kid in junior
high today and start singing
"Don't You Want Me
Baby" — they probably
know the words.
People could not stop
signing up to sing. There were
actually too many people
signed up than they had time
for, which is a change from
Punkaoke, where they had to
beg and plead with audience
members to vocalize their
punk rock favourites. Perhaps
the difference is that more
people know the lyrics to "My
Sharona" than to any given
Fear song.
The bottom line? Everyone
got nicely drunk, and whether
individual audience members
sang or not, there was a rousing chorus of Split Enz at the
end of the show.
Youth today may be
overly wrapped up in their
past, but when it brings together such an overwhelming
feeling of love and unity, who
can complain?
Plus, they gave me a T-
shirt for singing, and that
didn't hurt matters any.
Mr. Chris
SOUL COUGHING
Sunday, February 9
Starfish Room
Arriving early to get comfortable seats, I almost passed
out when the powerful stench
that can be described as the body odour of five moles
who, in the absence of available reopplications of
deodorant, are trapped together in a sealed room after
a day of physically intense labour. Very, very repulsive.
Enough ammonia was floating in the air to cause serious
brain damage.
Humans can endure much
for the sake of a very hot
show. Opening up were DJ
Di [sic] and his boy from Bristol, England (don't you know
how cool that is!), who entertained us with drum and bass.
People kept flowing through
the doors, a few dancing but
the majority continued to
drink, smoke and chat 'cause
the main attraction was still
backstage. Soul Coughing s presence swiftly
brought the crowd to attention as everyone readied
themselves to sway to the
soulful, funky rhythm of this
New York band.
Opening with "Is Chicago, Is Not Chicago," we
kept riding smooth waves of
speedbumps os they moved
back and forth continuously
from mellow to high energy
pieces. Drawing primarily
from works off their first album, Ruby Vroom, Soul
Coughing dutifully pleasured
the crowd. Their lyrics reflect
a creative genius able to
evoke truthful images of the
wodd from linguistically lunatic combinations of words and
numbers. "I'd like to protest
against my mind," M.
Doughty said. My feet began
to shuffle and my hips and
spine kept S-curving in pure
ecstasy to the sound emerging from the upright bass and
those drums. As i headed for
the dance floor, the powerful
energy infused my body,
opening any blocked areas,
causing me to spasmodically
dance madly with a grin so
wide. Judging from the height
many were reaching on the
floor, Soul Coughing is appropriate medication for health
and bliss. They make you
laugh and dance. They support vaginal pride, Star
Wars, but not false goatees. Thank you, Soul
Coughing.
Karen F.
DIGGING   CTHONIC
CULTURE
MECCA NORMAL
LOIS
REFECT/REFECT
GAZE
Saturday, February 15
Anza Club
Locals Gaze started off the
"Evening of Underground
Pop and Performance" at the
Anza Club. I haven't seen
Gaze since they opened for
Wandering Lucy
at the Edison Electric.
Af this time, November '95, Valeria was
still drumming for
them (she has since
left to do chocobtes
full time and Rose
Melberg of the Go
Sailor/Tiger
Trap/Softies fame
has stepped in) and
all three members
seemed a little out of
sorts, enshrouded in
timidity. They were
not without quality,
but they were definitely lacking the cohesion and comfort
needed to nurture
that seed of quality
to fruition. So what
a   crazy   Kafkian
chrysallis has occurred in the time between then and now,
the  past and  the
present day Gazel
On the greater time-
space vector scale,
Gaze has become an
advanced social and musical phenomenon equipped
with tight instrumentation,
confident vocals-vocals-vocals, and an ease and comfort
with each other, creating the dy
namic of the growrvintotheir-skin
Gaze. Good. Good. Really
Digging Uhonic Culture
^S lois    s<V
l^lr  at the Anza dub   *^§
~ photo by Barb Yamazaki ^
good. They finished theirsetwith
a cover of Crayon's "Pedal."
Good and happy Gaze
played their first Olympia,
Washington gig the previous
night and brought some Olympian        gold
medalists    back
across the border.
Slim chewin' Wolf
and Sue Fox are
part of a threesome called
Refect/Refect,
the third party being Zack, drawer/
comedian by day,
drummer by night.
My  grade   four
teacher, Mr.
Disante, once told
our   class   thot
"there is no such
thing     os     the
present."    Now
that's just not right,
messin' with the
kids! What about
livin' in the Now,
what about living
in   the   land   of
cheese (Wisconsin) in the FUTURE:
lat.   few-cheer?
'Then there was a
car accident and
she was depressed
and couldn't get out
bed, then one day she
jumped out of bed screaming, 'It's to late for mell!'" But
then she blew up the building by the river that the future
was in in order to get the fu
ture that is our friend, just like
in the old days, and guess
what she found in the rubble,
Mr. Disante? The present.
Speaking of presents,
curses to the Hallmark™ holiday situtated in and around
mid-February, cuz me no get
any presents. Lois got three
more Valentines than me. Olympiad numero dos, Lois, followed Refect/Refect, and was
the only acoustic act of the
evening. Nice Lois, voice
good. Lois tells funny and endearing stories of altruism like
the one about the hundred
dollar bill in the guitar/urban
Robin Hood shoot-out story
that I won't elaborate on, as
some things are to be kept sacred, between yourself and
others who were there, in order to maintain indie crock
points — ooh, mystery, intrigue, underground pop and
performance. "We don't know
whether to ask for more or for
less" ... umm, "MORE PIEASE."
