Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-03-01

Item Metadata


JSON: discorder-1.0050746.json
JSON-LD: discorder-1.0050746-ld.json
RDF/XML (Pretty): discorder-1.0050746-rdf.xml
RDF/JSON: discorder-1.0050746-rdf.json
Turtle: discorder-1.0050746-turtle.txt
N-Triples: discorder-1.0050746-rdf-ntriples.txt
Original Record: discorder-1.0050746-source.json
Full Text

Full Text

  Universal Concerts presents
UK mod-hop. Early shov,.
GRANDE presents
1 one ol the UK's
o rooms and seven of Ninja's
irtists take over Sonar for one
tight of Tricknology. Adv. tix $10!
(y five-o
Progressive house
R&B, Reggae, Hip Hop
2nd & 4th Thurs
"""oppin heodz around sounds of the flu*1*1- ■
MC's: J Imani, Omoye Afi, T'ai Pu Abe
& Dj Snypa. Presented by SIDEWINDE
SLICK            ||
oye  A Chameleon classic weekend.
Avi & crew try up the funk.
WED: HIP-HOP              SUN: DRUM'N'BASS
Club: 683.6695
Office: 683.6527
Fax: 688.2552
Sound system by:
Visual styling by:
CLUB TELE. - 669.0806 OFFICE AND BOOKING TELE. - 683.6527 FAX - 'aa ,K»
MON TO THURS & SAT 7PM - 1:30am / FRI 4PM - 1:30AM / SUN 8PI
Jay Maclachlan
Two Girls & a Shopping Cart
Carita the sound gal
the Crabs
Rachael Kozak
Ma Rainey
Satellite Deli
Lookinq Back .
march 1987
ed i t r i x : miko hoffman
art director: ken paul
ad   rep:   kevin pendergraft
production manager:
tristan winch
graphic design/Layout:   kenny, atomos
product i on : travisclarke,
sarah efron, andrea gin, ann
goncalves, patrick gross, erin
hodge, megan mallett, christa
min, shane van der meer
photography/i LLl'S-
trations:   jason da silva,
ted dave, richard folgar, ann
g, thea metcalfe, barb yamazaki
contributors: barbara   Subscript!
a, chris c, julie c, bryce d, glenn    $15 for
Vancouver Special
Interview Hell
Seven Inch
Demo Derby
Printed Matters
Under Review
Real Live Action
On the Dial
March Datebook
Botched Ampallang
Good Tasty Comic
Local artist Thea Metcalfe provides
the front page of our issue celebrat
ing International Women's
Enjoy ...
d'c, jack d, jason d, greg e,   CDN
sarah e, sean er, anna f, ann   cours
q, noah q, pieter h, sydney h,    DiSCORDER Magazi
anthony k, zia m, siobhan mc,
janis mck,   nardwuar, sven n,
shane v, Jerome y
programme guide:
namiko kunimoto
charts: megan mallett
datebook:   tri sta n
distribution: mattsleffich
us  distribution: tristie
pubL i sher :linda scholten
© "DiSCORDER" 1 998 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circula-
V, 500.
payable in advance, to Canadian residents are
ear, to residents of the USA are $15 US; $24
e$2 (t
r money c
r postage, of
s payable
DEADLINES: Copy deadline for the April issue is March 1 lth.
Ad space is available until March 1 8th and can be booked by
calling Kevin at (604) 822-3017 ext. 3. Our rates are available
upon request. DiSCORDER is not responsible for loss, damage,
or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and
transparencies), or any other unsolicited material. Material can
be submitted on disc (Mac, preferably) or in type. As always,
English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office at 822-3017 ext. 0, or our news and
sports lines at 822-3017 ext. 2. Fax us at 822-9364, omail us at:
citrradio@mail.ams.ubc.ca, visit our web site at http://
www.ams.ubc.ca/media/citr or just pick up a goddamn pen and
write #233^6138 SUB Blvd., Vancouver, BC, CANADA V6T 1Z1.
T>rint*£d    \*  Cxv-i^vd-x  **r
y mIghty  l\/larcri   # /
Croatian Cultural Centre
3250 Commercial Dr.
tickets @ ticketmaster + thriller skate
with guests The Pietasters    rwJ7_fcM»lfej^j
richard'son richards
march 19
plus special guests
Saturday, march 21     Copyright
:] fe-
u z i =«   j;
with guests NICKELBACK
guest Bi
MARCH 23 ff.r
» RACE     Enl
The Mystery of the
Shaolvn Kung Pu of China
running from demons tour
Tickets at all ticketmaster outlets or charge by phone @ 280-4444 I  /
I  /
/*****■ /**** /****•
J^\f      J?*\,      j*x,
^jT     ^u#       ^jt
A Far Fetched Tale
Okay, so there's this band,
originally from Victoria,
that plays a kind of eclectic, quirky folk-country-
blues-roots type music, with
mostly female vocals and
sometimes cello and the
occasional funky bass line,
and they're named after a
Joni Mitchell song. I confess that a description like
this would usually make a
pop-biased person like me
run in the opposite direction and, in fact, even
though Big Yellow Taxi
has been together for around
N       I    /
four years and this is their
second CD, that might explain why I haven't actually
heard them until now. But I
also have to confess that I
quite enjoy A Far Fetched
The tracks that stick
with me draw from tradi-
"Scarborough Fair" era English folk songs to old American blues and hillbilly, with
lyrics that are set firmly in late
20th century urban (but likely
dispossessed) society. And
Jeanne Tolmie's singing, while
every bit as pure and true as
Joni's, has a big, thick,
breathy   quality  that's
much more versatile and,
well, interesting than the relentlessly high-pitched soprano Joni Mitchell records
that were played in my
childhood home. My favourite song here is the
catchy bluesy bonus track,
"Mom Dad," although there
are several that are tied for a
close second.
See them live at the Gate
on Friday, March 13th and
at the Railway Club on Saturday, April I lth.
A couple of years ago these
I    /
lo-fi popsters put out a charming 7" EP with a hand-decorated sleeve that has been
shedding sequins all over my
house ever since. I loved that
sleeve and the record too:
four sweet-sour, funny-sad,
catchy songs that quickly developed skips and scratches
from excessive play on my
crappy turntable. (Some of
these songs — although not
my favourite, "Glad We're
Pals" — as well as some others that have appeared on
older recordings, pop up
again on Mitsumeru, like "Jellybean," "400 A.D.,"
"Preppy Villain," and "Peek-
ing Shows His Ignorance.")
Since that first record,
Gaze   has   made  a  few
changes and now original
members Miko Hoffman
and Megan Mallett are
joined on drums by the
multitalented Rose Melberg
(justly famed for singing,
songwriting, and playing
guitar with Tiger Trap, The
Softies, Go Sailor, and
others). Yes, that means
they're an all-female three-
piece and that, as well as the
lo-fi sound, and the fact that
Rose is married to Mint Records
honcho Bill Baker, is going to
lead to a lot of comparisons
to Vancouver's dear departed
cub. But while cub was famous for singing fun and well-
crafted pop song (okay, and
tossing candy to their live audiences), Gaze's songs seem
*       I    /
almost to avoid rhymes and
include lyrics as direct as,
"You are a loser, you are a
jerk." At the same time,
Miko's voice in particular
has become sweeter and
more confident since the
early recordings, and (perhaps this has something to
do with the addition of
Rose?) the newer songs are
more melodic, dreamy, and
layered with harmonies.
The verdict? I like Gaze
more than ever, but then
again I'm a sucker for sweet
girl vocals, simple pop songs,
and lyrics with a twist.
See them live at the Starfish Room on Thursday,
March 5 with The Beans and
Storm & Stress. •
V      *£r      <£#       *Cr       "Cr      *£)*
KKllMjUiraJMI   bMTaivaxc
M^rcl-i 1998 Radio
closed   caption
radi o	
Who are you (names, ages, instruments
played, birthplace)?
The components of Closed Caption Radio are:
High Frequency Treble Control, Low End Modulation, Solder Iron, Battery.
Being biomechanical by nature, we assume
an immense responsibility. Having been cursed
with immortality, our purpose is to combat any
forces which threaten to obstruct the inevitable amalgamation of man and machine.
First off, have you played any gigs for the
deaf recently?
We were commissioned by the Canadian government to take part in an experiment involving loud music and about a dozen stenographers. The experiment was a moderate success.
Have you gotten into any fights with the
other 'radio' band in Vancouver — Denny's
New Radio?
Being part of a larger agenda, i.e. encouraging the proliferation of automatic organisms,
mortal disputes are not in our curriculum.
Pick a book that best describes you.
Brave New World.
What have you learnt from your recent
overseas tour with The Butthole Surfers?
H.F.T.C: Our equipment endorsements were
paltry in comparison.
B.: I couldn't walk for a week.
L.E.M.: 220v.
S.I.: Last time I lug an American-made juicer
How would you describe yourself to kids
in the scene who haven't heard of you?
We have been branded by the press as a high
intensity, post-punk outfit with dissonant lean
ings. We've also been described as 'noise-rock'
or 'math-rock.' However, our shows equally
consist of textural passages and brooding experiments.
Have you played any all-ages gigs?
No, but if anyone would like to book an all
ages show with Closed Caption Radio, contact us.
What's in your pockets right now?
B.: A short-wave radio rotary dial and a quarter-loaf of pumpernickel.
S.I.: A whole ham.
L.E.M.: A Dictaphone, a megaphone. The
Painted Bird and the love letters of my life.
H.F.T.C: The beta version of Pure Formality, a
Polaroid of Quentin Tarantino's jackass smile
(a reminder of the roguish vanity of man), a
crumpled recording contract from the David
Geffen Company (unsigned) and the entire 3
Mile Pilot discography in my breast pocket
(close to my heart).
Off the top of your head, what's your definition of 'organdy?'
It's a sheer, stiffened muslin, we're certain.
Anything else to add?
In order to disestablish the growing movement to
keep machine and man divided, we must broadcast and expose man and his damaging neuroses
which threaten to render our future obsolete.
Stratosphere three-song demo (unavailable),
Stereotyping 45 Words Per Minute seven-song
cassette-ER Divine Industries Volume One compilation "Benevolence," Slang X Generator forthcoming CD (available at end of February)
Jason 604.738.6051 or Shane 604.254.3058.
Who are you
(names, ages, in-
Lucas Drummond
Gummeson, drums
and johnny fast track,
16; Jarod Michael
Moschenross, bass and the symbolic butterfly, 18; Sky Stardom Tait, guitarist, reader and
poet, 16; Matthew Simon Smith, vocals and
banana board connoisseur, 16.
What bands do you see as your contemporaries?
Lucas: Shinobi — all they sing about is
Jarod: G.B., Assuck, A.C., Stubbly Coda,
Pointed Sticks, Lifetime.
Sky: All of 'em.
Matt: Stubbly Coda influences our music to
a surprisingly high degree.
Pick a song that describes you best.
Lucas: The theme music to Clueless.
Jarod:  1 Wanna Be a Homosexual' by
Screeching Weasel.
Sky: 'Summertime in England' by Van
Morrison off of the great album, Common
One, released in 1980.
Matt: I'd have to say 'May Day' by dbs and
anything else by Lifetime.
Please give us a Reserve 34 update —
1998 style!!
Lucas: We are going into the studios soon.
Jarod: We practice, play shows, record,
watch Ally McBeal.
Sky. We're having a lot of fun. It's good.
Matt: We're going to be on a video documentary. Everything is peachy keen!
Most remarkable thing you ever 'experienced' on the Seabus.
Lucas: I was caught, like, umm ... y'know ...
spankin' it on the Seabus.
Jarod: I got an erection from the constant
vibrations ... I like the Seabus ... heh-heh.
Sky: The most remarkable thing was when I
wrote a poem on the Seabus. Either that or
when I was mad.
Matt: This actually happened when I
was in line waiting for the Seabus and
it isn't very remarkable. This girl from
my school was getting off the Seabus
and from across the station yelled out
to me, 'I'm going to a laser show —
Pink Floyd and the Doors.' I think she
was stoned.
Upon whom would you most like to exact revenge, why and how?
Lucas: Saturday Night Live tor kicking Norm
MacDonald off of the Weekend Update.
Jarod: Revenge makes baby Jesus cry.
Sky: I don't want revenge. I don't like revenge.
Matt: I'm not
quite sure how,
but I'd like to exact revenge upon
this guy in my
Spanish class
named Jason. He stole half of my Gummi
Bears. They were a birthday present and they
were organic. What a bastron he is! I was going to write about how I don't like revenge, but
this dastardly deed is unforgivable.
Describe the importance of a man called
RYAN to the Vancouver scene.
Lucas: Ryan gets drunk and threatens to kill
me. Silly Ryan.
Jarod: He was in Plains of Abraham. He's
been in the scene for a while. He also thinks
he's really tough, but especially when he's
been drinking Lucky's.
Sky: Ryan drinks and complains. That's his
Matt: Ryan Sabourin? Or Ryan Dumbhair?
Ryan Sabourin supports all the local shows
and bands (except ska) and he gets drunk
lots. He's a pretty cool guy. Ryan Dumbhair
is our friend. He helped us write a few songs
and is in some bands called Crowned King
and Gribble.
Ask yourself TWO questions and answer
Because: 37x3+9=52-13(V38)+20-5 ...
Why isn't that statue of the naked kid not in
front of the Pacific Press Building anymore?
Because the  Pacific  Press  people  are
Anything else to add?
Lucas: Robin wants us to say he's cool. Silly
Jarod: Thank you to Robin and the Strachan
Family, Hayden (for rides) and our families
who have constantly been supportive; buy
records from Washout!
Sky: I like music. I like it a lot.
Matt: Props to: The Self Esteem Project,
Stubbly Coda,  Robin and  Mr.  &  Mrs.
Strachan, Thibault, Andrew Cairns, Matt
Ellis, Brandon, LiP Nick, and we love you
Nardwuar! Nick Berry come home! Rock
over London, Rock on Chicago-Diet Pepsi;
28 Hours: 5-song tape. ($5 from us)
/ Hope You Didn't Pay For This: 10-song tape,
(out of print)
Contact name and address:
Reserve 34, 16767 Layton Dr., North Vancouver, BC, V7H 1X7, Hectic@rogers.wave.ca,
Lucas:604.222.0195, Matt: 604.929.2625* mmt speo-l-^jwj)
Sydney: Could you tell me what performance art is?
Jay: That's a mean question.
I think you could probably say that music has performance
aspects, dance has performance aspects, and theatre has performance aspects. All these things are performative — they need
an audience, it doesn't just occur. Performance is everything that
doesn't fit under music, dance, theatre, stand-up comedy — so
it either doesn't fall under those categories or it takes all of them
and mushes them together.
So when did you decide that you were a performance
artist or...?
I lived in a cabin for four years, [and when] I moved back to the
city, I thought, 'I'm going to do things, I'm going to do stuff,
I'm moving to the city and I'm not going to be a slug.' So I was
involved in this crazy theatre company in Shawnigan Lake. It was
kind of a wierd community of Ontario ex-patriots who farm and
live like hippies. I was living at this cabin on this lake and I was
a weird poncho woman — the local eccentric who walked
around talking to herself, communing with nature. I did this play
with this theatre group and IT SUCKED! And then I formed this
band with this guy and WE SUCKED! We emptied a room. I
wanted to figure out whether it was me or the people I was
working with. Did I suck or did they suck? So this woman
Kimono was doing this show called Beyond the Veil, about weddings and I wanted to do something. I had this vague notion of
what performance was — getting up and talking — but I really
didn't have a clue. I didn't know any other performance artists.
So I wanted 'to do this thing!' but I didn't know what it was. I
did this piece about weddings — I had slides and a
big double bed sheet and I was dressed in a wedding
gown. My boyfriend was doing the slides, but he was
late and I was getting married and made the audience hum the wedding march. I came in and did this
piece on weddings that I thought was really heartfelt and intense and angst ridden. [But] everybody
was laughing at me and I was really ... mad: 'This is
so fucking serious and I really mean it. This is my
innermost soul,' and these people are howling. I'm
listening to myself and thinking, 'This is funny'
Can you tell me a bit about your last performance, at the Grunt?
