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 THAT     MAGAZINE     FROM     CITR     101.9     FM
DISCORDER
NINA     NASTASIA
US     MAPLE
APRIL     2002
BILLY     THE     KID     &     THE     LOST     BOYS
BIRD     APRES     AND     DJ     MOVE
K - 0 S
LEE     HENDERSON 1 FRIDAY APRIL 5 r
Back by popular demand
Spiritualized
with guests
Tickets also at Zulu, Highlife and Noize
I COMMODORE BALLROOM I
with special guests
-uowf^a/nti-rfaa^ the &ay
J COMMODORE BALLROOM [
I FRIDAY APRIL 12 I
I MONDAY APRIL 15 I
I SATURDAY APRIL 20 P
Tonv ieviu band [
<S29uerilla
rT.7.7.TT.TTT.T.7.7.7,7,7.7T,7Xa
BILLY BRAGG
AND THE BLOKES
WITH SPECIAL GUEST MARTINA SORBARA
_.,.„_,.,._,_
MEDESKI MARTIN and WOOD
r*J*f'.^
mmmm:jmmmmm:m<::
I SATURDAY MAY 4f
CRACKER .Z020
I COMMODORE BALLROOM L
early show: I
doors: 7pm( show 8pm I
tickets also at Zulu I
UVE U-FIECE RAM)!
J
;siraple things in stores now!    I
■ SATURDAY MAY 11
Back by Popular Demand
after Two SoM Out nights
f RICHARD S OH RICHARDS
i FRIDAY AUGUST 2
RETIREMENT PARTY!
1 SATURDAY AUGUST 17f
Yijjllf
with special
WILL HOGE
IPURNIN6
SPEAR
LR<XXQj
AND HiS BURNING BAND!
TICKETS ALSO AVAILABLE AT Highlife, Zl
PURCHASE TICHETS {300008 AT hob.ca OR ticketmaster.ca | CINE FROM CiTR 101.9fM
Features
k-os by boon kondo p. 10
dj sho by donovan p. 11
billy the kid and the lost boys by dave g. p. 12
lee henderson by doretta lau p. 13
bird apres/dj moves by captain morgan p. 15
nina nastasia by christa min p. 16
us maple by brace paine p. 18
turntablism part 2 by tobias p. 19
Regulars
dear airhead p. 4
fucking bullshit p. 4
Vancouver special p. 4
kill your boyfriend p. 5
over my shoulder p. 6
7" p. 7
dj profile p. 8
radio free press p. 20
panarticon p. 20
strut and fret p. 21
under review p. 22
real live action p. 25
charts p. 27
on the dial p. 28
kick around (comic) p. 29
datebook p. 30
Cover
Well, I was in class when the cover arrived from
Lori and they've already sent it off to be outputted,
so I haven't actually SEEN it yet. But both Christa
and Steve seem to think it's really good. Lori
designed it using a photo by Leslie Lyons.
editor:
Barbara Andersen
ad rep:
Steve DiPasquale
art director:
Lori Kiessling
production manager:
Christa Min
real live action editor:
Ann Goncalves
under review editor
Sara Young
editorial assistant:
Donovan Schaefer
design:
Lori, Christa
production:
Doretta Lau, Peter Lillos,
Donovan Schaefer, Keith
Turkowski, Ubyssey
on the dial:
Bryce Dunn
charts:
Luke Meat
datebook:
Ann, Barb, 'n' Christa
distribution:
Matt Steffich
us distribution:
Elvira B
publisher:
Linda Scholten
© "DiSCORDER" 2002 by the Student Radio Society of the University of British Columbia. All
rights reserved. Circulation 17,500. Subscriptions, payable in advance/to Canadian residents are S15
for one year, to residents of the USA are $15 US; S24 CDN elsewhere. Single copies are $2 (to cover
postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the May issue is April 17th. Ad space is available until April
24th and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon request.
DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any
other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send email to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at
822.9364, e-mail us at: dtrmgr@mail.ams.utx;.ca, visit our web site at http://www.citr.ca or just pick up a
goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 CANADA.
printed in Canada
3E^§5l®3ffi lear oirHicro
#233-6138 SUB Blvd. Vancouver BC V6T 1Z1
IIIIIIIIIIIH
HARD. MINIMAL. OR
DUBBED OUT?
Dear Discorder,
Thanks for sending the infamous Rob Robot to review the
Safety Scissors and Sutekh
show back in February.
However, Mr. Robot perhaps
indulged in too many
"brewskis" as his review stated
some incorrect "facts."
Just to set the record straight:
1. Tobias and Construct—not
tobias and Ssiess—played the
last DJ sets of the night. I
played minimal house and
Construct played electro; we
did not play "hard techno and
effects."
2. Ssiess is the visual artist, not
a DJ. He did the visuals.
3. Olo J Milkman did the art
installations.
4. John Burke played the hard
techno, not me or Construct He
is from NYC and opened the
evening.
5. After John was local live electronic musician Loscil, who was
not mentioned in the review.
He played dubbed out minimal
techno.
6. Construct and Ssiess funded
the show, not me. I simply organized it.
best,
tobias v
PS: I love David Gahan.
MYSTERIOUS COMIC STRIP ARRIVES IN THE MAIL
fmcLimft bull/shit
bullshit by Christa Min
I am the best guitar player in
the world. Okay, maybe I'm
not the best overall guitar
player in the world, but I'm certainly the best guitar player in
the world who doesn't actually
have a guitar.
I should rephrase my title. I
don't usually make up my own
guitar solos because then I'd
have to write songs and sing
and find an actual band. I don't
runs towards me because I'm so
beautiful. One of them, usually
the fattest one with the longest
hair, asks me if I need help. I tell
him that I'm looking for a guitar. Instantly, while staring at
my lengthy legs, he asks me if I
would like one with "nylon
strings" since women only have
long, painted nails made for
picking out fucking folk songs. I
spend about an Iiour convinc-
says, trying to hold back his
sliock and not piss all over himself, "You're pretty good," even
though I'm a thousand times
more skilled than him and his
sausage fingers. He takes back
the guitar and tries to talk and
play "Starship Trooper" at the
same time. He can't do it. He's
no master like Howe. He stinks.
Like shit. But he MUST prove
that he is better than I am. He
I AM THE MASTER OF TABLATURE
want to. I'm a universal cover
band. I am the Master of
Tablature.
Guitar World taught me
how to play guitar when I was
eight years old. The first song I
learned how to play was the
masterpiece "Closer to the
Heart." I learned it on a classical guitar in exactly 12 minutes.
I've wanted to buy an electric
guitar ever since I realized that I
was a better guitar player than
the great Alex Lifeson. But it is
IMPOSSIBLE. This is what happens every time I go to a guitar
shop:
First, when I walk into the
store, everybody in the store
ing him that I want electricity,
that I want to rock, just like my
love Joe Satriani. Finally, he
turns on a 10W practice amp
and plugs in a Mexican Squire
Strat ($249), usually a shade of
powder blue. He breaks out
into "Texas Flood." He plays
the whole fucking song. After
the sweat starts to seep through
his silk, patterned shirt and saxophone tie, he gives me the guitar and tells me to "give it a try"
while he stares at my amazing
rack. I play something easy, like
"Eruption" or "All Along the
Watchtower," just so he might
let me try one of the guitars
hanging behind the counter. He
gives me back the guitar and
says, "Do you like this one? Do
you want to try again?" I play
my hero Malmsteen's "Black
Star." At twice the speed. I win.
He says, "Look, if you don't like
this guitar, I don't got nothing
else. It's the best one." He refuses to show me anything else
and tells me that this guitar
that's nothing but a buffed up
turd painted powder blue is the
best. He kicks me out of the
store for playing "too loud."
I'll never get a guitar. I'll
never get to be Dimebag
Darrell's protege. My mind-
blowing talent and fantastic
beauty is such a curse. •
voncoMx/er apcci
local reviews by Janis McKenzie
PHIL SMITH
Wliat the Neiv World Teaches
the Old
(Emblem)
When I first listened to this CD,
about a month ago, I just didn't
know what to make of it.
Maybe I was expecting Phil
Smith's latest to jump out at me
like his most memorable old
Corsage songs do: clever-
catchy, political, and angry.
Given the lineup of musicians
(a who's who of the first generation Vancouver punk scene),
maybe I was expecting something louder and more overt.
Instead, What the New World
Teaches the Old starts off subtle
and often lovely. The first six
songs make up the New World
half of the CD and are quieter,
combining an almost Leonard
Cohen-style vocal delivery with
a dark, dreamy brand of folk
accompaniment (provided
mostly by co-writer Bill Napier-
Hemy). "Magpie," the first
track, is ominous/delicate with
a beautiful repeating piano bit;
later on, the title track does
something similar with a guitar
and Nicole Steen's ethereal
backing vocals. The seventh
through twelfth tracks (the Old
World half) are in a higher gear,
with Jade and Scout from the
Dishrags adding vocals. One,
"Jackson," was produced by
Bob Rock, has hard-edged guitar, and is slightly reminiscent
of the B-52s. Another, "She's
Become a Memory," is more like
a hypnotic chant.
<emblemrecords@hotmail.com>
MISTRESS JEN
Naked Organ
(Independent)
Ah, the old sweet cover photo
trick! The photo on the back of
the CD shows what looks like a
darling teenaged girl, but the
lyric sheet tells a different story:
songs about revenge, girl horni-
ness (in graphic detail worthy
of Frightwig or The Smears),
various psychological problems, and being a dominatrix.
This turns out to be a kind of
cabaret, with Jen belting out
songs that aren't easy to sing
along with, accompanying herself on an organ that's sometimes rollicking, sometimes
calliope-like, and sometimes
sticks to tasteful repetitive
arpeggios. The last track,
"WWW.Dot.Corn (New Wave
Version)," is the only one where
our mistress is joined by another musician—it's also the track
with the stand-out chorus.
<mistressjen@telus.net>
DOA
Just Play It Over and Over
(Sudden Death)
Governments may come and
go—hell, empires may rise and
fall—but DOA remains with us,
surviving innumerable lineup
changes and the passing of
countless musical trends. And
thank goodness for that. Joey
Shithead Keithley remembers
that good punk rock means
tunes that stick in your head,
and a couple of the tracks on
this five-song EP are downright
anthemic. One, "Just Say No to
the WTO," has obvious practical uses, and certainly makes
sense coming from a guy who
ran for the Green Party in the
last provincial election. (Now
don't you wish he'd won?) And
on "All Across the USA," the
first track, Bif Naked joins in on
the vocals, making for one hell
of a singalong chorus. All that's
missing is a lyrics sheet so fans
can join in the first time around.
www.suddendeath.com
RADIOGRAM
All the Way Home
(Endearing)
Radiogram, led by Ken Beattie,
plays songs that are nothing
less than minimalist, urban,
post-folk, alt-country, slightly
jazz-tinged symphonies.
"Chamber pop" is a term
Beattie uses, and it makes sense,
although it hardly does justice
to the band's complex sound,
which makes use of sometimes
unbelievably slow tempos,
dynamics, a wide range of
instruments and influences, and
uses silence almost like another
band member. The songs are
often long—even edging into
eight minutes—multi-layered
and complex, with repeating
themes and distinctive sounds
that come and go, frequently
leaving Beattie's melancholic,
nearly broken voice to drift on
its own. The standouts may be
"(Waiting for) The Merry Go
Round," and "Not Here," which
opens with a rich baritone guitar,
but really, it's hard to choose.
Apparently Radiogram have
sold out every Vancouver show
they've played in the last year
and a half. Be warned—when
they come back from their current tour you may need to line
up early to see them! Radiogram
play the Pic on May 2 with the
Beans and the Secret Three.
www.radiogram.org •
4 april 2002 kill
detail, which makes everything on. You don't even have to read
even more adorable. Your eyes it—just look at the pictures.
will stretch when confronted by      Kobayashi is also a master at
vowr
comics and graphic art by Robin
Like most single girls, I've
got a cat. His name is
Sloan and he turned six
this summer. He initially came
as a set; my old roommate had
introduced to What's Michael, a
series of short stories from
Japan by Makoto Kobayashi.
The stories describe the misad-
his twin sister Beck first. (Hence
the musical bent to his name.) I
can talk about him incessantly.
He's my baby. He looks exactly
like Sylvester from Looney
Tunes. My perfect tuxedo cat.
Anyway, if you're not a cat person, you should probably cease
reading at this point.
About three years ago I was
malade cat named Michael.
Basically, Michael is meant to
represent all cats. He appears in
different families, with his own
family, wrestling, gambling,
dancing, and having business
meetings. It's fantastical and
weird sometimes, but it's
always hilarious. I especially
like how when the Michaels get
caught doing something stupid
or something they shouldn't,
they do this weird little dance to
distract people. The stories are
unorthodox in a sense because
they don't revolve around
punchlines. It's just everyday
scenarios with people (and cats)
doing everyday things. The stories are quite innovative as well.
There's the recurring Japanese
Mafia member who is alternately terrified by and turned to
mush at the various sightings of
the Michaels. Oh oh—and
there's Catzilla, too—a huge
behemoth of a cat who refuses
to budge.
Some of the stories have
kittens. (Awww!) The talking
cats at a sales meeting who
can't help but let their natural
cat tendencies overtake them
will have you literally rolling on
the floor. You learn things too—
did you know that cats don't
scratch themselves with their
front paws? It's a comic book
created solely for the real cat
lover.
The art is huge and expressive. Big lips, giant, bug-out
eyes and epic drops of sweat
abound. It's also heavy on the
the Michaels' wide-eyed stares. capturing    the    cats'    every
Sadness, exasperation, and guilt nuance—like the story about
are all clearly expressed, it's the Michaels being chased all
quite easy to tell what's going over town because their tiny lit
tle tongues were sticking out.
As well, the humans that populate the Michaels' existence are
full of character. Like the
Yakuza gang member who goes
into an absolute panic every
time he sees a Michael: every
second panel he's screaming,
"What if! What if I turn that corner and there's a cat curled up
in the middle of the street?
What should I do?! What
should I do?!!!" Oodles of silliness for the whole family.
There are three books: Off
the Deep End, Michael's Matnbo,
and Michael's Favourite Spot.
They are reasonably priced
compact books, and they are
also independent of each other,
so you don't have to worry
about getting the rest or more.
(Oh man, I know this
sounds sooo cheesey but I
swear to you Sloan just came
over and curled up in my lap.
He's the cutest, a total purrry
beast. And, as all cat owners
know, that's my cue to go.) •
VIDEO IN STUDIOS
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THIS IS ROBIN'S CAT SLOAN. HE'S
MUCH CUTER THAN THE BAND.
aesLiiieaitm
[tdviree
F'sck up these dreadful goodies and learn ALL about d
5Efe£D£lS£ hft^l^^at^ S™^-
*a silent art auction
charity benefit.
with musical preformances by:
. •: ;••
m ;
Wednesday May 8th/ 2002
® Shine    9Pm"2am
364 Water St.
/Gastown ■   (
S8 cover charge
*all proceeds donated lo
over my
book reviews by Doretta
I have many questions. 1
usually hate the rhetorical
device of the question, or
series of questions, mostly
because the questions, once
posed, go unanswered by the
author. Also, in print, the use of
the question sets up the false
impression that there's a dialogue going on, when really, it's
a monologue. This column will
be filled with ?, because we all
break our own rules. We're hypocrites by nature, and I'd be
lying if I claimed to be any different.
First off, why do we tend to
delineate between "high culture" and "low culture," good
and bad? Maybe I'm too into
irony—when various media
outlets pronounced it dead a
few months back, I was puzzled. Had the cultural artifacts I
found most joy in ceased to
exist? Had I ceased to exist?
How could I find my way back
if all the signifiers I'd dropped
like breadcrumbs as I headed
into the dark wood of uncertainty had been eaten by the
hungry bird columnists? Maybe'
I've had too much caffeine, or
perhaps I'm tired of debating
meaning and value. Lately, The
Province and Hollywood
movies have taken priority over
Punk Planet and indie films shot
on digital. I'm struggling with
finding meaning and steeping
myself in the esoteric, because
my obsession with the periphery and "the other" is as hardline as being a sympathizer for
right wing causes, in that both
perspectives fall back on
good/bad dichotomies. I've
come to the conclusion that I
can't complain about feeling
alienated when I read books,
see movies, listen to albums, or
attend shows that few people
care about if I don't also
immerse myself in the everyday, the accessible. Can I leave
my lo-fi elitism behind and get
along with my neighbours?
Without irony, will I be doomed
to be like the man at the Capitol
6 Theatre, who, during a screening of Showtime, kept sighing at
the deliciously lame plot when
he should have just laughed,
and then ended up becoming so
disgruntled that he walked out
after 30 minutes? I say, dude,
what did you expect when you
pay money to see a film that
involves Rene Russo?
Me, I'm ready to take my
dose of Eddie Murphy alongside my dose of (insert name of
sexy critical theorist here) and
sus low culture: April is
National Poetry Month,
because the League of Canadian
Poets has told us so since 1999.
Nothing divides people into
camps—with the exception of
last year's "I love/hate The
Strokes" rumble—like poetry.
My favourite zine, Turf, is
emphatically anti-poetry (and
for the record, I'm pro-poetry).
In Turf V: The Bedside
Companion, there's a section
entitled "Make the Connection:
Poetry is to words as feet are to
smell." The gist of the Tur/argu-
here are my words of
wisdom for this column: just
because there are line
breaks. it doesnt mean its
poetry:
my daily B12 vitamin. In the
meantime, I have other questions too, such as: why don't
boys call when they say, with
such sincerity, that they're
going to call? But there I go
wasting column inches on selfish girly topics when I'm trying
to write about books. Oh, who
am I kidding? Every opportunity to write is an excuse to write
about me, me, me.
Okay, back to the topic I
wanted to discuss when I was
thinking about high culture ver-
6 april 2002
ment is: "Unless someone tells
you explicitly 'Hey, your feet
smell really nice' please assume
that your feet stink. The same
goes for your poetry." I thought
that "Poetry is to words as feet
are to smell" wasn't writing off
poetic expression, but rather, it
was dismissing sentimental,
diary-personal fragments posing as poetry. A more damning
appraisal of poetry appeared in
Discorder last month when
Panarticon columnist tobias v
observed that "Contemporary
poetry, on the whole, is nause
ating. It is lost in soppy, personal reflections on love—boppin'
to a beat that should have died
long ago—or stuck in a
wannabe framework of avant
gardism that collapses in on
itself through overt seriousness
or lack thereof." To this I say,
the same argument could be
applied to fiction, music, film,
art, and yes tobias, even your
one true love, critical theory.
Here are my words of wisdom
for this column: just because
there are line breaks, it doesn't
mean it's poetry. Call it a hunch,
call it "Doretta's rule of thumb
for poetry," but don't call it
poetry unless it breaks your
heart in exactly the right way,
with the perfect string of words.
MOVING TO THE CLEAR
Jason Dewinetz
(NeWest Press)
Jason Dewinetz is the founding
editor of Greenboathouse
Books, a small press based in
Victoria that puts out beautifully made, content-lush chap-
books. I'm most familiar with
Greenboathouse's poetry,
including a collection by
Anthony Schrag called Moving
Pictures, which I read and
reread, so I was very curious
about Dewinetz's own poetry.
The book is divided into four
sections, beginning with the
immediate, physical and tangible "A Guide to the Birds of the
North Okanagan" and ending
with    the    intellectual    "In
Theory," a series of four poems
casting theorists as poetic protagonists. The poem "Jacques
Derrida reconsiders the stricture of definition" features a
Margaret Atwood epigraph,
and coincidentally, the lines
"And so these moments/when
I am not ruined by question/my heart, instead, forgets
itself." I've committed those
words to memory.
In addition to a knowledge
of theoretical thought, literature, and a deft touch for
describing geography as if he
was describing the face of his
mother, Dewinetz is the master
of specificity, to the point that I
feel I could navigate North
Okanagan using his poetry as
guide, his images as landmarks.
As I read, I knew that I trusted
his control over language
because he can lend words such
as sucker, wiener, ass, and shit
an air of dignity.
All the thoughts I had at the
beginning of this column
regarding high/low culture
came together in a single image
in moving to the clear: "'Raft of
the Medusa' coasters" (from the
"Gericault's Severed Limbs
Paintings"section). Can I have a
set of those "Raft" coasters so
that I can set a cold glass of Diet
Coke atop a work of art I saw
when I was twenty and idealistic, without ruining the faux
wood finish of my second hand
coffee table? • IMCl
Spring is here, and the
smell of fresh wax is in the
air, so let's not waste
another minute, shall we? If all
this rain and snow has got you
down, then take cold comfort
with SONGS:OHIA (a.k.a.
Jason Molina) and two dust-
bowl Americana anthems ("The
Gray Tower" b/w "Black Link
To Fire Link") for those long
lonely nights that harkens the
second coming of Neil Young.
Could Songs:Ohia be secretly
Canadian? No, but the label is...
(1021 South Walnut, Blooming-
©irgan
• ••••••
§§•§•••
ton, IN 47401 USA ).
Since we're talking about
by Bryce Dunn
second comings, the boys of
RYE COALITION resurrect the
ghosts of Jesus Lizard and
Killdozer with their two songs:
the first ("ZZ Topless"), twists a
Mountain-style riff over and
over, and the second
("Snowjob"), features a lurching
bass and scratchy vocal delivery reminiscent of David Yow
and company. Fans of Steve
Albini take note, the king of
Chicago lends his trademark
production techniques to this
slab, so play loud! (Tiger Style
Records, 149 Wooster St. 4th
Floor, New York, NY 10012)
I wish someone had called
Albini to help record four
Maritime acts on this comp I'm
listening to right now. All four
bands—ROCK RANGER,
CONFIDENCE BAND, THE
BURDOCKS, and THE RUDY
HUXTABLE PROJECT—suffer
from tin-can sound that ultimately, in cases, diminishes the
energy that bands like the aforementioned Burdocks possess on
their song "Attention
Mockingbird." All things considered, this is a good sampling
of what's going on the other
coast of Canada at the moment.
(Out Of Touch Records, 6209
Duncan St., Halifax, NS B3L1K4)
Representing our coast this
month is THE ORGAN with
their DIY debut. They are five
girls with their feet firmly plant
ed in new wave shoes and
armed with a simple philosophy: less is more. Both tracks
here feature the band's namesake as the focal point (duh!),
and melancholic vocals similar
to early '80s art-punk like Au
Pairs. These gals play often
enough so go catch 'em April
15 at Mesa Luna or write
<theorgan@hotmail.com> if
you want to get your hands on
this offering.