One of the major benefits
of living in Vancouver is having K and Matador recording
artists and local performer
music icons Mecca Normal, who still never cease to
leave me somewhat speechless. The squeaky elephant
with the accordion says, "Yes,
more please."
Syndey Hermant
25 fm&semm change of heart steelteeth march'-)?    LONG    VINYL
1 the molestics
tropic of hokum          blue lieard
2 various ariisis
team mint                                 mint
3 hi fives
ond a whole lotta you!    lookout
4  the evaporaiors
united empire loyalists    nardwuar
5 vet* hille
spine                          independent
6 underworld
pearl's girl                   wax trow
7 various artists
shots in the dark               donna
8 team dresch
captain my captain      candyass
9 huevos rancheros
get outta dodge                    mint
10 johnny cash
unchained                     american
11  luscious jackson
fever In fever out    grond royal
12  descendants
everything sucks             epitaph
13 skonking pickle
the green album        dr. strange
14 irons a*
surrender to the night tfrfll Jockey
15 sook-yin lee
wigs V guns                        »ulu
16 various artists
incursions in iUbient     asphodel
17 heavenly
operation heavenly                    k
18 the inbreds
It's sydney or the bush     pf/tag
19 m*p*
life in general           tooth & nail
20 various artists
In defense of... voL Z     Caroline
21 the timber kings
she changed her name,   incentive
22 dbs
if the music's loud enough      nefer
23 helmet
aftertaste                   fnterseope
24 space kid
cereal                         humungous
25 soinks!
stranger anxiety       dr. strange
26 anti-flag
die for..            new red archives
27 sukpatch
haulln' grass..                    slabco
28 manifold
novosibersk           transsiberian
29 cause for alarm
cheaters and the cheated    victory
30 tricky
pre-millenium tension        island
31 various artists
yo yo a go go                       yoyo
32 aumpano
goin' through changes   sub pop
33 James taylor quartet
mission impossible       hollywood
34 mr. quintron
the first two records            bulb
35 dino martinis
the bottle collector's- Mependeni
l-AOY ttATHSTRIKf'S HJNCHB0X
1 team dresch
captain my captain
candyass
2 no means no
rise 12'
wrong
3 lois
infinity plus
k
4  evaporators
united empire loyalists
ntvrdMMor
5 michelle shocked
kind hearted woman
mood swing
6 vegas beat
vegas beat
candyass
7 trans am
surrender to the night
thrill Jockey
8 unwound
repetition
kill rock siars
9 cibo matto
super relax
wamer bros.
10 stereolab
flour escence
Island
and sometime*; why
1 yeda hille
spine                                   independent
2 asita (scissor girls)
solo album                                 atavistic
3 heavenly
operation heavenly                               k
4 refect/refect
what's your defect? r"      kill rock stars
5 team dresch
anything and everything
6 movietone
useless landscape T                    planet
7 sundowners (ehan marshall)  singing death chants-   drag elty
8 softies
winter pageant                                       k
9 motel no tell
live in olympia
lOchiekfactor 'sine
March'-57
SHORT   VINYL
March'97 INDIE
HOME  JOBS
1 the softies
the best dots                                 k
1   the colorifics
?4? (now i see heaven)
2 inbreds/plumtree
split                                                    pf
2  goae
Jellybeans
3 the honson brothers
the hockey song essential noise
3  readymode
dreamt 1 fell from you
4 meoca normal
parts in april                                  k
4  plumtree
In the sink
5 reel big fish
teen beef                                  mojo
5  oh susanna
shame
6 duotang
the message +2                      mint
6  hissy fit
ske.