It was supposed to be about my father's funeral
and my brother's graduation in the RCMP and
the piece about my father's funeral turned into
this piece about death. I just talked about all the
different times I had experienced death in my
life, [from] death of relatives to finding a
drowned guy in the lake ...
Oh, tell that one.
You like that one...
Yeah, yeah, yeah, yeah ...
The condensed version: I was young, around
10 or 11, at the same cabin, my parents
cabin, and the house was full of kids and
parents and screaming and my Dad made up
this thing about, 'Yeah, I bet it's not raining
on the other side of the lake' and he sent
me and Cathy Ellis out in my put-put, 6
horsepower, to go and check, i.e. to get us
out of the house, so there would be five
kids instead of six or seven. We went over
there and of course it was raining on the
other side of the lake. So we were on our
way back and we saw this thing floating
in the water and there had been this
rumour that somebody had drowned in the lake a couple of
days before. Cathy was like, 'Let's go look, let's go look!' I told
her it was a deadhead, those logs that float straight up and
down in the water and are a real problem for boats. I made her
drive the boat over and I hid in the front and we got up close
and it was the dead guy ...
And that was the beginning ...
Well, I was riding the bus today and I was thinking about death.
I spend a lot of time thinking about death ... I didn't used to, I'm
not a goth chick. I remember riding a bus heading to Utah. We
got into Salt Lake City and the thrill was that there had been a
dead guy on the bus. They had figured it out, but they hadn't
told anybody except for the guy in the back who was sitting
next to him. They just moved that guy and told him not to tell
anybody and put a blanket over the dead guy and left him in the
back of the bus.
What was your show In Victoria?
It was a music show and I was doing back-up. This is the difference between performers and musicians: I love singing and I
love playing the guitar, but really the part I like is being in front
of an audience. So there are four back-up singers, called the
Extraordinaires, it's this Elvis Presley comeback special for this
band called Truckwalk, with 11 people on stage. It was a pretty
big deal. For the four back-up singers, I sewed us all capes with
black and silver musical notes on them. The night before the
show, the back-up singers were all, 'This is really great, they are
really great!' The night of the show, though, you could tell that
none of them wanted to wear the capes and I turned tnto the
ultimate sewing Mom: look, I made the elf costume, you are
going to be an elf Put it on!'They couldn't understand that for
an audience, visually, it was something to be presented to the
audience-r- I mean, we're back-up singers with monitors that
don't work. We can't hear ourselves so it's not like we're
singing in harmony at all. It's not like there's a hell of a lot of
musicianship going"on. I like bouncing between the two, rock
and roll and art.
That segues nicely into another fetish or penchant, country music. Don't you have some big plans for that?
I love country music and I do have future plans, but I don't know
if they are going to come to pass because I've talked about them
so much. I want to go to Japan and be the first female Elvis
Presley impersonator, take Tokyo by storm,
[we segue into sewing...]
In the '80s, I made these plaid taffeta pants ...
Oh gawd.
Every year my school would have this fashion show and everyone
had pretty normal stuff, but I had made these baggy, pleated,
plaid taffeta pants which I wore with my jelly baby shoes — [with]
acrylic heels — and a black cashmere sweater of my Mom's. My
hair was totally spiky and [I wore] tonnes of make-up, [I was the]
punk-rock '80s girl, and it was filmed on Roger's cable. The music
was some George Benson, same era as Reminiscing. Then, in the
middle of it, they put a blue spotlight on me and played 30 seconds of this band I loved, NoMeansNo — 'Hero and Zero' rhymed,
it was a punk rock song, really fast. Then I did my little punk rock
dance and It went back to this little Boogie Nights thing and we all
sacheted around. That could be my first performance really, short
of taking my clothes off when I was a little kid.»
Jay will be appearing March 4 at The Press Club in a July 4 th Toilet
six-hour marathon, March 6 at The WISE Hall performing burlesque, March 75 in July 4th Toilet (with the Molestics) at the
Brickyard and March 30 in Grrrls with Guitars at the Railway Club.
M.-vrcU 1998 ©zzxao-.Y? cpMs^£_._»
Q£_@__Q_   ffi»C___lF_,
GQ@>t?   _&}__£_.__   £_K_Ll)
Q@C_.LP  SCP__(3_£_L_£5
©LPBKJ  CDKI^OG.  _7  Pffil
toim:n :ii! * ■V-;-:iMi!ii.i* wak >:ii*. ■»: I'mwv. Two GirLS aNd
a ShoppiNq Cart MoviNq Co.
by SydNEY HEriviaNT
It's the first <?f the month again, movin' time. Tired
of harassing your neighbour for the use of his car?
Or worse, having lo pay the man with a van —
DON'T DO IT! the reviews are in, people are lining up with their boxes waiting for Maura Doyle
and Annie Dunning to lighten their load with their
shopping cart. They ore
Two Girls and a Shopping Cart Moving Co.
DiSCORDER: You're a new small business
in town and you're moving things around.
Can you tell me a little bit about how and
why you started Two Girls and a Shopping Cart Moving Co.?
Annie: We just figured (here was a need in the
city for a smaller moving company them the 'man
with a van ' We take core of the loads that are too
small to bother calling someone with a vehicle
Maura No load too small.
What's the biggest load you've carried?
Annie: Probably a big chair It was a bit of a balancing act.
Do you do back exercises?
Annie: No, we're pretty fit.
Is this an environmental business decision?
ArtwtewNb*; it's er#f6tteym_ki***g decision.
Maura: It was just a way for people to get things
moved at low cost. We have the shopping cart and
our time and people really go for it.
How many moves have you done so far?
Annie: Oh, I think we're up to about a dozen moves
I saw you on the news last week and in
the words of Dave Gary, you 'are tapping
into the inner city fleet of borrowed buggies/ so do you steal your shopping carts?
Annie: No, there [is] an endless supply that are
already liberated.
Maurti. If you go down behind the Ivanhoe or the
Old American, lhat's where the majority of carts
are stashed
Have you found since your appearance on
television that demand for your services
has risen?
Annie* We received a lot of calls after that. Global Television put our phone number on their viewer
Maura: The last move we did, the clients were
moving out of Vancouver and they had three pretty
heavy boxes of stuff to be sent by the post to Saskatchewan. They lived nearby, luckily, so we used
our cart that we keep in the yard and we brought
the bod down to the post office. I think itwas about
But it says here that your maximum is five
Maura: We write thot on our posters as a safety net
Annie: We can work around that.
Dangerous materials?
Annie: If it explodes when shaken, we don't move
Maura: We have the cheapest rates in town.
How much is it a move?
Annie: Usually it works out to about five dollars a
load, unless it's a long move or an exceptionally
large load.
Maura: Or if it's a couple of loads, we're pretty
flexible with the price.
What about the weather?
Annie: We have matching raincoats for the move
and we can cover the load with garbage bags or
a tarp to protect it if it needs to be. We can move
in pretty much any weather.
Maura: And we guarantee that your load will arrive safely to its destination, no water damage.
Annie: No mud, no broken items. We give everything the white glove treatment.
Maura: We get the job done right.
And to see if the customers are satisfied, DiSCORDER
phoned to check up on quality control...
DiSCORDER: Con you tell me about the quality of
service Two Girls and a Shopping Cart Moving
Co. provided for you?
Satisfied Customer Shayne Ehman: The girls
did an excellent job. Everything I own was transported safely and it's really affordable, too.*
The Cheapest Rates in Town! As Seen on TV.
Call Two Girls & A Shopping Cart Moving Co. at 873-6549
dj equipment, cd's & vinyl
21? west hastinqs street [@ CambieJ
Vancouver, be, Canada
(§) 604.689.773t
fx. 60t.689.7781
mail orders available
8       M^relx 1998 New st^'Jftom,
Hopeless Records
Against AU Authority
"All Fall Down"
Political "punk as fuck" ska
from Florida.
Out Now!
Falling Sickness
"Because The World Has Failed Us Both"
Anti Establishment punk ska from
Riverside, CA. Second Ml length
Out Now!
52 Tracks, 74 minutes.
Out 3/24/98
Mustard Plug
"Evildoers Beware
Sophomore release from
Michigan's ska-punk kings
Out Now!
Also New
MiiSiard Plitg-Skapocalypse Now
Re-release of their first studio recordings from
1992 as well as some live tracks.  12 songs.
HR629-cd-ep only
London ONT   Toronto, ONT   Ottawa ONT   Montreal QUE   Mont Ste Anne. QUE
PO Box 7495 Vail Nuys, CA 31409
Prices: cd-:
W 25% foi foreign i
1 4-99 CD also specially priced "You'd Prefer An Astronaut"
The sonic alchemists who brought you 1994's "You'd Prefer An Astronaut"
and the hit single "Stars" return with a new album, "downward is
heavenward" has even more of the swirling guitars and powerhouse melodies
that HUM are renowned for! Featuring the single "Comin' Home"
downward is heavenward pick UP tne new release "downward is heavenward" available now at HMV Robson.   -j-jgo Robson Street
new release }   HUM   C new release
Price in effect at HMV Robson until March 31, 1998 or while quantities last. HMV reserves the right to limit quantities. 30 HOUR FAMINE
ct> be4A&fc6 c^ot^\^irtc\^Z<^f^
Features over 64 minutes of music to raise funds
and increase awareness about global poverty.
•The Tragically Hip
•Treble Charger
Chantal Kreviazuk
•Philosopher Kings
•Cowboy Junkies
This compilation is being released on Nettwerk Records in conjunction with World Vision Canada.
All net proceeds from this album will be donated to World Vision Canada.
To find out more about World Vision's 30 Hour Famine
w Carita Sword
is probably the
best sound engineer to ever
grace independent live music on the west coast
Hands down. No question. Guaranteed. And, she is
su-u-uper nice. If you're at a live gig and you think
you hear a good sound and you look over and Carita
is twisting the knobs, then you're right.
interview and photo by Ann Goncalves
Ann: Where do you come from?
Carita: Iron Bridge, Ontario. It's a teeny, teeny,
teeny little town of about 900 people just between
Sudbury and Sault Ste. Marie.
Did you move out to Vancouver fairly
I've been here five years now.
What are your musical origins? Do you
play any musical instruments?
I was forced to take piano lessons until I cried long
and hard enough so that I didn't have to take them
anymore. But my family is very musically inclined
and I was the only one who wasn't. So I figured if
I can't play, I'll just make them all sound good.
And I guess that led you into music engineering.
Well, I was quite young when I decided. I was
probably about 16 when I decided I wanted to do
sound, but I didn't know how to get into it. I had
friends who owned a sound company and I just
spent my summers going on the road, doing lighting so I could just get out and have fun and get
into the bars underage. So that was how it started
and what I really did was watch over what the
engineer was doing because," of course, he was
mixing and engineering. And so, he would train
me throughout the summer. He told me that if I went
to get a degree or course or some kind of background in this, then he would give me a job when
I got out. So that's what I did.
Where did you do your schooling?
The   Recording   Arts   Program   of  Canada   in
Was that a one year program?
Yup, it was one year and it was absolutely useless.
I learned how to talk like a sound engineer when I
got out, but I didn't know the first thing about it. It
was in classes of about 15 people at a time and it
was a lot of theory. When you did work on practical, you were all involved together, so it wasn't a
huge learning experience. It was more of a 'follow
what the guy ahead of you is doing' thing. It was
pretty lame.
So he gave you a job after you took the
Yeah. He shipped me out to the East Coast with a
PA and a truck and a band and said, 'away you
go.' This was right after I got out of school.
Did you feel confident?
No. [laughs] No. I remember the first tour I ever
did. I didn't know how to wire anything. I knew
nothing. I was blaming it on the equipment for lack
of anything else to do. So I had to sit down on
paper and try and make it make sense, with all
these parts in front of me. It was the most frightening thing. To this day, I thank god I was sent out to
Newfoundland because if anyone out west had
heard, then I would never work again. I worked
'' **.* with that company for two years,
* */, where he kept sending me out with
\ bands on tours and things.
'!? And so eventually you got
,     t the hang of it.
!'Vt   T Then, I started working in-house
f*?' when clubs started to get in-house
: |     h PAs and sound companies would
> ,' r ■ just ship me from town to town,
/ wherever, working house gigs. Then
* J I hooked up with a band called
"    *r           Deadline, whom I became very interested in and had started doing some
work with them. Later, I met up with
them   out   in   Vancouver.   I   was  with
Deadline for four years, touring and doing
a lot of local stuff.
After that, you landed the job at the
Starfish Room?
Yup.  I started subbing for the engineer who
worked there. Then, Deadline split up and the
Starfish engineer had to go on the road or something, so I was offered that position.
Right on.  Have you  had any ugly or
stressful experiences since you've been
working there?
No. Nothing that stands out. Of course, you have
technical problems when your amps blow up or
half your PA doesn't work. There's [so much] stress
that way.
How do you deal with it?
How can you? You do what you can to replace it
and if you can't, you have to live with it. The show's
still got to happen. Deal with what you've got.
Any really sweet experiences?
I absolutely love what I do, so it's always fun. Even
when I don't enjoy a style of music, I enjoy the art
of making something sound good — to the best that
they could sound.
What's your take on the local/indie music
scene, as far as what you experience at
the Starfish Room?
That room is so band and fan-base dependent that
... I think it's great if bands getout and really work
hard to create that following, they can do really
well. Otherwise, some bands.will just expect a
clientele to magically appear at the bar without
doing proper promotion. It just doesn't work like
that, unfortunately.
Do you like "working at just one place or
do you feel you'd like to tour with bands
I liked touring, but then it got to a point where it
was the same old thing all the time. It's a 'earning
experience being at the Starfish, dealing with so
many types of music, people, and situations. I
would never lose that security net to tour again,
unless it was something on a different level like soft-
seat venues or something outside of Canada.
When you are doing your mixing and
sound check, do you stick to the type of
feedback you get from the band or do yoa
like to play with and add things, give
your own input on what something
should or could sound like?
If I'm given that creativity, yeah, I love to do it, but I
will always, first and foremost, stay within the realms
of what fhe band wants. If it was something that
would make them sound a lot better in that room,
especially knowing the acoustics so well, of course
I would make suggestions, but it's their option.
Is there more to sound that you would like
to get into, for example working at a
music studio or sound for TV/film?
Television and film, no. Studio engineering, not
now. I don't have the patience for it, maybe 10
years down the road.
For you, is it a big headache to do studio
It's like two different jobs, like night and day. When
you're doing it live, you've got one shot and it's
over, done at the end of the night. In the studio, it's
very repetitive and long hours.
How does your brain work when it comes
to mixing music, is it more of a sensory
experience or are you like a mad scientist
mix master?
Well [laughs], just getting levels and that kind of
thing is pretty standard. I would input creativity
after that. I guess there are no rules, but as far as
getting levels goes, it's pretty much the same.
How does your personality and sense of
style reflect in what the music sounds like?
Oh dear, well, I don't have a sense of style. [Yeah,
she does.] I don't know about personality. I've
never thought of it that way, but I guess it would. I
guess it would for any engineer depending on what
their thing was and rf you're working with something you really like, I'm sure you would put that
much more into it.
How about your opinion on involving
other media onto your sound stage, like
the visual or performing arts?
Oh for sure, oh yeah.
Here's something that many people are
wondering about you ... what makes you
sound so good? 'Cause you rock.
You know, 99.9% of it is what comes off the stage.
If it doesn't sound good off the stage and you don't
have a multi-hundred thousand dollar system, then
it's just not going to work. So, it's very dependent
on what the bond sounds like. All I do is make it
heard outside ofthe stage That's it.
I've heard your work before and think it's
dope, along with a lot of others I've
talked to. How would you rate yourself
as a sound person?
I would rate myself as learning, wifh a long way to go.
You've been at it for eight years now.
And it's Wembley Stadium at the end.
Wembley? Why there?
It's an outdoor venue that holds 80,000 people.
Ever since 1 started watching TV videos and bands
at Wembley I thought, 'Wow, I'm going to mix that
So you'd like to get working on bigger
and bigger projects. Is that your goal?