Over the Atlantic we go
now to visit the hardest working man in the UK, thee Billy
Childish. I need not remind
you that your record collections, bookshelves, and living
room walls should (or dare I be
bold and say MUST) contain
some form of work from
Chatham's finest, but lest ye
need reminding, pick up THE
BUFF MEDWAYS latest three-
song punk-fest and revel in all
its stripped down, two-chord
glory. "One More Letter" and
"Every Moment" are perfect
examples of this, and "Ivor"
sees a more mod-influenced
sound creep in and Billy tries
his hand at falsetto vocals for a
refreshing change. And the
name you ask? It's derived from
a group in Chatham who are
working on genetically breeding a long extinct species of
chicken only found in their
home town! (Sympathy For The
record Industry, www.sympa-
tJivrecords.com)
THE CYNICS are back!
The Cynics are back! Okay, well
they never really went away,
but for these mainstays of the
mid-'80s East Coast garage
scene, it's damn exciting when
you find new material from a
group who's last record came
out nearly eight years ago!
Working their way toward an
upcoming full-length later this
spring, we are graced with two
new 45s, one of which sees
them covering Gonn's garage
classic "Doin Me In," and on
the flip a more folk-punk styled
original with a cool 12-string
break called "Last Day." A must
for any fan of Pittsburgh's
princes of psych-punk power!
(Get Hip Recordings, Columbus
And Preble Aves., Pittsburgh,
PA 15233 USA).
Last but certainly not least
another band with an upcoming LP in the can and two 7"
teasers to tide us over is THE
BRIEFS, Seattle's pogo-party
starters. Got my hands on
the first one and haven't
stopped bouncing since. "She's
Abrasive" is pure manic punk-
pop energy from start to finish,
and "(Like A) Heart Attack"
slows down only a little and
helps you catch your breath so
you don't have a cardiac arrest
from jumping around as a
result of the first track. Fans of
The Buzzcocks, Dickies, skinny ties, and hair dye will need
this, pronto! (Dirtnap Records,
PO Box 21249, Seattle, WA 98111
USA). I'm pooped, see you next
month. •
HTTTiT
klWH
19 E BROADWAY
VANCOUVER, BC
604 675 9227
35® B SEYJVIOUR
KAftlLOOPS, BC
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AND MORE...
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TlWS, ?:90-?:00
Record played most often on your show:
I have this strange rule that I only ever play a record once on my show.
Record you would save in a fire:
None! Because then I would fret over all the ones I did not save.
Record that should burn in hell:
Every record I didn't save from the fire.
The worst band you like:
All music makes me smile, but a band that really makes me "smile" is Enuff
Z'Nuff!
First record you bought:
Tlie Pointed Sticks Perfect Youth LP.
Last record you bought:
The Accident s/t CDEP.
Best interview ever:
Iggy Pop, Tommy Chong, Kim Shattuck of the Muffs, and... Mark Kleiner!
Please let me say something about Mark Kleiner! He has been in great bands
(The Sisters Lovers, Jungle, The Mark Kleiner Power Trio) and is truly an
incredible talent! His knowledge of the rock scene is unsurpassed and Mark
owns the shirt that Peter Tork of the Monkees wore in the movie HEAD!
Worst interview ever:
Sebastian Bach of Skid Row threatened to "beat me up for fun" and stole my
favourite toque! Plus, he smashed the videotape I was using to "capture" the
interview. The shitty thing was the tape also contained interviews with
Pierre Eliott Trudeau, Sandra Bernhard, and George Clinton! Almost this
exact same thing happened again a few years later with Quiet Riot! Now I
only do heavy metal interviews over the phone!
Musician you would most like to marry:
Cynthia Plaster Caster! To see why check out my website at w w w. n a rd w u a r. co m.
Favourite show on CiTR:
Vancouver is so lucky to have CiTR! And it's CiTR's 20th Anniversary this
year, don't ya know! Tlie show that I first sat in on was Thunderbird Radio
Hell, which is still going! So, okay, Thunderbird Radio Hell is my favourite
Strangest phone call received while on air:
Somebody phoned to ask if anybody wanted to interview Courtney Love. I
gladly obliged! •
) april 2002 tf»
in STORES
M
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newmusicwest
For more information:
www.newmusicwest.com
or email:
info@newmusicwest.com
May 08-12 Vancouver
UBCs downtown campus at Robson Square
The West Coast's
Premiere Music Festival
Wristbands on sale now
I Win 25 hours of recording time at the
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BY BOON KONDO
K-os is everywhere these days. Canadian hip hop is alive and
Here's 8 answers out of the 15 I kicking  but  we're  not  just
asked. Tlie two other questions I duplicating the American art
wished lie would liave answered forms,   we're   just  doing   it
were: musically, period.  We got the
9. The "Vivrant Thimg" video. Pocket    Dwellers,    Esthero,
It wasn't tliat bud (misogynistic) Danko Jones, Ivanna Santilli,
and lyrically, it ain't at all but it's yourself, of course: artists that
obvious why it jaded many Tribe are unique in any enviroment.
fans. How hard is it to make sexy And I just found out today that
music or a sexy video -without Remy Chand is Canadian and
being sexist in this day and age? the first to have a deal with
20. The Beastie Boys were ait- Motown.  What's up with all
icized for overlooking America's this?
own native cause when they were k-os: I think Canada is a unique
doing shows for Tibet. I wouldn't environment because we are the
say that support has to be exclu- "observer."    This awareness
sively local or domestic but it does stimulates a different quality of
make sense to shed light on a his- intelligence. All we need to do
toric social problem in your own now is recognize what Canada
land if you are going to great needs and supply it. This is the
lengths to shed light on one half- job of the artist... to provide
way around the world. Here in nourishing food for thought.
Canada we say chink, pun, nigger, I think it's kinda fitting that
etc., and eyebrows will raise, but you're now a Van City resident
people say chug like they say good because of the fact that you
morning and it's largely unnoticed. were in "Top of the World"
Hip hop in the States hasn't neces- which   is  like   our  hip  hop
sarily championed native rights anthem  here  and  because  I
either, but is or should there be a think     it     is     the     perfect
place for it in Canadian hip hop? Vancouver hip  hop  song;  I
/   wished   he   would   have think that sample is the best
answered #9 because he is a huge sample   anyone   could   have
Tribe fan and, like many, felt kinda possibly came up with to do a
put off by the whole "Vivrant Van   City  hip  hop  anthem,
Tlmng." And #10 because, well, intentional  or not.     Plus,  I
just rend the question again.   But think   you   complement   the
answers lo other questions tire unique     entities     that     the
right below... Rascalz and Swollen have created as far as hip hop goes.  Is
DiSCORDER: I think it means it kinda funny that you're here
a lot to the newer generation of now?
Canadians to have Choclair, I love Vancouver, it is a spiritual
the Rascalz, Swollen, etc. rep- centre—nature is strong there! I
resentin' in the music game. do not live there now, but I did
for a year or so. The Rascalz!
Well, I'm a huge fan. I am so
fortunate that they let me rock
on that track... thanks for the
LOVE. I'm glad you felt it.
"Spreading the vibe!"
What does it mean to you that
you could open up a show at
an underground hip hop night
(like the one you played Mar. 7
at the Formula night at
Element's) with the song
"Yesterday" and have half the
place singing along with you?
Music is the univeral language... as long as you do it for
them, hip hop heads would
sing Neil Diamond!
It's kinda funny because you
are filling a void in hip hop
that I have been thinking
about for awhile. The reason I
usually change a disc to something non-hip hop is because
my ears get tired of the strictly
beats and bass from time to
time. And no one can accuse
the Roots of creating music
that ain't organic, but it's still a
bottom heavy type groove,
right? And I think the fact that
your performance at Element's
was only a half hour was a
good thing because I don't
think the stripped down
acoustic set that you provide
can really hold the "heads'"
attention quite yet; but at the
same time, I know a lot of people there fit into the category
of growing up on hip hop but
have also moved onto the other
more acoustic, organic-type
genres as well. What type of
assumptions   do   you   hold
when you do a show at a hip
hop night?
I make a lot of the assumptions
you just did. Still people are
receptive to an energy that resonates "freedom." This is what I
try to bring. You are right about
holding people's attention...
this is very important. I am a
critic myself, I just always take
into consideration what I would
think about k-os if I was in the
audience... then I can never
lose!
"Heaven only knows, so I'll
just move the crowd." Do you
remember the line with the
phrase "...follow for now" in
Public Enemy's "Bring the
Noise?" There was even a
band named after that phrase.
Is your line kinda similar to
that? If you can't remember the
phrase, please just explain
your line for us.
Just moving the crowd? Well,
this means that all I can do is
make the message accessible; if
people decide to transform
themselves or, better yet, allow
themselves to be transformed,
then that's up to them... all I
can do is rock the mic... the rest
is up to heaven!
Nigel from the Pocket
Dwellers said that while it's an
obvious "blessing" to be compared with the Roots, he
emphasized that while the
Roots are hip hop, the Pocket
Dwellers are not, strictly
speaking. Is k-os hip hop?
I'm not a hip hop head, I'm a
whole body!
The Source Magazine just pro
claimed Biggie Smalls to be
the #1 MC of all time. Rakim,
one of the contenders for the
crown, said once that he felt
blessed to come out when he
did because, like many, he felt
that that was the purest era of
hip hop. Hip hop today may
not be as "pure," but it's definitely more broad—and that is
why BIG was proclaimed #1—
because he was more broad
than the rest. Would you have
preferred to have come out
during that "Golden Age" (I
know you came out shortly
after), or would the k-os of
today not be possible back
then?
Here's the thing. K-os is nobody
and everybody at the same
time. K-os is Poor Righteous
Teachers. K-os is Rakim, etc.
This vibe has existed forever...
and even though Kevin
Brereton was not exposed to the
world during the so-called
"golden age," there were
always various rappers seeking
knowledge of self! That's so
much more important than if
Kevin had a record deal.
You mentioned in another article that "people have an aversion to love" or music with that
kind of angle and that after a
turning in your career, you got
over your "hippie love phase."
How hard is it to remain positive and produce positive music
when your initial positivity
was met with negativity?
One thing I am meditating oil
right now is "unconditional
love." •
10 april 2002 DJSHO
By Donovan
A Vancouver expatriate temporarily making his home in Victoria to take
advantage of their superior education standards, Ian Rodgers spins atmospheric and jazzstep drum and bass the first and third Thursdays of every
month at Evolution as DJ Sho. I dragged him away from a mob of under-
dressed teenaged hookers on one of these nights to give him my e-mail
address, from which this interview blossomed.
DiSCORDER: You said you were originally from over here—how
and why did you end up in Victoria?
DJ Sho: I came over to Victoria in September for school; I found a
program that I liked here at UVic and moved out here to take it.
And where in Vancouver are you from originally?
I grew up in Maple Ridge and then Vancouver for high school. After
that I lived in Whistler for a couple of years, taught snowboarding
for the mountain, then came back to Vancouver and that's when I
started getting into the rave scene, got hooked on drum and bass
and now I'm in Victoria.
What are you taking at UVic, and is that going to have any impact
on your DJ career?
I'm currently enrolled in the AMIT program at UVic; it's basically an
intense overview to jam as much information about computers
down your throat as humanly possible in eight months. I don't see
it affecting any career as a DJ for me. Basically, geeks work geek
hours and DJs work DJ hours and those two rarely cross paths.
You mentioned you're also into hip hop: are jungle and hip hop
still culturally connected in your mind?
I think the two tend to draw the same type of person. Both have an
urban heart. You see the crossover of producers and rap artists all
the time and it has been happening for ages—especially these days
with Adam F's Kaos and Rawkus putting out tons of drum and bass
tracks with their Rawkuts sister label. John B remixing Mos Def?
Yes, I think they're still deeply connected.
What do you mean by "urban heart"?
I think they're both derived from the street, from the urban heart.
When I think of music I picture the different landscapes they represent—kind of like when you hear a saxophone playing a cappella
you can't help but think of the streets of New York on a wet night. So
when I think of D&B I picture the MCs, the B-boys, the dark hall
full of kids going nuts. I mean, as far as electronic-based shows go,
nothing is like a drum and bass show when it's going off. It's not a
bunch of people just grooving to some four-on-the floor beat, it's a
mass of kids going loony, fists pumping in the air, screaming for the
rewinds—I mean, that's the raw shit, that's what makes me love this
so much.
You also seem to use a lot of material with jazz elements like E-Z
Rollers—do you listen to jazz, and do you think jazz as a genre is
attractive to your average, screaming Joe Jungle-kid?
You know, that's my biggest problem. I love jazz. My digital music
station is on the jazz station all the time and my Coltrane CDs are
worn out. But I don't think that the average Jungle Kid is coming out
to hear me drop the latest Fellowship joint. So I have to say "Am I
gonna play the crowd, or am I gonna play what I'm feelin' right now
and hope that they're gonna feel it?" and I usually end up half way.
I'll get them revved up on some Digital and then start dropping the
Calibre joints and that seems to work out well. I think drum and
bass has a sound for every mood and people should be more open
to the stuff that isn't coming from Ram or BC or Virus. There's great
plates coming from Creative Source, Defunked and Certificate 18.
Fellowship is ruling my world lately.
Recently, I was interviewed for an extremely lucrative government
job through the UBC Arts Co-op. Despite being blindingly charismatic, amply qualified for the position and riding a wave of unbelievable academic success (i.e., a 90% average last semester), I was
rejected from the job on the basis that I was, (and I quote from
actual interviewer comments forwarded to the Co-op office)
"unkempt." I want you to think back to when we met briefly, in
the early hours of February 22, 2002; despite being exhausted, and
having already taken the dance floor by storm several times that
night, I'm sure you'll agree that my appearance at that time was
not a lick less than "kempt"—and this is, I assure you, entirely
standard. Please feel free to express your personal disgust and dissatisfaction with the administration of the BC Film Classification
Office over their extremely poor judgment. I also invite you to
share a story from your own life in which you feel you have been
discriminated against based on your youth and/or alleged "counterculture" associations.
Man, I hear you—I hate the BC Film Classification Office; they
always watch you and then put a label on you, like: "he's dramatic"
or "Parental Advisory Suggested: Ian has foul language." Anyway,
you looked fine—you could barely see the chocolate stain on your
Coconut Joe sweater. Anyway, it's funny that you should mention it
'cause I'm feeling it right now in my school. Usually for work I'm
really clean-cut, all shaved and looking slick in my Gap sweater
vests, but now that I'm in school I've let myself go a bit. I'm working on my mullet and shave maybe once a week. Well, I tell you:
The Man (my teachers) had it out for me pretty much instantly—
they cut me zero slack. You see, I'm the youngest person in my program (at 24 that's kind of weird) and everybody else is like 40. So
when they need a little extra time to do some work it's because
they're old and they don't get computers; when I ask for a little extra
time it's because I'm selling crack to children and partying all night
with hookers and Robert Downey Jr.—which is only half true!!
Clubs in Victoria always seemed more laid-back to me than those
in Vancouver. More precisely, club life in Victoria always seemed
to me to be built around the noble institution of teenage sex,
whereas in Vancouver it's all about violence and posturing—a
scene I find myself tragically under-equipped for. Do you find
this with your own experience as a club-goer or as a DJ, or am I
just going to the wrong clubs?
Well, I don't think there's enough teenage sex going on in Victoria
clubs, but I'm not really a club goer per se—I'm not sure what really resides outside of the drum and bass club nights. I'm in the same
boat as you—not really built for the club scenes. I have no pick-up
lines, white jeans or a good right hook so I tend to stay away from
your average club night. You'll see me at a drum and bass night or
a special event like the Living Legends show the other week. PS: If
anyone involved with Spectrum Entertainment reads this: Bring
Slug Out!!!!
I was basing my analysis on an actual incident that took place at
an Evolution D&B night sometime last year, in which myself and
the other occupants of the men's washroom were locked out of the
only stall by some party kids who were evidently having some
very unholy fun—and, judging by her voice, there's no way that
girl should have even been in the club (let alone in the stall in the
men's room). Evolution's still a damn good venue, though—
despite lax washroom supervision—and is doing great things for
D&B Vic City. What about your scene—what's cOq been up to?
Well, I'm just on the sideline of all their projects right now due to my
location, unfortunately. But they're really dedicated to keeping
drum and bass strong in Vancouver. It's basically a bunch of buddies
of mine that I grew up with. Me and Fatal got into D&B together
back in the day. They're pretty new at this promotions gig but
they're doing a wicked job with it. They brought out Freq Nasty
last week and they're lining up a ton of other shows for the summer. We have some parties we're putting together as well. Basically
we think you have to make your own fun. We want to put on nights
that we want to go to. There's a couple of good D&B nights in
Vancouver now, but one day I hope I can pick any night of the week
and go listen to D&B.
Do you even know what "Sho" means? If so, you may take
Japanese at UVic—do you know Riddington-sensei?
Hmm, I'm a little embarrassed about this question: I have no idea
what Sho means. It just kind of reflects my obsession with Japanese
culture after spending a month and a half there; it was my first and
only culture shock. So I thought of the Shogun mini-series, which,
as we all know, is the story of an English ship navigator who gets
stranded in Japan and becomes the first Shogun. I guess I kind of felt
like him sans the "me becoming a samurai"—but I plan to do that on
my next visit. In unrelated news, apparently they have a university
course in Japan that will make you a ninja.
That's pretty cool. You can take kendo (sword-fighting) classes at
UVic through the Kendo club—might be a good place to start out
if you're interested in becoming a career samurai. Plus there's a
ninja dojo off Fort Street. It looks like a garage.
Ha ha, that's funny you should mention that club—I contacted them
a month ago and am gonna hit it as soon as my ankle is 100% again
(frisbee golf accident).
Actually, "sho-" means "first" or "main," but it's only meaningful as a prefix connected to a longer word. Suppose diplomatic
relations between Japan and Canada were, God forbid, to become
tense. Would you consider changing your name to the more syntactically accurate "DJ Ichiban" ("number one") as a show of cultural sensitivity?
It means DJ #1, eh? That's a little self-indulgent, now isn't it? Well,
I'll just stick to my story that I don't know what it means. If my
country wanted me to do that—if they felt that, somehow, this drum
and bass DJ from Vancouver could change the course of the world
simply by changing his name to something he can't pronounce, then
YES (salutes), I would do it, even though it reminds me of an
unhealthy noodle snack.
While we're on the subject, what's the D&B scene like in Japan?
I was 18 when I was in Japan and wasn't into D&B at the time. One
of my favourite producers—Makoto—is Japanese, however. So I
guess there is one, but I've never heard anything else about it.
You throw the best D&B producer in the world and the worst
D&B producer in the world into Thetis Lake, telling them that
they can only leave the grounds of the park when one of them
brings the head of the other out in a shopping bag (which you
supply). How does the best producer (Dominic Angas) kill the
worst producer (LTJ Bukem), how long does it take, and how do
you dispose of Bukem's remains? Try to think of something ceremonial for the last part.
Oh, wow, man—I think we might have very different views on how
we rate the production for LTJ Bukem—he's a producer that defined
a genre of drum and bass. He's created a sound that has inspired
some of the best producers around right now such as Big Bud and
Pariah. So I'm going to replace LTJ Bukem with Brockie and I'll leave
Dom where he is (even though we all know Klute is the best producer). So I drop them off at Thetis Lake with their instructions and
Gap shopping bags. When it gets dark, with Brockie sleeping soundly in his D] Zinc sleeping bag that he got at the Frontline records
going out of business sale, Dom instructs his Roland RS2002, a prototype Synth/Android of Death named Lloyd, to decapitate Brockie
with a copy of Turnatable 1. Afterwards, Dom places Brockie in the
coffin for Brockie's Gemini turntables and ships him to DJ Slip (Dom
still hasn't been able to forgive him for the Superman track). Dom
returns home and produces a track called "D.N.B" that is known in
some circles to stand for Decapitate n Brockie. The End. •
Tlie bloodthirsty DJ Sho plays Element Sound Lounge with residents Marvel,
Fatal, Holee Molee, B-dub and Contec on Monday, April 1—and, with a little luck, he'll be drojiping some Dom & Lloyd into the mix just for me.
11 EiF\§Sa£3& ^E ,^l
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Ak.
Billy the Kid and the Lost Boys are not a euro-disco band. They are not a country band gone wrong.
They do not have an organ player and they will not restrain themselves from swearing just because
your mom came to the show. They xvill, however, make you realize that punk still writhes in the
dusty saloons of No Fun City, and it's just as fast, tight, melodic, and fun as you hoped. I joined
Rob Danyluk (bass, vocals), Allan Boyle (drums, vocals), and Billy the Kid (guitar, lead vocals) in
the seedy underbelly of the Pic Pub.
Billy    the    Kid   and    the    LOSt    BoyS       by Dave Gaertner photos by bill   danyluk
DiSCORDER: So where does the name come from?
Jilly the Kid: Well, these guys wanted to be the Lost Boys, but I was
like, '
n a girl."
Al Deviant: So we just combined two good movies together, in a
way.
I just wondered if it was two separate entities coming together.
B: Yeah, like vampires and cowboys together at last.
A: Like nuts 'n' gum.
I thought it might be a Peter Pan thing. Anyway, give me an idea of
how the band came to be.
B: Well, I knew Al from school and Rob from his days in the Retreads
and I used to play in this band called the Blue Collar Bullets. We
played together for like two years, but right near the end I didn't
really want to be in the band any more and the other members just
weren't doing it for me. So for our last show the drummer showed
up on ecstasy, and I basically said "Okay, I can't be in this band anymore," but I still had all of these shows booked. It was 12 days before
this show at the Cobalt so I called Al up, and Rob had been at the
Blue Collar Bullet shows saying "You need a new bass player! Let
me play bass for you!" So 12 days before the show I called up Al.
A: She left a note on my door.
B: Right, so I left a note on his door saying I need a drummer and we
have a show in 12 days. So we had, I think, three band practices and
then we played our first show, and that was like eight months ago.
Wow! That's pretty impressive. How did that show turn out?
B: Actually, it was not that bad. Most of the set was these three chord
punk-pop songs and it was basically because I was like, "Okay, I
have 12 days to write a new set."
So how does the writing process work now? Do the different punk
backgrounds mesh together? (McRackins, Retreads, Deviants, Blue
Collar Bullets.)
A: Well, after that first show we all started writing, and the cool thing
is that everyone has ideas and we all use them. And you can totally
hear on our current album—coming out on Teenage Rampage—a
progression, which I think is cool for a first album.
B: Yeah, we all come from a pop-punk background; I think we're just
growing up a little bit now.