7 teen titans
more songs, less music peek-a-boo
7  JpS
fuuyhead pills
8 merseyslppiuntltled
untitled                                       loaf
8 coal
chemicals
9 built to spill
untrustable                           warner
9  kid champion
luminftes
10 the planet sutashers
inflate to 45 rpm          Jump start
10  pest SOOO
break vt%^ heart
11 sparkmarker
sawed-off but silent         sub pop
11  wandering lucy
baby e^es
12 the kent 3
basketball medics   super electro
12 submission hold
ed anger
13 Junior varsity
go! to the ice cream...peek-a-boo
13  euphonix                 let's get out of these monkey suits
14 Jvtgsras-fatosei^asfan
Z kindsa love                   unaXador
14  touch &  gos
campus radio boy
15 secret agent
no winners no losers      mum W dad
15 celestial magenta
salad days
16 oat power
fuct                                 undercover
16 squeeky
ten twenty-three
17 good horsey
emperor- b/w pink pages   teadaJnvn
17  Jackass                           reality
bites in santa barbara
18 the vapids
I wanna be a teenager       crack
18   the bloody chlcletts
on A   on
19 squirrel nut etppers
hell                                   mammoth
19 fishburger
big ass burger
20 the leftovers
gravy train                  independent
20  south of main
elmer
21 Satan's pilgrims
the rise and fall of..                    k
21  the stupes
devil (na
22 the loons
paradise b/w I drain... time bomb
22  spm
Justify/glory to god
23 sebadoh
princess + 4                       sub pop
23  WR henry
oh oh
24 the b-movie rats
soul fucker                    lap dance
24  naardvwrk the sannary elephant
I wanna get punched
25 tWe belden b/w egfrni
split                                       diuy
25 losenge
eternal smile
26 songs: ohia
one pronunciation...   secretly can
26  stratochief
she shoots, she scores
27 silkworm
never met a man...            vnaiador
27  the wingnuts
hate ttr Job
28 ciao bella
In                                       endearing
28  the splvees
Johnny come lately
29 cain
cain b/w come back             allied
29  destroyer
karen Is in rome
30 trollin withdrawal
emil eye                           erroneous
30  head trophies
epidermal hiatus
31 dj food
sonic soup                                   mlo
31  the smoking Jackets
baltic boogie
32 bust
spin up! b/w I'm better   radiopaque
32 1000 stamps
poster child
33 yum yum tree
riot up your ass                      vital
33 Juniper dally
never cry wolf
34 violet nine
punkabilly rules..ok?       little boy
34  thee pirates
the pirate song
35 uberhund
the day of wack        cream cloud
35 thrill squad
out of touch girl
Ma am
discorder
production
hell
charts
little
the
twin  stars   tm
world
ten   women
I better
tint  make
place
3    :h    0   P   M
4 Itgtheleen hanna
5 A2
6 dome darcy
7 kirn gordon
8 Jodi
9 nlagra
10 miss ec8or	
*6efit up focfrtK  OK.'*
?<%4u frUtetf • ttoft • tUun  • UHfte&t
(perfect tcct*i() • cul dc doc • tecutd,
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SUNDAYS
AK YOU SERIOUS? MUSK   8:00AM-
1100PM All oi time u measured by iti
art. This show presents the mosl recent
THE ROCKERS SHOW   12:00- 3:00PM
Reggae mna all styles and Fashion.
RACK) BLUE WARSAW 5:00-4.-OOPM Join
lum _ helen for another month of travels
Bnng Confetti!
QUEER FM 6:00-8:OOPM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened lo by
everyone, lots of human interest
features, background on current
issues and great music from musicians
of all sexual preferences and gender
identities.
GEETANJAU 9:00-10:00PM Geetanjoli
features a wide range of music from
India, including classical music, both
Hindustani and Carnatic, popular music from Indian movies from th.
1930's to the 1990'i, Semi-classical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, elc.
RADIO FRSAMBUCA 1040PM-1240AM
Join host Daw Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed lo make you think
twice. Bnng your tape deck and two C-
90s. Originally broadcast on KFJC (los
Altos, California).
N THE GRIP OF NCOHKBKY 12:00-
4O0AM Drop yer gear and stay up late
Naked radio for naked people. Gel bent.
love Dave.
MONDAYS
BREAKFAST WITH THE BROWNS 8:15-
11:00AM Your favourite brown-sters,
James and Peter, offer a savouty blend
of the familiar and exotic in a blend of
aural delights! Tune in and enjoy each
weekly brown plate special.
THE STUPID RADIO SHOW 1L00AM-
1:00 PM Wih your hosts the Gourd of
Ignorance. What will we play today?
Rog will put il away.
MEKAMKAl BUFFOONERY 100-3K)OPM
Two shows became one! An hour of
Mekanikal Object Noize (industrial/
nois/techno) and an hour of Skintight
Buffoonery (lounge, jazz, britpop)
June scudeler6mindlink.bc.ca
THE MEAT-EATING VEGAN 3O0-4.-00PM
I endeavour to feature dead air, verfcol
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you say minimalist? — and
whatever else appeals to me. Fag ond
dyke positive. Mail in your requests,
because I am not a human-answering
mochine.Gota quarter then call someone
who cares
THE CANUCX STOPS HRE al. 70&90OPM
listen for J C_Ta_an, mostly independert
tunes.
IHE JAZZ SHOW 9:00PM- 12:00AM
Vcrcower's longest running prime lime jazz
program. Hosted by the eversuane Gavin
Wafer. Pedro d 11.
26   march 1997 2>
Mar. 3'- Justin Ho hosting
Mar. 10 ■ pianist/ composer Bud Powell
Afar. 17-Fill-in host Jozz wiH play
Mar. 24-Stan Getz and Bil Evans in Concert
Mar. 31- Trombonist Mothew Get
DRUM'N'SPACE al. 1240-240AM Jazz,
breaks & the silence in between 0
IdObpm.
TUESDAYS
LADY DEATHSTRIKE'S IUNCHBOX ait.
II:30AM-1.O0PM Join forces with a
samurai warrior gone wrong. Music ,
interviews, madness and morel
UCORia AUSORTS 11:30-1 OOPM al. An
eclectic music show. Phone in ond
RADIO FREE WOMEN 3O0-5O0PM
KXA 5:30400PM News, issues, ond
concerns facing Muslims throughout the
wodd.