OK, it's Sunday afternoon. Would you
rather join in on a game of Frisbee or play
outdoor ball hockey?
Between Frisbee and ball hockey?
I can't throw a Frisbee, so probably ball hockey.• by Julie Colero/photos by Barb Yamazaki
The following is a rather rushed interview Julie
Colero sent to Lisa and Jonn Crab via that wonderful internet. With the release ofthe Crabs' third
album, What Were Flames Now Smolder, these
Portland, OR folks continue to light up our dismal
indie rock lives with a little lovin' and a lot of intelligence. Here's what happened ....
>Pour les Crabs:
>l read an early review that crowned the
Crabs the king and queen of love rock.
Could I possibly get an acceptance
speech, please?
>Jonn: I've never supported the monarchy.
>Lisa: But you were voted the king of your high
school prom.
>Jonn True ... but my date was grounded by her
dad so I took my friend Philipp.
>Lisa: OK, what about the speech.
>Jonn: I always thought that Al Larsen [Some
Velvet Sidewalk] was the king of love rock.
>Do you write better songs when you are
in love or when you are broken-hearted?
>Jonn: I really have no idea which [is] better. I
really like the sad songs that Lisa sings, but I also
love to play 'Debutante.'
>You've worked with guest musicians, but
most of your music is based on a two-person set-up. Are you happy with this
arrangement? Do you feel that your music
is full enough without adding more instru-
>Lisa: I have been happy with the two person si
up, but now I am really enjoying playing wi
Sarah Dougher [The Lookers] on keyboards. I also
like having more instruments to play with in the studio when we record and when we play live.
Having guests always makes it a surprise because
you never quite know what they are going to do.
>Jonn: On our last record, we had no idea what
Al Larsen was going to do when we asked him to
play guest guitar on the song 'The Slip.' And Pat
Maley [Yo Yo] came up with all the tambourine
and wah-wah guitar shenanigans on the song 'Love
and Hate.' When you have guests I find it's best to
just sit back and let them do the odd and beautiful
things they do.
>Jonn, I read that you were influenced by
The Jam. Did you like them better in their
punk or their new wave days? With or
without bowling shoes?
>Jonn I loved The Jam throughout their career. I
was drawn to them when they were punk but I started wearing bowling shoes after I saw them do it. If
it wasn't for The Jam I wouldn't have heard of Curtis
Mayfield or the Chi-lites until who knows when.
>ln a recent issue of K Records News,
Jonn, you contributed an article on abortion entitled 'Bombs and Bigots.' The article focused on the difficulties of getting an
abortion in America due to militant anti-
abortion groups. What inspired you to
write this piece?
>Jonn: Calvin [Johnson, K Records] usually asks
me to write stories for the K newsletter about what
white supremacists and other far right groups are
doing in the US. Where I work, I research and
write about the activities of racist and bigoted
groups, so I think Calvin just wanted me to share
Pecola /  Sma
a^raileible  no
)istritnateci "torsr
this information with
the K 'audience.' I
have always thought
that punk and politics
should go hand in hand,
if not in the music itself,
than in other ways like
writing, spoken word,
>On both
Brainwashed and
What Were Flames
Now Smolder, you
have songs based
on historical events
('Jean Paul Sartre'
and ' 1863/ respectively).
Are you interested in educating
the masses or do you write these songs
for purely personal reasons?
>Lisa: I always thought that 'Jean Paul Sarti
just for fun, but I don't know what your
were for '1 863.'
>Jonn: Sometimes I do try to use music politically ... the song 'Alien Girl' was about racism
in the USA, but most people just thi
about falling in love with someone from outer
space. In '1 863' the message was a little more
>Are either of you involved in
any other musical projects at
the moment?
>Lisa None at the moment,
sing and Jonn played drums or
song by the band D+ the
appeared on a recent K single
>This issue of
DiSCORDER is a special focus issue on
women in music. Who
are your favourite girl
bands present and
past, and why?
>Lisa: Autoclave, Sleater-
Kinney, the Lookers, the
Softies. I like all of these
bands because they are
inventive. They play their
instruments and use their voices in a unique and subtle way
that kind of thrills me.
> Are there any issues
involving women in
America that you have
strong views on? Are there
any issues that the Crabs would
like to champion in general?
>Lisa: We are both feminists and are concerned
about a number of issues that especially impact
women: violence (sexual, domestic and in general), health issues and the lack of equal wages for
equal work compared to men.#
12     IVUr-cl*** 1998 advertising thafs
built to last
flnternational Women's Day]
women in contemporary orchestral music             ^
10-1 lam •
folk oasis with NADINE DAVENPORT
11am-12pm •
12-1:30pm •
blues: MELANIE DEMORE of (he cultural heritage choir
gender issues in ART history
2:30-4pm •
punk chronology
4-5pm •
a HISTORY of women musicians: a mom's perspective
5-6pm •
LITERARY figures: focus on women in view
6-8pm •
queer fM
8-8:30pm •
poetry special
8:30-9:35pm •
omanko sisters radio
underground female resistance
• GAZE &    T. &. A.       performing live
12:30-1:30am •
RIOT grrrl review
game show/debate
2am-whenever •
EROTICA                                                                  J
\mmmm NEEDS YOU! ]
We need help distributing Discorder to
the suburban communities of Vancouver.
Your reward?
Advertising in Discorder! ^&l
Call 822-3017, Ext. 0      W
Ask for Linda                  p\ S1iHl<5fJ_IIIH>31!!WS
]n the male domina
of underground/severe
music, women, if at all
function more in terms ofimai
in creative or productive roles. In
sense, multimedia producer Rachel
Kozak, aka Hecate/Lynn Powderhorn,
stands alone. She runs her own
record label, Zhark, does video
production, CD-ROM authoring and
produces her own music — all on her
own terms.
How would you describe your
It varies in speed, definitely. Ii
any strict rhythm. It's usuallj
all-encompassing mood, onj
more abrasive side, some]
funky beat. It has a tout
There's a lot of differei
industrial to hip hop to^
up, although you havt
that — too much
You lived in Detroit
I grew up there
Detroit, Michigan^
How did Detroit
I started to gOj
when I was 15^
cool, then. Tl
acid partieSj
^although tl
ihey wen
■feet your life?
f techno parties
jThey were really
Jflot of really hard
Jrpretty hard beats,
Jf/4 beat structures.
good group of people
the time and it just disintegrated pretty
quickly. I'm not sure if it was from drug use
or stagnancy in the music or stagnant men-
> —or all three. I wanted to get
out of alt that.
Besides Detroit techno, did you have any
big influences? Or is there stuff you're
influenced by now?
I'm infnW_ed by a myriad of things — a lot
niovies, writing. Do you want music I was^
? Generation Star War*
is one of my favourites, both Tetsuo
I and II —Iron Man and The Body Hammer,
Coil, a lot of stuff out of England. As far as
ml        , pi|l|||p|| J^
Praxis Records, Ambush, some Japanese
noise stuff like Aube, SPK, but also some
hip hop like the Gravediggas or Public
Enemy —that's kind of cliche [we laugh],
but it's true!
Tell us about this big party you threw in
Detroit when you were 19.
It was after spending a year in New York and
I came back and I was horribly bored — the
music scene was just dead. I wanted to
break away from it so I got Alec Empire's
phone number in Berlin and called him. He
was coming to the States at the time I want-
ant to star!
ed to arrange ifHH
y Khan from r
San Francisco^
d play, I
from Detroit play, like^
,the sound v
5 French gi
1 system himsel
s where -
own music?
It was obviously a big |
through 17 I surrounded
but didn't really get into ho\
Around 18 I decided I st
time around this genre,
something about it? I
women doing anythii
enough good music m
women. So I decided
like to hear. I
going to be a r
wanted to mal
then it
sampler, an Al
d with [photographer, film-
Richard Kern, how did that come
I was working part-time at a record store in
New York, Strange Records, and one of our
frequent customers came in —she used to
hang out at the store sometimes — and she
had done a shoot with Richard Kern and
said, 'Hey, do you know who Richard Kern
is?' And of course, I did and I respected his
work, and she said 'I think he'd be interested
in meeting you and maybe doing a shoot
with you so why don't you give him a call?'
So I just called him up and he was a really
great guy, really professional. We did a
shoot and it turned out really well.
Zhark — when did it start and where?
I would
linking I'm
ig, I just
r myself and
e of equipment that
0 XL A good piece of ^^^^^^^
It started right before my 20th birthday,
May of '96. We put out one record, myself
and Patric — who was originally from
Berlin, but I was living with him in New
York —and we were working on tracks
together and sharing equipment.
Zhark's a record label, but did you call
yourself Zhark as well?
In the beginning, the first two releases
were both the record label Zhark and our
project name, Zhark. There weren't any
producer or writing credits on it, it was a
type of partnership where we never even
considered what would happen if we went
into different musical directions, which is
what eventually did happen. So we kept
Zhark as the record label name and we
both have different project names now.
What are you doing in film school or why?
The name is the Vancouver Film School, but
I am not involved in film. I take the digital
multi-media production course. I took it
because I was in Berlin and playing some
shows there but I wanted to expand my
knowledge of all forms of digital media, so
I didn't get trapped in any one way of existence; I want to have as many options open
to me as possible, to be able to express
myself and my thoughts — until I die.
There's also a lot of equipment at school
that I would not be able to just pick up and
learn because it is so expensive. Paying to
go to school gives me both the teaching
and the facilities to learn what I want to.
What kind of stuff do you do at school?
The program consists of five terms that are
two months each. The first one is HTML
authoring and Director 6 which is a CD-
Rom authoring program, also just theories
about media. Second term is 3-D animation with 3-D studio Macs and Photoshop
and graphic design —it's basically a graphics term. Third term is digital audio which I
cannot wait for. It involves midi production
and digital audio production, and although
I do know about music, there is more I
could learn, especially about digital audio.
It's like a black hole, once you get started it
just opens up more and more possibilities.
Have you encountered any obstacles in
making music because of your gender?
Once again it's a cliche, but yes I have —
from the second I wanted to start making
music, literally. It would start from just
wanting to explore equipment. For example, there were a lot of guys in Detroit —
music producers, obviously all men —that
I would hang around with. And even if I
Maybe it's the fact that he was German and
Detroit's a really macho city, I don't know. It
could have just been him, but we met and I
actually knew more about equipment at the
time but we worked it out and he bought
some equipment and we both worked on it
and it was really great. He was the first person that ever gave me a chance at working
on music.
by men. I
would ask them, 'Could you teach me how
to program your 808?'they would say no. I
couldn't even touch their machines. Yet
another guy could come over who probably had less of a musical interest than I did
and he would be able to be alone in the
room with it, while there was no way I
could touch any ofthe machines, like there
was some type of woman virus. I can't
understand that, my mom could program
an 808 if I gave her ten minutes.
How did you get past that?
Well it took a while, maybe a year of trying
to work with people or have them show me
some techniques about the production of
music. It was really hard until I met Patric.
as normal.
I find just going to music stores, they completely ignore you. It's a vicious circle I
Especially this type of music. Any severe
music in general is usually male-oriented,
especially with the angst, the testosterone
issue.[we laugh] And then any severe electronics, which deals with electronics and
technology, that cuts women off even more.
You'd think there would be more [women],
you wete saying before even your mom
could program an 808 ...
If she had the chance to, that's the point!
I don't know if she would even want to,
that's the other point. I don't know if
women just aren't interested or if there is
a bunch of girls out there that don't know
how to start, or don't know where to go
or don't know what to do. But there is
definitely a lack, I don't know what the
cause is. Sometimes I go through my CDs
and I love music, I listen to all day, fall
asleep to it, wake-up to it, and sometimes it dawns on me, everything I just
listened to for almost my entire life has
been made by men. I can't accept that as
normal. But I don't like female folk
music, so what's your choice? There's no
option really. I find it funny that one of
the most famous females in electronic
music, I would say, is Wendy Carlos —
who use to be Walter Carlos.
If you had to give advice to any girls who
wanted to start stuff, what would it be?
Get yourself a good computer. You can
hook up to the internet and find out about
different digital music sites and different
software and equipment, and go from
threre. I wouldn't depend too much on
anyone. That goes for life in general.
If you could be doing anything or...
Or anyone...
Or anyone, something in the future,
what's your total dream thing to do?
I would really love to make music for.psychological thrillers, sci-fi movies, horror
films —and doing my own music on the
side. I don't know if I want to do everything. That's basically why I'm going to this
school. I can express myself in so many
ways, graphically and audio wise. I'm really interested in video production. I would
just like to work with a big group of people who were really intelligent, somehow
easy-going and somewhat stable. And just
work together. I guess that's the Utopian
artist's dream*
Go see Rachel on March 19 at Club Elite in
Gastown, when she plays live with
Christoph Fringeli from Praxis Records
djing, as Rachel says, 'Some pretty serious drum ' n' bass; apocalyptic techstep
and breakbeats.' Also, check out Zhark's
CD compilation, out now. Ik HEAR ME MlUnOIT
^a ftatqey9* <$fllx&§ hy A##a ?Vf 2
If Bessie Smith was me "Empress of fhe Blues," then
Gertrude "Ma" Rainey was fhe undisputed Mofher of
the Blues. From her modesf beginnings in her hometown talent show to the vaudeville tent shows to the theatres of New York, Ma Rainey was a grand diva who
nurtured the blues and encouraged other classic blues
women singers in the early twentieth century. She wrote
forthright songs that grappled with race, class and sexual
injustices faced by fhe African-American community; her
infamous "Prove It On Me Blues" was a bold statement of
her bisexualify. She was one of the biggest stars in fhe
] 920s and remains a role model fo women in blues
Gertrude Pridgeff was born in Columbus, Georgia in
1886. Her first performance was af age 14, when she
appeared in a local show called A Bunch of Blackberries.
Will Rainey v/as a comedy singer passing  fhrough
Columbus wifh a minstrel show when he mef and fell in
love with Gertrude. They married when she was eighteen
and went on the road as a song-and-dance act under fhe
names "Ma" and "Pa" Rainey, Assassinators of the Blues.
They followed fhe harvest seasons through summer and
fall and wintered in New Orleans, where Ma Rainey sang
wifh many of fhe city's top black artists — including a
young Louis Armstrong.
Ma Rainey v/as one of fhe firsf singers to incorporate
blues info a minstrel act and soon her blues singing
became fhe draw of fhe show. She sang in a deep contralto, described as "earthy," that was evocative of black
rural singing in the South. Her style and lyrics were very
straightforward and embodied the pain and fhe joys of
black southern life. As she was on fhe forefront of a wave
of African-American migration from rural to urban setting,
her blues reflected both fhe nostalgia for fhe country life
and fhe diversify of the emerging urban African-American
community. She performed standards like "See See Rider,"
"Boll Weevil Blues," as well as her own compositions.
By 1917, she had split from "Pa" Rainey and formed
her own troupe, billing herself as Madame Gertrude
Rainey and her Georgia Smart Sets. She was only known
in the South until she began recording for Paramount
Records in 1923. Paramount claimed fo have discovered
Ma Rainey, billing her as fhe "Mofher of
the Blues" when she had in fact
been touring and perfori
for 25 years. After signing
fo Paramount,  she was
booked by the Theatre
Owners'       Booking
Association (TOBA),
a circuit that predominantly
employed    black
performers.  Wifh
TOBA,   her  tours
and her popularity
spread    north    fo
Pittsburgh,     Detroit
and New York. Sh<
was highly respected
by jazz musicians and
vaudevillians alike: Thomas
Dorsey, her former pianist said
she was a "natural-born" artist
who jusf up and "issued" fhe blues
just the way they were supposed to sound.
Her audiences reacted with vocal enthusiasm that
rivalled a revival gathering. Scholar and poet Sterling A.