So what distinguishes Billy the Kid and the Lost Boys from any
other punk band out there?
B: We have two "the"s in our name
A: I think you have to take your band seriously, but never yourself
seriously on stage. Not to name names or anything, but a lot of people, especially here, are worried about the hairstyles at a show; it's
like a fashion show. Not to be cheesey, but we're the same fuckin'
people on and off the stage.
Rob Danyluk: We just don't give a shit.
A: Well, I give a shit, but some people just take it so seriously.
B: For me, basically, it's like we all go to our jobs that we don't wanna
be at and we wait for the night when we're gonna play music. So we
build up the energy all week until we can play a show and just love
every second of it. I think that shows up, whereas some people do it
12 april 2002
for the money—they're playing in cover bands or whatever—and
some bands do it for the glory. Whereas we do it because we have to,
I think.
A: It keeps me going, I don't know what I'd do if I didn't play music.
R: A lot of bands have the formula "We're hardcore," or the formula
"We're emo," and, I mean, we are a pop-punk band, but that doesn't
stop us from fusing everything we like together.
A: As soon as you say "I want to write a Fugazi instrumental" you
know, as soon as you start labelling the kind of song you're gonna
write you're not doing it the right way. It should just come out, and
we don't care, sometimes it comes out mellow or as a rock song, and
we either keep it or we don't. So we have a pretty big plethora of
songs.
[Laughing] That sounds dirty. But enough of that, what was recording with Jesse Gander at Rec-age Recorders like?
B: D.b.s. was one of the first punk bands I ever saw, so it was pretty
amazing. He sang on one of the songs on the record, so to this day
when I'm listening to the record I'll be like, "Wow, that's Jesse from
d.b.s!"
A: I've recorded a couple times before and a lot of the time the producer or the engineer wasn't into punk rock and with Jesse he has
tons of ideas and he's not afraid to be like, "Okay, I think you guys
could do this..." He knows what he wants because he listens to it,
and he's just the raddest guy to work with. Anyone can place a
microphone, but he can make it fuckin' bleed.
So with the advent of things like Rec-age and Teenage Rampage,
among other things, how do you think the Vancouver scene is
shaping up?
B: Great.
Really?
B: Yep. We opened for the Hanson Brothers a while back and it was
a packed house at the Cobalt. Anyone who thinks the scene is dead
or there's not enough shows, they're just not getting out.
A: There needs to be more people like Ryan [Walter Wagner, Witness
Protection Program and Teenage Rampage Records]. The scene still
needs a lot of work, and there's always gonna be cliques and people
with attitudes, and there's assholes everywhere, but I mean, it seems
bands are working together a lot more.
I've heard from a few other bands that it seems more like a community now.
R: Well, it isn't so cliquey anymore: like in the last year you see the
hardcore kids, you see the punk kids, and the crusty kids at the same
shows, but before you never used to see that.
A: On Saturday I went and saw Three Inches of Blood, and Streets,
and another band. And you could totally pick out the crusty punks
and the scenester kids, and they're all squashed in the same bands.
The vibe was a little weird, but there still needs to be different kinds
of bands on a bill.
B: Back to that other question about how are we different—we'll
accept anybody. We write any kind of song we feel like and there's
all kinds of kids at our shows. There's a song on the album for everybody.
It seems like Vancouver and its suburbs are losing some important venues that once showcased local rock. How does this affect
bands like yours?
A: I think it makes you work harder. It brings it back to a community where kids are putting on shows in their basements.
B: As far as losing venues, I mean, it is like we're losing places to
play, but whatever doesn't break us makes us stronger. We just have
to be more resourceful when we lose a venue. And as long as kids are
writing music there's always going to be places that pop up.
R: Now there's a lot more kids who aren't in bands putting shows
on. Whereas before, shows were always put on by the bands—not by
outside people.
I'm gonna have to ask about the whole country thing. Where does
that come from?
R: Billy the Kid should answer that one.
B: Country is fun. I dunno, we don't like to take ourselves too seriously and it's fun to dress up like cowboys.
A: And people wouldn't get it if we were called Billy the Kid and
the Lost Boys and we were euro-disco or something.
B: We really want to bring back cowboy hats, that's what it all comes
down to.
So what can we expect from the record? Any surprises?
A: It's a pretty straight-up punk record, with amazing production
care of Jesse. The drum sound will rip you a new asshole.
Name a band that you like that nobody has ever heard of.
B: That's hard! Uhhh... The Blackjacks.
A: The Hangmen.
R: The Witchdoctors.
Well I don't have any more questions. What else do you guys want
to say about this band?
R: Come see us live!
A: Visit Teenage Rampage Records or the blood will flow. • tee  hende^en
Lee Henderson's first collection of short stories is called The Broken Record Technique. If you're in a bookstore
picture of a -woman in a blue dress holding a metal contraption over her head, wrestling-style, chasing after little g
teddy bears. Some don't have ears. One has a beak, and other has a jack-o-lantcrn for a head. Henderson's clwract
slightly strange. Time's a boy with a football sluipcd head, a girl with the ability to recant conversations word for
tlie treadmills one fitness club has to offer across Vancouver, a little boy in a sumo-suit, and a talking toy marmot wh
there is a sense of unity in the collection, tliere isn't a feeling of repetition in the characters or plots.
Born in Saskatchewan and raised tliere and in Edmonton, Henderson chose to do his BFA and MFA in Creative Writing
ed to avoid academic learning." After reading his stories, I'm glad that he decided to be a writer, rather than a philosopher, a.
DiSCORDER: My editor told me that you were once involved
with this magazine and had your own show on CiTR. What did
you write about? What was your show called and what was its
focus?
Lee Henderson: Yes, I used to write music reviews for Discorder. I
think I wrote a review of Boredoms album Super Roots 6, and a couple others. I had a radio show for about six years on CiTR every second Tuesday night. I played a lot of different types of music,
whatever was turning my crank at the time. Then, because of a
minor indiscretion (I missed a couple shows and forgot to get a fill-
in), I was fired. I was fired from a volunteer position!
I read in your bio that you once did a video for Sonic Youth. What
song? How did you land that gig?
Yes, I drew the animation for a Sonic Youth video, the song "Tunic"
off their album Goo. The video was directed by the New York video
artist Tony Oursler, who spliced my animation with strange shots of
the band. They were all really pleasant people. Thurston Moore and
Kim Gordon liked to read the National Enquirer. I had no idea who
they were at the time—even though I was in to punk rock—because
I lived in Saskatoon. We listened to a lot of Misfits and Dead
Kennedys and NoMeansNo, but no one told us about Sonic Youth.
Then we got into Sonic Youth later.
When did you decide to abandon drawing for writing?
I didn't abandon drawing, I just hit the ceiling early. After about the
age of 151 realized I wasn't going to get any better at it. I'm basically just a doodler. I love to read and I love visual art, and writing
excites me. But I will always draw, because there's something in
words and sentences that can't ever replace what you can do with a
little picture.
You've lived in a number of places in Canada. How does that
inform your writing?
I would like to think I am a Cosmopolitan, but I am just a Western
Canadian boy. My whole life I have lived only in Saskatchewan,
Alberta, and now British Columbia, and each of those places has
been a source of anxiety and terror and disgust, and general wonderment.
What is your writing process like?
It is tremendously mundane. I wake up and drink some tea and eat
some Mini-Wheats and share a banana with my rabbit Quimby.
Then I spend some time looking at the internet, reading the news
and becoming upset with America's shit-brained President, and our
own meek, bitter, foul Prime Minister, and try to find some funny
stuff as well, and then I put on a CD and sit in front of my computer until my fingers start moving. Writing all day is a cold business.
The blood is cut off to the feet and you need to swaddle yourself
like an invalid, and your back muscles start to hurt. Generally, I listen to electronic music while I write, these days the new Boards of
Canada. But I'm getting into Clinic and The Dismemberment Plan,
so maybe I'm starting to accept rock music in to my diet again.
Why do you choose not to use quotations marks to designate
speech?
me across it: a beige book with a
■s. Some of the creatures look like
are like that: they are all different, and all
■d, a man trying to run a marathon on till
the only witness to a kidnapping. Though
t UBC bet
use. he,
"I want-
By Doretta Lau
They look like accessories, like earrings. It's an entirely visual thing,
I hate the look of a cluttered page. I also hate question marks, but 1
know most people think they are a good idea.
What are you reading at the moment?
David Foster Wallace is great. I have finished two books by Richard
Yates, and I think he must be a kind of god. I occasionally look at my
book of art and writings by Henry Darger. I loved local writer
Annabel Lyon's book Oxygen.
What does Yates write?
Yates wrote a novel called Revolutionary Road, that is just hugely
impressive. He was Raymond Carver's teacher, and I get way more
mileage out of Yates than I do Carver.
Do you have any magazine or tabloid fixations?
I try and stay current with what the Bush twins are up to: www.the-
firstwins.com.
What are you listening to?
Clinic's new album Walking With Tliee is blowing my mind. I listen to
it all day long. I love Boredoms, and Autechre. I think my two
favorite albums from last year were Squarepusher's Go Plastic and
Four Tet's album Pause. I buy a lot of music and I steal a lot of music
off the internet. I liked Vincent Gallo's album a lot, and I liked
Fugazi's newest album more than their last few. When Astralwerks
re-released all those Neu! albums I went through a phase of listening
to them and my mind was thoroughly boggled. I'd never heard
them before. Suddenly I thought I understood the change in style
that Boredoms had initiated after Chocolate Synthesizer, and what
might have inspired that, and I heard a hit of Tortoise in those
albums, and etc. It seemed like a lot of modern music was wrapped
up in those rare albums by a couple of Germans. Speaking of
Germans, I like Alva.Noto. and some of that clicks & cuts stuff. But,
you know, I love Bruce Springsteen and I love Slayer. Having a radio
show for so long really opened me up to just about everything.
How did you come by the quote at the beginning of your book
that lends the book its title?
It was from a book that a very nice doctor gave me, to help me with
some problems to do with anxiety that I have.
For some reason, I thought that book was published in the '50s or
something. Did it help?
Time will tell.
On your story "Mirage/Fata Morgana," where the protagonist is a
pop star: did you know that Mariah Carey's nickname in high
school was Mirage? (I learned this from Pop-Up Video.)
I didn't know that, but that's very fortunate for me. Mariah Carey is
an incredible singer, just like the retarded pop singer in my story. I
have a lot of sympathy for Mariah Carey, she is obviously under a
lot of pressure to please billions of people, which is impossible to
succeed at doing, so it's natural that's she having some troubles.
That story is about loneliness and how, at a certain crucial place in
loneliness, you can become your own ghost. I think pop stars are
pretty much ghosts of themselves, and it's amazing to watch them,
looking so desperate to find their bodies again. That's also what it's
like to break up with someone you love, and suddenly a huge part
of yourself just seems to vanish, like a mirage.
Did you choose the artist whose drawings adorn the cover of your
book and accompany each story?
Yes I did. I suggested Marcel Dzama to my editor at Penguin. From
the very beginning I imagined that Dzama would be perfect for the
cover, and that he would draw pictures for each story, as well as his
own version of the Penguin logo, and that's exactly what happened!
It all came true. I couldn't be happier. Even if everyone else hates the
cover, I really cry when I look at it, because it turned out so wonderfully. Marcel Dzama is a fucking incredible artist, I'm tremendously proud to have his drawings in the book.
How did you come across Dzama's work?
I had been following The Royal Art Lodge for some time. Then
Dzama got a gig with Saturday Night when Conrad Black bought it
for the National Post and every week I got to look at his drawings
and I loved them. Marcel Dzama is Canada's pre-imminent illustrator. Unfortunately a Canadian company bought out Black and
turned the National Post into a graveyard, and for that, I say to whoever makes the big decisions at the National Post, "Fuck you."
Do you watch TV? If so, what is the worst show that you like?
I watch TV. For a while I used to love watching Rendez-View. The
later the hour, the better the TV. The show tliat comes on at 12:30am,
after Rendez-View but on a different channel, Crossing Over, also
blows my mind. I think people probably think it is bad for me to
watch wrestling, but I don't think it's bad, if it's muted. It's too loud
and I don't really care who I'm watching. But muted wrestling is
fantastic, very inspiring.
When you say wrestling is inspiring, what do you mean? Does it
relate to your story "Spines a Length of Velcro," where two boys
in sumo suits fight each other for the entertainment of their relatives?
It relates to that story, yes, and to highlights from the "Young Boy
Vs. The Ram," and to so many other things. Everyone knows professional wrestling is fake, but what people don't seem to know is
that it is, in fact, REAL. Those guys are working hard up there. You
can't "fake" a ten-foot fall on to a concrete floor. You have to know
how to do it right so you don't die. That's fantastic.
Kevin Chong [author of the novel Baroque-a-nova] told me to ask
you about Kenny G. What's the story there?
Ha ha. I am related to him. He is something like my third cousin.
We've never met. But really, a Jewish sax player? No one has proven
it can be done yet. •
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MEDITERRANEAN H0MEC00KIN'- DRINKS • LIVE MUSIC
Monday, April 1
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New Art by Steven Norwood
JP Carter Trio
Lisa  O'neill
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BIRDAPRES
What is Canadian underground rap? With Buck 65, Moka Only, and
Swollen Members blowing up all over, has it become commercial? Local
crews such as tlie City Planners, of which Moka is a part, and the Alleged
Legends with Birdapres and DJ Moves can help us to see links between
underground and commercial rap. While Moves lias worked with Len and
Governor Bolts, Birdapres (pronounced Bird-a-prey) collaborates with the
City Planners, Stace Prints and, recently, John Smith. Discorder spoke
with Birdapres over a Denny's grand-slam breakfast and pinned Moves outside FWUH. Producer and DJ for the Alleged Legends, Moves slices and
stretches vinyl grooves to create dark crashing beats for Bird's hit of lyrical
splatter. Enter Alleged Legends ...
DiSCORDER: Where are you from?
Birdapres: I grew up in Vancouver, specifically Broke Street, East
Van.
Who do you roll with?
Who do I roll with? Specifically the Twelve Inch Rulers Sound
System Crew, Low Pressure, Peanuts and Com, City Planners . . .
But you're not exclusively tied to any of these crews?
I'm a solo artist.
I know you collect a lot of records and you've been known to DJ a
little bit...
A little...
.. .So are you interested in getting into production?
I co-produce a lot. I tend to stack stuff up. I get breaks and little
pieces that I like and then I'll hit a producer in the head with it and
say let's do this .
Kinda like the cold chillin' days when Masta Ace or Biz Markie
would give Marly Marl a record and he'd flip it.
Yeah, I'm of that school of thought, I guess. I'm a little lazy [in that]
I've never learned how to properly use a sampler. At the same time,
I think I have an ear and I know records pretty well, so I'm always
hippin' people to stuff.
So you like digging for records?
Yeah! I've pulled a few things out of the hat around here. Vancouver
is a good city to do that in. I was living in Toronto for about a year
and found a good portion of my collection there.
What's your best bargain-bin find?
I found the Canadian version of "Dazz" [originally done by the band
Brick] on 45 and I got it for free.
By Brick [the Brick version is not rare at all]?
No, by a Canadian group. I'm not at liberty to say which one.
So in Toronto did you make any connections in the hip hop scene?
Can we be expecting a Big Sox/Birdapres collaboration?
Probably not, mostly I just worked. I did the nine to five and I did a
few shows. I already have an established clique in Toronto, though.
You're famous, you know. How does it feel to have fans come up to
you and show love?
I've just put in a lot of time. I got started doing the tape thing and the
record thing around '94 with a group called RTA [Running The
Asylum] and from that people start to know who you are whether
you're on TV or not.
What do you think about shit like Jay-Z, talking about ho's and
money when you rap about taking the skytrain?
I love Jay-Z. I think Jay-Z is probably the best MC out right now. If
you really listen it runs a lot deeper than the material subject matter.
It's a hook, you catch people with the quick references and kids like
to play it loud to piss off their parents, or so they say. But hip hop has
always been about a variety of subject matter. A lot of it seems pedestrian to people now seeing as we've had people like NWA and Slick
Rick cursing for years. I think Jay-Z's lyrics are still relevant and
they're good. As long as it's good that's the key.
The other day I was listening to the Alleged Legends CD and my
bro turned it off and put on Biggie.
If I had a choice between going home and listening to my own album
or Biggie I'd probably listen to Biggie, too.
Is it important for your lyrics to be about real experiences or do
you prefer to fictionalize?
I just let it happen. I don't like to put up filters. If I really feel something then I'm gonna do it. If it ends up being some real life stuff,
that's cool, and if it's some way out space shit that's fine too. It's all
upstairs, whatever pours out on the page is gonna happen. I find
people have a tendency to censor themselves and stay within their
specific image. When I got started I was more street, a little more
hardcore. Lately I've been more experimental but I haven't changed,
I'm still doing the same stuff I was always doing.
How long have you been rapping for?
Way too long.
How many tapes have you put out?
The first track released was with my group RTA and it was called
"Hall of Fame." It appeared on the QC [Quantum Continuum] compilation which included Prevail who I hooked up with when I
moved to Victoria in high school. This was followed by the
"Indecision" 12" again with RTA. I've also put out a 12" with RKV, a
few tapes, and recently, Alleged Legends with DJ Moves on produc-
What's your favorite kind of bird?
I'd have to go with the peregrine falcon.
Who was your favorite character on Degrassi High?
Wheels.
Why do you rap?
At this point, rap for me is like a bodily function. I wish I could tell
you how many times I've gotten sick of people and wanted to walk
away, although I'm not the easiest person to work with either. Every
time I say "I'm going back to school to study modern psychology
and the implications of whatever" I find myself back on that mic. It
would be nice to start making some money from this because it is
an addiction. It's better when your addictions pay you than you paying into them.
DJ MOVES
After speaking with Bird I decided to find out what DJ Moves had to say for
himself.
DiSCORDER: What was it like working with one of the most difficult men in hip hop, Mr. Birdapres?
DJ Moves: It was a good experience. It took about a year to make a
Whole album of 12 songs. It was kind of hard, he's kind of a bitch; If
he doesn't get his way he's kind of bitchy. We're working on the second album now. He'll tell me to make him four songs, I'll make him
five and he's still bitching at me to make him more.
How did you guvs hook up?
He sent me a bunch of his 12"s when I still lived in Halifax, and I
sold them for him. When I moved to Toronto we hooked up and
did "Bird Is," that was our first song—it was on four track (before I
had an eight track). Then I moved out here and he started coming
over and we just worked on shit. It was pretty easy, other than him
being a bitch.
Why are all of these Halifax dudes coming out here to live?
It's 'cause of the coldness there. It hardly even snows here. I toured
across Canada a couple of times in the mid '90s with Hip Club
Groove and I liked Vancouver the best.
Vancouver is the Jamaica of Canada. Except there are hardly
any black people here, so I guess it's not Jamaica. Halifax is freezing
cold right now, under five feet of snow. Shitty old shit balls. You
gotta wear boots all the time—that's not my steez.
You don't like rockin' the Tims with the puffy coat?
That's why Bird moved to Toronto, actually. He was wearing the
Tims and the puffy coat here in Vancouver, but he stood out too
much so he moved to Toronto and then once he got to Toronto there
were too many people that looked like him so he sold his damn coat
and his boots and came back. Now he's wearing a leather Roca Fella
coat.
So you and Bird are working on a new joint?
You see. I wanted to call Alleged Legends "Bird Shit," spelling it as
"Bird's Hit." Bird didn't think that was cool enough. I'm pushing
for that title for the next one too. After we were done Bird didn't
even want to put it out, he thought it was too underground. He'd
already gone to Toronto, so I just went out on my own and named
the songs, put them in order, mixed them down and put it on a DAT.
Then I gave it to Rod (of Peanuts and Corn) who put it out.
At this point I directed my attention to That Guy, who I've been mistaking
for Josh Martinez for the past six months, and asked, "What does Josh
Martinez think about tlie Alleged Legends CD?"
Moves started chuckling.
That Guy ("Josh"): I think it's awesome, it's my favorite CD.
(Back to Moves): Straight from Josh Martinez. Josh Martinez was
supposed to have Bird on his new album. Josh had the good idea to
take a real hard beat that I'd made and turn it into a diss song
between him and Bird. So Bird comes with his first verse and rips
the shit out of him and then Josh Martinez got scared and stopped.
So the song never got finished—I still got it half-finished at home.
Bird's hit was too hard for him.
Then the next day when Josh saw Bird he said "Let's do the second verse being nice to each other." Bird said "Fuck that—that's
bullshit."
Or should we say Bird's hit? •
BYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOM
15EiF?S3l®Ea 9\£i n a   9^a st a s i
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(By Christa (Min
(Pfioto: Les fie Lyons
Someone once told me that when they think of me, my mouth is always open,
that I am always laughing, yelling, or generally being loud and annoying. I
think I'm shy and quiet. No one agrees. When I got a copy of Nina Nastasia's
album, The Blackened Air, / listened to it nine times in a row. Maybe ten.
The whole time when I was listening to it, I didn't laugh once. I swear. But it's
not because I didn't enjoy it. It xvas as if I was eating a chocolate cake (dark,
rich, and bittersweet), my mouth was full, and I couldn't laugh because it was
so good. This is how it is: she doesn't need so much. She has perfect pitch. She
is clear. She's always there. She's not full of it. This is an email interview.
DiSCORDER: Warm-up question: What did you do today?
Nina Nastasia: I woke up around 12:30pm. Drank coffee for a couple
of hours. Went into the bathroom to practice my guitar. Made something to eat around 3:00. Went outside for five minutes—I was going
to go to the store then I decided against it. I went back home and
straightened the apartment—which is novel. Then at around 4:00pm
a friend, Philip, came over to play some music and have a drink
before his show—he left the apartment at 7:00pm. This leaves me on
the couch talking to you.
My friend Randal likes to call you Nana Mouskouri. I think it's
because he doesn't know how to pronounce your name. It's funny
because I remember Nana Mouskouri and Simon and Garfunkel
being my first favourite singers when I was young. Tell me about
when you were 13. Where did you live? Where did music fit in
your family? Who did you listen to?
First of all, I have a terrible memory—13,15,12,11—it's very hard for
me to remember one year's events in particular. I can tell you where
I lived. I grew up in Hollywood, California, in a house, 1946 North
Vine Street, right above the Hollywood Freeway and across from the
Vedanta Society Monastery.
My grandfather was a composer. I never knew him or his work,
but my mother inherited his piano, which I played on growing up,
and my aunt sang in clubs in Salt Lake City and Las Vegas. As far as
I know, those were the only two other people in the family who had
a strong interest in music. I used to sing with my aunt whenever we
were at my grandmother's house because she had a grand piano we
could play and a bench filled with sheet music of show tunes.