THE UNHEARD MUSK 7O0-9:00PM
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of hosl and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolondo,
Romy, ond Paulo as they shake it and
wiggle it to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites, latin music so hot
it'll give you  a tanl  i j RADIO
SABROSAII
NAKED RADIO ak. 10O0PM-12O0AM
From Thelonious Monk lo Mendim Monk
... we'll play il. Genre-busting, cutting-
edge jazz and other experimental
sounds, plus informative label/artist
features. Join Mike and Sean
WITCHDOCTOR HGHRAil al. I0O0PM
11O0AM None, ambienl, electronic,
hip hop, free jazz, christian better living
Ip's, ihe occasional amateur radio play,
AURAL TENTACLES 12O0AM-VBY LATE
Warning: This show is moody and unpredictable. H encourages iniomnia and
may prove to be hazardous to your
health Listener discretion is advised.
WIDVSSDAY8
COLONEL SANDER'S HIDEOUT
8O010O0AM "Dude ifyou'ree playing
pretty girl music in my Camarol Dude'
LOVE SUCKS 12.00-2O0PM K vou can't
make sense of it, and that bothers you,
go somewhere else. We use scissors
THE MARY TYlfil MOORE SHOW 200-
3O0PM 'belter a brat than a beauty
M0TORDAD0Y 3O0-5O0PM 'let those
who ride decide!'
ESOTERK ak. 6O0-7:30PM Ambient/
eleclronic/industrial/ethnic/
expenmental music for those oi us who
know about ihe ilklhids.
SOUD STATE ak. 6:007:30PM Featuring
the latest in techno, trance, ocid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances Hosted by M-Path.
AND SOMETIMES WHY 7:30-9O0PM long
hind legs, god 11 myco-pi lot, sundowners
... these are a few of our fave-ob-wnt
things, la la lol
TROPICAL DAKXJW 9O0-10O0PM Zouk,
Soukous, Samba, Salsa. Yesl Even Soca.
Enjoy ihisTropical Daiquiri with ElDoctor
del Ritmo.
STRAIGHTOUTTAJALLUNDHAR 10O0PM-
12O0AM let DJs Jndwa end Bindwa
immerse you in radioed** Bhungral
"Chakkh de phutay.' Listen to al our
favourite Punjabi tunes — remixes and
originals. BrTaaaah!
THURSDAYS
FIUBUSTER ak. 10O0-11:30AM Bad hill
blood, spy musk and an occontan fetish.
Caution: high in fibre!
MUSK FOR ROBOTS ok. 1 OOO- 11:30AM
EleclronicNoiz-New Wave-No-Wave.
Ride the Gamma rays into the future.
Fem-bot, electronic hostess.
CANADIAN LUNCH 11:30AM- 1.O0PM
From Tofino lo Gander, Baffin Island to
Portage La Prairie. The all-Canadian
soundtrock for your midday snock!
STEVE -MIKE 1O0-2O0PM Crashing the
boys' club in ihe pit. Hard and fast,
heavy and slow. Usten to it, baby.
JUSTIN'S TIME 2O0-3O0PM For some
cool jazz by some swingin' singers and
boppin' players, tune in and don't miss
out on some happy times!
OUT FOR KICKS   6:00-7:30PM   No
Biriunstocks, nothing politically correct
We don't get paid so you're damn right
we hove fun with il. Hosted by Chris B.
ON AKWnHGRLASEDHAK 7:30-9O0PM
Roots of rock 4 rol.
UVE FROM THUNDERBIRD RADIO HELL
9O0-I1O0PM local muzak from 9.
Uve bandz from 10-11.
D6T0RTH) aRCUTTRY 100400AM DJ
Morgan le Fay brings you the latest info
and tunes in the realm of electro/
industnd & synthcore Hard beds to
invigorate your late night angst.
FRIDAYS
VENUS FLYTRAP'S LOVE DEN 8:30-
10:00AM Join Grog in the low den for
a cocktail. We'll hear retro stuff, groovy
jozz, and thicker stuff too. See you here
... and bring some ice. XOXX
THESIS 10O0-11O0AM Tune in for
discussions, interviews & information
relating to people who live with physical
_ mental challenges.
SKATS SCENE* DRIVE! 11O0AM
1200PM Tune in for another fun-filled
hourof ska with hosts Julieand a suitable
'Ska-T" replacement (he's in Europe).
KNBTUNE'S ROOM 12O0-100PM As
Charlie Brown once said to Schroeder
'plink, plink, plink, all day long! Good
Grief!'
LUCKY SCRATCH 1.O0-2O0PM Swing on
the gallows pole and git yer dose of
blues in ihe afternoon. Hosts Anna and
Andy.
UTTli TWIN STARS 20O-3.-3OPM
Jacuzzi Space rock al it's finest.
NARDWUAR THE HUMAN SERVIETTE
PRESENTS... 3:JO-4:OOPM Have a
good brunch!
NATION 2 NATION ak. 6:00-9O0PM
Underground sound syslem-style
mastermix radio.
SUN
are you
serious
music?