Brown wrote in a poetic tribute fo Ma Rainey: "Oh Ma
Rainey, sing your song/
Now you'se back where
you   belong/  Get  way
inside  of us,   make  us
Though she no longer
performed    under    the
moniker of "Ma,"  she
was still Ma to all who
knew her because she
took time out fo coach
newcomers on fhe touring circuit. She is credited     wifh      coaching
Bessie Smith as early as
1914    when    Bessie
joined fhe Rabbit Foof
Minstrel Show. Though
Ma  Rainey was  the
star of her show, she
was   nof   afraid   of
being   upstaged   by
fhe other top-rate acts
in her company. Before TOBA, she employed up to 25
musicians, dancers, singers, comedians and chorus girls.
Unlike fhe fast and flashy lifestyle other classic blues
women are infamous for, Ma Rainey was a good business woman who paid her troupe well and saved enough
money to retire comfortably at the end of her career.
Ma Rainey was no stick in the mud, though. She was a
flamboyant dresser who wore gold lame headbands, heavily beaded dresses, and was
always dripping wifh jewels. There was
some amount of controversy over her
private life as well: in 1925 Ma
Rainey found herself in jail for
faking part in an orgy in her
home with some women
from   her   chorus.    Her
charge was running an
indecent    party    and
Bessie  Smith   had  fo
Blues I
bail her out the next
morning. Rainey later
penned     fhe     song
"Prove If On Me Blues"
in    response   fo   this
unwelcome        hassle:
Went out last night with a
crowd of my friends/ They
must've been women, 'cause
I don't like no men/ They say I
do it, ain't nobody caught me/
Sure got to prove it on me ...
Though homosexuality was frowned
upon by fhe African-American community, if was
also recognized as part of life.  Bisexual women in
bohemian jazz and blues had fhe image of being sexy,
outspoken and strong. Bessie Smith, Alberta Hunter and
Josephine Baker are just a few other stars who were
openly bisexual. Rainey's social and sexual activities with
other women demonsfrate fhe independent stance that
she took with regards fo personal choice. By singing of
"State Street women wearing brogan shoes" she affirmed
the rightful existence of lesbians and the options available to women.
After recording 92 titles for Paramount Records
between 1923 and 1928, Ma Rainey went back fo
touring on fhe minstrel circuit until her retirement in
1935. She had recorded and performed wifh all fhe
fop jazz and blues musicians of fhe era including
Coleman     Hawkins,     Fletcher    Henderson,     Louis
Armstrong, Kid Ory, Tampa Red, Blind Blake, and Papa
Charlie Jackson. Her retirement years were spent in relative obscurity in Columbus, Georgia, where she owned
her home and two local theatres that she was involved
in managing until her death in 1939. With her passed
the traveling black minstrel show era; but her legacy
was that of the blues woman as a cultural rebel on fhe
forefront of resistance fo the various forms of domination
she encountered.*
16    Msvrch 1998 17 ^m&umm ^_rrrran
by The Invisible Claire
Any perceived unifying
theme to this edition of
"Seven Inch" should be
ignored as pure coincidence. The
oracle does not lie; however, it
has been known to rake the sands
of prophecy into disturbing patterns in order to misdirect the
callow acolyte. A trained mind
will behold the truth.
Pink, yellow, and marbled
grayl The colours of the New Japan! It is true: cultural fetishism is
bidirectional, if still somewhat unequal. We giggle, in fitting colonial fashion, over anime, third-
rate sashimi and uniformed
nymphets, helping ourselves to
the titillating and amusing elements of another nation while
slighting the rest. They, in turn,
absorb and transform our pop
culture industry into something notably different. The Japanese take
on rock music is seldom heard
here and when it is, is received
with mockery or "isn't that cute"
patronisation. It seems to me that
many of us in the "underground"
will jump, slavering, onto anything Japanese and particularly
anything Japanese and female. I
do not think that this issue can be
avoided in my criticism of three
young, largely female Japanese
bands, so I decided to get this
statement out of the way right at
the beginning.
SHOW scream their way
through overstimulated, b*eery
punk, guitars grating over a
slightly modified ska/oi beat.
Those guitars, in fact, were what
most excited me about this self-
titled single: overamped, inexpertly played, and quite thrilling.
Amazing how a couple of hours
in a cramped luxury disco, bombarded by shitty house music, will
return the unsatisfied wanderer to
an appreciation of punk rock.
(Detector, 6524 Harco Street,
Long Beach, CA, 90808-2242)
Aiha, guitarist, vocalist, producer and driving force behind
HER KISS HER, has an atypi-
cally deep and controlled voice,
perfect for meandering around
the slinky glam bebop of the Pink
Soda 7". Though the rockist
touches featured on both the title
song and "Asking For It" seemed
to subtract from the overall effect,
this music deserves praise. Xylophone solos, in particular, are
never a bad idea. (Pam Grier/
A tossed salad of sounds,
concepts, and sensations, "Bunny's Sky High" by MASCARA-
SUE keeps defying categorisation. Newly invented genre
names and cute twists on old
ones will not suffice. Instead,
let me describe it by way of a
little fable:
A musician is transported, by
involuntary manipulation of telluric currents, to a 1968 subway
station (city unknown, though
possibly in Britain) with her drum
programmer, a few guitars, pet
cat, reel-to-reel tape machine,
and assorted other paraphernalia. Alone and bored in the white-
tiled grotto, she plugs her gear
into the wall and sets about anticipating half a dozen future
musical styles. The return time
travel, however, damages the
tape and some of the sounds
never quite make it back. They
echo through fhe subway station
for three decades, haunting commuters and loiterers alike. When
the low fidelity recording is released to the public, listeners are
struck by dizzying deja entendu
but cannot tell why. (Mimic, 1-1
Kitd-so, 1-31-12 Koenji Minami,
Suginami-ku, Tokyo 166, Japan)
Heaven forbid that I would
say anything controversial, but..
isible c
I lis
tened to PolitiKILL InCOREct s
new single were a few "BZZR"-
soaked fraternity darlings tussling
with their ladies. Does the fact
that this sight seemed an oddly
appropriate backdrop to a record
with two anti-rape songs damn
me, once again, for insupportable prejudice? Perhaps, perhaps. I do know that said record,
with its angry co-ed vocals and
melodic energy, pumped me up
with indignation and wrath, and
when, on "Christine's Joint," the
vocalists addressed a rapist with
the words "You can't hide from
me or the friends I've got/ And
when we're finished with you,
you'll wish we'd been cops," I
screamed, "YEEEEEAAAHHH!!I!"
and felt a surge of righteous violence quite alien to my nonjially
passive personality. (T.O.
Mohawk, PO Box 54 Stn E, Toronto, ON, M6H 4E1 /Outcast,
689 Queen St. W, PO Box 178,
Toronto, ON, M6J 1 E6)
Kate Schellenbach and
Josephine Wiggs have created a confusingly trendy project
the goal behind which seems to
be another resurrection of glori- •
ous Eurowave history. Their cover
of Mr. Shelley's "Everybody's
Happy Nowadays" — of which
I know absolutely nothing save
that Crass made fun of it, oh,
years and years and years ago
— is awash in plastic sounds and
stolid, emotionless singing. Their
drum machine deserves a slow
and painful death. GOOD
Royal signees can't afford decent gear. A curiosity piece for
devotees of the colour pink.
(Grand Royal, PO Box 26689,
Los Angeles, CA, 90026)
PEST 5000 are also synthesized, but deserve oodles
more props, if only by grace
of their extraordinary instrumentation. Sly and sophisticated, the Page Forty-Three 7"
puts one to mind of a slicker,
Raincoats. The stars won't be
leaving my eyes for weeks ...
(Harriet, PO Box 649, Cambridge, MA, 00238)
One-woman wonder Pamela
Valfer, who performs and
records under the. name of
KITTYCRAFT, has another
four songs wrought of treble
and industriousness, with her
trademark twists knitted into
the formula. Twist #1: the
homemade hip-hop beats on "I
got rulez." Twist #2: keys and
sounds. Twist #3: the slide
guitar on "Quite Clear." In a
perfect world, Pamela would
stand as a shining example of
creativity and diligence.
(Rover, 1-800-85 Nissin-
Chiyo, Omiya-shi, Saitama-ken,
330, Japan)*
tania bolskaya
Well, it's spring; the
season of rebirth
is once again
upon us. If you have some
time left after you've finished
frolicking with the lambs and
bunnies — and once again
your libido-assuaging porn
rampage is over — perhaps
you'll find the time to stroll
down to your local video store
to check out some of the fresh
and sparkly new titles they
have to offer.
Thankfully, easing out of
the summer blockbuster video
season, some independent
films that made brief appearances in local theatres last
year are gracing the better
video stores in town. New
recently are two lauded but
disappointing movies: The
Daytrippers and Box of
Moonlight. I actually paid
$8 to see The Daytrippers at
the Caprice; the only thing
that made the experience
semi-successful was the ec
statically thirst-quenching triple-berry ginseng juice they
sell at that particular venue.
The film itself was an exercise
in how to fill your movie with
really annoying, whiny characters that no one in real
life would EVER hang out
with in order to show what
an important, yet commercial, writer/director you
are. By contrast, I didn't
actually loathe the characters in Box of Moonlight;
unfortunately, the story was
that oft-told uptight-guy-un-
wi Hi ng ly-befriends-free-
tale. Indie writer/director
(aren't they all? Doesn't anyone have their ego in check
enough to try a hand at someone else's script?) Tom
DiCillo has magnificent character-actor John Turturro to
work with, but never manages
to give the film any freshness
or edge. Subsequently, it's just
A studio film that came
and went faster than my teenage boyfriend on a school
night, The Matchmaker, is
making its foray into the medium of videocassette. Mildly
praised and starring the ever-
watchable Janeane
Garafalo, I'm going to rent
it, if just for her. I have a feeling that that sentiment is
shared by about 35 000 of
this city's dateless males, so I
may have to wait awhile.
Keep an eye out for the director's cut of Trainspotting
— letterboxed for your maximum heroin enjoyment.
Apparently, March has
been designated "feel-good"
month at the video store; a
swath of Prozac-replacing titles is due in the lamb/lion
month. First up, on March
10th, is a whimsical documentary that played at the
1997 Vancouver International Film Festival, East
Side Story. Jumping, leaping, shimmying and shaking
into uncharted territory, this is
That's Entertainment:
The Moscow Years. Telling
the story of the rise and fall
of soviet-produced movie
musicals, the film's premise
unfortunately wears a little
thin, despite its relatively short
running time. It's goofy and
fun, though, especially with a
comfy couch and a remote
Also due out are:
March 10th: • The Full
Monty — it's a crowd-
pleaser for a reason. Might I
suggest Showgirls as a belly-
laughs double-bill? • A Life
Less Ordinary— it was underrated, though admittedly
flawed. There's nothing sexier
than Cameron Diaz in a
black cat suit and Ewan
McGregor in polyester.
March 17th: • In the Company of Men — finally! I
get to see what all the fuss is
March 24th: • Shall We
Dance — it will never dislodge Strictly Ballroom in my
heart, but who can resist
those ballroom dancing
flicks? • Eve's Bayou— it's
gotten huge praise; hopefully,
it's not too "life affirming."•
18    *VU.rcl*i 1998 basslines
by dj noah (djnoah@direct.ca)
is Brendan Ostrander, Rich
Walters, Darren Phillips, Futcher
and Ryan Robbins. While they
use traditional band instruments
like drums (two kits), guitars, bass
guitars and a vocalist, they also
use the technology available to
the electronic musician: turntables, samplers and computers. In
the last year they have performed
Band   =   Artists   =
Musicians   =   Sound
Manipulators   =   DJs
Not so long ago in a city
known as Vancouver,
there was a flourishing
live band scene that on some
nights would see almost every
possible venue abuzz with band
members, roadies, media and audience members. And even on
nights like that, not every local
band was performing. That's a
lot of people involved in the creative process of music making
through the use of real instru-
Then came the rains. For
about four years, djs began popping up at the rate of about three
or four per week, transforming
the city into Lotus Land. While an
evening of music provided by a
dj rather than a band is nothing
new to this city, it is now rare to
see a night hosted by just one dj.
two or three djs entertaining c
club crowd.
It used to be that a dj was just
the person that operated the turntables and played whatever the
crowd wanted to hear. With the
help of some high profile
turntablists like DJ Shadow,
The X-Ecutioners and
Coldcut, the general public is
being shown that djs can be "musicians" too, although in an entirely different manner from
live bands. Through the use of
obscure records (spoken word,
soundtracks, percussion loops,
ambient soundscapes) and
well known samples, djs create entirely new songs.
One analogy that seems to
work best is to compare a turntable with a record on it to any
stringed instrument. A guitar,
for example, the most common
stringed instrument in a band,
is made up of a body and
;. The strings
icked and
the body amplifies
created. The positic
gers on the frets determines the
pitch of the sound. In a similar
way, the turntable is the
"body" and the vinyl is the
"strings." By using different
parts of different records and
passing them under the needle
of the turntable at different
speeds and in different combinations of forward and backward movements, a dj can ere-
ate a different sound from that
embedded in the vinyl. It is
through this manipulation that
a dj is transformed into a mu-
So what am I trying to say,
you ask? I want to bring your
attention to a local band that
both worlds. HELLENKELLER
Peter Gabriel, <
Ministry, as well a
plex rhythms of drur
Having t
e the
rhythms of drum V bass without the use of drum machines.
With all of the gear that they
have on stage when they play,
heads and rockers alike.
HELLENKELLER yet, I recommend you <_atch them at their
next show, siated for sometime
in March. If you can't make the
show, maybe you should pick
up their EP, Unbuttoned, recorded with KINNIE STARR
sold out shows at The Town Pump,
The Gate and The Starfish Room,
as well as playing to large
crowds at Graceland, The Limit
in Victoria and an outdoor
show for Cityfest at the VCC
King Edward Campus.
HELLENKELLER's sound is a
little hard to pin down. Each
time they perform they seem to
add a new dimension. Their
HELLENKELLER are more like
performance artists rather than
a band. Their show at
Graceland last April reminded
me of the "performance" that
The Orb put on just a year earlier. While the two groups are
nowhere near each other in
energy bei
bands was
, the
cuded  by the
similar. They
Their mix of "The Shapes And
The Sizes," probably classified
as ambient junglefunk, is a
track that will be played by
both ambient and jungle djs.
It has a David Lynch style underscore   with   solid   tribal
your copy exclusively from
Violet Inch Records at 473-
This column is devoted to
demonstrations near and
far. Demos are necessary in
order for us to voice our opinions
on how our society should be run,
outside of the multiple-choice test
of voting every four or five years.
Protests are an important way for
people to react against injustices
and limit the erosion of rights that
we do have. And aside from being an important political tool,
every activist knows that demos
can be good, clean fun. You get
that rush of adrenaline, you get
to yell and you may even meet
that special man or woman.
Here is a look at some recent
demonstrations in Vancouver
and beyond ...
High finance was the target
of this year's Canadian Federation of Students' Day of
Action protest. This annual event
saw students across the country
fill the streets to denounce soaring student debt loads. Banks
were attacked for making sweet
profits while students bury their
futures under huge debt loads. In
Toronto, 1 20 angry students and
anarchists occupied a CIBC build
ing, demanding a roll back of
tuition fees and the removal of
corporate executives from university governing bodies. Students
in Winnipeg occupied the Premier's office, demanding the end
of corporate funding of universities. In Vancouver, protesters occupied the lobby of the Stock
Exchange Towers after one student was arrested for writing slogans on the windows. The occupiers left after the graffiti artist
was released, but not before he
was charged with "mischief."
Police-student tension was high as
the memory of police action during the APEC Leader's Summit remains fresh in many minds.
International Women's
Day is fast approaching, which
makes me think of the most radical of all radical feminist groups,
the British Suffragettes. Led by
Emmeline Pankhurst, the Suffragettes advocated women's right
to vote. When the government
refused to give women full political rights, the Suffragettes resorted to arson, blowing up
postal boxes and throwing disfiguring vitriol (sulfuric acid) in
people's faces
women today don't have to resort to such tactics, but women
are still marching to address issues like the continuing inequality in profession, women's rights
in other counties and anti-feminist
backlash. The annual International Women's Day Rally
and March begins outside the
Vancouver Art Gallery on March
7th. Also, be sure to tune into
CiTR 101.9 f Mon March 8th
for a full day of women's music
and voices. Co-op Radio
(CFRO) and CJSF are also
having special programming
for Women's Day.