A few of the records I remember my parents had were by Judy
Collins, The Beatles, Edith Piaf, Billy Holiday, a lot of classical music,
Frank Sinatra. There was probably more obscure stuff, but I wasn't a
real music buff. I gravitated towards The Beatles and classical music
mainly, partially having to do with my piano lessons. I don't remember my parents listening to the radio much, so I never bothered with
that until I realized how out of it I was. I had a crush on a kid at my
school, Bobby Bowman. He was excellent in math and baseball, and
he loved KISS. I had nothing in common with him, and I felt com-
U april 2002 pletely ridiculous that I hadn't ever heard of KISS. I started listening
to KROQ, but I continued to play my parents' records, so that's my
education.
On the Southern website the genre of your music is listed as
"Americana." What does that mean? I don't know what that is.
My dictionary (though not British) says: "Writings, records, objects,
or the like, related or pertaining to America; things American."
Why bands like Rapeman, Slint, The Jesus Lizard, etc., don't fit
into that category, well, my guess is that "Americana" is a kind of
euphemism like "alt-country." I really don't understand what it
means. Maybe it intends to mean very little, so people don't think
they've heard anything like it, or maybe it preys on the assumption,
"Hell, if it's American, it must be good." Or it means, "Music for
Americans, like American mustard and American beer, tailor-made
for the uniquely modern American sensibility."
The songs on Dogs were written between 1993 and 1999. It took six
years for your first album to come out. The Blackened Air was
recorded less than two years later. Why did Dogs take so long, or
why did The Blackened Air take so short?
I didn't start writing songs until 1993. It took a few years after that to
develop a band and start performing regularly, so what does look
like six years is more like two by the time I was ready to record. If we
had unlimited funds, I'm pretty sure I could turn out another three
this year. Lack of money is always the thing that slows us down.
It rains a lot in Vancouver. Sometimes the air is yellow above the
city, but the rain dilutes it. Here, it smells like water. Since The
Blackened Air was recorded in February, 2001, the lyrics to "Run,
All You..." were written long before September. It's a strange coincidence. It's hard to think of the title of your album without considering where you live. When did you decide on the album title?
How is living in New York different for you now?
Decided on the title in June 2001.
The routine changes and becomes the new routine, so it feels
normal here. I'm unemployed. Otherwise, I don't know. There's a
given uneasiness that people here have when a bunch of fire trucks
goby.
The new album seems a bit darker, more personal than the last
album. In the liner notes there are two gigantic roman numerals. Is
the album meant to have two distinct parts? OBVIOUSLY, this is a
concept album. No, seriously, is there something thematic about
the album?
The record is divided into two parts, as is necessary for the vinyl
copies. Since it's a pain to go and flip a record over, it becomes a significant moment to do so, so it's nice to have a sequence that doesn't
feel interrupted when side one is over.
Who is Kennan Gudjonsson?
He handles the administrative duties of the band, like correspondence (because I am generally shy) and money (the burning of it),
and he is the president of Socialist Records; however, he also has a
strong influence over the musical arrangements with the band, occasionally playing, generally sitting back and asking other people not
to play. He doesn't like to take credit as a producer, but Kennan has
a great deal to do with what you ultimately hear. He is the person
who curates some of my more entertaining shows, as well. Kennan's
a funny man, by the way. Have you noticed?
The musicians on your albums are obviously very talented. Some
of them have played with the following bands: The Wallflowers,
Natalie Merchant, Duncan Sheik, Laurie Anderson, Paula Cole,
Burning Spear, Kelly Joe Phelps, Suzanne Vega, Cyndi Lauper, and
John Zorn. I noticed that you have a different drummer and viola
player on the new album. Do you have a "band" or are they just
"session" musicians? How did you come to play with them?
Some list. What a talent show that would be.
I would say yes, I have a band, but at the same time, everyone in
the band has other projects. We have been playing together for a
while now, and we are all good friends at this point, so when
Gonzalo, the saw player, joined the circus it was heartbreaking for
all of us. We miss him and still try to book shows with him whenever he's available, but his schedule is tight being a clown in the Cirque
du Soleil. Beyond Gonzalo, the conflicts are usually temporary, having to do with a musician needing to take a high-paying gig to cover
his rent, or one of them having to go direct a play, do a comedy show,
make a court date. Only occasionally has a musician gone off to do
something for so long that we don't expect to see them any time soon.
Will you be comfortable when Celine Dion asks you to open for
her show in Las Vegas and when Stephen Malkmus asks you to
make a duet album with him? Do you want to make a living with
your music?
I think I understand the questions. I wouldn't want to open for Celine
Dion, I don't know what Stephen Malkmus' music is like, and I like
making my money from my records and performances. I mostly just
like to do my own thing.
I don't know what it's like in New York, but in Vancouver there's
Didgeridoo Mania'. What other projects have you worked on
besides your own albums?
Not really any serious work. When I first started singing, a few
friends would ask me to do some la las [sic] on their records, and I
said sure. I was very excited to sing, but my significance in those projects would be relative to a choir member's. It would be fun (though
probably embarrassing) to hear some of that stuff now.
I was considering going to All Tomorrow's Parties in Camber
Sands, but when I think of it I imagine myself passing out when
I'd have to decide whether to see Shellac on one stage or Silkworm
on the other. I'd come to when people were stepping on me running in one direction to see you play and in the other direction to
see Zeni Geva, and I'd just pass out again. Have you played outside
of America before? Is there anyone in the ATP line-up that you're
really excited to see?
The largest crowd I've serenaded abroad would be Kennan's relatives in Iceland.
I imagine myself running around like you. Since I have seen virtually none of these bands live, I have a generally strong curiosity
about them all. But The Ex is a band I really enjoy and have never
seen live, so let's say The Ex.
That's it. I hope my hilarious jokes come through on the computer.
I apologize for questions #5 and #6.1 don't like them, but I guess I
had to ask.
I laughed at #s 3, 7, and 11 most. I like answering your questions. I
hope I come through as genuine as you do. •
Tfiotos: CEvans Warcf
175^§2S£3S By Brace Paine
Photos By Lori
ifcrttt^
It was August 27,1997, and I was attending tin/friend Laura's
birthday parly when J overheard two weird girls, both clad in
-white from head to toe, discussing a band that -was supposedly
punker than The Germs and would singlehandedly reinvent
rock and roll music forever. The girls kept describing the men in
tltis band as incredibly creepy and eccentric to the maximum. 1
had to find out who this band was.
As I continued to eavesdrop on their conversation, I finally came to learn that this mysterious band was called "US
Maple."
The day after the party 1 took a bus to the first record store
I could find and bought the US Maple LP Sang Phat Editor.
/ stared at the cover the zuhole bus ride home and got increasingly creeped out by this band. The cover of the record was
nuclear camouflage, and it didn't say US Maple on it anywhere. There was also a picture of them at the bottom and they
looked like they could all be my father. All very hairy and looking as though they had just returned from a two week hunting
trip.
When I made it home and actually got lo hear this record 1
continued to listen to US Maple everyday for another month or
two until the record had almost literally worn out.
After seeing US Maple play I realized that their sound can
only be compared to the feeling you get -when a parent barges
into your room amidst a very romantic encounter with your
loved one. US Maple liave no respect for privacy.
It is time that I, Brace Paine, must now proclaim that all
you Vancouverites must now cast your Smugglers compact
discs into the ocean, gain 22 pounds, grow a beard, play your
guitar way outta tune, and go buy the new US Maple LP Acre
Thrills right now.
DiSCORDER: Please state your name and instrument.
Al Johnson: I'm Al Johnson and I'm the singer for US Maple.
Mark Shippy: I'm Mark Shippy and I'm one of the guitarists for US
Maple.
Jeremy Lemos: I am the soundman for US Maple.
So the new record Acre Tlirills, who recorded that?
A: We recorded this record with Brian Paulson. Brian's been around
for a long time, and on an independent level, is best known for
recording the Slint Spiderland LP, which is a really good-sounding
record. He also records really popular rap bands. He works on both
sides of the fence.
How long did this recording process take exactly?
A: We were recording the music for nine days and mixing for four days.
How did the selection process for chosing the songs that were to
appear on the LP go? Do you throw away a lot of stuff?
A: Oh yeah,we throw away about 90% of our songs. We will literally work on a song for months and then just decide we aren't happy
with it, and we'll just throw it away.
M: We all have to be 100% content with the song in order to release
it and/or play it live.
What's the songwriting process like for US Maple?
A: There's no real set formula—sometimes Mark will generate something or whatever. It's different every time. There's no real set formula.
So I'm sure that some people that come to your shows or hear your
records have no idea what's going on and probably leave totally
confused and distraught. Does that seem to happen a lot?
A: Oh yeah, for the first three years every show was like that. People
just didn't know what to think.
Yeah, you guys toured with Pavement. I'm sure lots of boring indie
rockers were totally scared by what you were doing. What you're
doing is very insular in ways. I'm sure some people thought you
were doing total improv.
A: Definitely, while we were playing with Pavement we were playing for 5000 people?—that's 5000 middle fingers all pointed straight at
us. By that time though, we were accustomed to people staring at
us, so Pavement fans were mere puppy dogs for US Maple.
Yeah, the first time I saw you play I was reminded of the time I
saw Metallica on MTV when I was seven years old. It was just the
weirdest, creepiest shit ever. US Maple seems to be presenting rock
and roll in its true state—totally creepy and weird, as opposed to
just being every other band and just standing on stage looking
bored holding guitars.
A: Yeah, when I used to go see Iron Maiden it scared the shit out of
me. They were telling a scary story and I didn't know what was
gonna happen next. I think that's really absent from the current
music scene. It's gotten much too boring.
M: I'm glad you get that impression from us. I don't think most people have such an extensive musical background as you.
What is the history of US Maple and is it true that Mike Tyson was
once in the band?
A: Me and Mark were in a band called Shorty for a few years. We
released some LPs and 7"s and toured Europe a few times. After that
petered out I decided I wanted to start a new project and so I kept
Mark and asked Todd [Rittman] to play. I saw him play with another band and he was a great guitarist.
Was that with his other band Robert Johnson and the Browns?
A: No, that band came after US Maple. I'm not sure the name of the
band at the time. So we grabbed the drummer from the Laughing
Hyenas, Jim Campbell, and he eventually quit for other projects and
then we moved on to Pat and he quit about two months ago. Our
current drummer is Adam [Vida], and he's great. He's young with no
ego. Also Mike Tyson was in the band for a while, but left to pursue
a career in boxing.
So what's with the first LP? Wasn't the cover all steel or something?
A: Yeah, we made 1000 of those at a steel factory all by ourselves.
That took a long time. All hand polished by us.
Yeah, I gotta get that record.
A: I could give you one. I have four.
So I love the cover for the Sang Phat Editor LP. How did you come
up with that?
A: Azita from the Scissor Girls helped me out with that.
Yeah, I love the Scissor Girls!! She's also in that band Bride of No
No. Azita is a great artist. Her Music For Scattered Brains LP is rad.
J: Yeah, I recorded that record.
That record sounds super good.
J: Thanks.
A: Yeah, Azita helped me finish the art for the Sang Phat Editor
record.
That cover is funny because it reminds me of this total dickhead at
my school because he used to have a shirt that was all nuclear camouflage. He used to slap me and my friends in the back of the head
during pep rallies.
M: What an asshole. Sounds like a guy that would wear a nuclear
camo shirt.
So any weird stuff ever go down at a US Maple show?
A: Yeah, once at a show in Cleveland four dogs ran up on stage and
just sat there and stared at the crowd. It was really odd and seemed
very staged but it totally happened by chance.
What were four dogs doing at your show? Weird.
A: I'm not sure what they were doing there actually.
Who came up with the name US Maple?
A: A mutual friend of ours. I actually am not pleased with that name.
Really. What would you change it to?
A: You Fantastic.
But that's already a band.
A: Yeah, but I thought it up, and now they are broken up.
So you just gave them that name?
A: Well, I sold it for $8.
What do you do in Chicago when you're not practicing or playing
shows.
M: I work at a group home for mentally disabled adults, plus I do
illustration work.
A: I was a pawnbroker for awhile, and our drummer teaches drum
lessons, and Todd is a painter and was a teacher.
18 april 2002 How has the tour been lately? How did you like Vancouver?
A: Tour's been good so far. We have a sound guy with us, so that
makes for better atmosphere. There have been some coffee house
shows that were not really appropriate for the band. Vancouver was
fun, too. Canadians always seem to dig US Maple. Sonic Youth are
also big fans of our band, so we got invited to play that festival [All
Tomorrow's Parties]. It went over really well.
Yeah, I really wanted to go to that. Some really amazing bands are
playing those shows. I really wanted to see Cecil Taylor, Dead C,
Television, and all that.
A: 1 didn't get to see much stuff. We weren't there for too long actually.
What have you been listening to on tour?
A: Lots of ZZ Top, The Fall's Unutterable.
I love that Fall record. It's one of the their best, especially for being
so new.
A: Yeah, they are a great band. They haven't done anything that good
in a long time.
What bands do you guys play with in Chicago? Are there any new
bands your excited about?
A: Not really. US Maple has always been such an isolated band. As
for new bands, I'm excited to hear Darren Grey's new band.
Darren Grey from the Dazzling Killmen?
A: Yeah, he's a phenomenal musician. I trust all the things he does to
be good. I think his new band is called Grand Uldena.
M: I like Cheer-Accident a lot too.
What prompted the move from Skin Graft records to Drag City
records?
A: Well, Skin Graft is just bad business.
Yeah, they seem to be going downhill. I do like the new Arab on
Radar record a lot.
A: Yeah. We were just touring a lot at the time and trying to get
records from the label and calling them, and no one was getting back
to us. That's just bad business. Drag City is much better for us. We're
in a better place now with Drag City.
Al, tell us about your acting career. You had a small talking line in
the movie High Fidelity.
A: Yeah, I got $1000 dollars for one day. It was really nice.
In the movie you walk into the record store and you ask for the
Captain Beefheart Safe as Milk LP. Did you specifically choose that
record?
A: No, that was already set up actually. I also play the devil in an
internet soap opera called Milwaukee.
You play the devil? That's hilarious.
A: Yeah, the devil's name is Jill.
That sounds crazy. Is it like that soap opera Passions or something?
A: Yeah, it's a lot like Passions, actually. You can view it at zerotv.com.
At this point the battery from the tape player falls out and lands in Mark's
blueberry pancakes and the tape player dies. We continue to eat our pancakes, bid farewell, and plan to meet up in Chicago and go record shopping
at a later date. •
The  art  and   the
craft  of
Turntablism:
Part   II
Continued from
the March  issue
of Discorder...
By Tobias V
is that TRI tea!
Underneath the cultural signifers of turntablism is the underlying question surrounding the very existence of the DJ
school: why are people paying to learn a skill that has never been taught up to this point? The majority of today's
DJs are self-taught or learnt from a mentor. DJ Leanne, director of The Rhythm Institute, situated in Boomtown
records in Vancouver, recognizes this and attributes the need for a DJ school to a breaking-down of the previous DJ
culture that provided mentors. Although I can understand her answer, I find it hard to believe. Locally, organizations
such as wickedhouseparty.com and blackholeclub.com have created organized gatherings for DJs and musicians to
meet each other and learn in a supportive environment. Personally, as a self-taught DJ, I know it is still possible to
pick up decks and figure it all out. DJ culture is alive and well—obviously well enough to sell it. The question is, if
you are going to pay to learn from a teacher, what are you learning and is it worth the money?
Technically, the students are taught the very basics—from how to put
a record on the deck, to how a mixer works—and then get on with
learning to cue and beatmatch the record, eventually moving on to
EQing and programming. The style of beatmatching is purely mathematical. Building upon the basis that most dance records are in 4/4
time, TRI teaches students to bring the record in on the 16th or 32nd
bar. Such a mix creates a numerical purity to the mix, a very precise
style that results in a strictly conventional and safe mix. On the one
hand, it is a basic mix; on the other hand, it is the dominant style of
complacent mixing that leaves most Vancouver DJs lacking in creative versatility. And is it really the "basics"? Is teaching numbers a
good way to teach music? In a way, the mathematical style can be
seen as a simplified DJ equivalent to the Royal Conservatory style for
violin and piano, as opposed to the Suzuki method, which requires
learning by ear, and not by sight or counting. Traditionally, DJs have
learnt by the "Suzuki" method—as well as the "Let's Try This and
See What Happens" method that brought about the art in the first
place. Considering the experimental background of the art, and the
general realization that tliere is no proper way to DJ, is math a good
idea? Leanne tells me that most records change every 16 bars—a
break down, a new kick or high hat, a riff comes in or out, etc. But this
is really only true for certain, perhaps basic, genres of house, techno,
trance, and their offshoots. As a teaching tool, it teaches students to
look for these conventions in their records, and the 16 bar tactic is a
pop-music convention that some producers use and others don't. The
se music with records that follow this
limiting the student's exposure to different styles of
n't strictly follow this convention, such as repetitive,
ir techno, cut-up Montreal glitch styles of minimal
house, much of Detroit techno and house, German minimal funk, a
good chunk of electro, etc. Are DJ schools really teaching the "basics,"
or are those "basics" already tailored toward a particular style and
genre of music—i.e., the acceptable house norm in Vancouver? There
may not be a way around this, given the cyclical nature of the beast:
but perhaps it is the responsibility of the teacher to provide as much
information about differing musical points of view as possible, to
expose the student to different platforms of basic mixing.
Mind/Body, Wax/Needle
The DJ school is a concentration of both the Icnowledge gained so far
in this young history—including the knowledge of insurrectionary
potential—and of that history's desire to sell itself out, which can be
seen as a classic example of commodified cultural appropriation:
black music, taken out of context by white people, is bought and sold
as a commercial skill to the dominant class, thereby once again
excluding its cultural origins through a class-based (i.e., financially
based) user-pay system. The music is an industry, not a cultural
responsibility. On the other hand, the music has transcended racial
boundaries from its inception; and the school can be seen as a positive
development in increasing the art's potential: as an aesthetic, as a
form of rebellion, as a community. The DJ school gives the opportunity to those interested in DJing to try it out without having to invest
several thousand dollars in equipment, and in this sense it acts somewhat as a way to optimize involvement across class barriers.
(However, it still requires payment for the lessons—money that could
be put toward equipment.) It is also an opportunity for the teachers to
discover new methodologies, techniques, and strategies of DJing
through the art of teaching. By gathering students and teachers
together, the DJ school contributes toward creating a community of
sorts, albeit one mediated by money; or at least trying to recreate
what is now a somewhat dead community through commercial
means; and, like the DJ record store, provides a focal point for the
wider music community. The school is overall a positive development as it at least teaches solid beatmatching techniques before turning students loose. But loose to what? Theexpectations are still there
that all one needs to have are some good records and some beat-
matching skills to land a clubnight or play a party. Until this changes,
DJing will forever be constrained as a commercial craft.
We are founding a new history of a radically new instrument, a
sonic system that significantly redefines the relation between human
and machine. We are doing this in and through the production of an
art that has the power to aurally control, destabilize, inspire, and
explosively revolt a mass of people through a sonic pastiche of cultural memories, meanings, energies, and directions that rewrite the
future past. And what we need now are visionaries. We need the
Mozarts and the Glenn Goulds, the Brian Enos of the world, who will
take the math of DJing and expose its soul through the dissonance of
breaking the strictest conventions: and we need bold teachers to
expand this knowledge through an exploration of the turntable
instrument with their students. •
19E?F\s£5®lffi
Photos Jane Weitzel r*a
di
O
IIIIHIIIIIM
PRESS FREE RADIO
Zine accumulation has dwindled significantly, but unluckily
there are peripherally related
concerns that should be
addressed, especially concerning free speech.
I can think of at least a
dozen online zines that take
advantage of streaming audio
as a sideline to the articles,
reviews, rants, and whatnot
that usually appear on their
websites. In fact there are
undoubtedly hundreds of
zinesters and thousands of
radio enthusiasts who are
broadcasting on one of many
internet radio servers; Live 365,
Shoutcast, Launch, and Spinner
being a few. Already very lucrative companies are set to profit,
again, from muscling in on
these servers and attempting to
charge ridiculous royalty
charges.
"Broadcasters currently pay
in excess of $300 million annually in music licensing fees to
compensate songwriters and
music publishers," says Edward
O Fritts, president and CEO of
the National Association of
Broadcasters. "Any additional
fee to compensate record com-
zines, etc. by Bleek
panies would be unfair and
unreasonable." ASCAP, BMI,
and SESAC, the organizations
that license and charge radio
stations to play and promote
the recording industry's music
over the airwaves have determined tliat they wish to extract
additional fees from broadcast-
1, for one, listen to countless college radio stations
around the globe as well as
offering two of my own webcast stations through Live 365
as an extension of Speck fanzine.
If this piece-of-shit money grab
goes through, everything will
be down the drain. Live 365
potentially exorbitant fees.
Here's a direct quote from
the ABC news: "On Aug. 1,
District Court Judge Berle M
Schiller in Philadelphia upheld
a decision made last December
by the US Copyright Office
which determined that radio
stations must pay royalties to
record companies on music
played over the Web. The double whammy of the Copyright
Office's decision and last
week's ruling has broadcasters
steamed."
Will these changes affect
commercial, community, and
college radio stations as well?
The answer is YES.
National Association of
Broadcasters' position is that
since radio stations don't pay
record companies fees for songs
broadcast over the air, they
shouldn't for songs played on
Webcasts, either.
So what does this have to
do with Canada? Silly thing,
haven't you noticed? The playing field has been leveled. We're
all one big happy free-trading
world now. Why, the Canadian
Recording Industry Association
(CRIA) (speaking about file
trading) even quotes the
beloved Recording Industry
Association of America, saying
"CRIA is participating in a glob-
WILL THESE CHANGES AFFECT COMMERCIAL. COMMUNITY. AND
COLLEGE RADIO STATIONS AS WELL? THE ANSWER IS YES.
ers for streaming that same
music online. These fees have
not been determined yet, but
many observers have predicted
that they will be retroactive for
several years, and may be so
exorbitant as to end streaming
radio once and for all.
As one angry broadcaster
declared, "Pretty soon the RIAA
(Recording Industry Association
of America) will start arresting
people for humming or
whistling a song without paying royalties. Or they'll be raiding people's houses looking for
CDs that were purchased in
used music shops or from
online auctions."
says, "Curiously, the per-perfor-
mance rate set by the CARP
(Copyright Arbitration Royalty
Panel), when applied to many
webcasters, far exceeds the rate
it deemed higher than that
which the market would bear."