SAT
ROCKERS
SHOW
WIRELESS/
iiooi oniric
SMDLC
Breakfast
with the
Browns
THE
STUPID
RADIO SHOW
MEKANIKAL
BUFFOONERY
third times
the charm
Colonel Sander'
Hideout
A/r^r***** CHRONOMETER
Polyfiller
RADIO
FREE
WOMEN
DIGITAL
ALARM
motor
dAddy
Zuppe
Radio
CANADIAN
LUNCH
Steve and
 _-___£	
Justin's time
Fl£X. YOUR
HEAD
THE
SATURDAY
EDGE
LUCKY SCRATCH
POWER
CHORD
AFRICAN
SHOW/
THE LAST DESK
QUEER
FM
fill   in
ONE STEP
BEYOND.
RADIO FREE
AMERICA
IN THS
BMP OF
INCOHERENCY
Tt* C-mk* itj^_ H_-i
/hip hop habit
THE
JAZZ
SHOW
HUMAN
ANIMAL/
DKCM'N'SPACE
Awara House
UNHEARD
MUSIC
RITMO LATINO
NAKED
RADIO/
suite hdocotor
highball
AURAL
T__NTACIJS
strfl outta
jallundar
PPEDREAMS/
OPEN
SEASON/
RADIO FREE
BABYLON
Out For
Kicks
LIVE FROM
THUNDERBIRD
RADIO   HELL
Sector 7/
Groove
Jumping
DISTORTED
CIRCUITRY
nation Io
nation /
African
Rhythms
HOME
BASS
Limp Sink
Lucid Soul
THE
SHOW
(hiphop)
synaptic
sandwich
SOMETHING
AfUCAN RHYTHMS ok. 6r00-?:00f*M
David 'Lore* Jonei brings you ihe best
new and old Jazz, soul, latin, samba,
bosso & African Music around the world.
FOR THE RECORD 6:30-o:45PM Excerpts from Dave Emory's Radio he*
America Series.
HOME8AS5 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noon, the
main focus of the snow is techno, but
also includes some trance, acid, tri bal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass
UMP SINK 12*00-2:30AM Hosted by the
G42 players. "The show thot doesn't
hate you." with your friendry pals Friar
Fritter Abfockeln and Postman Pat.
Alternating with Dr. Killdare
Contacr.limp sinkObrolrer.ranch.org
LUCK) SOU 2:304:00AM Dr. Killdare
plunders even further into the wee hour
dang what hecan to keep security guards
and 7-11 derks awake. Waywoyway
deep dance stuff and other halucinafying
fucked-up-ness.
SATURDAYS
THE SATURDAY EDGE 8:00AM-12:00PM
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
l-parfat 11:30 AM. B-9 AM African/
World roots. 9-12 noon: Celtic music
POWERCHORD    12:00-3:00PM
Vancouver's only true metal show; local
demo lopes, imports and olher rarities.
Gerald Raltlehead and Metal ton do the
damage.
THE SHOW 6.-O0-8-00PM Strictly Hip
Hop — Strictly Undergound — Strictly
Vinyl With your hosts Mr. Checka, Flip
Out & J Swing on the 1 & 2's.
UVE ATTHE HI-HAT 11WMIKXJAM
"Live! — shows and bands — mission
$6.00 — Performers are subject to
WOMEN'S DAY! TUNE
HELL - gaze
MARCH 8
HOW
Board Chair Harry Hertschsg
Current Affaire Mkha****! Gumey
Demos/Cassettes Dal* Sawyer
Engineer Richard Anderson
Entertainment Chris Allison
Mobfe Sound Ken Orchard
Music Megan Mallett
President Ryan   Ogg
rroducton    Stobhan McCracken
Record Librarian Tristan Winch
Secretary Heather Hermant
Sports Slavko  Bucifal
Station Manager Unda Scholtan
Student Engineer Fern Webb
Traffic Sarah Stacy
Vict President Justin Ho
Volunteer Coordinator   John Ruslcin march
datebook
Ben Folds FiveOrpheum (sold out)...District 1-Stone Temple Coba-
SAT 1 Space-Starfish (cancelledl)...Velour/Jack Tripper/2%
Cherry/Hip Hop Mecanix-Niagara...Afrodisia-ANZA
Club ...Bughouse 5/Windups-Piccadilly...AWOL Love Vibe-Source
Space (40 E. Hastings)...
SUN 2 Pardoned: a "freedom to read" party-Starfish...Queers/
Groovie Ghoulies/Malchiks-Thunderbird Entertainment
Centre...Change of Heart-Town Pump...Naked Spaces (film
screening)-Surrey Art Gallery...
MON 3 Philip Glass-Vogue.. Elvin Jones Jazz Machine-Vancouver East Cultural Centre...STEALTH tour: DJ Food/The Herbaliser/
DJ Vadim/Kid Koala-Richard's on Richards...District 1 -Stone Temple Cabaret...Sensible Footwear-South Hill Candy Shop...
WED 5 El Vez-Richard's on Richards...Malchiks/Portal B/Back
Room Shag-Starfish...Rock V BowhBughouse-Thunderbird Lanes/
Entertainment Centre...
THU    6    Mizmo/2%   Cherry/Blisternene/Volumizer-
Starfish...S»W»A»R»M-Vancouver       East       Cultural
Centre...Monsoon Film Night (an evening of Asian and Black
works)-Video In..Blackie and the Rodeo Kings-WISE Hall...
FRI 7 The Grift/360Piccadilly...