All this talk about protests
makes me think back to the first
demo I ever went to, a Gulf War
protest when I was 14. I got a
I  frc
) le.
school, purchased a home-made
wooden button which said WAR
with a cross through it and
chanted, "Hell No, We Won't
Go, We Won't Die For Texaco."
Seems not much has changed
since those days, as last week I
found myself at a "Desert Thunder" protest in front of the Van
couver Art Gallery. Attendance
was sparse and apparently protests in the US this time around
have been poorly attended. I suppose that after the American interference in Panama, Korea,
Vietnam, Chile, Cuba, Dominican Republic, etc., people are
used to the routine. The following day, however, people gathered at the Art Gallery for an
Anti-Gulf War Rave, in the
name of peace and unity. Hopefully Vancouver will see more
blending of parties and politics.
The combo is unrivaled for politicizing the apolitical and gaining
increased support
Protesting is an international
culture, let's not forget. In Hong
Kong last month, pro-democracy
protesters greeted Chinese leader
Qiao Shi with loud shouts and
red paint symbolizing blood.
Qiao is a powerful member of
the Communist Party and the first
leader to visit Hong Kong since
last year's handover. Since the
colony reverted to Chinese rule,
laws regarding civil liberties have
been restricted and the elected
legislature was replaced with an
appointed assembly. The protesters demanded a probe into the
deaths of hundreds of students at
Tiananmen Square in 1989.
In Paris, 600 pounds of oranges were dumped in front of
Cameroon newspaper publisher.
Puis  Njawe,  publisher of
Cameroon's leading opposition
paper, printed a story about President Paul Biya's health. He was
t   the
jailed for two years for spreading false information.
Other actions of interest in
Vancouver lately include Maude
Barlow's .speech to a packed
house at the Vancouver Public
Library about the dangers of
the MAI ... Women Opposed
> Polic
(WOPIG) gathered to protest
the stripsearching of women
arrested at the APEC protest at
UBC and the general abuse of
police powers ... People demonstrated outside the Mexican
i Vane
around the world to protest
more murders of Zapatista
sympathizers by paramilitary
groups in Chiapas ... Longtime
Chinese political prisoner Wei
Centre brought people together
to discuss issues like police brutality in the Downtown Eastside,
squatting and the history of
radical youth. On March 8th
there will be a protest of China's occupation of Tibet,, and
betan uprising of 1959. People are meeting at Robson
Square at 1:00pm and marching
to the Chinese Consulate at
Granville and 16th. There will be
a candle light vigil outside the
Chinese Consulate on March
10th. If you have an event you
would like mentioned in Demo
Derby, call the CiTR n
The Lone Man
(Harvill Press)
Quite Ugly One Morning
The Gun Seller
Spring is nearly in the air,
with the threat of torrential rainshowers and obnoxious insects. Seems
as good a time as any
to talk about misery and
Some might remember Hugh
Laurie as the implacable idiot from Black
Adder and Jeeves
and Wooster. Unlike the characters
he has portrayed,
Laurie's protagonist in The
Gun Seller is intelligent, pragmatic and competent. Thomas
Lang, nearly killed in the first
pages, is hired to protect the
very man he was accused of
attempting to
murder. Confused, betrayed,
and annoyed, he is blackmailed into doing the right
thing, whatever the cost. A
farce guaranteed fo remove
any respect you may have
had for James Bond—except for the Sean
Connery version — i
filled with witty writing, bizarre situations, comparably
realistic set-up,
some violence,
and a little sex
and absolutely ridiculous.
* Following along the
humourous line, sort of, is
Christopher Brookmyre s
Quite Ugly One Morning, the
tale of a murder investigation.
Viewed through the eyes of
the police, a journalist, the
victim's ex-wife, the murderer,
his paymaster and corporate
culture, this story of a gruesome murder, unwitnessed despite being only a short distance from a police station,
challenges the traditions of
the standard mystery form. If
there was a legion of nudes,
some overt sex, and
clever cinematog-
this could
easily be a
Greenaway picture.  In
stead, there is clever dialogue, interesting character
development, laughs, grisly
descriptions of crime scenes,
and political awareness that
would be almost impossible to translate on to either the large or smal
screen. The title is apt
from the first page to
the last punti
cliches with v
and immaculat
skill. It won the
Critics' First
Blood Award
(1996) for
best first
novel of the
Bernardo Atxaga's
The Lone Man evades the
jocular to explore the effects
of a life of silence and imprisonment— within a nation not
one's own, within penitentiaries, as well as within oneself
— had on a former ETA
(Basque separatist) member,
Carlos. While without remorse for his previous actions, he is nonetheless thankful for the amnesty that
marked the end of Franco's
dictatorship but still has not
stopped the separatist campaigns. Part owner of a hotel
with other members of
his  old   cell,
traps himself by old loyalties
and foolish lies. He is further
buried by foibles of his own
creation and those of others. All this during the particularly stringent security
surrounding the Barcelona
World Cup of 1986. The
translation, first from
Basque to Spanish then
Spanish to English, appears
exquisitely natural.*
(mi'* > >
■fife'"''; Life is a
>*//-''   game-
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of -getting in trouble.
M^^T      708.2606      [|K
20    rvUrcl*** 1998 BEN FOLDS FIVE
Naked Baby Photos
Ah, yes, a new album from
Ben Folds Five. For those not
yet in the know, this band is the
creation of one Ben Folds, lyricist and pianist extraordinaire,
one of the most creative men
on the scene these days. He
may remind some of Elton
John, but there's so much more
to the tunes if you dare to dig
a bit deeper. This album is a
collection of live performances
and songs that never made it
onto the first two (brilliant) albums. We get a scary example of rap-gone-wrong ("For
Those Of Y'all Who Wear
Fannie Packs"), a sweet cover
of Built To Spill's "Twin Falls"
that'll make even the hardest
heart turn to mushy gunk, an
ode to the alternative music
scene ("Underground"), and
one kick-ass piano/metal tune
("Satan Is My Master"). This
album is hip, with it, and oh-
so-cool. You'll like it and your
parents might, too.
Julie Colero
The Best of David Bowie:
I'm Afraid of Americans
These two recordings represent
the evolution of a pop icon. The
Best of record documents the
greatest songs of Bowie's
early career. Listening to songs
like "Space Oddity" today, I
find it hard to believe that it
was written 29 years ago; it
may as well have been written
yesterday. This CD includes all
the early favourites, with the
exception of "Heroes." This is
stadium rock at it's best. Make
sure the Zippo's gassed up and
ready to go.
For those of you who think
of Bowie as a transsexual rock
star from Mars, I'm Afraid of
Americans is quite a departure.
Evolution leads to speciation and
the Bowie of today is quite a different animal. This CD includes six
different versions of the title song,
originally featured on Bowie's album Eorthling. Every version of the
song was remixed by Nine Inch
Nails and each one is unique;
without the shared lyrics, you
would never know that they were
the same song. The first remix is
a highly electronic form of the
original (no guitars here) that
drones on .a bit too long for my
taste. The second remix is a hip
hop version that features Ice
Cube. The third remix is a noise
track that made me think that
something went wrong with my
stereo. The fourth remix features further production by
Photek to create a danceable
drum 'n' bass hit. Very
minimalist. The last track on this
album is monstrously long and
very forgettable. This is an album to listen to one track at a
time or else you start to hate
the song.
Shane Vander Meer
The Drop
(Thirsty Ear)
Brian Eno's been doing this
for a while and, let's just say,
he knows what he's doing! The
album cover was also designed
by Eno and depicts a guy in
some sort of vehicle which is
supporting a huge back drop
— hence, the name. Is that the
proposed purpose of this album? A backdrop for your
day? The sounds are experimental, light, and synthesized.
Some tracks are sort of leery
though    you    were    being
watched. For rhythm, he rarely
uses real drum sounds. Instead,
he prefers the synthesized ones
and keeps it very electronic. It's
structure. Very cool.
Cold And Bouncy
This is the best album in the universe. It's Stereolab (cold)
meets The Monkees (bouncy)
and it's a flawless piece of musicianship on the part of Sean
O'Hagan. You must hear this
album to know true pop bliss.
Go. Buy. Now.
Julie Colero
Me Media Naranja
Absolutely lyrical, haunting
and mesmerizing. Absolutely irresistible. In discussions with a
few friends/associates, the
term cinematic has popped up
a number of times as a description of Labradford's sound on
this one. Although I can imagine matching-the songs on this
album with flickering images,
the music here doesn't immedi
ately  !
track material to my ear. But
DAMN, do I ever love it. It's so
good, in fact, I just went right
ahead and nailed it right down
to my turntable.
Tony "the trembler"
In Clover
(Candy Ass)
Portland, Oregon is home to
both the great label and the
great band. The label has a
very good sense of good grrrl
rock and associates itself with
the likes of Team Dresch,
Tattle Tale, etc. I first saw The
Lookers in Vancouver at the
end of '97 when they played
at the Starfish Room with
Sleater Kinney. The Lookers
consist of two guitars and
drums — they keep it simple -
- but the music itself is not necessarily simple. Their two-part
vocal harmonies and happy,
yet thought provoking, lyrics
make this a terrific release.
#1 USA
I think that I like this album. K
Records seems to have its finger on the pulse of punk rock
and this album's just right if you
dig that scene. This is Sam (ex
of Lyncj's second solo outing
and is more straight-ahead rock
than his previous effort, Love
As Laughter's The Greks
Bring Gifts.
On this album, Sam has invited ex-Lync bandmate and
current Satisfact member
Dave Schneider to join him in
making noisy super-noise. This
just proves that the northwest
music scene is inbred to the
core and that the birth defects
that ensue from these numerous
band rearrangements are always pleasing. L/A/L seems
like a band that would be in its
element at a live gig, but until
I'm lucky enough to be graced
with a performance, I'll enjoy
rocking out in my living room
with this new K love-child.
Julie Colero
The Minstrel Man From
(Columbia    [Roots    'n'
You might not want to accept
this but Emmett Miller, "the
Minstrel Man From Georgia" -
- that's right, a minstrel, a white
man who performed in black
face, who worked the vaudeville circuit, who sang and
schticked in "negro dialect" —
is one of the very key figures
in the history of American
popular music, one of the very
pivotal characters. And if you
don't believe me, pick yourself
up a copy of this-hereCDaswell
as a copy of Nick Tosches' frenzied/outrageous/brilliant Country: the Twisted Roots of Rock V
Roll (which has recently been re-
released by our good, good
friends at Da Capo).
While for most minstrels,
minstrelsy was a way of fixing
the Other, locking divisions in
place, for some (Miller included) minstrelsy provided an
avenue for accessing regions
that were otherwise denied, to
break down divisions (social,
musical, etc.) in unprecedented
ways, to delve into Amerisa's
conflicted soul. Miller delved
into that soul in a manner that
was absolutely explosive, creating hybrids and fusions that
remain startling to this day.
(How many performers can you
think of that were/are pivotal
figures in the history of country, blues, jazz and rock 'n' roll
simultaneously?) And the freedom Miller accessed in this
manner allowed him to deliver
some of the most out-there vocal stylings you're ever likely
to hear. His is work that truly
must be heard to be believed.
A good starting point: check
out Miller's legendary version
of "Lovesick Blues," a version
interpreted in such a way that
he immediately owned it, a version that became the prototype
for Hank Williams' hit single of the same name decades
later. You may not be able to
call Hank "the 'lovesick blues'
boy" ever again.
Project Pollen
While not concerned about inventing a new musical wheel
when a retread may work just
as well, Steve Greenwell and
Ron Paul, collectively known as
Project Pollen, traverse the
electronica minefield with their
legs relatively intact. Intentionally absorbing a sensual feel-
- vis a vis Roxy Music —
Project Pollen blend grooves
and loops with clever attention
to detail. With that said, the
duo sounds ironically fresh.
Project Pollen's
soundscapes have something to
offer simply because the disc
stands out from the latest pack
of electronica wannabes. This
is not a hop-on-the-latest-band-
wagon disc. Dawn DeSimone
adds a delicously soulful layer
of vocals guesting on a pair of
tracks ("That's OK," "Scum").
Project Pollen's debut adds a
pleasing wrinkle to the
electronica genre that has recently become quite predictable.
Pieter Hofmann
Marquee Themes
(Shoutin' Abner Pirn)
I like bands from Calgary and
The Puritans are from
Calgary. There must be something in that Prairie water that
has inspired Calgarians to create some of the best rock in the
country. Shall I drop names?
How about the Brewtals,
Chixdiggit, Curse of
Horseflesh, Huevos
Rancheros, The Infernos,
Jackson Phibes, The
Mants, and The Von Zippers to name a few in alpha
betical order.
This band has a bluesy style
of garage rock that just makes
you want to jump up and down.
Some songs bring to mind a
punkier Blues Explosion and
lead singer Mitch Hendrickson
definitely has the same Elvis-
ready-to-kill quality as old
Jonny S himself. All 15 tracks
are pulse-pounders that will
have you ready for some action at the drop of a hat.
Shane Vander Meer
The Daddy of Them All
At times, vocalist Richard
McNevin sounds kinda whiny
like Liam Gallagher of fellow
Brits Oasis, but unlike Oasis,
Space Monkeys haven't
quite earned a "bad boys" type
of image. Instead, they entertain music fans with their programmed rhythms mixed in
with real electric guitar and
drums. DJ Tony Pipes skilfully
works in samples taken from
famous artists,  including Wu
For those who were into the
British scene around eight
years ago, Space Monkeys
may resemble EMF in their
trendsetting, catchy, danceable
pop-rock. "Sugar Cane," the hit
single of the CD, is certainly a
difficult tune to forget and
should be played more at
clubs. For once, Richard demonstrates that he's not only a
singer, but also a rapper. "Inside My Soul" is a song about
self-reflection, filled with inspiring lines such as "keep your
dreams close to your heart"
and "live by your own rules."
And what's a CD without a sad
love song? On the other hand,
I couldn't help but think about
drugs while listening to some
of the other lyrics throughout
the album: "I used to run
around ... speeding like a train,
• popping pills like Pacman" and
"Life's a trip and then you get
' Most of the album is a
pleasure to listen to, with energy-filled tracks like "Blowing
Down the Stylus" contrasted
with more mellow, melodic
songs like "We are the Supercool." These guys are certainly
bringing on the effects of the
British   explosion  to   North
Jerome Yang
Teen Idols
(Honest  Don's  Reliable
Redneck Recordings)
Three words: "Ben Weasel Approved." Shameless endorsement or sincere plug, you decide. This foursome from Nashville, Tennessee play decent,
catchy pogo punk with just
enough syrupy sweetness to
encourage repeated listening.
File next to Squirtgun (but not
Screeching Weasel, cuz
they're far less cynical) in your
record collection.
Bryce Dunn
#2 zine
(36pp, halfsize)
Around this time last year, the
first issue of There Was A Sun
Once came out. It was a very
short and entertaining zine containing short pieces of fiction
by several authors, with most
of the pieces written by Marty,
who has written other zines in
the past. It was a small step into
a different type of zine in this
world of personal and political
This time around, Marty has
written all of the stories himself
and there is much more reading content in this issue. Marty
uses his writing ability to create longer and more in-depth
stories ranging from underground tests on humans, lost-
and-found scams, the scum of
society, love and lust and a
whole lot more. His writing has
a real "seedy," offensive, back-
street-style of writing — kind of
like the beatnik writers of earlier this century — which adds
a gritty reality and shows the
darker side of human nature.
Readers with a strong politically-correct mindset may have
trouble reading this, but I look
at it as fictional view at a side
of reality that authors tend to
avoid writing about: a social
commentary, if you will. Send
a dollar to Martin J. Hauck at
Bsmt, 431 1 Balkan St., Vancouver, BC, V5V 3Z4.
Jack Duckworth
Instant Disasters
(Lance Rock)
"General" Jack Tieleman and
the Lance Rock Army have
gained some sturdy recruits in
The mighty Titans from Japan.