On-air commercial broadcasts
will continue their slow but
headlong dive into shitland and
diversity will be set back even
more in an increasingly homogenized planet. Maybe you think
I'm being overly dramatic, I
don't know. I'm just passionate
about freedom of speech and
public access. In fact, hundreds
of stations have already gone
down due to the threat of these
Radio stations do not currently pay fees to record labels
for the songs they broadcast
over the airwaves—only to
music publishers and writers.
But the court ruling compels
broadcasters to cough up cash
even if a radio station simply
streams its content over the
Web, as many stations do. The
same goes for Internet-only
operators, like NetRadio of
Minneapolis, one of the first
Web music stations, and music
services like AOL-Time
Warner's Spinner.com. As a
result, Internet music outlets
that can't afford the fees could
quickly go out of business. The
al response to internet piracy
that is orchestrated by the
International Federation of the
Phonographic Industry (IFPI)
along with the Recording
Industry Association of
America (RIAA). High tech
automated web crawlers search
for sites on the internet where
unauthorized copies are available for downloading and identify the location and site
operator or service provider.
CRIA takes action to secure evidence of infringement of copyright in sound recordings
offered on the identified sites in
Canada. Notification in writing
is sent to the website operators,
service providers, or both,
informing them of the infringing copies of sound recordings
on the music files of the sites
they host and the legal implications if they do not voluntarily
cease and desist offering the
infringing copies on these
sites." And, going even further,
"(Our government) has not
reacted fast enough to the
changing environment."
[Quotes from an article by Jason
Scott Alexander from broad-
castdialogue.com.|
To be fair, the CRTC
weighed in on the topic in 1999:
"The Commission does not
believe that regulation of the
new media would further the
objectives of the Broadcasting
Act."
It's been obvious for quite a
while that, when it comes to
what is called the "public airwaves," it costs a hell of a lot of
money to go on the air as an
independent (or anyone else,
frankly) broadcaster and that
leaves most everybody unable to
start broadcasting legally on
what is essentially public terrain.
It's like being charged for the air
you breathe. Many promises
and predictions were made
about the freedoms we would
enjoy through internet technology, but as lots of conservative
dupes like to say, "Freedom is
not free." •
See www.saveinlernetradio.org for
more info and links.
pq Mart icon
the sound of spectacle by tobias
Gordo, The Green Zombie
"A New Error in BC" is the
name of CUPE's "Strong
Communities" pamphlet featuring the wickedly satiric cartoons of the Straight's Dirk van
Stralen. Obscenely drawing the
shits of politics is a time-honoured tradition, and van
Stralen hones his acidic mind
and sharp pen to depict Gordo
as a frothing, sharp-toothed,
and electrified green zombie.
As the evil creation comes to
light from privatized electricity, the MLAs/corporate
whores grovel with enthusiasm: "He has the brain of
Ralph Klein!" "The gall of a
Socred!" "The heart of Mike
Harris!" and "The tongue of a
leech!" Zapped Zombie-Gordo
has no memory of his election
promises... The pamphlet lays
out a double-page spread of
the destruction being wreaked-
upon this province by the cold-
hearted ineptitude and cruelty
of the Liberal government,
complete with boarded up
social housing (New Business
and Convention Centre with
Casino!), a medical clinic (All
Major Credit Cards Accepted!),
Treaty Referendum Headquarters (Vote Yes to Divide Your
Community!), Texans shooting
bears—kudos to van Stralen
and CUPE for taking on the
Liberal muck machine with a
frontal assault.
www.cupe.bc.ca
April 1 is Doomsday: No Joke
April 1 is when this province
will look back in its history of
the Dark Gordo Era, and pinpoint the exact date from
whence the flood of crime
began, the day when welfare
was cut on average by 15%,
when applicants waited three
weeks, when single mothers
had to work once their child
turned three. The result? An
increase in property crime and
muggings and a boom—a desperate bid, for the majority of
thieves are strung out and
starving—for the thriving "Bar
Shopping" scene (March 24
Courier). Frank Gilbert of
DERA: "We are already starting
to see a new level of desperation on the street and if the
police and merchants think they
have a problem with stolen
property being sold in the bars
around here—well, I hate to say
it, but they ain't seen nothing
yet."
Signal and Noise
The Video-In's Signal and Noise
festival of experimental audio
and video (March 21-24) collected an eclectic array of work by
underground/contemporary
artists. Curated by Jen Weih,
there were too many exhibits to
mention, but certainly highlights included post-9/11
guerilla media, ssiess's "Baby"
installation in the bathroom, the
numerous film shorts including
the poignant "The Fine Arts" by
Emily Vey Duke and Cooper
Battersby, Susan Schuppli's
"Eavesdropping" installation—
comprised of alternatively
arresting and banal, yet always
fascinating, found-sound answering machine messages—
and Luis Jacob's "Ten Attempts
at running into a wall, with
commentaries" (self explanatory porno humour). But all of
this is reductive and I missed a
good number of films; and
there is no room to mention the
hundred or so audio short
works picked for the listening
booths including work from
Halifax's Andrew Duke and
Winnipeg's Ken Gregory. So,
don't miss the next Thing,
which is...
Link-Age: Vancouver New
Music
Giorgio Magnanensi, the new
Artistic Director of VNM, has
positively shaken things up
with events featuring the experimental electronic and turntablist underground, starting with
the "Mixtophonics" series at the
Havana. The Vancouver New
Music Festival "Link-Age"
(April 19-21), embraces this
spirit by combining the traditional avant garde with underground electronics through the
unlikely—yet pertinent—theme
of music from the "Soviet
repressed" Baltic countries. It is
through this theme that
Magnanensi hopes to enlighten
Canadians of the potential of
(their) cultural diversity-
something which he observed
to me many months ago. The
two primary composers of the
festival are Vancouver's Allison
Cameron—who describes her
work as "experimental... this
'attitude' is essentially political
(whether conscious or not) and
it establishes the inherent social
nature of musical activity"—
and Estonia's Udo Kasemets,
who works in a wide range of
mixed media, sound texts, elec-
troacoustics, and open forms.
Of particular interest is
Kasemets'   "Future   Is   Past
Now," a conceptual script for
six electronic musicians which
will be performed April 19 at
the VECC (10pm)—to be honest, I am involved in this weird
concotion and results should
prove disturbingly engaging.
But that is not all: an installation
of the Silophone by Montreal's
[The User] at the Western Front;
an "e-lounge" every night at the
Video-In; performances by the
Helikon Ensemble, Gallon
Drum, the CBC Radio
Orchestra—the last remaining
radio orchestra in all of North
America—"Saxophilia," piano
sonatas from Stephen Clarke...
To eat the whole schedule:
www.newmusic.org. Tickets:
604.280.3311. Info: 604.633.0861.
Danish Global Warming
Anyone who doubts the danger
of global warming should be
immediately sterilized—they
are counter-productive to survival. A huge chunk of
Antarctica recently sploshed
into the sea, so wake the fuck
up. There is more smog than
ever in Vancouver on this fine
sunny morning as I sit here and
type, which makes me ask:
what the hell is wrong with the
Danes? Take Hans Henrik
Ramm, who believes that
responding to global warming
is a "precautionary" measure
advanced by political agendas
of the Left. WHAT? Of course
the agenda is political, as long
as politics has something to do
with   living   collectively   for
mutual benefit—the polis—
which amounts to asking: do
we massacre and destroy the
entire goddamn planet or not?
Ramm's answer is the "wait
and see, and is it really worth
it?" approach mixed with
polemics and hasty "scientific
conclusions." Then there's Bjorn
Lomborg. He at least believes in
global warming, but figures
that it would be better to give
the money to the poor—using
figures from the despicable
World Bank—instead of making
the Kyoto Protocol work, which
amounts to the chimera of colonial/imperialist humanism/
anthroprocentrism which has
driven the world to the brink of
annihilation. Not to mention
that the practicalities of his
arguments include the participation of the US, which has no
interest in helping the world's
poor unless it involves amphetamine-slavery in a sweatshop
making Nike shoes; furthermore, the US is trigger-happy
and wants to increase their
bomb budget. The solution is
clear: ratify and give teeth to the
Kyoto protocol. The "wait and
see" approach is the Christian
theological paradigm; the "is it
worth it?" approach redefines
"worth" to equate only monetary gain, investment in symbolic nothingness; the "give
money to the poor" approach
skirts the issues with dogmatic
humanism.
Until... ! •
20 april 2002 At rut, fret
& flicker
performance/art by Penelope Mulligan
MODERN BAROQUE
OPERA
720 Songs for the Marquis de
Sade
Sunday, March 3
Vancouver East Cultural
Centre
Confidently rude and mannered to a smirk, Modern
Baroque's 220 Songs is a sprawling tour through the life of history's most famous pervert. The
Alcan Performing Arts Award
for Music/Opera 2002 enabled
Artistic Director Kate Hutchinson to commission the piece
from composer Peter Hannan,
who felt that Sade's story had
ongoing relevance for today's
sexual and social politics.
Whether or not the company
succeeded in demonstrating
this is moot, but one thing is
certain: as a stunning aesthetic
experience, the opera is worth
ever Alcan nickel and every
moment of an audience's time.
Within the first minutes, it
became clear that we wouldn't
be teased, but hit full-on with
the money shots. No sooner
had the baby Marquis been
born than double doors opened
and a falsetto-singing countertenor walked in wearing
nothing but a powdered wig
and white stockings. Alan
Brodie lit the production with a
searing whiteness in which
nothing could or would be hidden. It seemed more suitable to
a pathology lab than an opera,
but looked gorgeous and actually fit the song by song dissection approach to Sade's life.
Although Thomas Hassman's
lavish costume designs were
heavy on the rococo, his set was
not. It consisted of pale, tastefully gilded walls and a big
long table around, and more
often that not, on which the
action took place like a buffet of
debauchery.
In a baroque kind of way, it
was almost clinical, and whenever I needed to snuggle up to
a warm body, I'd pay special
attention to the music. Performed by the Pacific Baroque
Orchestra with guests from the
jazz camp, it was layered and
wonderful. I loved the way Ron
Samworth's electric guitar
would scrape across the orchestra's floating strings, and how
Robin Reed's percussion could
turn a song Arabic.
The cast of 13—most of
whom played multiple roles—
deserves some kind of ensemble award. In spite (or perhaps
because) of the fact that they
come from wildly diverse vocal
backgrounds in classical, jazz,
musical theatre, opera and rock,
everyone seemed a good fit. In
the huge and demanding role of
Sade, American baritone
Michael Douglas Jones was
both dangerous and playful.
Modern Baroque regular
Phoebe MacRae (oh, that
exquisite voice) made his long-
suffering wife Pelagie fabulously pasty and passive-aggressive.
Peter Hinton's libretto
eschewed poetry and imagery
for a pretty literal narrative and
this worked in nice contrast to
the elaborate goings on. But
despite all the suffering and
intrigue, the bare bums and
buggerings, I was neither
moved nor shocked—just transfixed—and deep down, wanted
more than a mere parade of personal deviance, however audacious and elegant.
If ever a production wasted
the chance to seduce us with a
few psycho-political insights, it
was this one. Sade's social and
historical milieux were strongly
present, but there was never a
satisfying connection made—
although to do so was apparently the intention. In his
Creator's Statement, co-director
Hinton writes that he wanted to
investigate "when politic meets
sexuality and society attempts
to legislate free thought and
desire". Yet Sade was imprisoned for sexually abusing
unwilling prostitutes and servants—a life style which
seemed more like an extreme
symptom of the aristocracy's
power than a threat to it. The
production also glossed over
the possible origins of his perversions in one tidily obvious
scene where he is whipped as a
boy and it didn't even get into
his psychology of pain and
pleasure.
After Sade's temporary
release into post-revolutionary
Paris, things felt a little
rushed—as if so much fun was
had with the raunchy bits that
there wasn't a lot of time left to
explore his life as a citizen and
relationship to the revolution (if
he actually had one). As for his
descent into madness, incarceration in Charenton Asylum and
death in 1814, they whizzed by
and then it was over.
All too soon, I might add.
Even after four hours, I felt
wide awake and bright-eyed
and could have watched this
spectacle well into the night. If
more time were given to bouncing a few ideas around and we
were given breakfast in the
lobby afterwards, I'd be all for
an even longer version.
THE MENTOR'S CO-OP
The Resistable Rise of Arturo
Ui
Sunday, March 17
The Jericho Arts Centre
As I stood waiting for buses in
the freezing cold, I never
expected to be so well rewarded for the trek out to Jericho.
The Mentor's co-op deserves a
triple shout for its taste in material, skill in performing it and—
in view of the world we
currently knock around in—its
timing.
Bertolt Brecht wrote The
Resistible Rise of Artuo Ui in
1941. The play chronicles the
proliferation of protection rackets and graft in 1930s Chicago
and runs in flagrant parallel to
Hitler's ascent during the same
period in Germany—its title
character is a mob boss played
as a Hitler lookalike.
Director Tom Kerr didn't
try to be cute or contemporary
in mounting the piece—he just
wound it up and let it go—and
he gently shaped his actors'
physical and vocal mannerisms
for a period feel that was consistent and believable while
remaining slightly carnivalesque. The gangsters
declaimed with that burly beauty that toughs have in the
movies. Their rhythms were
almost Shakespearean.
As per the company's mandate, less experienced performers were mixed with the
seasoned pros, and despite one
or two painfully superficial
minor characters, the overall
acting standard was impressively high. In the role of Arturo
Ui, Adam Henderson was
beyond impressive. All tense
shoulders and flailing arms, he
oozed a lust for power that was
driven by manic insecurity. His
loose-limbed agility also
allowed him to turn into a cartoon at will.
Other standout performers
included Ryan Nelson—tough,
gentle and intense as Ui's right-
hand man Ernesto Roma—and
Bert Steinmanis as a washed-up
Shakespearean actor hired to
give the mob boss lessons in
elocution and deportment.
(That scene was a howling masterpiece of actor synchronization.)
The set was minimal almost
to the point of non-existence but
did use a scrim on which to project text newsreel style, documenting parallel events in
Hitler's career. I don't know if
this is a convention or was a
choice of this production, but in
any case, Brecht's own audience
would hardly have needed it.
And as dubious "businessmen"
made deals with government,
causing prices to rise and
unions to lose their rights, we
were providing our own subtext. When Henderson let his
voice slide momentarily into a
Bush impersonation as Ui put
pressure on a neighbouring city
to accept "protection" from his
mob, it didn't feel overdone—
just inevitable. When the
packed house rose to its feet
stamping and cheering, you
knew that it was applauding
the production for its politics as
well as its art. The really good
thing is that neither were compromised. Brecht would have
approved.
THE PLUGHOLE
The Blinding Light!! Cinema
always beckons with its outfield
programming, but this month
looks especially heavy with reasons to visit. Here are three of
them:
Rockaction! on April 4 is
another installment in the BL's
series of commissions on a
theme. This time, the camera
packing artists have been told
to pick any song and make an
accompanying film which is
informed by rock video without
actually being one. Making that
potentially subtle distinction
could prove an interesting exercise in itself. With the usual suspects in the local and national
indie scenes taking part, the
films should be a riotous and
thought-provoking alternative
to MuchMusic.
Damn those radical French
intellectuals from last century—
so wordy, yet so skilled at galvanizing with their
euphoria-inducing brain massage.   In  the   1973  film   Can
Dialectics Break Bricks?, Rene
Vienet scrubbed the dialogue
from a trashy Kung Fu movie
and replaced it with Situationist
rhetoric. The combination of
thinking in overdrive while
laughing yourself silly might be
too much to bear. Risk it on
April 12.
The Quay Brothers' Institute Benjamenta is one of a
small, but remarkable canon of
films dealing wholly or in part
with schools for servitude.
Ermano Olmi's bizarre, but ultimately humanist Long Live the
Lady is another, while the terminally creepy brothers in Guy
Maddin's Careful also attended
a college for waiters. On April
18, the Eye of Newt Collective
will perform live to the Quay
Brothers' 1995 masterpiece. Set
in a German Expressionist butler academy from hell, it stars
Gottfried John, Alice Krige and
the wonderful Mark Rylance.
At first, I worried that we'd lose
the dialogue—most of which is
quite mad and absolutely essential—but a recent conversation
with EON's Stefan Smulovitz
banished my fears. They plan to
edit out only the music and
weave their own instrumental
soundscape through the film.
With Masa Anzai on sax and
effects, Chris Kelly on sax and
electronics, and Smulovitz on
waterphone and viola, this will
be a dark dream evening for
first-time viewers and devotees
alike. •
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14 ICED BEARS
In the Begining
(Slumberland)
Neil Halstead—now there's an
interesting case study. A veteran of the British indie scene, he
seems to be making quite a nice
living for himself peddling a
line of pitifully awful singer-
songwriting that aims for poor-
man's Nick Drake but ends up
as half-baked Belle and
Sebastian.
The very fact that Halstead
has made it this far is testament
to the fact that, what with the
"internet" and easy access to
CD recording/manufacturing,
there's room for a little bit of
everything out there today.
Halstead was once the
leader of second-division
shoegazers Slowdive, who were,
and are to this day, reviled in the
British music press as the worst
kind of namby pamby middle-
class bullshit. Not only did our
Neil find greater critical success
with the rootsier Mojave 3, but
his early work also became
adopted by an international cult
of dreampop aficionados. These
sensitive souls have done a lot to
rehabilitate the reputations of
undeservedly obscure early post-
rock groups like Disco Inferno
and Bark Psychosis, but c'mon,
Slowdive, for God's sake! They
just weren't that great.
Now let's look at Slumber-
land Records. Does the world
honestly need a 14 Iced Bears
retrospective? This band sprang
from an earlier, and perhaps
even less fruitful era of British
wuss-pop than Slowdive and
their ilk. The scene was christened "C86" in reference to the
NME compilation that documented it. The sound was shabby, fey, and hopelessly in debt
to heavyweight '80s icons like
The Smiths and The Jesus and
Mary Chain.
From the scant information
that is provided on the CD
booklet, we can surmise that
141B (catchy, eh?) were based
out of Brighton and made a
series of records between '85
and '88, which were championed by radio legend John Peel.
Why any of this was allowed to
happen is anyone's guess
because, as the CD itself reveals,
their music was distinctly third-
rate. Doubtless intended as
searing anthems to the awe-
inspiring beauty and sadness of
life, songs such as "Like a
Dolphin" and "Spangle" (I'm
not making any of this up) actu
ally do little more for the
contemporary listener than
illustrate the effects that bad
ecstasy might have on Billy
Bragg. Not pretty.
Other than providing queasy
nostalgia for those few of us who
remember the band from back in
the day, this compilation serves
no useful purpose. Kindly ignore
its existence.
Sam Macklin
BAD FENG SHUI
Friendship Adventure
(Good For You)
Bad Feng Shui, a.k.a. Mike
Cantelon, is becoming something of a small-time celebrity
in The People's Republic of East
Van. Through his dedicated
work for tao.ca and his involvement with noise and experimental electronic collective
mediacore.org. he has developed the reputation of being a
soft-spoken yet sincere activist
who puts his music where his
mouth is.
Mike's latest self-released
album is no exception, yet it differs from previous outings
through a significant leap in
musical arrangement, experimentalism, and production. The
current incarnation of Bad Feng
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Shui is somewhere between DJ
Spooky's Riddim Warfare album,
Squarepusher's detail-ed drum
and bass madness and early
DHR/Alec Empire records.
This last comparison places
Mike in a long tradition of political musicians who have turned
to distorted, sped-up, crunchy,
and industrial beats and sounds
to bring a subversive—and
crowd-inspiring, if not downright attacking—element to
their music.
Hardcore beats drift angrily into drum and bass tracks
and even downtempo, gritty
breaks bring in double-time
beats at points. Although the
album is often fast-paced and
industrially dark, it has its
moments of downtempo sonic
experimentalism, such as the
dark, illbient landscape of
"Psychotropic of Cancer," that
is reminiscent of Warp, and the
oddly funked "We Should Have
Killed the King" that leads into
a brilliant pisstake on minimal
techno, "Arthieves," which is
essentially a noised out yet minimal deconstruction of the
genre's conventions.
Mike has managed to
develop his own sound that
also pokes through in the use
of innovative, politicial samples. "Military Intelligence"
subsumes spoken word samples of angry yellng behind
noisy radio pulses; "White
Robots" begins with a noisy
scream, then buries a kick
under layers of carefully constructed noisy squelches and a
slightly echo-chambered high-
hat pattern—this last track is
especially enjoyable as it is
subtle and restrained in its use
of violent sounds, hinting at
the true anger which boils
within and eventually erupts
in a slow, building cacaphony
of sound—a postmodern, revolutionary Ravel.
tobias v
BOARDS OF CANADA
(Warp)
Geogaddi is the most anticipated
electronic release since last
year's all-too-forgettable Aphex
Twin effort (another Warp
release). The music of Scotsmen
Marcus Eoin and Michael
Sandison has always evoked
memories of warm whimsical
days and emotions in my past
that I may or may not have
experienced.
BOC plays it safe incorporating their trademark childhood aesthetics which were
introduced to the public at
large with 1998's Music Has the
Right to Children. This time,
they include back-masking
loops, distorted ethereal vocal
samplings, public service
announcements, and low bpm
drum beats.
For the BOC diehards,
tracks like "Alpha and
Omega" are reminiscent of the
duo's more digital and angular
Boc Maxim album and Skam
years. Although many of the
sounds are almost too similar
to past efforts, they are so
pleasing that such minor criticism can't detract from this
near perfect album.
The samples that BOC use
are familiar but not to the extent
that you can play the sample
game and discern their origin.
(The voice on "Dandelion" is
familiar as well—I swear it is
Leslie Nielsen.)
These lovers of the
National Film Board of Canada
recorded over 90 songs, of
which 22 (the last track is not
worth counting) made the cut.
This is music of such rare beauty that it transcends its electro
fabric into something more primal and essential.
Boards have the rare ability
to make music that is both
ambient mood creation and
tribally rhythmic at the same
time. BOC is onto something no
one else is—and it's beautiful.
Rbot
MARI BOINE
Remixed
(Jazzland)
Mari Boine is a part-Saami (aka
Lapp) singer from Norway. She
has said that for much of her life
she was made to feel ashamed
of her indigenous ancestry, as it
wasn't appreciated by the modernized Norwegian people.
Lucky for us, she didn't let that
repression keep her from
becoming one of the best
singers of a traditional chant-
style called joik.