SAT 8 CiTR PRESENTS THUNDERGIRL RADIO: Tune in to
101.9fM for a full day of righteous GRRRL programming. ..Estrus
Records Fire Benefit: The Windups/Bughouse 5/Surfdusters-
Niagara.The Electrosonics/The Beans-Van. Press Club...Fluf/
Sparkmarker/Maow-Starfish...Sno-Core: Face to Face/
Pharcyde/Voodoo Glow Skulls/Powerman 5000-WhisHer Conference Centre...Belter-Piccadilly...Live/Morcheeba-Rage...
SUN 9 Tim Brady & Smith Quartet (Van New Music)-Vancouver
East Cultural Centre...International Women's Day show: Joy
Coghill/Joelle Rabu/Ann Moritifee/Audrey Thomas/Denise
Lonewalker/Anna Riopel-Four Seasons Hotel Ballroom...
MON 10 Twelve Minutes Max #9 (dance)-Firehall Arts Centre...District 1-Stone Temple Cabaret..
TUE 11 Twelve Minutes Max #9-Firehall...
THU 13 Cordelia's Dod-WISE Hall...
FRI 14 Tullycraft/Bunnygrunt/lncredible Force of Junior/Gaze-
ANZA Club...Ben Monder Trio-Havana Gallery.. Jerry Brennan-
Soufh Hill Candy Shop...
SAT    15    Jim    Rose    Circus    Garage    of    Horrors-
Graceleand...Strapping Young Lad-Starfish...
SUN 16 Screaming Trees-Rage...
MON 17 Chick Corea & friends-Vogue...Coming to Her Senses
(part of new (Cine)works seriesj-Starfish...District 1-Stone Temple Cabaret...
WED 19 Boulou et Elios FerrfrStarfish...
THU 20 Big Sandy & his Fh/rite Boys-Starfish...Deana Carter-
Richard's on Richards...Video Out: Recent Video Works (open
house-free admission)-Video In...
FRI 21 The Beans-Sugar Refinery...Marianne Faithful-Richard's
on Richards...
SAT 22 Queer View Mirror 2 launch party (freel)-Lolus...
SUN 23 David Thomas (of Pere Ubul) & 2 Pale Boys-Starfish...
MON 24 District 1-Stone Temple Cabaret...
TUE 25 Wallflowers/Polara-Rage...Ladysmilh Black Mambazo-
Vogue...
SAT 29 Coal-Whip Gallery...Kula Shaker-Graceland.Jewel-
Massey Theatre...
SUN  30 Jeru  the  Damaja/DJ  Shadow-Richard's  on
Richards...Primrods/Tristan Psionic-Piccadilh/ Pub...
MON 31 De la Soul-Richard's on Richards...Counting Crows/
Special
[*'!'<. I l!Cl
evetytiuflg,, nf>/^ fn ^^
about...
eveiywherey1
*?•»• • • •
Ifogo
The Abyss 315 E. Broodwoy (side entrance) 488 6219
Anderson's Restaurant (Jazz on ihe Creek| 684 3777
Anza Club 3 W. 8th (Mount Pleasont| 876 7128
Arts Hotline 684 2787
Bossix 217 W. Hastings (al Combie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 6871354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
Cafe Deux Soleils 2096 Commercial (ihe Drive) 254 1195
Cafe Vieux Montreal  317 E. Broadway (Mount Pleosant)         873 1331
Caprice Theolre 965 Granville (Granville Mall) 683 6099
Celebrities  1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downlown) 669 0806
Club Mordi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (a! Cordova) 683 3757
Commodore Lanes 838 Granville  (Granville Mall) 681 1531
Cordova Cafe 307 Cordovo (Gostown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Denman Place Cinema  1030 Denman  (West End) 683 2201
DV8 515 Davie (downtown) 682 4388
Edison Electric Gallery/Cafe 916 Commercial  (ihe Drive)       255 4162
Firehall Arts Centre 80 E. Cordovo (a! Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC)
Goroge Pub 2889 E. Hastinas (downlown)
Gastown Music Hall 6 Powell (Gastown)
Gastown Theatre 36 Powell (Gastown)
The Gate  1176 Granville (downlown)
Graceland   1250 Richards (downtown|
Greg's Place 45844 Yale Rd.  (Chilliwack)
The Grind Gallery 4124 Main (Mt. Pleasant)
Hemp B.C.  324 W. Hastings (downtown)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Moin  (Ml. Pleasant)
It's A Secret 1221 Gronville St. (downlown|
Jericho Arts Centre  1600 Discovery (Pi. Grey)
La Quena  1111 Commercial (the Drive)
The Lotus Club 455 Abbott (Gastown)
Lucky's 3934 Main
Luv-A-Foir  1275 Seymour (downtown)
Mars  1320 Richards (downlown)
Maximum Blues Pub  1176 Granville (downtown)
Niagara Hotel Pub 435 W. Pender (downlown)
MeJialuna   1926 W. Broodwoy
Odyssey Imports 534 Seymour  (downtown)
Old American Pub 928 Main  (downlown]
Orpheum Theatre  Smithe •_ Seymour  (downlown)
Pacific Cinemaiheque   1131 Howe  (downlown)
Paradise 27 Church (New West)
Paradise Cinema  919 Granville (Granville Mall)
Park Theatre  3440 Cambie (South Vancouver)
Picadilly Pub 630 W. Pender (at Seymour)
Pit Pub basement, Student Union Building (UBC)
Pitt Gallery 317 W. Hastings  (downlown)
Plaza Theatre 881 Granville (Granville Mall)
Purple Onion   15 Water St. (gostown)
Raffels Lounge   1221 Gronville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (al Seymour)
Richard's On Richards  1036 Richards (downlown)
Ridge Cinema 3131 Arbutus (atl6lhAve.)