Crunchy, Gritty and loose rock
and roll that a lot of times reminds me of Gas Huffer They
throw in some covers of U.I.C.
(!) and X and provide more
proof that some of our best
punk rock action is comin' from
the Far East- rock n' Ramen,
Bryce Dunn
Challenge For A Civilized
(Kill Rock Stars)
Unwound seem to have a
slightly different type of "post-
punk" sound every time they
put out a new album. Recorded
by Steve Fisk, who has produced almost all of their releases, it features a tonne of
mixed up sounds and noises,
strange Sonic Youth-sounding
feedback, and distorted vocals
that were obviously fooled
around with by Fisk in the studio. If you like Pigeonhed,
Fisk's own project, you're
bound to like this too.
The first two tracks sound
an awful lot like the better "urgent" or chaotic songs on The
Future Of What, or New Plastic Ideas, but after that, things
get weird. A trumpet, saxophone, moog, echoplex guitar
pedal, distorted drums, and
21 ^m&ssmm even something that sounds like
the meows of a cat can be
heard adding to the wall of
noise in the middle tracks of the
album that aren't especially
memorable, to say the least.
The eighth and n
and   S
singer Justin Trosper's moving
voice singing loudly in the mix.
His guitar pounds out tear-jerking minor chords and bassist
Vern Rumsley cranks out the
odd-sounding basslines in with
Sara Lund's unique and very
rhythmic drumming style to
make up a couple of unforgettable tunes. The last track is a
sort of confused, instrumental
backwards dub song.
I wouldn't say that this is the
best Unwound album I've ever
heard, but it's still Unwound
and I don't think many bands
out there can compare.
Chris Corday
Partners in Hair
I don't know much about this
album (and the entertainer
behind it) except that I like
the label it's on, it's got
lovely artwork, and Mr.
Visser appears to be a
Dutchman. Visser's voice and
accompaniment immediately
suggest a Dutch Will
Oldham, if you can imagine
that, dear reader —the rollicking Will Oldham, not the
haunted, "touched" Will
Oldham — AND the Dylan of
"Hurricane" — rollicking and
driving — but not as full as
Dylan's Desire ensemble, more
stripped. You get the picture.
Sprinkled in with the songs
are a number of odd but intriguing "field recordings" too: "Excerpt from 'Arabesque on the
Pirosmani Theme'" is some kind
of calliope tune; "March Music for the Holy Week" is just
that, recorded in Spain (I think),
etc. In some ways these recordings really "make" this album.
All in all, a long, rambling,
somewhat interesting collection, but one that ultimately isn't
all that gripping.
Jack Adams
(G7 Homecoming Committee)
i expected this to be some sort
of better-than-average pop-
punk   record   be*
Weakerthans is John K.
Samson, former member of
the legendary Winnipeg
punk band  Propaghandi.
Instead, what I found was
that Fallow is a better-than-
average rock record full of
mid-tempo songs about life
in the Prairies and other such
The faster songs are reminiscent of the late Jawbreaker, but Samson's soft
and sweet vocals don't seem to
properly suit the distortion and
noise coming out of his guitar
amplifier, so it makes most of
these songs sound kind of generic. When the Weakerthans
turn off all the noise and pick
quiet melodies on their instruments, as they do on at least
two or three of their songs, they
begin to sound like Bedhead,
which, in my opinion, is a
very good thing. Samson's
vocals almost fit perfectly
with  the  more tranquil and
dued, clean-sounding strumming and picking, a hint of lap
steel, and minimal drumming.
This is a fine CD if you're the
kind of person who doesn't need
to "rock" all the time.
Chris Corday
George Best Plus
(True North)
This re-release of the George
Best album with added singles
is the essential Wedding
Present album. This British
wrapping   sad,   depressing
themes up in perky, up-
beat music. Singer and
lyricist David Lewis Gedge
addresses issues of love and
hate in an eloquent fashion,
creating scenarios and char-
with.   Although  this  album
ago, the issues dealt with
are still pertinent to the lives
of today's not-so-rich and
famous. These are songs for
the working class, songs
which sap and give hope at
dancing and shedding tears,
baby. Enjoy.
Julie Colero
Das Digitate Vertrauen
A tiny, bizarre landscape on Vancouver Island gave The Bog its
name. The label is settled down
in Hamburg, Germany and focuses on electronic music. Three
vinyl 10"s and one 7" have been
released as limited editions
(500-1000' issues) with music
by Edward Ka-Spel (singer of
The Legendary Pink Dots),
Asmus Tietchens and a new
band from Hamburg, called
The E
had the
to release a CD with all Bog-
material. Because nobody was
interested to rip all 10" owners off, all artists of the project
tracks  and  the  whole  idea
ended up as a double CD in a
digipak with beautiful artwork.
Deepwater Black
Indorsation Vol, One
(PEG Music)
For those not well versed in the
realm of modern electronic music, the Deepwater Black compilation is the one for you. The
disc includes a little bit of everything: drum V bass, trance,
house, break beat and ambient. Bowery Electric start off
the album with a nice relaxing
number that eases you into
Nettwerk's Delerium. Of all
the tracks on this album, this is
the one I skip over. I'm not
much for singin' in my techno.
That track gives way to a high
energy tune by Prodigy that
makes me want to dance
around my room. That's followed up by another highly
danceable tune by Empirion.
There are a few forgettable
tracks including a remix of the
Deepwater Black theme song
and a hip-hoppy song by Mood
Ruff (more singin'). Drum V
bass fans will applaud Jonny
I  fe*
atonal sounds, beautiful melodies and reduced dance-
rhythms, but none of the songs
fit into any popular drawer.
You'll never be bored by listening to the music on Das Digitate
Vertrauen — it's a little masterpiece that will last forever in
your collection
Sven Niechziol
lowed by a trance song by Cirrus that will make you smile
(and tap your toes).
Moonstarr presents another
drum V bass number that is
truly worthy of the title "Imperial Star Cruiser," and a perfect segueway into
"Hologrammic Dub" by DJ
Spooky. This is one of those
songs were you see how amazing  a  couple  of turntables
sound in the hands of s<
who knows how to use them.
In "Future Dub," the German
duo of Jan and Andy (a.k.a.
Mouse on Mars) use their little toys to create an interesting
mix that defies definition. But
by far the best song on the
whole album and well worth
the price of the CD alone, is
the inclusion of "Metal" by
Gary Numan. This is a song
to remind us that electronic mu-
ple may lead you to believe.
Shane Vander Meer
Super Secret Songs: A
benefit for Kitchener's
Korova Cafe
The Korova Cafe, in Kitchener,
Ontario, is a student-run,
non-profit cafe that features
The profits from this CD will
help keep the cafe open and
tributed.   Some   bands  are
starting  out,   but all  wrote
tion. Some songs worthy of
note are "You got me Running"
by Plumtree and a rocking
number by The Bonaduces.
My favourite track of all is a cover
of "The night has a 1000 I's" by
Dan Bryk. All the songs are an
indie rocker's dream come true.
And best of all, every artist is
Shane Vander Meer
ie night ended with Mollies
■enae   but I mn't niv<=> vou
of the
in't give you
Tuesday, December 9
This show was frightening in
many, many ways. How could I
have jeopardized my German
known as "Hardcore?" The artists
of Digital Hardcore Recordings are
a joke live. EC80R stood on stage
and lipsynched. Shizuo had a
skanky pornogal in cowboy hat and
little else gyrate while he twisted the
odd knob.
Atari Teenage Riot proved a
bit more entertaining, as they were
a bit more lifelike. Hanin won my
heart as she spat on the crowd and
Carl Crack, skinny bit that he is, kept
trying to pick fights with the crowd.
Alec Empire provided the most frightening action of the evening — why
did he get naked? This boy thinks
he is the ultimate rockstar and I do
not like that. I didn't plan on seeing
this dreamy gabber-boy's German
speedo undies. I wish that the leather
pants had stayed ON, and that I
had stayed HOME.
Julie Colero
22    fVUrcI*** 1998
Friday, January 16
Being naturally alienated by most
loud and brash sounds, I opted
to go easier listening night for
Rock for Choice for fun, music
and to show my support for the
I arrived just in time to catch
the tail end of Gaze's set. They
play heartfelt, introspective pop
— wistful melancholy set to
bouncy pop. Gaze was the perfect antidote to the loudness that
was to follow.
As expected, R4C veterans
10 Days Late brought the kids
to their feet in a frenzy of
metalpunkrock. They were tight
musically, the lead singer's energy was fun to watch and, judging from the crowd response, infectious. Although my mind
started to wander after the first
few songs, the moshers were in
full force throughout their set,
which is enough indication of
their stellar-ness as a live band.
Because of her name and
other stuff, I had a lot of negative
preconceptions about Mudgirl.
Well, my snootiness was misdirected. Her distinctive voice separates her folky songs from the Lilith
Fair archetype and the intricate
song arrangements make her
narrative all the more absorbing.
Her too short set that night was
acoustic, which I thought gave her
songs an added weight. Apparently,
she is usually more "rock," but probably just as good.
The last band I caught was
Pluto, whose set consisted
mostly of songs from their forthcoming album. Catchy, visceral
pop-rock with plenty of strutting
and orgasmic facial expressions
courtesy of their lead singer.
While waiting for them to play
something I'd recognize, I realized that Pluto's songs are all similar-sounding enough to seem familiar, even if you've never heard
the song before. Makes for a
pretty monotonous live show, but
hey, maybe the crazy singer antics are meant to compensate.
had to leave.
Fun was had, raffle prizes
were won and important issues
highlighted. It was another great
instalment in a series of R4C benefit shows.
Friday, January 23
Starfish Room
Vancouver's Trike Wipeout
kicked off the sold out evening
with an aggressive '90s punk-
metal sound. The leadman offered hard, biting vocals, characteristics of bands like Korn,
and a dj added extra sound effects to the music, but this wasn't
enough to get the crowd into if. I
give these guys credit for playing hard regardless of the lack
of attention.
Wheat Chiefs took the
stage next: these guys were obviously a more mature band,
playing punk-rock and sometimes
just good ol' rock and roll. Instead
of yelling, the vocalist actually
sang and the guitarist offered
great vocal harmony, which
added to the music.
. Southern California's
Goldfinger brought the audience's attention levels to the max,
with their hyper stage presence
and their energy-filled punk/ska
music. Opening with ska tune
"Answers," the group maintained
fhe excitement with their first single "Here in Your Bedroom,"
"Chris Cayton," a song about
satanic skateboarders, "Mable,"
a treat for the ladies, and "Rio
Grande," a Duran Duran
cover song. Darrin, the drummer,
even took the mic to do a rockin'
version of Chumbawumba s
"Tubthumping." These guys
treated their fans like their friends,
allowing them to dance and sing
with them on stage. The evening
finally ended after two encores.
Jerome Yang
Wednesday, January 28
Starfish Room
Stanford Prison Experiment
opened but sounded a bit too
straight, a bit too "emo" for my
liking. On the other hand: the
Jesus Lizard — believe it or
not, friends — are still kickin'
AND kickin' 'em out. Sadly,
though, Mr. Mac McNeilly, drummer of the gods, is no longer with
'em, having relocated to the P.W.
Long's Reelfoot camp, for
some reason. Mr. Yow usually
steals all the attention (and for
good reason), but for myself the
other 3/4s of the band have always been just as essential — the
Jesus Lizard was defined just as
much by David Sims' expando-
ass assaults, Duane Denison's
sometimes skeletal, sometimes
menacing guitar work, Mac
McNeilly's ferocious AND inventive skin-pounding (how many
jld hammer their kits
with the same authority that
McNeilly did on "Pastoral," transforming an eerie song into one
that's downright devastating?).
McNeilly's replacement, James
Kimball — of Denison-Kimball
Trio fame — is a solid drummer,
but compared to McNeilly, he's
merely functional. That being
said, the remaining 3/4s of the
band was in fine form.
Yow started off the evening
in some jack-assed snowboarder-
style tee-shirt, but soon had the
chested. It didn't take him long
to whip the horde into a frenzied,
sweaty mess (I, personally, lost 12
pounds during the course of the
evening). And despite some barriers the proprietors of the Starfish Room had borrowed/leased
from APEC's "security"/
stormtroopers, Yow managed to
pull off several penetrating body-
volleys into the audience. Always
the charmers, the Jesus Lizard
generously pulled out all the "hits"
("Here Comes Dudley," "Monkey
Trick" and "Blue Shot" among
them) and just kept giving and
giving and giving (three encores!), 'til it hurt.
Friday, January 30
The Columbia
Looked like an interesting night,
judging by the bands' names. I
expected Shelleycoats to be a group of Goth anarchists who
would make heavy references to
the wardrobes of infamous Romantic writers; I thought the
Probes would take me on some
sort of exploration (either of distant galaxies and spacey whatnot, or of the insides of organic
bodies); and I believed that the
Dirtmitts would have come in
dirty and stinkin' from a hard day
of slinging mud and excrement
af each other at their local
None of the above hypotheses proved even remotely accurate. Shelleycoafs came on first,
opening with a Buzzcocks
cover that was quite impressive.
This was probably their best
song. Their bass player is remarkable in that she plays a fretless
without resorting to all 'that
swooping and sliding nonsense
that so many fretless players seem
unable to avoid. The vocalist for
this band has a smirky sarcasm
that goes well wifh their sound.
Which is? Oh, I don't know ...
perhaps an indie-rock adaptation
of the Go Go's, minus the oft-
bearing quaintness. I liked this.
On to the Probes. They said,
"We're back," early on in their
set, implying that maybe the audience had missed them while
they were away. I, for one, had
never heard of this three-piece
rawk band before. Whatever.
The frontman reminded me of
AC/DC for two reasons: (1) he
played a Gibson SG and (2) his
voice sounded like Bon Scott
without the apparently constrained genitalia. This is a bad
thing. This sort of music is most
palatable when the singer's balls
are twisted so hard that he
squeaks and squelches like a
freshly shaven hyena. Alas, these
guys played a tight set, but hey,
this music just doesn't do it for
me. However, the crowd seemed
By the time Dirtmitts took the
stage, the club was very well-
stocked with patrons. This three-
piece has an energetic presence
that is too often absent from
bands of the punk sort. Their costumes are great, too: straw hats
and short skirts. They seemed
very well rehearsed and confident. They had a punchy
sound and a punchy attitude.
However, one might ask a
band for greater diversity in
their sonic range. On the other
hand, this is punk music — if
the same three chords work
once, why not push fhe envelope
as far as the masses will tolerate?
The best moment was their lively
cover of Blondie's "Hanging on'
the Telephone."
And just one more thing.
While this review is rather long,
it is made for a reason: this city
is experiencing a scarcity of extensive reviews of local bands'
concerts. When gigs are as well-
attended as the one I have just
described, it is an outright shame
that reviews of them are either superficially brief or nonexistent.
Come on, local gig-goers, do
something worthwhile with
your opinions: put 'em in print.
Saturday, January 31
Starfish Room
Phil: So, uh, why are we here?
Lil: We're here to see Modest
P: Modest Mouse?
L: Yeah, remember — we heard
them on the Fox the other day?
They rock hard.
P: Oh, cool. Can we mosh to
L: Yup. I brought my whole sorority tonight, because this band is
so dreamy. That drummer guy,
Jeremiah Green, he's so dreamy
P: Does he rock hard?
L: He rocks hard.
P: You know, I think that I saw
these guys on MuchMusic once.
They looked pretty indie. I don't
know if I like that. Do they have
any albums?
L: Not on a major la-
Who're these guys??
P: Gaze. They're cute
... but they don't sound
enough    like    The
Breeders for me to
like them. Damn, these
girls are just way too
indie. GET OFF THE
STAGE! They're causing
me to think about issues,
which impedes my alcohol
consumption. They play
well, and. write catchy
songs, but they just ain't top
L: I dig. You want something
a bit more Green Day-ish
P: Yup, like these guys ...
L: I think this is Modest Mouse.
Yeah, they look dreamy enough
to be headliners. Why're their
songs so long? I'm running out
of energy — moshing amidst
many other drunk obnoxious university kids can sure take it out of
P: Yeah, but we're rockin' hard.