Mari occasionally sings
acappella on her albums, but
even with musical accompaniment, her incantory vocals are
always the grandest presence.
She has also said, "I think your
voice is a mirror of your soul
and how you feel inside." Her
singing is likely to be the purest
you've encountered in a while,
if ever.
I wonder what Mari thinks
of this album of remixes, as only
a few of the songs are particularly potent. The vocals seem to
get sucked up by the vortex of
endless beats. If a person were
to hear an original Mari Boine
song they would likely wonder
who the hypnotizing singer is.
If a person were to hear one of
these re-mixes, they'd likely be
in a Club Monaco outlet.
Kiran
BARRY ELMES QUINTET
The Five Minute Warning
(Cornerstone)
This album actually came out
late last year, but as it won big
prizes at last month's
(Canadian) National Jazz
Awards, now is as good a time
as any to give it a review.
Four of the five members of
this Quintet, headed by drummer Barry Elmes, were nominated for honours at the
awards, with the leader finishing as runner up in the Best
Drummer Category. Trumpeter
Kevin Turcotte, saxophonist
Mike Murley (well-known for
his work in Metalwood), and
bassist Steve Wallace each won
their respective categories. The
group as a whole picked up the
Acoustic Group of the Year
Award—and this album proves
that they deserved the honour.
All the songs on the album
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22 april 2002 were composed by Elmes, and
the compositions are a wonderful mix ranging from playful
bop-esque to slower downtempo numbers. Tucotte's trumpet
is fluid throughout and
Wallace's bass work is impeccable, especially on the first chart,
"The New Shim Sham Shimmy,"
which is based on an old dance
rhythm taught to Elmes by the
late great Dizzy Gillespie. (The
last track on the album is actually a tape recording of Gillespie
singing the main riff into a mic
for Elmes.)
Stand-out tracks include
"Mouse House," a fun-sounding
bluesy number, and the title
track, in which Elmes displays
his fine drumming chops. As a
whole, this album goes to show
that Canadian jazz means a lot
more than Diana Krall.
Lucas TdS
NEIL HALSTEAD
Sleeping On Roads
(4AD)
Full of warm and well-developed textures, Neil Halstead's
Sleeping on Roads contains track
after track of simple melodies
fiver lush background. Halstead
(of Mojave 3, Slowdive) has an
understated way of singing that
rests perfectly against a thick
backdrop of keyboards, guitars,
drums, banjos, guitars, trumpets, glocks and weird noises. In
particular, the playing of Mark
Armstrong (trumpet) and Nick
Holten (funny noises, keyboards, and general vibes) stand
out.
Halstead has been called
one of today's great songwriters
and this album proves that to be
true. Themes of longing, love
and drifting are ever-present
throughout this album. For
some reason, the album reminded me of perfect sunsets which,
oddly enough, the cover depicts.
Cover artist Chantal Awbi
deserves extra credit for creating
one of the most beautiful CD
covers I've seen, using only
three colours—blue, orange, and
brown. The cover of this album
comes closer to fully representing the music inside the package
than words can. So I'll stop writing and just stare at the cover 'til
I'm all melancholy.
Lucas TdS
NEW FLESH
Understanding
(Big Dada)
Ah, British hip hop. So many
great hopes, so few good
records. Two of the greatest
hopes of recent times have come
to us courtesy of the good people at Ninja Tune offshoot Big
Dada. Since the first of these,
Roots Manuva's Run Come Save
Me, was an undeniably
mediocre effort, a lot of hope
must be riding on this one.
It's another let-down, sorry
to say. Sure, as desperate stabs at
commercial acceptance go,
Understanding certainly has its
moments but even these pale in
comparison to the wilder
moments of Stateside pop-rap.
Played next to Miss E....S0
Addictive, this shit is going to
sound mad weak.
The main problem is production. Bravely, soundman Part
2 aims to set his style apart from
that R&B-infected American
sound by incorporating the
markedly English elements of
UK garage and ersatz ragga.
Sadly, he ends up coming off like
a bargain basement Timbaland
for the most part.
Juice Aleem and Toastie
Taylor's rapping is more successful, both in locating itself
geographically (North-East
London, at a guess) and maintaining an acceptable level of
quality. Many of the rhymes
tend towards the abstract—a
tendency underlined by the
presence of decidedly avant-
guests like Beans and
Ramm:Ell:Zee. Others represent
a West-Indian/Cockney "bad
bwoy" persona distinctly more
charming than the mindless
thuggery promoted by most rap
stars.
On the whole, it's the crazy
abstract shit that these bwoys
sound most comfortable with.
Perhaps by sticking to their
more left-field guns, New Flesh
could have taken a convincing
shot at commercial and artistic
success (if you'll excuse my
rather unfortunate imagery). But
in a climate where pseudo-intellectual white music critics smugly champion no-talent jokes like
Jay-Z, there's little to be gained
from—ahem—keeping it real.
Sam Macklin
REQ
Sketchbook
(Warp)
To imagine the bearded sound of
Req, think of Autechre as the
confident and successful firstborn son of a family of IDM
barons, radiating creativity and
talent and redefining genres on
a daily basis. Now picture
Autechre's petulant kid brother:
a few inches shorter, a little
stockier, wearing a backwards
baseball cap (probably red)—in
short, trying just a little too hard.
Although Req fuses his
ethereal IDM sounds with more
conventional rhythm systems
and could be seen as innovative
in this respect, the instrumental
hip hop tracks on this album,
Req's third release and his first
on Warp, are the weakest on the
album. More interesting are the
eerie sunset tracks, reminiscent
of a more secular and thus predictably less intense take on The
Black Dog.
Donovan
JOSH ROUSE
Under Cold Blue Stars
(Rykodisc/Slow River)
Josh Rouse is not a mouse but
with the money that went into
recording and promoting this
album, he could have easily
bought a house, as is the common practice amongst mice.
Under Cold Blue Stars will never
be played in bars but seems like
standard issue for cars, especially the unrealistic kinds that don't
smell and hum quietly enough
so as not to drown out everything but the vocals.
When song one is done, it
doesn't seem like much fun, but
then song two starts anew and
bears no likeness to poo. The
lyrics on song three sound like
they were written by Kenny G.
Song four is a roar, sounding like
Yo La Tengo because both acts
have "producer" Roger
Moutenot at their core.
(Rhyming is hard!) The last half
of this record is pure tantalum
despite the lyrical contamination
which, oddly enough, probably
keeps the market value of this
thing up because if the songs
went "yeah yeah plucking chickens, yeah yeah you fucking
chickens," it would be neither
neutral enough for his fans nor
extreme enough for the people
who buy up alt-chicken-country.
Spencer
SONGS:OHIA
Didn't It Rain
(Secretly Canadian)
Finally. Jason Molina goes back
to his former self with some guitar, voice, and little else. No synthesizers, no Appendix Out,
and above all no distractions.
This is what Neil Young
winds down with after a good
walk around the yard.
I suggest you try "Ring the
Bell" or its continuation on the
next track, "Cross the Road,
Molina."
This is indeed the best offering Songs:Ohia has yet to offer;
so scram, Will Oldham comparison, we never liked you anyways. Jason has really come
full-circle, people will say. But
they will be referring to what's
in his voice. Molina is an excellent guitar player, and a formidable song craftsman. The live
sound quality is as sharp as
nails. The "it's-like-being-there"
feeling is captured by the intensity of Jason's vocals, which
makes for a solid listen.
This is material you can take
to the bush with you.
Black Diamond
SARAH TAYLOR
One Way, Anywhere
(Indie)
Establishing oneself as a vocalist—especially a female, "electronic" vocalist—is no easy task
these days. The parameters of
the genre have been set, with
many new artists imitating the
likes of Sarah McLachlan,
Massive Attack, Morcheeba,
Loreena McKennitt, etc.
Taylor's debut album is certainly prey to accusations of female-
vocalist syndrome, yet it is
Taylor's strong, talented voice
and poetic, political lyrics that
set her apart from the Nettwerk
j Gritty hip hop breaks give
an underground flavour, with
record pops and surface noise
combined with subtle scratches
and well-muted samples delivering a darker and urban savvy
trip hop flair. The beats are not
bombastic but restrained, much
like Taylor's voice, especially on
the- drifting "Selkie," which
loops a quietly melodramatic
violin and begins and ends with
field recordings of the ocean.
A violin also underscores
"Pandora"—the predominantly
McKennitt-esque track—while
the obvious pop-single is the
catchy "Karma Comes," which is
dramatic in all the right places
and, with a little mastering, could
break into chart-territory without
losing its feminist integrity; the
same can be said for the gospel-
influenced "No Trains."
The album is definitely
working within the conventions
of its genre, for better or for
worse, which is not to say that
Taylor doesn't display a nubile
mastery of the nuances of her
emotion and style—which is distinct and flavoured. With the
inspiration of the muse and a bit
of luck, her bold and demanding
musical talent could lead to
some brilliant work.
tobias v
TW WALSH
Pollensongs
(My Pal God)
Hey,     guess     what?     NEIL
YOUNG IS STILL ALIVE. Neil
Young is still GREAT. There's
no need for a tribute band at
this time.
Christa Min
JULIAN WHO
Highroad/Paintedsky
(Worldwide Domination)
In 1999, Julian Who taught me
how to shave. At that time he
instructed me to shave dry, without foam or gel. "Instruments
such as foam and gel," Julian
explained, "identify you with the
luxuried establishment, the reckless and metaphvsicallv ban
materialists, the decadent piglets
who rule us, who are incapable
of harnessing universal meaning....By shunning this association, you access the latent power
of the periphery against the dominant centre—the ability to
unleash cataclysm."
The force of this metaphysical program hit me like a train,
and the formula Julian taught me
then and in the years surrounding that encounter stay with me
to this day, filling my life with
meaning. Now, with Who's first
full solo release, I find that meaning captured in music.
With unlimited subtlety,
Who conveys the pathos of a
country boy addicted to city girls
he can never understand, a latent
ultra-sadness known to us all. He
activates a cataclysm of emotional subtlety, filling every song
with concentrated drama power,
deftly sweetened with humour
and launched wi
his perfectly tonei
Like all great flavours of the
world, Who is an acquired taste,
but I guarantee this: on your first
listening of this record, you will
be interested in Who as an individual and in the values he represents; by your third listening,
you will recognize the appeal
(and potential for more appeal)
of Who's music; and by your fifth
listening, vou will be aesthetically enmeshed with Who's reality
and may feel like you've been hit
by a train. The album is available
through wvvw.worldwidedomi-
APRIL
i precisi
Dear Christa,
jWith all due respect to your fine work—rendering for us Americans
(Canadians and US-ians, both) monthly a column entitled Fucking Bullshit,
and numerous other articles—I have grown to admire your enthusiasm
toward triis music you care enough to write about, and have endeavored to
|hear some of it for myself. Unfortunately I have detected some inaccuracies,
with your taste(s), as that's just plain wrong to criticize, as are all slices of
life, but with some of your facts. My findings in this regard are presented as
follows:
The Eagles are not the worst band ever. In fact, scaled to their popularity
rmsiderably less, though who's popularity isn't less than the Frey/Henley
union machine?), it is well known that in fact OINGO BOINGO is the wors ,
Uowed by The Eagles, Sting/Police, Alaiiis, Tori Amos and Dave Matthews
to head a very long list.
|2. Soft Pussy did not influence Colin Newman to write "12XU." Though 1975-
s unquestionably a fluid time in British punk music, Newman's group I
■ indebted to Brit Art Punk of the age, than a two bit footnote such
ISoft Pussy. Soft Machine, perliaps—Soft Pussy, no fucking way. Of the)
London punk set of that exact time, let us say early 1977, there were probably
22 historically relevant puiik bands, and of mat number, Soft Pussy rank]
far below even lesser greats such as the Adverts, Vibrators, etc. On second
flii night they are probably better than the Jam!
I have grown tired of your disparaging of the best your province has t -
fer at the moment: DESTROYER. 1 believe I had initial reservations aboi 1
the group's sonic similarities to Mott the Hoople (who I love), and pre-En
Bowie (who I don't), but those quibbles have vanished with repeated listen
ing. 1 have not had the pleasure of seeing them/him/Daniel Bejar play music
but tliere is a first time for everything. Let me conclude this point by savin;
ordinarily I would feel tlie same as you about this sort of thing, but, and let m
lear about this: Streethawk, and', for the most part, TM'/before it, ROCK.
ss my only real problem remaining with Bejar is his beard, which, at on
t, made me believe he had been fingered as "The American Taliban." Goes]
to show that one must be careful what they put on their promotional nu
4. Back to Colin Newman for a minute: HOW DARE YOU allow Mark Szabo
a forum in which to even attempt to criticize Newman's third LP, Mot To (4AD,
1982), as having demolished his former group Wire's arrangements of songs
which turned up on that record? There can be no argument that if any effect
had been achieved in the "solo arrangements" of Not To, it was an improve-
1.1 would direct Mr. Szabo and yourself to the not-so-hot Wire live record
ment and Eyewitness (Rough Trade, 1981) for further evidence of same.
Christa, please consider the evidence and proceed as directed.
Respectfully submitted,
Pseu
ffl»W
jationism
^71
rom Italy s secret und
LIVE FROM P
erground.
JRTLAND:
^j
HEROES AND VILLAINS
Fresh Super 8 with live improv
by a surprise gi
FRANK MOORE'S
est band.
FEISTO
The Canadian Premi
baffling sci-f
Cerebral Palsy ce
ebration.
J1J
FON
DRAMA (
Film, performance, fas
DRAISER:
UEENS
hion. DJs.
CAN DIALECTICS
BREAK BRICKS?
i Jj '^P I,
iipUg
HI
ISSffClMEMABBy
23  real live action
SPREADEAGLE
Thursday, February 27
Cobalt
I've seen a lot of shows. More
than most. You could say I get
a little excited when music is
played well—not just good,
but good enough to summon
blood from ears, the rocking of
peers, and the overconsump-
tion of beers.
Very few bands in this
great city can muster up
enough flair to exhibit these
traits but, alas, on rare occasion, I am indeed proven
wrong. Maybe I am just too
damned hard to please. Who
knows. But on this particular
evening, one band made up for
all of the Nickelbacking and
boredom that had been molesting my musical palate for the
past few months.
Vancouver rock and roll
can thank Spreadeagle for this
purging of the weak. I had seen
them before, and whether it
was the wine, women, or thong
that had previously diverted
my attention, the $2 Whiskeys
were keeping me en pointe.
They wore red dress shirts
and leather vests; this, in my
opinion can make the band.
Tony Iommi did it. April Wine
did it. And now Spreadeagle
was doing it.
And that's not all they
were wearing. Drinks flew
through the air and landed,
some upon the stage, some
upon the clothing of the band.
The bass player had punched
somebody in the face at a previous show, and for that I'm
sure he was sorry. But it didn't
stop the crowd from trying to
entice these brothers of Zeke-
ish style punk into Wrestlema-
nia 35. The drummer, a young
elfish woman, who was apparently new in the lineup,
pounded the skins with amazing consistency and skill, all
this amid the chaotic dink-
dancing of the boys in front of
her. When hearing Spreadeagle
live one might conjure up some
comaprison to the Hookers,
old Dwarves or the Tight Bros.
But believe you me, this band
would be questioning me, if
they had the chance, as to why
I would compare them to anyone. They believe they are the
best rock band in this city. No
one will try and dispute that
egos are mightier than
What remains to be seen is
whether they even get another
show booked after this one.
Black Baby Diamondz
GUIDED BY VOICES
THE BATTLES
Wednesday, March 6
Richard's on Richards
Bob Pollard makes me drink.
It's a necessity. Every time I see
his band walk onstage with
their Coleman cooler full of Bud
and gladly share a few with the
audience I drool like the salivating alcoholic that I am. Bob Pollard also makes me want to
write    five    thousand    two-
minute-long songs. It's hopeless. Every time I see him walk
onstage with a 24" sheet of
paper covered in song titles I
drool like the failed non-musician that I am. So it was a typical Guided By Voices show
(my sixth to date). One would
think that I would now be used
to this band's relentless alcohol
tolerance and contagious ditties. One would think... I, on the
other hand, chose not to think.
the
iolei
GUIDED BY VOICES AT RICHARD'S. AS DRAWN BY SEAN MAXEY
We high-fived Bob all night and
were exposed to a first listen to
their upcoming album, due for
release this month. After a
while, though, I grew impatient. Where was "Portable
Men's Society," "14 Cheerleader
Coldfront"... Christ, where was
"Weed King"?! I realized,
through my stupor, that what
was going on was a brilliant
way to keep an audience attentive. We knew that they would
get into the classics sooner or
later so we just kept on listening
to the new stuff, which wasn't
that bad actually. However by
the time they reenacted ALMOST
THE ENTIRE FUCKING BEE
THOUSAND ALBUM, It was
bedtime for Luke. Awoke with
a devout new respect to what
draught beer does to your
insides, and a head full of disjointed, soon-to-be-loved new
GBV material.
Note to The Battles: I'm not
gonna pull the typical "I got
there too late to see the opening
band" horseshit because I did
catch most of your set and it
was really good. I was simply
too distracted, hangin' out and
getting excited for the headlin-
er blah blah. I will check you
out again, though—and try and
go easy on the pints. All apolo-
Luke Meat
DIMMUBORGIR
Friday, March 15
Wett Barr
As huge raindrops splashed
across our foreheads and freez-
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Medeski Martin and Wood
"UNINVISIBLE"
Medeski Martin and Wood's brew of instrumental hiphop space-funk is the product of a trio that's
constantly growing and now they've reached a new
zenith with their creative prowess.
With Uninvisible, MMW tests some new waters
creating danceable rhythms and elemental ambiance
that is sure to satisfy every MMW fan.
Guest artists include Eddie Bobe, DJ Olive, Antibalas
Horns, Col. Bruce Hampton, DJ P Love, Danny Blume.
Brad Roberts, and Scotty Hard.
www.bluenote.ca • www.mmw.net
LIVE April 26th
@ the Commodore
($15.99ea^
Soulive
"NEXT"
"the best band I've ever seen" — Dave Matthews
(introducing band at DMB show in Spring. TX 5/11)
With their dedication to the groove, they've been able to
obliterate genre-classifications, bringing toe-tapping
beboppers, head-noddin' b-boys and body-spinning hippies
together under one funky umbrella.
Their latest album NEXT features appearances from Black
Thought of The Roots. Talib Kweli, angelic soul songstress
Amel Larrieux. and new friend Dave Matthews singing Ani
DiFranco's 'Joyful Girl'.
www.bluenote.ca • www.soulive.com
IN CONCERT May 24th @ GM Place
(Opening for Dave Matthews Band)
hiisrciitcTii|     |l =<,', 11|
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25Efr^2®S£ ing wind galloped through our
clothes, we waited. The night
grew darker, the rain turned to
snow, seven o'clock turned to
nine, and we still waited at the
gates of the promised concert.
The army of freaks were
determined to get inside the
Wett Bar on the doomed
evening of March 15. Ironically,
after crossing the doorstep we
encountered yet another mechanism of personal control. It
seemed like a cop station, with
each person undergoing a
search and senseless questioning. Finally, all the anarchists
were able to break loose and
chill out as Dimmu Borgir was
about to perform.
The six Norwegian goths
appeared on a stage and the riot
began. The liberation of black
metal melody was enforced by
a strong haunting voice of Sha-
grath and operatic backing
vocals of Simen Hestnaes. The
band played songs from their
Norwegian Grammy winner
album Puritanical Euphoric Mis-
anthropia. As soon as they started, they grabbed our souls. The
music high put the crowd in the
ecstatic trance of head-banging
and mosh-pitting. In a collective
experience of chaos and freedom, we became a united
shout. The concert became a
manifestation of inner instincts
and desires, through artistic-
blend of mystic and hardcore
sounds. Unfortunately the awesome show stopped at its peak
as the band ran out of time. Due
to delay, for which the audience
was not given an explanation,
the three band, three hour show
turned out to be a one band, 40
minute performance. Only the
most devoted fans were happy,
for them the experience was
priceless; however, all others
were pissed off. We felt ripped
off and ignored, but I guess
crap happens when bureaucracy interferes with the purity of
Agata Krzy:
wwski
UBC JAZZ ENSEMBLE I
Friday, March 15
UBC School of Music Recital
Hall
UBC doesn't have a reputation
as a jazz school, but jazz director Fred Stride seems to be out
to change that. UBC now has
not one, but two jazz ensembles, and a small combo. On
March 15, the first jazz ensemble showed off their collective
goods during an excellent concert at UBC that proved that
Stride really loves Duke Ellington. The band played Ellington
charts for an hour straight, with
a Billy Strayhorn number
tossed in for good measure. The
band moved effectively from
quiet whispers to huge shout
choruses, with their massive
brass section (five trumpets and
four trombones) and two percussionists. The band also had
two clarinetists out for the
occassion, making for some
interesting interplay. Look for
the   UBC   Jazz   Ensemble   I
around town as they play every
so often with the Capilano College "A" Band.
Lucas TdS
US MAPLE
JERK WITH A BOMB
Thursday, March 21
Sugar Refinery
Research parameters: Classic
rock analogies amidst scientific
methodologies.
Performers: Jerk With a
Bomb.
Number of: Three (amended from the former two).
Sound: A slowrmotion CCR
plays the riffs of Black Sabbath
with comparatively sparse,
decisive voicing.
Drumming: Smart. Open.
Right.
Heat: Subject exhibiting
signs of severe dehydration, frequently bordering on loss of
consciousness.
Performers: US Maple.
Number of: Four.
Arrangement of said performers: Three in conventional
formation on stage, second guitarist faces stage from DJ crow's
(ignores pleas from companions
to adjust volume).
Audience: Caught in
crossfire.
Resulting image: Heavy
stereo, accentuating deceptively intricate orchestration
between strings.
Sound: AC/DC explores the
"European Son to Delmore
Schwartz" mansion while in the
and watched junkies sell cheese
from their coats. We finally got
down to the Pic and there's an
$11 cover charge. Big frig-
gin'deal. I got money. Don't
matter to me. Ya know? Just let
me in, and we won't have any
problems, you know what I'm
saying?
The guys in Three Inches
of Blood looked young, which
was fine by me, but they had
better put forth a good rockin'.
Me and Russ get a little cranky
when musicians don't CRANK
it UP... a good notch.
They came on after a lot of
fucking around. Me and Russ
went through four beers, before
they took to the squared circle
of amplified stonehenge. This
band had better be fuckin good.