Russian Hall 600 Campbell  (Chinatown)
Scratch Records  109 W.Cordova  (Gastown)
Southhill Candy Shop 4198 Main  (at 26th)
Starfish Room   1055 Homer (downlown)
Starlight Cinema 935 Denman (West End)
Station Street Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
SloneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downlown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16lh St. (N. Van)
The Tower 339 W. Hastings (downlown)
Town Pump 66 Water (Gastown)
Track Records 552 Seymour (downtown|
Twilight Zone 7 Alexander (Gostown)
UBC CINEMA (located in the SUB)
UBC Grad Centre Gate 4 (UBC)
The Underground   1082 Granville (downtown)
Voncouver E. Cultural Centre  1895 Venables (at Victoria)
Voncouver Little Theolre 3102 Main (Mt. Pleosant)
Vancouver Press Club 2215 Granville (S.Granville)
Varsity Theatre 4375 W. lOlh  (Point Grey)
Vert/Woshoul 2412 Main (Mt Pleasant)
Video In Studios  1965 Main (Mt. Pleosant)
Vogue Theatre 918 Granville (Granville Moll)
Waterfront Theatre  1405 Anderson (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gollery 209 E. 6lh Ave (al Main)
W.I.S.E. Hall  1882Adanoc (ihe Drive)
Women In Print 3566 W. 4th (Kitsilano)
Yale Blues Pub  1300 Granville (downlown)
Zulu Records 1869 W. 4th (Kitsilono)
822 2678
822 9364
689 0649
684 MASK
688 8701
688 2648
795 3334
322 6057
681 4620
738 3211
873 4131
688 7755
224 8007
251 6626
685 7777
875 9858
685 3288
230 MARS
688 8701
688 7574
669 6644
682 3291
665 3050
688 3456
525 0371
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
602 9442
473 1593
685 5585
681 1625
687 6794
738 6311
874 6200
687 6355
876 7463
682 4171
689 0096
688 3312
681 8915
988 2473
683 6695
682 7976
682 8550
822 3697
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
3317909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232
r SUBMISSIONS TO DATEBOOK ARE
FREE! TO HAVE YOUR EVENT
LISTED, FAX ALL THE RELEVANT
INFO (WHO, WHERE, WHEN) TO 822
9364, ATTENTION "DATEBOOK."
DEADLINE FOR THE ATRIL ISSUE
I IS MARCH 19TH!
27 s^gseesffi in. dtoppincj
I 0 J KRUSH/
CQIDCUT
distort, experieme Mo olh.
,0 (optur. the p •« mIW ,   >    m d,„pp
«to«wtanl.l.lA«'ta0,*,uiw.„,lQ|i.b.i«i
«rt. .h^ys .n Ih. pce««1 len«- ^ «,!„, on t. the
0,, who guotes io ceo « «h »JW « ^ „ ^
wnnl ol devtlopmen.    «^JJ^ ,vt, |, I, th.
fa—ta'ion (heo-d.. unhe d  ^ ol lh« ^temporary
f-m genetol document, h... ore some »
heor whot oil the no.se is obout.
2C0 22.88
THE MAKE UP
Sound Vente cd
The revolution has never stopped the
records slill turn and turn, the me's
soge hos bridged the medium the
time hos tome for rediscovery ..con
■wh-wr you soy yeoh! Judgement        ^^^^^^^^_
-ocl, it-n.ll wos a powerhouse once, but the embers slill glow If we
ore lead to re believe, ond to see,, olso within us, ,„.„ I *J£
w,  burn ogoiaSoul, rock. punk. funk, revival. Th. essence, the
•Mnn-.TheMke Up The Moke Up
CD 14.88 Available March 4th.
NICK CAVE
The Boatman's Call cd
"on in block, dork through ond through, Nick Cove h he con-
summo.e cul. figure; lonely, .limltd. V«> stoic ond P°^Hl
Z wiiteily .moges ore possessed withgrim Income vividness, the
music is so opp-opnote ond sensitive to his texts .hot it becomes «-
Tsory ond invisible When you come into th. deceptively tronspo-en,
woild of Nick Cove, the intensity of his representor will dis
presents will chill you ond toke over Good listening.
CB 16.88   Available March 4th.
BECK
Be k knows where,, ot. High school dock turned pop guru, his rock
ond oil ,,„ | noise pollution,, and so you osk, whal is The New
Pollution all o out* His new exclusive UK imp„-, £Ps S_7e
onswers, o true solendor ,n the gross, ie.k hammers another h, home
March
Jo the
• Zulu,
beat.