L: We are. I just wish all those
real fans would leave, so we'd
have more room to mosh and
P: Dude, that would be perfect.
Man, why are all those indie kids
glaring at us?
L: Who knows. Just knock them
over, and keep on rocking hard.
Julie Colero
Thursday, February 5
Starfish Room
There are so many good things
about Electrosonics that I find
it hard to write this review coherently, without speaking in tongues
or otherwise spewing superlatives
without a care for syntactic order
and whatnot. OK. Let's start with
some comparisons: Slowdive
and Spiritualized are the most
obvious references in their work,
but this band has a presence and
intensity that is all their own.
The set began with a few big
brassy numbers that made you
forget that this group was composed of five separate musicians.
From here, fhey descended into
a deep, dark ocean, observing
iridescent starfish and ai
never needing to come back to
the surface for air because the
angelic voices of Clare Kenny
and Wendy Young are capable
of breathing sweet life into anything with the ears to hear them.
The use of flute was entirely welcome in this soundscape, augmenting the already-dreamy compositions with flourishes of slowly
growing flora. Longer synth-infros
and outros characterized the latter portions of their set, with
sparser drumming by Curtis
Dobson. It is refreshing fo hear
experimentation from all members of a band (including the
drummer), and the way in which
Electrosonics utilize these motifs
seems perfectly consistent with
their songs. A concerted effort
is put into varying the intensity of the music: beginning
ambience, reminding the audience that yes, there are other
models for music-making — thi*
one being reminiscent of
Delerium — except that Perfume Tree creates pieces that are
far less fragmentary, far less monotonous. This three-piece casts
shadows of mid—'80s electro-
pop, and when I say that I mean
that their choice of sounds put
these thoughts into my head.
Some synth sounds took me back
to Depeche Mode or Bronski
Beat (circa 1985) — rendered
in an entirely different context, of
course. Much digital processing
of the vocals lends mythic (and
alien) Kate Bush overtones to
this music. It works very well. I
am not a big fan of in-
starfish rQQ*vi
gradually bringing in
other things, building momentum, leading up to an enormous orchestral organism that
moves imperceptibly from one
orbital path to another. Towards
the close of the set, a notably
dreamy piece highlightecfrhe
fluid bass playing of Eric White,
who, by now, it seemed, was the
conductor of the whole
stratospheric enterprise.
Headliners Perfume Tree
came on just before midnight, at
which point the Starfish Room
was relatively busy (for a Thursday night). This act flooded the
room with danceable electro-
tal music of any
kind, so to hear an organic
voice (and a gorgeous one, at
that) blended into the foray of Perfume Tree's two synthesists makes
it so that both heart and mind
receive their stimulations simultaneously.
Friday, February 13
Opening acts are usually comparable to the headlining acts at a
show, but on this occasion there
was no such correlation, since
Mystery Machine is not an
angst-ridden, talentless act. Let's
just say that, aside from a few
friends of the band, no one was
atThe Brickyard to see Revulva
play their unique brand of punk-
grunge that can only be described as Meat Loaf meets
The Ramones with female-teenager frustration.
That aside, Mystery Machine
has been in limbo as a recording act for several years, keeping fans waiting for the day when
they might decide to make more
music. With the upcoming release
of their third album only two
weeks away, the band made a
present, playing a lengthy set of
material from their forthcoming
album as well as from their last
release,   10 Speed. Crowd favourites included "Just A Sec,"
"Sinker," and "Brand New
Song," all performed with vitality and zest. Notably absent were classics from their
first album, Glazed.
Mystery Machine is now
a five-piece, having added
a third guitarist to make an
already thick guitar sound
unstoppable. Despite this
unpredictability, the
band is as tight as ever,
never missing fhe breaks
and working dynamics
to full effect.
Patrick Gross
<y Saturday, Febru-
«*W*» ary 14
<■-* Starfish Room
^ Who better to open
ft a Valentine's Day
^ show than Mary
Lou Lord, i
*" heartbreak and
5^ love gone bad?
Even though I'd
never seen her
before,     I'd
heard  a  lot
about her. As
it turns out, 1
haps,  the
epitome of
pop. On
the surface, she reminds me of Juliana Hatfield
— I mean, they look similar and
both play poppy music — but
that's the extent of the similarities.
Lord has got way more substance, her songs are catchier,
she writes decent lyrics, and unlike Hatfield, her voice wouldn't
break glass. In fact, her vocals
resemble Bettie Serveert's
Carol Van Dijk.
Mary Lou Lord was backed
by a strong band, they didn't
overplay and they gave the songs
plenty of room to breathe. She
interacted well with the audience
and they gave her a well-deserved, positive response
Whiskeytown, North
Carolina's alt-country flavour of
the month, occupy the void between Son Volt and Wilco. I
really dig their latest CD, Strangers Almanac, so I was looking
forward to checking them out live.
The stage was lit by two candles and two dim, red spotlights,
which made it awfully hard to see
the band. I think that was the
point. Ryan Adams and his five
bandmates (only one of which,
incidentally, remains from the recording of Strangers Almanac),
played mostly sped up, more
rockin' versions of their tunes,
whereas the album is more polished and melancholic. In fact,
at times they sounded like a completely different band.
The band seemed a strange
mix of people. In particular, the
lead guitarist stood out, reminding me of annoying ex-Saturday
Night Live bandleader G.E.
Smith. He seemed like the kind
of guy who was recruited from
some mainstream country cover
band. He was, however, an exceptional guitarist and played
effortlessly. And he had all the
rock star moves down pat.
During the encore, Adams
had a little fit on someone in the
audience. He threatened to kick
his ass, he slagged Canada a bit,
and then cut the set short.
Whiskeytown are great on album, but are hard to take live
when Adams' ego takes centre
Fred derF
Sunday, February 15
The Gate
'Twas a relatively quiet Sunday
evening at the The Gate when the
peace and calm was interrupted
by an alternative rock band by
the name of Speedbuggy.
Speedbuggy provided an excellent blend of distortion guitar
sounds, even taking time between
songs to apologize for interrupting the hockey game on the
stage's big screen. Although the
lyrics were fairly unintelligible, the
vocal lines were well suited to the
music. They reminded me of treble charger and Nada Surf
and I wouldn't be surprised at all
to see them on The Wedge.
Hum began in a highly un-
played with the big screen still
drawn down over the stage so
that fans could see the end of the
big hockey game! Like
Speedbuggy, Hum is a group that
l to explore the
sounds. Two words come to mind
to describe their set: distortion
extravaganza. These four men
from Illinois were entirely composed and calm. The singer and
guitarist even turned around with
their backs to the audience during songs. Cool lighting effects
were also matched to the music,
adding to their stage presence.
Hum performed a great selection
of songs from their last album (including "I Hate it Too," "The Pod,"
and "Stars," their first big single
back in '95) and sampled their
new album, Downward is Heavenward, which features the heavy,
energetic "Coming Home."
Jerome Yang
E^§SSE_gS ^T on the dial
H                **3
g         rJ0f9 fm
12:00PM Alloftimeismeasuredbyitsart.
This shew presents fie most recent new music
from around fie world. Ears open.
Reggae inna all styles and fashion.
5:00PM Real cowshit caught in yer
WIRElfSS alt. 3-00-5:OOPM
QUEER FM 6.-00-8.-00PM Dedicated ta
fie gay, lesbian, bisexud, and Iranssexud
ccmriunitiesdVcricouverand listened toby
everyone, lots of human interest fealures,
background on current issues and great
music from musiciansofallsexud preferences
and gender identities.
GEETANJAU      9:00-10:00PM
Geetanjali features a wide range ol
music from India, including classical
music, both Hindustani and Carnaric,
popular music from Indian movies from
the 1930's to the 1990's, Semi-classical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, etc.
THE SHOW KWWPM-12.-00AM Slridfy
Hip Hop — Striclty Undergoond — Stridty
Vinyl Wih your hosts Mr. Cheda, Flip Out
12:00-4:00AM Drop yer gear and
stay up late. Naked radio for naked
people. Get bent. Love Dave. Eclectic
8:15-11:00AM Your favourite brown-
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy each weekly brown plate special.
Instrumental, trance, lounge and
AM-1KJ0PM Playing a spectrum of
music from Garage Band to Big Band
acoustic to electric.
Mismatched flop rock, a quick ride
downtown. Don't miss the Snow White
Float. I love the Snow White float.
4:00PM I endeavour to feature dead
air, verbal flatulence (only when I speak),
a work of music by a twentieth-century
composer—can you say minimalist? —
and whatever else appeals to me. Fag
and dyke positive. Mail in your requests,
because I am not a humarvanswering
machine. Goto quarter then call someone
who cares.
EVIL VS. GOOD 4-00-5-00PM Who
will triumph? Hardcore/punk from
beyond the grave.
BIRDWATCHERS 5:30-6:00PMJoinlhe
Sports deparfrnentfor iheir eye on ihe Thirds.
6*00-7*OOPM Mixofmostdepressing,
unheard and untenable melodies, tunes
7:00PM Join Library queens Helen G.
and Kim on their info quests sset to only
the best music.
Vanoou*r*s longest running prime lime jazz
program. Hosted by the ever-suave Gavin
Wdker. Features* 11.
Mar 2: The prophetic Herbie Nichols
Mar 9: Ornert Coleman's Birthday
Celebration - his early recordings
Mar   16: In honour of vibraphonist Milt
Jackson Vancouver show.
Mar 23: Special guest host
Mar 30: Monk on Monk: band leaader
and drummer T.S. Monk's latest and
DRUM'N'SPACE   12:00-4:00AM
Vancouver's only drum V bass show.
Futuristic urban breakbeatat 160bpm.
AM Japanese early morning imports!
HOUR 8:30-:30AM Middle easstern
music for your morning drive.
11:30AM Torrid trash-rock, sleazy
surf and pulsa tin'punk provide the perfect
scissor kick to your head every Tuesday
morn. There's no second chance when
Kungfu is used for evil with drunken fist
Bryce. Killyaa!!!!
1:00PM "Have a rock n' roll
McDonald's for lunch today!"
Power to the people! Feminist news,
hiphop tracks, lesbionic rock and Asian
NOOZE 5:00-5:30PM Our dedicated
newsteam brings you the best news
about student life, community
organizations, festivals, arts events, youth
culture, and social/political issues.Real
voices bringing you news you won't
hear anywhere else.
RADIO ACTIVE 5:30-6.*00PM Social
justice issues, Amnesty International
- updates, activism and fucking up the evil
corporate powers that be!!!
Underground hip hop music. Live on-air
mixing by DJ Flipout. Old school to next
school tracks. Chew on that shit.
9:00PM Meat the unherd where
the unheard and the hordes of hardly
herd are heard, courtesy of host and
demo director Dale Sawyer. Herd
up! New music, independent bands.
RITMO LATINO 9:00- 10:00PM Get
on board Vancouver's only tropical
fiesta express with your loco hosts
Rolando, Romy, and Paulo as they
24    Mi-o-cl*-* 1998 shake it and wiggle it to the latest in
Salsa, Merengue, Cumbia and other
fiery fiesta favourites. Latin music so
hot it'll give you a tan! jjRADIO
10-O0PM-12KK)AM Listen for all
Canadian, mostly independent tunes.
10:00PM-12:00AM Noise, ambient,
electronic, hip hop, free jazz, christian
better living Ip's, ihe occasional amateur
radio play, whatever.
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be hazardous to your health. Listener discretion is
advised. Ambient, ethnic, funk, pop,
dance, punk, electronic, synth, blues,
and unusual rock.
Some cheese for your morning bagel
10:00AM Girl music of all shapes and
10:00AM-12:00PM electronic
LOVE SUCKS 12:00-2:00PM Music at
work. (Cut up mixed genres — eclectic,
electric included but not mandatory).
indie rock here — just some good ol'
Southern fried biker boogie!
NOOZE 5:00PM-5:30PM
Community/campus news and views.
on health and the environment, with a
focus on Vancouver. Topics ranging
from recycling and conservation projects
to diet, health, and consuption and
sustainability in the urban context.
Comments and ideas are welcome.
ESOTERIK alt. 6:00-7:30PM Ambient/
experimental music for those of us who
know about the illithids.
SOLID STATE alt. 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
9:00PM dub narcotic, bedhead, ICU
... these are a few of our fave-oh-
writ things, la la la!
FOLK OASIS 9:00-KWX)PMAcoustic/
roots/folk music in the middle of your
week. Focus on local and Canadian
singer-songwriters, regular features on
other regions with in-house visits.
and Bindwa immerse you in radioactive
Bhungra! "Chakkh de phutay." Listen to
all our favourite Punjabi tunes—remixes
and originals. Brraaaah!
OPEN SEASON 12:00- 4:00AM
Mixed bag of suprises coming your
8:30AM Bringing you the best in west
coast rap
THE LAST DESK 8:30-10*00AM Listen
carefully as Johnny B brings you
CiTR'sclassical music show. Featuring
Canadian composers, amateur hour
& more. Radio con fuoco, for the
FlUBUSTERalt. 10:00-1 l:30AMFrom
accordiantothe backwoods via swingin1
lounge sounds... this show is a genre
free zone.
11:30AM Viva La Roboti'ca Revdution.
Electronica ... noiz ... new wave, no wave.
1:00PM From Tolinob Gander, Baffin
Island to Portage La Prairie. The dICanadian
soundtrack for your midday snack!
STEVE&MIKE l*O0-2*O0PM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby.
JUSTIN'S TIME 2-00-3.-OOPM Serving
up your weekly dose of Shirley Horn and
other jazz-filled confections.
Hardcore and Punk rock since 1989.
6:00PM Movie reviews and criticism.
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.
9:00PM Roots of rock & roll.
HELL 9:00-11:00PM Local muzak
from 9. Live bandz from 10-11.
Farm animals, plush toys and Napalm
Death. These are a few of my favourite
things. It's all about shootin' the shit and
rock n' roll, baby.
garage rock and other things.
10:00AM Join Greg in the love den
for a cocktail. We'll hear retro stuff,
groovy jazz, and thicker stuff too.
See you here ... and bring some ice.
12KXH>M Ska inna all stylesand fashion
... If we don't get you dancing ...we will
find you... and we will KILL you...
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ 4:00-5:00PM self-titled.
NOOZE 5:00-5:30PM
9:00PM Sounds of the transpacific
underground, from west Java to east Delrat
Sound system operator, Don Chow.
9:00PM David "Love" Jones brings
you the best new and old Jazz, soul,
latin, samba, bossa & African Music
around the world.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMP SINK 12:00-3:00AM The show
that doesn't hate you. Friar Fritter
Abfakeln and Postman Pat alternate
with Tobias' Paradigm Shift (rant,
phone-in and kiss your mother with
the guests).
12:00PM Music you won't hear
anywhere else, studio guests, new
releases, British comedy sketches
giveaways, plus World Cup
Report at 11:30 AM. 8-9 AM:
African/World roots. 9-12 noon:
Celtic music and performances.
1:00PM All kinds of music spoken
word, interviews. Phone in for comments
or requests.Tune in and expose yourself
to new music and ideas.
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Ratrlehead and Metal
Ron do the damage.
Blues and blues roots with your hosts
Anna and AJ.
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal.).
1:00AM "Live! —shows and bands -
- admission $6.00 — Performers are
subject to change." Maximum Soul.
Join Girish for some—rebel jazz..
EARWAXalt. 1:00AM- DAWN "Little
bit of drum, bit of bass and a whole
lot of noize." Late-night radio
soundclash destined to fist you hard.