I pawned my old lady's gold
nugget for this night-of-the-
beasts. This barbaric galavanti-
ng of two adequate, and most
rockingly equipped young men,
had better be entertaining—
good and hard.
After tuning up their equipment the kids, playing their first
number, belted out a good,
solid, power-saga that left no
person unaccosted. They didn't
even stop for a time-out—
straight into part deux. This
was just what the doctor
ordered: a solid dose of technical and loud power slaughter.
Fucking A.
Russ looked at me and
smiled. He looked genuinely
rocked, and then he yelled into
my ear that he had just farted.
US MAPLE BY LYNDSAY SUNG
death-rattle of a malarial fever
originally contracted during
tour of duty in Vietnam.
Drumming: New performer holds his own in marching to the beat of genius.
Heat: Subject now impervious to pain.
Research conclusions:
Unmitigated failure.
Steve DiPo
THREE INCHES OF BLOOD
STREETS
BLACKJACKS
Thursday, March 21
Pic Pub
The evening began with a precursory drink down at AI's. Me
and Russ downed a few beers
Fucking guy. So they played for
a while, and I started to get
bored, so I nudge Russ, and we
go up to the bar for another
drink.
The band was still playing,
and I began to feel like maybe
I'm too old to be rocking like I
do. But then I say fuck it, you
know. Who really gives a fuck.
Not me, that's the honest truth.
I enjoy the finer things in life.
Women, whiskey and rocking
out to good, technical, shit-kicking metal music. And I don't
care who knows about it. So if
you are reading this, Diane,
sorry about your nugget. It's
the price you gotta pay to keep
this wild, wild, motherfucker in
the partytime business.
Good Night.
Black Baby Diamonds
MERCEDES SOSA
Friday, March 22
Orpheum
When Mercedes Sosa came on
stage I was strongly reminded
of my aunt, a woman who's full
of enough love to fill a concert
hall, but who is also strong
enough to topple you upside
the head should you cross her.
There was no doubt in my mind
that Mercedes Sosa was a matriarch, and that her concert was
an allegory of her political
struggle. In the first part of the
show, her powerful, majestic
voice resonated with melancholic songs that brought many
in the audience to tears. Songs
about hardship and oppression—songs about her exile
from Argentina in the 1970s.
After the intermission, the
mood shifted dramatically from
melancholy to euphoria as the
music picked up and the dancing began. These songs were
about triumph and resilience;
about her return from exile.
Sosa was engaging and gracious and made me wish I
spoke Spanish so that I could
have understood the jokes she
cracked in between songs. She
weaved her audience into her
songs and into her experience;
she made me feel loved, hopeful and so nostalgic that I
almost called my aunt in the
wee hours of the morning. You
could say that there were
enough emotions surging in the
Orpheum that night to power a
small, South American country.
Rana E
CLINIC
KINGSBURY MANX
Sunday, March 24
Richard's on Richards
911 was useless, only a static
growl. Self-medication left me
retching into a broken glass. I
could hear the wail and whine
of an ambulance, oblivious to
my present condition, not
meant for me. I've overdosed
on all the latest designs: melancholy pop the bitterest pill, emo
twisted my insides straight. All
of it in me—raking at my
organs. Damn you, damn the
medical establishment and its
lacklustre elevator music. Bring
me to the fucking CLINIC.
The waiting room. The
opening act. A band I've never
seen, nor heard of, walk out
upon Dick's stage. They call
themselves Kingsbury Manx.
They follow through with a set
of dreamy psych-pop; unfortunately they verge into jam
(think Gomez) territory as the
songs bled out a little too long
for my taste. However, let it be
known, more than anything I
hate waiting rooms, specifically
waiting room music.
"The Doctors will see you
now." Dressed in surgeons'
best, with scrubs and surgical
masks. One is inclined to wonder, is it a desire for rock and
roll anonymity—do they want
the music to represent rather
than their Liverpool mug shots?
JERK WITH A BOMB
BY LYNDSAY SUNG
Do these rockin' Ronin plan to
dismember their audience with
artery-spurting speed, heal with
decisive musical know-how,
and transcend with a surgical
performance? My cold had
dropped away like so much
damp tissue, though I did walk
out one kidney shy. Ade Blackburn, Clinic's vocalist/keyboardist/guitarist, possesses a
distinctive and haunting voice.
The character in it furthers the
surreal, disjointed lyrics and fits
what seems to be an anti-every-
thing but their own policy of
songwriting. Influences are definitely there, but they contain
such an original take and sound
that all is forgiven. Clinic are a
unit, a team of professionals
and obvious specialists. The set
was cohesive, and yet almost
every track stood out as a peculiar shining gem (though I was
sliced open by "The Return Of
Evil Bill," "The Second Line"
and "Mr. Moonlight"). Their
enigmatic stage presence intensified the performance, allowing them to release a caustic,
manic delivery of material from
their two brilliant full-lengths—
Internal Wrangler and Walking
With Thee, respectively. A perfect operation and recovery, and
without that funny hospital
smell. Good thing Discorder has
decent medical.
Derek Sterling Boone
CAT POWER
DAN BEJAR
Monday, March 25
Richard's On Richards
Before I left for the show, I
called Richard's to see if there
were any tickets at the door,
because my roommate wanted
to see the lovely Chan Marshall.
According to the guy on the
phone, there were 30 people
standing outside the club, hoping for a ticket. That was seven
o'clock.
Fast forward to nine-thirty.
The place was packed and it
seemed like a hundred or more
conversations were going on. It
was a convergence of long-lost
friends and acquaintances you
only see at shows, a lovefest of
the Cat Power-initiated. Due to
the buzz of the crowd and my
shortness (I even wore huge
platforms, but it didn't help all
that much), I didn't realize that
Dan Bejar was playing until he
was on his fourth or fifth song.
It was strange to see the man
behind Destroyer, in what I
think was his first performance
since moving back to Vancouver, go unappreciated by most
of the crowd. Where were all
the boys who had told me that
Destroyer was the best, who
spoke of Bejar with reverence?
Maybe they've all moved
away—or moved on. From
where I was standing, Bejar didn't seem larger than life, even
though whenever anyone
talked about Destroyer/the
greatness of Thief, or I listened
to The New Pornographers,
Bejar took on otherworldly
qualities. From what I could
hear and see, he played in a
soft, dreamy fashion. I wish
we'd all paid a little more attention.
Everyone came to attention
when Chan Marshall got
onstage. I couldn't see, but I
knew she was there by the way
the entire venue became quiet,
save for the clink of the occasional empty pint glass. Would
she play beautifully? Would she
be able to play at all? We waited. We hoped. And then she
started singing. Oh that voice. I
hadn't imagined she would
sound even better in person,
commanding and vulnerable all
at once. After a few songs, she
started to get very fussy about
the vocal levels. She felt that
they were too loud in relation to
her guitar levels: "If it's not perfect, it's not any good." There
was a bit of feedback and an
uncomfortable pause or two.
For a moment I was worried
that she'd become withdrawn
and that some jerk would heckle her (which apparently happened at a show in San Diego.
How could anyone heckle
someone so sweet and fragile?),
but after a while she became
more relaxed, if not less apologetic. I'd like to think it was
because she liked us or at least
she liked Stanley Park and it
put her in a good mood. After a
while 1 could see her, long hair
and all. She was a vision: the
greyish sweatshirt, the faded
blue jeans, the white boots that I
want to report were cowboy
boots, but I'm not a boot expert.
She got the crowd whistling,
she playfully mouthed the chorus to "Knocking on Heaven's
Door," and she imitated a gorilla (which she followed up with
a reference to otters holding
hands. I had a small otter obsession this year, so I was pretty
excited). She hypnotized the
crowd, and she did it all with a
broken index finger on her left
hand. I was impressed, and left
feeling  peaceful  and  happy.
Doretta Lau
26 april 2002 cliortA
what's being played at CiTR 101.9fm
April Long Vinyl
April Short Vinyl
April Indie Home Jobs
1 Young and Sexy
Stand Up For Your Mother       Mint
1 The Spitfires
Juke   Box   High
Glazed
1 The Accident
Perestroiko
2 Clinic
Walking With Thee
Domino
2 Riff Randalls
How "bout Romance
Lipstick
2 Sharp Teeth
Burn Return
3 Boards of Canada
Geogaddi
Warp
3 Mirah
Cold Cold Water
k
3 The Organ
We've Got to Meet
4 Hanson Brothers
My Game
Mint
4 V/A
Volume One
Out of Touch
4 The Byronic Heroes
Ant   Dance
5 Tennessee Twin
Free To Do What?
Mint
5 The Mabels
Shifting Sands
Drive In
5 The Spinoffs
Novelty Garb
6 Reverend Horton...
Lucky 7
Artemis
6 Evaporators
Honk the Horn
Mint
6 Bestest
Willfor
7 Traveler '02
V/A
Six Degrees
7 Cave In
S/t
Hydrahead
7 Roadbed
JB   Fool
8 Cleats
LostVoice...
Longshot
8 The Lollies
Channel Heaven
Evil World
8 White Lights
Your Main Man
9 Tim Hecker
Haunt Me
SubTractif
9 Matt Pond
This is Not
Polyvinyl
9 Human Hi-Lite Reel
Lamb-a-Rama
10 Shalabi Effect
The Trial Of...
Alien8
10 Piebald
Just a Simple Plan
BWR
10 Second Narrows
Live off the Floor
11 Joey Ramone
Don't Worry About Me   Sanctuary
11 The Cleats
Save Yourself
Longshot
11 Bend Sinister
Untitled
12 Japan For Sale
V/A
Sony
12 Stereo/Ultimate
Split
Popkid
12 Western Magnetics
Fade Into You
13 Gas Huffer
The Rest of Us
Estrus
13 Class Assassins
No Justice
Insurgence
13 Ether's Void
It's   Over
14 Eels
Souljacker
Dreamworks
14 Destroyer
The Music Lovers
Sub Pop
14 The Winks
Aprin   Fell
15 Froq Eyes
The Bloody Hand
Global...
15 Mea Culpa
Corporate
Nation Empty
15 Stoke
The Black Sorrows
16 Death Cab for Cutie The Stability EP
Barsuk
16 Tijuana Bibles
Mexican Courage
Trophy
16 Dr. Pong
Snapshot
17 Monsieur Guy
I     Don't     Know...
Independent
17 Songs:Ohia
The Gray Tower
SC
17 Mr. Solid
Already Gone
18 All Girl Summer...
S/t
K
18 Rye Coalition
Zz Topless
Tiger Style
18 Too Hectic
As You Were
19 Dressy Bessy
Sound Go Round
Kindercore
19 Red Hot Lovers
S/t
Redline
19 Implosia
Constellations
20 Capozzi Park
The Record...
Independent
20 The Organ
We've Got to Meet
Genius
20 Six Block Radius
Kill to Hide
21 Controlled Bleeding
Can You Smell...    Tone Casualties
22 Andrew WK
I Get Wet
Island
23 Weezer
Maladroit sampler
Geffen
24 Rinocerose
25 Mirah
Music Kills Me
Advisory Committee
Or                           Err
V2
K
peror Norton
(
HOW THE CHARTS WORK J
26 Golden Boy With..
27 And You Will Know
Source Tags...
Interscope
28 Goriliaz
G Sides
Virgin
The monthly charts are comp
led based on the number of times a CD/LP
29 Billy Bragg
England...
Elektra
("long vinyl"), 7"
("short vinyl"), or demo tape/CD ("indie
home jobs") on
30 KMFDM
Attak
EFA
OiTD'c   r-J cawlict   \a/o
Mir   n le   /-tiirin/-.   tt->/-.   nrnwi/Mio   r»-
.    /•        "A        I"
CiTR's playlist was played by our DJs during the previous month (ie, "April"
charts reflect airplay over March). Weekly charts can be received via email.
Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-
charts." •
ATTENTION: NERDS
Discorder magazine needs more Mac-literate
computer geeks to help us not die every
month. If you think this sounds like a
volunteer opportunity you can't refuse, email
<discorder@club.ams.ubc.ca> with the
subject heading "I'm-a big nerd."
advertise with discorder
we're unbelievably cheap!!!
contact steve
604.329.funk
discorder@yahoo.com
27EtRs2®£3S OM
your guide to CiTR 101.9fm
SUNDAY
ARE YOU SERIOUS? MUSIC
9:OOAM-12:00PM   All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
THE ROCKERS SHOW  12:00-
3:00PM      Reggae   inna   all
styles and fashion.
BLOOD    ON    THE    SADDLE
3:00-5:00PM Real-cowshit-
caught-in-yer-boots country.
CHIPS    WITH    EVERYTHING
alt. 5:00-6:00PM British pop
music from all decades.
SAINT   TROPEZ   alt.    5:00-
6:00PM    International    pop
(Japanese,   French,   Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
QUEER   FM      6:0O-8:0OPM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background on current issues and
great music.
RHYTHMSINDIA 8:00-
10:00PM Rhythmslndia features a wide range of music
from India, including popular
music from Indian movies from
the 1930s to the present, classical music, semi-classical music
such as Ghazals and Bhajans,
and also Quawwalis, pop and
regional   language  numbers.
THE     SHOW 10:00PM-
12:00AM Strictly Hip Hop-
Strictly Underground—Strictly
Vinyl. With your host Mr.
Rumble on the 1 & 2's.
TRANCENDANCE 12:00-
2:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to
propel us into the domain of the
mystical. <trancendance@hot-
MONDAY
BBC WORLD SERVICE 6:00-
8:00AM
BREAKFAST       WITH        THE
BROWNS   8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
LOCAL KIDS MAKE GOOD
alt. 11:00-1:00PM
GIRLFOOD alt. 11:00-1:00PM
PARTS UNKNOWN 1:00-
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
STAND AND BE CUNTED
3:00-4:00PM
DJ Hancunt wants you to put
your fist to the wrist—you know
where!
ABSOLUTE BEGINNERS 4:00-
5:00PM A chance for new
CiTR DJs to flex their musical
muscle. Surprises galore.
WENER'S BARBEQUE 5:00-
6:00PM Join the sports dept.
for their coverage of the T-Birds.
CRASH THE POSE (formerly
Evil Vs. Good) alt. 6:00-
7:30PM Hardcore/punk as
fuck from beyond the grave.
REEL   TO    REEL    alt.    6:00-
6:30PM
Movie reviews and criticism.
MY ASS alt. 6:30-7:30PM
Phelps, Albini,  n' me.
WIGFLUX RADIO 7:30-
9:00PM
Since we can't go into advertising, we thought we'd go into
radio. Our blurb sux, but our
show don't. Tune into Wigflux
Radio with your hosts Vyb and
Krysta belle.
THE JAZZ SHOW 9:00PM-
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
Apr. 1: Forty two years ago today,
we resurrect Outward Bound,
multi-instrumentalist/composer
and innovator Eric Dolphy's first
ground breaking recording.
Apr. 8: Jazz At Oberlin, pianist
Dave Brubeck's classic with some
of alto saxophonist Paul
Desmond's finest work... listen as
an audience of classical music
students respond like a frienzied
rock and roll crowd.
Apr. 15: John Lewis (piano), Milt
Jackson (vibes), Percy Heath
(bass) and Connie Kay (drums)
add up to the Modern Jazz
Project... tonight some of their
best "In Concert"  recordings.
Apr. 22: In honour of his 80th
birthday, Charles Mingus will be
our show for the full three hours.
No tribute or "ghost" bands, just
Mingus.
VENGEANCE IS MINE 12:00-
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
PSYCHEDEUC AIRWAVES 3:00-
6:30AM
TUESDAY
PACIFIC PICKIN' 6:30-8:00AM
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
An old punk rock heart considers the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
<worldheat@hotmail.com>.
THIRD TIME'S THE CHARM
9:30-11:30AM Open your
ears and prepare for a shock!
A harmless note may make you
a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most dangerous criminal! <borninsixty-
nine@hotmail.com>
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only
industrial-electronic-retro-goth
program. Music to schtomp to,
hosted by Coreen.
ELECTROMAGNETIC PULSES
alt. 11:30AM-1:00PM
PARTICLE 1:00-2:00PM
Incorporated into the soul are
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
H
REGGAE LINKUP
ARE YOU
SERIOUS?
MUSIC
ROCKERS
SHOW
BLOOD ON THE L
SADDLE
CHIPS WITH I PO  I    SAINT    IPo
EVDTiTHINGl—-J TROPEZ I	
QUEER FM
RHYTHMSINDIA
| Vto|
IE
TRANCENDANCE
BBC WORLD
SERVICE
BBC WORLD SERVICE
BREAKFAST "-
WITH
THE BROWNS
0
GIRLFOOD
LOCAL KIDS
MAKE
GOOD(EC)
PARTS      L
UNKNOWN
STAND AND BE CUNTED(CF)
ABSOLUTE BEGINNERS!
N   REEUORmtTK
CRASH"—•
THE POSE
WIGFLUX RADIO u
THE
JAZZ
SHOW
VENGEANCE
IS MINE!
PSYCHEDELIC
AIRWAVES
|Rs|
PACIFIC PICKIN'
WORLD HEATL
THIRD TIMES
THE CHARM
)AY^
ELECTRO
MAGNETIC
PULSES
CPR
MEAT EATING VEGAN(Ec
10,000 VOICES (Tk)
FLEX YOUR
HEAD
SALARIO MINIMO
VENUS
FLYTRAP
SOULl—
SONIC
WANDERLUST
AURAL
TENTACLES
BBC WORLD SERVICE
SUBURBAN JUNGLE
FOOL'S PARADISE L
SHAKE       [H STEVE & MIKE
RADIO FREE PRESS
H
MOTORDADDY
H
RACHEL'S
SONG
POP GOES THE I Ec I
WEASEL
STRAIGHT OUTTA \^\
JALLUNDHAR
HANS KLOSS'
MISERY HOUR
FIRST FLOOR
SOUND SYSTEM
BBC WORLD SERVICE
END OF THE
WORLD NEWS
PLANET
LOVETRON
CANADIAN     IH
LUNCH
RHYMES &
REASONS
OUT FOR KICKS
ON AIR        LU
WITH GREASED HAIR
LIVE FROM...    "-
THUNDERBIRD HELL
HIGHBRED VOICES
PLUTONIAN
NIGHTS
BBC WORLD
SERVICE
CAUGHT IN
THE RED
SKAT'S       l
SCENIC DRIVE
THESE ARE THE
BREAKS
m
LEO RAMIREZ
SHOW
NARDWUAR
PRESENTS
FAREASTSIDE
SOUNDS
AFRICAN
RYTHMS
BREAKING      Lf
WAVES IN YOUR
HEAD
THE MORNING AFTER
SHOW(Rr)
BBC WORLD SERVICE
THE
SATURDAY
EDGE
GENERATION [Pul
ANNIHILATION
POWERCHORD
CODE BLUE
[rk j
RADIO FREE AMERICA
SYNAPTIC
SANDWICH
SOUL
TREE
13
THE RED
EYE
~B
PIPE
DREAMS
|Hh/Dc
EARWAX
REGGAE LINKUP
8
9
10  '
11
12pm
1
2
3
4
5
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Re= reggae • Rr= rock • Rts= roots • Sk = ska «So= soul • Sp= sports • Tk= talk • Wo= world
28 april 2002 the remnants of digital sound.
Unleashed, cryptic economies
accelerate the sound particles
through states of Becoming,
breaking the flesh, whirling,
hydra-head, rhizomatic sky.
www.shrumtribe.com
CPR 2:00-3:30PM
Buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA BOMBA (First three
Tuesdays of every month)
3:30-4:30PM
ELECTRIC AVENUES 3:30-
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a special focus
on people with special needs
and disabilities.
THE MEAT-EATING VEGAN
4:30-5:00PM
10,000     VOICES 5:00-
6:00PM Poetry, spoken word,
performances, etc.
FLEX YOUR HEAD 6:00-
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
hup: //flexyourhead .Vancouver-
hardcore.com/
SALARIO MINIMO 8:00-
10:00PM
VENUS FLYTRAP'S LOVE DEN
alt. 10:00PM-12:00AM
< loveden@hotma i I .com >
SOULSONIC WANDERLUST
alt. 10:00PM-12:00AM
Electro-acoustic-trip-dub-ethno-
groove-ambient-soul jazz-fusion
and beyond! From the bedroom to Bombay via Brookyln
and back. The sounds of reality
remixed. Smile. <sswander-
lust@hotmail.com>
AURAL TENTACLES 12:00-
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
something different. Hosted by
DJ Pierre.
WEDNESDAY
BBC WORLD SERVICE 6:00-
7:00 AM
THE SUBURBAN JUNGLE
7:00-9:00AM Bringing you
an entertaining and eclectic
mix of new and old music live
from the Jungle Room with your
irreverent hosts Jack Velvet and
Nick The Greek. R&B,
disco, techno, soundtracks,
Americana, Latin jazz, news,
and gossip. A real gem!
<suburbanjungle@channel88.com>
FOOL'S PARADISE 9:00-
10:00AM   Japanese   music
FILL-IN 10:00AM-11:30PM
ANOIZE  11:30AM-1:00PM
Luke Meat irritates and edu-
strong.
THE   SHAKE    1:00-2:00PM
RADIO FREE PRESS 2:00-
3:00PM Zines are dead! Long
live the zine show!
MOTORDADDY 3:00-
5:00PM "Eat, sleep, ride, listen to Motordaddy,  repeat."
RACHEL'S SONG 5:00-
6:30PM Socio-political, environmental activist news and
spoken word with some music
w.necessaryvoices.org
POP    GOES    THE    WEASEL
6:30-7:30PM
AND SOMETIMES WHY alt.
7:30-9:00PM
(First   Wednesday   of   every
month.)
REPLICA REJECT alt. 7:30-
9:00PM Indie, new wave,
punk, noise, and other.
FOLK OASIS   9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters,worldbeat, alt. country
and more. Not a mirage!
<folkoasis@canada.com>
STRAIGHT OUTTA JALLUND-
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HANS KLOSS' MISERY HOUR
12:00-3:00AM
FIRST FLOOR SOUND SYSTEM
3:00-6:00AM
THURSDAY
BBC WORLD SERVICE 6:00-
8:00AM
END OF THE WORLD NEWS
8:00-10:00AM
PLANET LOVETRON 10:00-
11:30AM Music inspired by
Chocolate Thunder, Robert
Robot drops electro past and
present, hip hop and inter-
galactic funkmanship.
CANADIAN LUNCH 11:30AM-
1:00PM
STEVE AND MIKE 1:00-
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and  slow  (hardcore).
THE ONOMATOPOEIA SHOW
2:00-3:00PM Comix comix
comix. Oh yeah, and some
music with Robin.