CBB
Mauler ci
Austrolio's Au Go Go
Records hos put out
the perfect fillin the
gops collection of sin
gles, hard to find
compilation rarities ond other foves   .......~
lered for this release. Sixteen songs in oil trock
cub s growth over their lasl four years, ond you con
follow along with the blow by-blow liner notes!
CD 14.88
JUNK ON
jl  i_ev*
batch  of
'potent
Portables
drummed  up
^is  month
iu.
«f■ 'oursome continue lo project «i T*re,Mse *»
Wec,ic,,;iri°„n_JT''W'rf«'«^'e'or,
1869 W 4th Ave.
Vancouver. BC
V6J1M4
tel 738.3232
STORE HOURS
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
CO-EPs 8.88 each
RED RED Wf AT
There's A Star Above The
Manger Tonight co
Not content lo wallow in previous crilicol acclaim,
i   !. .Meat "plore ,he beou,iful sid<* "f
ugly-noil of it's discordant melodic greatness on
this, their most challenging release lo dote They
turn their trademark bluesy influences inlo
organic noisescapes by combining lap steel with
pump argons ond synth with violins. The Star
above Red Red Meet's man*-.* « ' • ■-
so come warm yourself around
CD 16.98
■-■oursome continue to pro*.
«'*'>* Wectic, explore,,,
WllJI IP 10.98
QP8
Slush CD
What do you get when you
cross the dreamy sens.btfilies
.IU** •«—•?"'**'
Atizono sun drenched mem*
beisol Giant $•■*"]»
answer is OM. Beautifully
haunted melodies mixed with
thegioinyteois of ghosts
umbered encompasses his
drug of choice. Put some ot
this in your pipe ond smoke il
before it smokes you.
CD 16.88
Is best
delectoble o
' '"ioyoble,
BUICKMacKJINE
The Pawn
Shop Years co
Imbued with generous doses of
ollitude, ond fun,
sparkmarker ^^^^
500watt_urneratsEvencD'
These sensitive heavyweight's sturdy rock hos found
o new ond appropriate home somewhere neor
Revelation-land. And my-oh-my but da they
take it home with loud, powerful riffs and mighty
drumming - not to mention insightful lyrics (didactic messages without being pedantic). All in all, sparkmarker lemain one of
Vancouver's best local acts, both live ond recorded.. ond whot o bunch of sweet
young men.
CD 16.88
-oils the side streets of
Americona rock'n'rollwith
his new gritty side-project
»«««k MaeReee. Evoking
his punk heritage,
L
tftttyft
e iw* revisits his
Pawn Shop Years in f
style.
OHSUSf\HHf\
Oh Susanna
CMP
Released lost yeot only on
cassette, Oh S****—* i
debut of personal™*, pos * (o|k t0|es
mode of minimal gu,to.sUummmg|hthed.$.
'"rr^S^whTsltngothomeinthe
hooves, enjoy.
CD-IP 398
Notables:
- Whiplash - CD
CD 16.88
608/
MOTHER JOE
^ss Seen On
*<lynomicduo,6obond
""*'"■' 'oe tempi      ——^G^***,
^fmitmk.oSlT"  e''''0''hea<'''''>^■
30 all time
records that
rockedttis -
thirty ^ars.   ^^^^
1. Glenn Gould - Bach: The Goldberg Variations, BWV 988
2. Clash-London Calling
3. Drive Like Jehu-Drive Like Jehu
4. Rocket From The Crypt - Circa: Now
Rats - The Fine Art of Surfacing
James - Whiplash - CD uene - Drawn to the Deep End - CD ltd/2LP
Bjork -1 miss you - CD-EP's Pi. 1 and 2 Laika - Sounds of the Satellites - CD/21P
The Orb - Orblivion - CD Autechre - Chiastic Slide - CD/2LP
Dub Narcotic - Bone Dry - CD-EP Various - Ministry of Sound Sessions 7 -
Doldrums - Doldrums - CD 2CD
Jim O'Rourke - Happy Days - CD Stars of the Lid - The Ballasted
Springheel Jack - Bank of America -  0rchestra' C°/2LP
CDEP/12 inch Bill Janovitx - Lonesome Billy - 2CD
... ._„-_. - Repeater
20. Leonard Cohen New Skin
for the OM Ceremony
21. Kiss - Love Gun
22. Police - Outlandos d'amour
23 American Music Club
24 Afghan Whigs
6 Husker Dii- Candy Apple Grey
7. Swervedriver - liaise
8. Otis Redding - Best of Otis
Redding
9. King Floyd Choice Cuts
10. Cars - The Cars
11. Janes Taylor - Sweet Baby
James
12. Cheap Trick -In Color
13. Public Image ltd. Album
14. Pilgrim Travellers - The Best of        *"ra3e
15. SNFU - If You Swear You'll Catch     2°. Pixies - Surfer Roso
No Fish 27. David &-*<--<""-
16. Ornette Coleman Dancing in Mons"'r*
Your Head                               28. Clash - The Clash
17. Smashing Pumpkins  Gish 29. Nation of Ulysses  13
18. Chel Baker - It CouM Happen Program to Destroy Amei
to You                                   30. Pitchfork-Eucalyptus
25 Albert Ayler
Village

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