Zine features, phat experimental
chunes, and the occasional turntable
symphony. "Money, we'll rock you
on 'til the break of dawn."— G. Smiley
101.9 fM
alternating thu rsdays 11 pm-1 am
blood [an the alter of
CiTR. { we   have   laid
down qur chaste lives
toreedemthe listeners
from j the    eternal
damnation of the lake
of   fire    known    as
i commercial
radio.      our
glorious  coming
is the climax j
of your rock]
and roll
t ion.
s a t a n
name and
is     the
,by   the
f t i g r-j
esses ,
fms k &ms
25 EjRgaaEsa mar '98 LONG VINYLmar'98 SHORT VINYL mar'98 INDIE HOME JOBS
1 gaze
2 the residents
3 modest mouse
4 murder city devils
5 unwound
6 techno animal
7 nomeansno
8 download
9 sicko
10 polaris
11 3rd eye foundation
12 love as laughter
13 labradford
14 godheadsilo
15 ten yard fight
16 dol-lop
17 free kitten
18 animals on wheels
19 saddlesores
120 plumtree
1 June of 44
22 eat static
23 pee shy
24 roots roundup
25 mary lou lord
26 jungle
27 kaia
28 the toasters
29 tribe 8
30 the promise ring
31 royal trux
32 bunnygrunt
33 x-ecutioners
34 bedhead
35 Jurassic 5
mitsumeru k
our tired, our poor .. ryko
the lonesome crowded west    up
self titled      die young stay pretty
challenge for a civilised ...       krs
demonoid grand royal
would we l>e alive? alterna. tent,
download nettwerk
you are not the lx>ss of me empty
polaris iglu
sound of violence merge
#1 usa k
mi media naraanja kranky
share the fantasy sub pop
back on track equal vision
cryptic audio swim
sentimental education krs
designs and mistakes ninja tune
a fistfull of hollers empyre
predicts the future cinn. toast
four great points quarterstick
science of the gods planet dog
don't get too comfortable mercury
rootrospective groundup
got no shadow sony
it's so fuck'n great ...  porcelain god
don't let the bastards
role models for...
nothing feels good
singles, live ...
transaction de novo
mr. lady
alterna. tent.
jade tree
drag city
no life
trance synd.
1 sarah dougher
2 mant from an.de.
3 Ixinnyfoot charm
4 the make up
5 the quadrajets
6 long hind legs
7 jale
8 gaze
9 duster
10 von zippers
11 run on
12 the others
13 the primate five
14 need
15 oBvia tremor control
16 tullycraft/rizzo
17 murder city devils
18 melt-banana
19 the 1 4 5's
20 lake of dracula
break in a brand new ... k
friends to none lance rock
friendly sex... punk in my vit.
free arthur lee k
real fucked up blues 360 twist
charmed i'm sure punk in my vit.
true what you say ready to break
seedless k
transmission, flux tip
hot rod monkey screaming apple
as good as new matador
can't help but cry 360 twist
nova ep gi
jacky o'lantern outpunk
the giant day drug racer
split harriet
the murder city ... empty
wedge slap a ham
almost good twist like this
untitled skin graft
1 JP5
2 dreamy angel
3 the hounds of buskerville
4 the retreads
5 thirsty
6 the dirtmitts
7 plumtree
8 snrg
9 inter-mission
10 blue noise fly
11 station a
12 the tonebursts
fuzzyhead pills
laundromatte queen
blowin' off some steam
everybody wants some
amaze me
in the sink
she says
look out
sporty and baggy
masters of karate
Ma fiTR
13 four food groups of the apocalypse       older nastier
14 soldier of misfortune everybody dies
15 the spitfires so lonely
16 prometheus darwinism
17 ruckus i'll give ya the finger
18 clair mel limpy
19 dj dolly atlantis
20 the riplits look billy
what    we    listened    to    during
production  week  this  gloomy month
veda hille (here is a picture) • love as laughter
(#1 usa) • bunnygrunt (jen-fi) • nofx (punk in
drublic) • kaia (ladyman) • halo benders (the
rebels not in) • duster (stratosphere) • inbreds
(winning hearts) • dub narcotic sound system •
bedhead (transaction de novo) • the weakerthans
• mary lou lord (got no shadow) •
$% _&
by Uason da SiLva
26    N/Urct*** 1998 march
FRI 27 Veal, Lindsay@Railway Club; D.O.A., Pigment Vehicle, Black Market Babies, the Weakerthans, Karen
Fosfer@Starfish Room; Loud@Western Front (part of Women
In View); Indigo Swing@The Gate; Holly Cole@Vogue; KC
Kelly@South Hill Candy Shop; WWF Wrestling: Shawn
Michaels vs. Owen Hart@GM Place; Bill's Psychotic Mother,
Mi Novia@Pic Pub; Harvey Switched, Manray, Forget Your
SAT 28 Shweta Jhaveri and V.I.E.W.@Western Front (part
of Women In View); Marcy Playground@Starfish Room; Meg
Tennant@South Hill Candy Shop; David Alvarado@Sonar;
Thrill Squad@Portside Room; D.O.A., d.b.s., Pigment Vehicle, The Weakerthans@Seylynn  Hall;  Readymade,
Bossanova, I Killed My Cat@Van Press Club
SUN 1 Veda Hille@Western Front (part of Women In View)
MON 2 Maud, Hazel Motes@Railway Club
TUE 3 The Damned@Starfish Room; Jai@Sonar; Maud, Hazel Motes@Railway Club; Garbo's Hat@Van Press Club; Days
of the New, By Divine Right@Richard's on Richards
WED 4 Vancouver Welsh Men's Choir@Surrey Arts Centre
THU 5 Storm&Stress, The Beans, Gaze@Starfish Room;
Megadeth, Coal Chamber@Rage
FRI 6 Spacehog, Imani Coppola@Starfish Room; Crystal
Method, BT, DJ Czech@Palladium; Fury for the Sound: The
Women at C/ayoquo/@Vogue; Year of the Horse:Neil Young
and Crazy Horse /./Ve@Ridge
SAT 7 Cathode Ray@Cafe Deux Soleil; threesixtys, Fryer
Tuck@Starfish Room; Dead Model@Pic Pub; Year of fhe
Horse:Neil Young and Crazy Horse t/ve@Ridge
SUN 8 CiTR 101.9 fM celebrates International
Women's Day ALL DAYI Year of the Horse:Neil Young
and Crazy Horse L/Ve@Ridge
TUE 10 Hepcat, The Slackers, The Gadjits@Starfish Room;
Primal Orbit@Van Press Club
WED 11 Steve Earle, V-Roys@Rage
THU 12 Surfdusters, Mi Novia@Railway Club; Zuckerbaby,
Sandbox@Starfish Room
FRI 13 Roadside Monument, Pedro the Lion, Mars Accelerator, Forecasts Farewell@Crosstown Traffic; Neko Case
and The Sadies@Starfish Room; Limmos, Mi Novia, Beefy
Treets@Columbia; 10 ft. Henry, Big Yellow TaxiOGate
SAT 14 Weeping Tile@Starfish Room; Bob Wiseman, Veda
Hille@Liberation Cafe, Olympia
SUN 15 Fred Penner@Museum of Anthropology, UBC; The
Grapes of Wrath@Area 51; Bob Wiseman@AlIied Arts Cen-
tre/Doublewide, Bellingham
MON 16 Mad Pudding@Saltsprtng Folk Club
TUE 17 Barra MacNeils@Starfish Room; Scorn, FM Einheit,
Bagman, Not Breathing@Palladium; Mighty Mighty
BossTones, Pietasters@Croaftan Cultural Centre; Francois
Houle Ensemble@Van Press Club; Spirit of the West, Barra
WED 18 B.B. King, Kelly Joe Phefps@Orpheum
THU   19 Jar@Starfish   Room; Junkhouse,   Mystery
Machine@Richard's on Richards
FRI 20 Big Wreck, Nickelback@Starfish Room;
danielle@Studio 16; The World's Best Cammerc/a/s@Ridge
SAT 21 Lisa Loeb, TaraMacLean, Dayna Manning@Vogue;
EARLY: Ron Sexsmith, Bob Kemmis LATE: Grapes of Wrath,
Jungle@Starfish Room; Ofam@Norma'h Rothstein Theatre;
Matthew Good Band@Palladium; The World's Best
SUN 22 Juno Awards@GM Ploce; The World's Best
MON 23 treble charger@Starfish Room; Chumbawamba,
A3@Rage; Milt Jackson@Vogue; The Sweet Hereafter, The
Hanging Garc/en@Ridge
TUE 24 Ken Aldcroft Trio@Van Press Club; The Sweet Hereafter, The Hanging Garc/en@Ridge
WED 25 UHF@Surrey Arts Centre Theatre;
THU 26 Vapourspace@Starfish Room; Dub Syndicate,
Wordsoundipowa@Richard's on Richards
FRI 27 Mary Lou Lord@Starfish Room
STEREO@Starfish Room; Roger Whittaker@Orpheum; "Signs
of the Times"@Christ Church Cathedral
MON 30 Ninjatune tour: DJ Vadim, Herbaliser, Neotropic,
Animals on Wheels, T-Power, Chocolate Weasels@Sonar;
Vancouver New Music's Constellation: The Harp of Rita
Costanzi      and      the      Vancouver      New      Music
Ensemble@Vancouver       East       Cultural       Centre; .
Swervedriver@Starfish Room
TUE 31 Delta 72@Starfish Room; Meathook Ensemble@Van
Press Club
Here's your last few days to check out this
celebration of the diversity in music, dance,
theatre, and arts produced by the talented
female-folk at Women in View. On now 'til
March 1 at various venues. Info line:
PERSPECTIVES, 1 964-1 997
March 23-April 6 is your chance to view
Emily Carr's First Nations' Alumni Exhibition
in the Concourse Gallery (1399 Johnston St,
Granville Island). Included are works by
ana at least 40 more artists! Free, open
cveiyingg^ ^^^      ;
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W.Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
The Blinding Light 256 E. Georgia (between Main & Gore)
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal  317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Death by Chocolate  1001 Denman St. (at Nelson)
Denman Place Cinema  1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
Good Jacket 42 Kjngsway (at Main) 872 5665
Greg's Place 45844 Yale Rd. (Chilliwack) 795 3334
The Grind Gallery 4124 Main (Mt. Pleasant) 322" 6057
Hemp B.C.  324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 8734131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre   1600 Discovery (Pt. Grey) 224 8007
LaQuena  Uncommercial  (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars   1320 Richards  (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Medialuna   1926 W. Broadway
Mora 6"Powell (Gastown) 689 0649
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque   1131 Howe  (downtown) 688 3456
Palladium (formerly Gracebnd) 1250 Richards (downtown) 688 2648
Paradise 27 Church  (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie  (South Vancouver) 876 2747
Picadilly Pub 630 W Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building  (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 6816740
Plaza Theatre 881 Granville  (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Queen Elizabeth Theatre Hamilton & Georgia 665 3050
Raffels Lounge  1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South  (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour) 681 1625
Richard's On Richards  1036 Richards (downtown) 687 6794
Ridge Cinema 3131 Arbutus (at 16th Ave.) 738 6311
Russian Hall 600 Campbell  (Chinatown) 874 6200
Scratch Records   109 W. Cordova (Gastown) 687 6355
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Sonar 66 Water (Gastown) 683 6695
Southhill Candy Shop 4198 Main (at 26th) 876 7463
Squish'd Knish 4470 Main (at 29th) 879 9017
Starfish Room   1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman  (West End) 689 0096
Station Street Arts Centre 930 Station  (off Mom) 688 3312
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery   1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
The Tower 339 W. Hastings (downtown)
Twilight Zone 7 Alexander (Gastown) 682 8550
Vancouver E. Cultural Centre  1895Venables (at Victoria)   254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Washout  1020 Granville (dowtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Virgin Mega Store 788 Burrard (at Robson) 669 2289
Vogue Theatre 918 Granville (Granville Mall) 3317909
Waterfront Theatre   1405 Anderson  (Granville Is.) 685 6217
Western Front (303 E. 8th Ave) 876 9343
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall  1882Adanac (the Drive) 254 5858
Women In Print 3566 W. 4th (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown)                *      6819253
Zulu Records 1869 W. 4th (Kitsilano) 738 3232 i KzarRDS*
1869 W 4th Ave.
Vancouver. BC
tel 738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
TOMMY KEENE isolation
After nine years of touring and |
with two EPs under her belt,
MARY LOU LORD has finally delivered her debut full
length album. Her unique brand of folk/pop has garnered much critical success and Got No Shadow textures help from such luminaries as Shawn Colvin, Elliot
Smith, Money Mark, Roger McGoinn, and Nic Saloman
to name but a few. MARY LOU LORD may have no shadow but the sun shines on one of the most anticipated
releases of 1998. (AVAILABLE MARCH 3)
Built To Spill mastermind
Doug Martsch and K Records
head honcho Calvin team up once again to give us their
third full length release. Snapshot pop numbers that
combine the high soaring anthemic vocals of Doug tempered with the below the belt baritone of Calvin make
for a tug of war no one can lose. The Rebels Hot In
because the rebel is at home listening to THE HALO
1698CD   IT* LP
Looking for a new school take on old school punk?
Well, look no further than Epitaph's latest party with m<
punker hosts GOOD RIDDANCE. Fifteen new songs to
know and sing.
16" CD   liTLP
At last the fourth full length
from this well travelled dynan
ic duo, now on an indie label
again. Thirteen strong songs
with a stripped down melodious base makes
Hearts an easy objective! INBREDS!
OVER 2000     <
These local pop-rockers do this
right thing on their debut full-
length on K Records. Like the best »
of the K roster, GAZE's surface
appearance of "jangly" innocence
carries a serious and critical substance: their lyrics detail the
easy movement from the personal to the political. But intelligence, awareness and sensitivity aside, GAZE also write
catchy, memoriable songs, which vary from folk-like and
quiet to fast and noisy. A little fun and a little ponderous
reflection, GAZE have much to offer.
ir EP has the
potential to make you feet good all |
over. Featuring eco-conscious
remixes by the likes of Bundy
Brown, Journeyman, video sa
pling by Hextatic and, of course, much more, how can you
go wrong? The COLDCUT facts y'all!
9" CD-EP/12"
No moment of this long and
ly awaited
creative development. But this
close level of production craftily
disappears into the intricacies of
the music, emphasizing changes, themes and developments
without drawing any undue attention to any technical intervention — a swift and invisible touch! And of course the
music is great: more subdued, varied and mysterious than
before, but with all the favourable elements that distinguish
TORTOISE from their pop music peers and imitators. Come
and get it, it's TNT and it'll blow you away! (AVAILABLE
1698CD   16"2LP
Everyone's favourite overworked brain-boxes have gone all
pop. Well, almost. There's also enough of their familiar character to remain in context and continuity with past work. So
don't worry, old fans, there's still a "deep-thinking" side to
this new direction: they are exploring the under-recognized,
smart and more than craft-like work demanded of writing and
arranging good pop music. It's not as easy and straightforward as it might seem. Pop music has its own unique set of
codes and conventions, yet still draws from more formal and
conventional practices, and references a history of interesting, often obsessive purveyors. Sadly, this might be their last
16MCD   12" UP
Leaving a trail of broken beer
bottles and discarded clothing
behind them, NASHVILLE PUSSY lay down the law with
warm draught fueled high energy metal soaked X-rated
punk and roll. Featuring ex members of Nine Pound
Hammer and one of the hottest female guitar players to ever
(dis)grace the stage, NASHVILLE PUSSY crank it up and spit
it out before you even realize your hair is on fire and your
shoes are nailed to the floor.
Oh yes, TRANS AM: Distinctly
loud and raw, although carefully
arranged, and always, always deftly executed — yeesh,
almighty! This new record rages full-on, a little more, and
then even more besides. Yup, this is a mighty, heavy rock 'n'
roller, a regular hip shaker and bona fide furnitur breaker.
But there is a sly pop-inteIHgence here, and a dash of dirty
electronica, that ensures many possible levels of listener satisfaction. So come on everybody, take this home, dedicate
some time to it, and well, get rowdy! (AVAILABLE MARCH
16MCD   12" IP
portage   ; ■
This eclectic local trio sparsely trickle an infectious
mix of guitars, rhythms and samples. Sixteen mini
soundtracks to accompany your own cinematic
Super 8 dreams. Portage, a passionate &
haunting listen. More BEANS please!
Thursday March 5, Starfish Room
Storm&Stress, Beans, Gaze
Good party action! Tix @ door.
Thursday March 12, 4pm. Free BEANS for all!


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items