RHYMES AND REASONS
3:00-5:OOPM
LEGALLY HIP alt. 5:00-
6:00PM
PEDAL REVOLUTIONARY alt.
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need ,and even cruise
around while doing it!
www.sustainability.com/dinos/
radio
OUT FOR KICKS 6:00-
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
ON AIR WITH GREASED
HAIR 7:30-9:00PM The
best in roots rock 'n' roll and
rhythm and blues from 1942-
1962 with your snappily-attired
host Gary Olsen.
<ripitup55@aol.com>
LIVE FROM THUNDERBIRD
RADIO      HELL 9:00-
11:00PM   Local muzak from
9. Live bandz from 10-11.
HIGHBRED VOICES
11:00PM-1:00 AM
PLUTONIAN NIGHTS 1:00-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
http://plutonia.org
FRIDAYS
BBC WORLD SERVICE 6:00-
8:00AM
CAUGHT IN THE RED 8:00-
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
SKA-T'S   SCENE-IK   DRIVE!
10:00AM-12:00PM
Email requests to <djska_t@hot-
THESE ARE THE BREAKS
12:00-2:00PM Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
hop, old school classics and
original breaks.
THE LEO RAMIREZ SHOW
2:00-3:30PM The best mix of
music, news, sports and commentary from aroung the local
and international Latin
American communities.
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
3:30-5:00PM
CITR NEWS AND ARTS 5:00-
6:00PM  On  hiatus  for the
September.
FAR EAST SIDE SOUNDS alt.
6:00-9:00PM
AFRICAN RHYTHMS alt.
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa, and African
music from around the world.
HOMEBASS 9:00PM-12:00AM
Hosted by DJ Noah: techno,
but also   some trance, acid,
ribal,
t  DJs,
Her-
views, retrospectives, giveaways, and more.
BREAKING WAVES IN YOUR
HEAD 12:00-2:00AM
THE MORNING AFTER SHOW
2:00-4:00AM
SATURDAY
BBC WORLD SERVICE 4:00-
8:00AM
THE SATURDAY EDGE
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
performances.
GENERATION ANNIHILATION 12:00-1:00PM
POWERCHORD 1:00-3:00PM
Vancouver's only true metal
show: local demo tapes,
imports, and other rarities.
Gerald Rattlehead, Dwain, and
Metal  Ron do the damage.
CODE BLUE 3:00-5:00PM
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy, and
Paul.
ELECTROLUX HOUR 5:00-
6:00PM
RADIO FREE AMERICA 6:00-
8:00PM Due to popular
demand,Dave Emory returns to
the CiTR airwaves with his legendary For The Record radio
series.
SYNAPTIC SANDWICH 8:00-
10:00PM
SOUL TREE alt. 10:00-
1:00AM From doo-wop to hip
hop, from the electric to the
eclectic, host Michael Ingram
goes beyond the call of gospel
and takes soul music to the nth
degree.
PIPEDREAMS alt. 10:00-
1:00AM
THE RED EYE alt. 1:00-
4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.
—Guy Smiley
REGGAE LINKUP 4:30-
9:00AM Hardcore dancehall
reggae that will make your mitochondria quake. Hosted by
Sister B.
WWW.CITR.CA
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1_ date: boo L
what's happening in April
SUBMISSIONS TO DATEBOOK ARE FREE.   FOR
THE MAY ISSUE. THE DEADLINE IS APRIL 29. FAX
SHOW. FILM. EVENT AND VENUE LISTINGS
TO 604.822.9364 OR EMAIL
<DISCORDER@CLUB.AMS.UBC.CA>
FRI 29
vampire /imf(er@blinding light!!; torn;
irren@www.shrumtribe.com; de la si
\ jirku, tobias, daniel gard-
il@commodore; rye coali-
SAT30
the commitrnents@commodore; gaylord@video in (craft fair 12pm-3pm; art
opening 8pm); jesus Christ vampire feiin/er@blinding light!!, martin
tielli@richard's; sadies, beachwood sparksk'pic; jerry holland@croatian cultural centre; new vear, pedro the lion, se,i worth vV'.'graceland; canucks vsana-
heim mighty fucks@gm place
SUN 31
gavlord;".'video in (doors 7: >()pm); young and sexy@zulu records (4pm); jesus
clirist vampire /iwift'r@blinding light!!; neil halstead@richard's
MON1
aistonwksonar; spirin.ialized@commodore; new art by Steven horwood@main
TUES 2
dickin' aroiiiiil'>'\At\\t\\i\y, light!!; parallela improvised music series@sugar refinery; fila brazillia, mark rae@sonar; add n to x, cobra high, helio sequence,
neil halstead, sid hillman@graceland (seattle); canucks@l.a. slaves
WED 3
artropolis revisited@blinding light!!; assertion@sugar refinery; jp carter
trio@main; giant sand@crocodile (seattle)
THURS4
rock action!@blinding light!!; Christine fellows@sugar refinery; trail vs rus-
sia, holding pattern@ms. t's; moka orUy®element; Lisa o'neilJ@main; princess
superstar@wett bar
FRI 5
the new pornographers, young and sexy, the gay@commodore; cano capo-
ro/(o@blinding light!!; chris cultler and masa John anzai@western front; dee
daniels and denzel sinclaire@cap college performing arts theatre; parlour
steps, clay george@sugar refinery; mac pontiac@main; da capo@anza club;
eels@crocodile (seattle); Jonathan richman feat, tommy larkins@showbox
(seattle); canucks vs minnesota child@gm place
SAT 6
cano o?/'():'()/fo@blinding light!!; georg graewe Vancouver ensemble@western
front; dee daniels and denzel sinclaire@cap college performing arts theatre;
new old jass band, brian Jordan from san diego@sugar refinery; thirsty@main;
baby blue sound crew, choclair@commodore
SUN 7
heroes and j>i7/<j;ns@blinding light!!; summerlad, dave gowans@sugar refinery; shine@main; canucks vs pheonix crybabies@gm place
MON 8
cap college photo show@sugar refinery
TUES 9
/tVsfo@blinding light!!; parallela tuesdays@sugar refinery; canucks@colorado
buttmunch
WED 10
/ics(o@blinding light!!; hard rubber orchestra@vancouver east cultural centre; assertion@sugar refinery; jason michas@main
THURS 11
lucinda williams@commodore; drama queens@b\'mdmg light!!; chris tarry's
collective conscience@cap college performing arts theatre; greg davis, hrvats-
ki, loscil@sugar refinery; dave seymour@main; scratch perverts@wett bar;
canucks vs l.a. pork sausage@gm place
FRI 12
honeymoon suite, the rik emmett band performing triumph hits@com-
modore; can dialectics break briots.7@blinding light!!; rufus cappadocia with
tony wilson and dylan van der schyff@western front; millennium project
iv@sugar refinery; falcons@main; pedro the lion, p:ano@richard's (early
SAT 13
big sugar, John ford@commodore; sinoia caves cd release party@blinding
light!!; the buttless chaps, carolyn mark and her roommates@sugar refinery;
resin, jon wood@main; and you will know us by the trail of dead@richard's
(early show); shins, fruit bats, dizzy signals@graceland (seattle); piebald,
minus the bear, audio learning centre@paradox; quasi, mountain goats, sarah
dougher@emp sky church (seattle); wiggle fashion show@sonar;
canucks@calgary flamers
SUN 14
enjoy yourse(/@blinding light!!; omar sosa septet@richard's; angie inglis@sugar
refinery; dustin kiellor@main; von bondies, soledad brothers@pic
MON 15
jp    carter    trio@sugar    refinery;    firewater,    essex    green,    ladybug
transistor@graceland (seattle)
TUES16
the star wars spinoff show@blinding light!!; parallel;
WED 17
the star wars spinoff show@blinding light!!; assertion@sugar refinery; audio-
lava@main; edith frost@graceland (Seattle)
THURS 18
eon play live to institute benjamenta@blinding light!!; bruce nielsen band@cel-
lar; bruce freedman trioQsugar refinery; t.paul ste. marie presents...©main; spitfires, by a thread, nastv one richard's; dj swamp@sonar
FRI 19
beres   hammond@commodore;   cannibal   corpse,   dark   funeral,   pissing
razors@richard's; a galaxy far, far <7<<><7i/@blinding light!!; dave mcmurdo@cap
college performing arts theatre; broken crow quartet@sugar refinery; parlour
steps@main; les savy fav, gg dartray@pic; beres hammond@commodore
SAT 20
tony levin band@richard's; jayhawks, cash brothers@sonar; a galaxy far, far
(iu»rti/@blinding light!!; jim munroe book launch (7pm), golden wedding band
(10pm)@sugar refinery; heather griffin and good wood@main; jayhawks@sonar
(early show); david morales@commodore; trail vs russia, vermilion, building
press@pic; ivanna santilli@sonar
SUN 21
vrca record and cd sale@croatian cultural centre (llam.5pm); a galaxy far, far
fluwi/@blinding light!!; erik truffaz ladyland quartet@norman rothstein theatre;
spoken word with trish kelly@sugar refinery; fireballs of freedom, lost
goat@pic; explosions in the sky, fridge@richard's
MON 22
hard rock miners@main; jack johnson@richard's; nick cave and the bad
seeds@paramount (seattle)
TUES 23
billy bragg and the blokes, martina sorbara@commodore; a galaxy far, far
flu'fli/@blindini sugar refinery; dj brian@sonar
WED 24
a galaxy far, far «i«?i/@blinding light!!; lousy bum@sugar refinery; cara luft@main
THURS 25
byo8@blinding light!!; cubanismo!@commodore; frog eyes@sugar refinery;
robincarrig,n <ov@sonar
FRI 26
medeski, martin and wood@commodore; sidewalk snr/iny@blinding light!!; jp
carter  quartet@sugar  refinery;  johnny   wisdom@main;   iced   earth,   in
flames@croatian cultural centre
SAT 27
bonobo, anti-pop consortium, buck 65@sonar; sidewalk s
trianglerich@sugar    refinery;    dave    gowans,    da'
gadgets@brickyard
SUN 28
the slcnv escape@b\indmg light!!; kick in the eye@main; cc
tre; tanya donelly@richard's
MON 29
barrage@orpheum
WED MAY 1
days@sugar refinery    brooks and dunn, dwight yoakam, gary alien, trick pony, chris cagle@gm place
THURS 2
CITR PRESENTS RADIOGRAM, THE BEANS, THE SECRET THREE
©PICADILLY PUB; donald glaude@sonar
FRI 3
cracker, sound of urchin@richard's
Minding light!!
smith@main
ie caldor@chan a
Apecial even*a
GAY BIZARRE
a double dose of sex/gender violence at the
video in. on march 30, there'll be a craft fair
from 12 to 3 pm and an art opening at 8 pm. on
march 31, come and see third antenna, a "radical drag documentary" and catch rock bands
night nurse, the organ, incredible children of
the future and seagulls ahoy, doors at 7:30pm.
it'll be really, really gay.
RECORD FAIR
if you find a copy of elton John's captain fantastic and the brown dirt cowboy on Sunday, april
21 at the Croatian cultural centre snap it up.
consider yourself very lucky to find such a rare
and valuable record.
LINK-AGE
april 19, 20, and 21 Vancouver new music presents udo kasemets, allison cameron, and
many other talented, experimental composers
from estonia (okay, from other countries too)
at various venues, for more information visit
www.newmusic.org or call 604.633.0861
place*to be
bassix records
217 w. bastings
604.689.7734
pic pub
620 west pender
604.669.1556
beatstreet records
3-712 robson
604.683.3344
railway club
579 dunsmuir
604.681.1625
black swan records
3209 west broadway
604.734.2828
richard's on richards
1036 richards
604.687.6794
blinding light!! cinema
36 powell
604.878.3366
ridge cinema
3131 arbutus
604.738.6311
cellar
3611 west broadway
604.738.1959
scrape records
17 west broadway
604.877.1676
chan centre
6265 crescent
604.822.9197
scratch records
726 richards
604.687.6355
club 23
23 west cordova
sonar
66 water
604.683.6695
cobalt
917 main
604.685.2825
sugar refinery
1115 granville
604.331.1184
commodore ballroom
868 granville
604.739.4550
teenage ramapage
19 west broadway
604.675.9227
crosstown music
518 west pender
604.683.8774
Vancouver playhouse
hamilton at dunsmuir
604.665.3050
futuristic flavour
1020 granville
604.681.1766
video-in studios
1965 main
604.872.8337
highlife records
1317 commercial
604.251.6964
western front
303 east 8th
604.876.9343
the main cafe
4210 main
604.709.8555
wett bar
1320 richards
604.662.7707
ms. t's cabaret
339 west pender
WISE club
1882 adanac
604.254.5858
orpheum theatre
smithe at seymour
604.665.3050
yale
1300 granville
604.681.9253
pacific cinematheque
131 howe
604.688.8202
zulu records
1972 west 4th
604.738.3232
30 april 2002  RADIOGRAM
All the Way Home CD
All the way home we sang our
patchwork of songs, weaving in a
stitch of the old with a stitch of the
new. All the way home Jailing somewhere between a serene dream and
the rolled reality. All the way home lying in a burned out basement, watching the full moon cry. All the way home through the
landscape wiped out, with 13 songs rambling through your
head. All the way home with RADIOGRAM by my side.
CD 14.98
GIANT SAND
A Covers Magazine
CD/LP
A band like GIANT SAND doesn't
Mcover someone else's songs so
much as inhabit them, making the
songs their own while also revealing
what is most true and good about the them in the first place. In
any case, a covers album is not really a departure or a surprise
for GIANT SAND, is it? Gelb and crew have always kind of audibly paid tribute to all the music they're influenced by, however
cryptic as this tribute sometimes gets. Even their flightiest
moments reference the many fixtures in their eclectic library of
resources - a collection of well-used quotations complicatedly
fitted into a reaching, countrified psych-rock. Oh, GIANT SAND,
what more needs to be said?
CD 19.98    LP 16.98
THE HERBALISER
Something Wicked
This Way Conies
CD/LP
Finally, a new official LP release
from Jake Wherry and Ollie Teeba
— better known to all of you heads as THE HERBALISER. Aided
and abetted as per usual by a select crew of hot musicians
and killer vocal stylists (MF Doom, Rakaa Iriscience of
Dilated Peoples >— need we go on?) this slab of wax is guaranteed to blow the roof off of any party. Straight up hip-hop,
funky jazz and even some sweet soul on the title cut make this
little gem something wicked indeed.
CD 16.98    LP 16.98
SWAYZAK
Groovetechnology
VOI.1.32CD/2LP
Boom click, boom click, boom
click, boom click, boom click,
boom click, boom click, boom click,
boom click, boom click, boom click,
boom click, boom click, boom click, boom
boom click, boom click, boom click, boom
boom click, boom click, boom click, boom
boom click, boom click, boom click, boom
boom click, boom click, boom click. A grea
CD collection of cool leading edge minimal
piled and mixed by the increasingly populai
Herbert, Monolake. Luomo, Studio 1,
AVAILABLE APRIL 8™.
2CD 24.98    2LP 19.98
JAPANCAKES
Belmondo/Blissout CD 19.98
Take out your camera and smear a little Vaseline around
the lens. Shoot into the sun and overexpose the subject.
Now develop the contact sheet. While doing so, add some
sand for a grainy finish. The results are the kind of haphazard
magic perfectly suited to accompany the music of
JAPANCAKES. Their instrumental, reverb-heavy aesthetic
makes for a sublime listen, with dreamy phrases that shift in
and out of focus, and gently driving drumming that holds it
all together. Excellent. AVAILABLE APRIL 9™.
click, boom click,
click, boom click,
click, boom click,
click, boom click,
t and hypnotic two
house sounds com-
■ SWAYZAK, featuring
and more. Nice.
3 INCHES OF BLOOD
Battlecry Under a Winter Sun CD
A couple of months ago Discorder ran a nifty article on these
local lads. This month they release their full length, in
response to a near sold out EP of New New Wave Of British
(Columbia) Heavy Metal! Things have been happening at quite
a quick pace for 3 INCHES OF BLOOD. They've travelled to the
center of the Minotaur's maze, avoided the Gelatinous Cube
and charmed many a Gnome. You ask: "Will my life stay the
same after hearing this record?" Quoth the Raven,
"Nevermore."
I TfecoPhsA
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
wvvw.zulurecords.com
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
CD 19.98
CD 12.98
DO MAKE
SAY THINK
& Yet & Yet CD/LP
This album could be a possible
alternative soundtrack to
Godfrey Reggio's Koyaanisqatsi,
replacing Philip Glass' beautiful but somewhat dour
work. With a Jew years behind us, perhaps
Reggio's vision of urban life - a life, Reggio suggests, out of balance - could be reconsidered as
also a place of humanity and variety, not just a
source of possible alienation and depression.
While this is a lot to place on any record, and new
images would be required too, there is something
about Toronto's DO MAKE SAY THINK's picturesque
post rock that conjures optimistic images of city
life, a perspective that contrasts with the
doubtful attitude of their Montreal-based
compatriots, God Speed You
Emperor. A wonderful new
recording by this thoughtful
and capable band, even
better than their last
already great work,
Goodbye Enemy Airship
the Landlord is Dead.
CD/LP 14.98
THE
CLIENTELE
The Lost
Weekend CD
Upon the completion of my
twenty-first year, I sold my sister's
antique kite collection and used the funds on petrol for
father's recently restored '65 Oxford Cambridge. Under
cover of Northern England's darkest winter nights, I set out
along my highlighted route of non-A roads towards London. I
could not afford to be detected by the Bobbies, and feeling like
Chaucer on a pilgrimage, I made good time towards the mecca:
London's fashionable Soho high streets. There, I expected to
reacquaint myself with all my nasty habits, not to mention my
old mate, Rupert. The first club had a band, a three piece
informed by many of my favorites: The Velvet Underground,
Felt and The Feelies. They were good;-1 bought a pin. That
plus a few dents in the Cambridge were the only reminders of
my glorious Lost Weekend - now I'm spending the summer
shoeing horses for the county fair pony ride.
CD 14.98
ANTIPOP CONSORTIUM
Anliythmia CD/2LP
l» op the top on this verbal metropolis/the city speaks with
U broken beats and analogue bleeps/the futuristic black
moses semantic cyber surfer schtick/saying oh shit check
what that kid just did/flipped your lid with the point and click
boom bip/dropped two slabs of that apoplectic hectic eclectic/rock more go-go gadgets than general electric/block rocking splenetic/and although the psuedo intellectual white music
critics hated/the real heads know this joint is crazy long awaited. AVAILABLE APRIL 4'".
CD 19.98    2LP 22.98
MARK KLEINER
POWER TRIO
Love To Night CD
For all those who have been on top
of the Mark Kleiner Musical
Adventure (Jungle, Sister Lovers,
etc), this album should come as no
surprise. Mark has always had an uncanny knack for a hook, and
his latest concoction, Love To Night, is ten pop-rock gems showcasing Mark s slick razzle dazzle songcraft with a stellar hand-
picked supporting cast in Pete (Flash Bastard) Mills and Kurt
(New Pornographers) Dahle — arguably the first summer
record of 2002!
CD 12.98
BADLY DRAWN BOY
About A Boy CD/LP
The talents of BADLY DRAWN BOY AKA Damon
Gough have been hotly debated. For the disbelievers, the fact that he constantly rolls out of bed
and onto the stage with his knit cap on is mildly
disturbing! Pop craft (and commercial success) is not supposed to be so effortless. But why - is this not the classic signifier of pop genius? Witness
Mr. Wilson and Mr. Lennon - brilliance requires hours of sleep.
Some may argue that brilliance
also requires one to look handsome in Jeans and a T-shirt. Ok,
change the topic... How many
saw the film High Fidelity (a fascinating picture about record shops as
nodes for the exchange of important
cultural ideas and phone numbers)? It
urns out Mr. Nick Hornby's latest tidy
wel is also being made into a film -
this is the soundtrack! Hum in the
look scruffy, and boychild you'll do fine!
3LE APRIL 9™.
6.98    LP 16.98
CORNERSHOP
Handcream For A Generation
CD/LP
It has been five years since When I Was Bom For the 7th
Time was voted a critics fave in 1997! Quite some time for
a follow up to the sublime moments of Brimful Of Asha, yet
Tijinder Singh knew what he was doing and managed to
keep busy with Clinton and DJ sets of rare white labels. The
new CORNERSHOP would have to come along at the exact
moment when London's boogie parties were becoming dry
and chapped. So here it is. ..13 songs with guests Noelly G,
Rob Swift, Otis Clay and others! Handcream For A
Generation - Rub some on! AVAILABLE APRIL 9™.
CD 16.98 LP 16.98
FANTOMAS/MELV1NS
Millennium Monsterwork CD
This release commemorates the third anniversary of Mike
Patton's IPECAC record label. In this short time, we have all
been blessed by new work from FANTOMAS, Tomahawk, and of
course the only real grunge band there was, The Melvins. Well
cult fans, you may now collectively say 'My Prayers are
Answered!" as IPECAC does the impossible - assemble and document this product of the supergroup big-band Fantomasmelvins!
CD 19.98
SALE PRICES IN EFFECT UNTIL APRIL 30,2002
PLUS NEW RELEASES:
PINE VALLEY COSMONAUTS- The
Executioner's Last Songs CD Jon Langford
returns with Steve Earle, Edith Frost, Sally
Timms and others!
RED- Sketchbook CD/LP- UK's legendary
graffiti artist makes his WARP Records
debut!
PAPA M- Mac CDEP
CHICAGO UNDERGROUND DUO Axis and
Alignment CD
Various- NOISE POP CD- w/ Neko Case, GBV,
Flaming Lips and more!
HERBERT- Secondhand Sounds 2CD/3LP
BREEDERS- Off You 10" A limited vinyl only
release!
ALFIE- A Word in Your Ear CD Delicate folk
pop from the British Isles.
ANTIBALAS- Talkatif CD/LP
INTERNATIONAL NOISE CONSPIRACY- Up For
Sale CDep
Various- YOU DON'T NEED DARKNESS    CD
A comp featuring Kevin Shields (MBV),
Pastels and more.
rw—
if
MUSIC IN THE
AFTERNOON
SUNDAY APRIL 7
@4PM
L£EHU1ZUUU(
andCOUAPSING
LUNG
Lee exhibits his new wort 'She Cane
From the Murky Light* and then offers
some guitar improv.
SUNDAY APRIL 21
@4PM
STREAM)
Crate diggm' tutorial and MPC beats.
SUNDAY APRIL 28
@4PM
RADIOGRAM
Ken Beattie's burned out country jam
band visits the shop!

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