isS? v^-l^*;d WmL*uQ [ 1 _Bfvkv H^___L 1 W^ thnt xtar hi chin' manaiini?^ \ ____ \ \ i__ter^*fPl j 1 n ILiV^w&^H ■______Br^—^___________i 1 *« **mr%. 4 |H ^H ^ uppuarinn an thix pLatnut _■ > The latest sound earning from / ■liiiisnjHi PVH FIITjjTj iMIII / f comes tnonner The Volcano' ^ 1 itf L • '_iEV|[f¥¥S _ \ 1j998 vancniiver InternaUnnal 1 Jazz Festival memoirs .** 1 li "25 ^ ■.-.■. [Ins many inter-planetary (j/ ^^^^^^^^h _H"^___i ___!!^l NO LIMIT RECORDS WORLD'S #1 RAP LABEL 'rt NO LIMIT RECORDS - WE CAN'T BE STOPPED I 87 • AUGUST I 998 That Magazine Features Black Anger Bangs Firewater Jazz Fest in review Columns Looking Back __ Interview Hell Printed Matters Basslines Grumpy Old Dog (new!) Seven Inch Demo Derby Real Live Action Under Review On The Dial Charts August Datebook August, 1-98T editrix: miko hoffman art director: ken paul ad rep: kevin pendergraft production manager: tristan winch graphic design/layout: kenny, erin hodge, randal mindell production: barbara andersen, ann goncalves, erin h,richard folgar, a] gray, kenny, christa min, randal m, stefan udell, malcolm van deist, shane vander meer, brian wieser photography & illustrations: jason da silva, ted dave, andrew dennison, ann goncalves, brad shaw contributors: barbara a, brady c, chris c, julie c, bryce d, glenn d'c, jules d, greg e, anna f, trevor f, noah g, pafrick g, steve g, damon h, erin h, frank h, lee h, pieter h, anthony k, blaine k, nardwuar, ken p, girish r, dave t, stefan u, tobias, v, brian w programme guide: namiko kunimoto charts: julie colero datebook: tristan distribution: matt steffich us distribution: tristie discorder on-line: malcolm publisher: linda scholten Comics Botched Ampallang Good Tasty Comic 9 10 11 12 5 5 6 6 7 7 13 14 16 18 19 15 18 Cover A BIT OF leggy, '50s-inspired Sci-Fi by local Brad Shaw, entitled "Sindy with an S." Recently shown at The Moonbase Gallery. © "DiSCORDER" 1 998 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17, 500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make checks or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the September issue (LOCAL MUSIC ISSUE!) is August 12th. Ad space is available until August 19th 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, e-mail us at: citrradio@mail.ams.ubc.ca, visit our web site at hltp:// www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1Z1. Pointed In C&rtaela W HM!XSB^;«.«MJ:.ldM SATURDAY mScUSJ^JtT^^ . STARFISH ROOM bauhaus resurrection Rheostatics WITH SPECIAL GLKESTS LOCAL RABBITS ^ SaraH\jfcLacnfan Pau fa Cofe c * ^Ce'Sljed' Kdegeoceffo l/* Diana (Kra/I * Lisa Loef ®*r rtfi*™. m>, rSJin SQINMEL NUT IIPPIIS witt. guests BIO RITMO Citp> , THE RAGE Fox Fridays See some of Vancouver's Hottest live Bands every Friday Free with your Playlantf Admission! August 7 Glimmer August 14 Copyright www.pne.bc.Ga TALKING YELLOW PACES f_J 299-9000 rH ._._•_. IS- RIDES ORE FREE WITH YOUR PIDYIDND ADMISSION dj equipment cd's & vimjl -tones O slipi..-, ror bolls © ocid j :ok b€ot O junql< ; O trance O t-ecl- 217 west hastinqs street I Vancouver, be, canada (g) 60t.689.773t fx. 60t.689.7781 mail orders available . Cambie] NEW DISTRIBUTION!! ^in stores once again the smalls discs - the smalls (1990/1993) — To Each a Zone (1992) W^ste and Tragedy (1995) Distributed by Sonic Unyon Fax: (905)777-1161 Ask now for all three crushing smalls' albums Du<«- - Watch for a new smalls album in the fall M http7/www.worWgate.com/~smalls f Radio Inter view Clover Honey Who are you (names, ages, instruments played, signs)? Amy Brannen: 24, guitar, Taurus. Lauree Thomlinson: 24, drums (& guitar on one song), Libra (& a typical one). Anita Lynn Binder: 27, bass, Virgo (with a Scorpio moon!). How has the band The Go-Devils contributed to the musical development of Clover Honey? Please explain. Anita: Well, I was The Go-Devils' second bass player and we played around town a lot. I got to know a lot of people (e.g. club bookers, etc.) which was cool because it got Clover Honey some shows. After leaving The Go-Devils, I was bound and determined to form a band on a democratic song-writing basis. Natalie of The Go- Devils was THE songwriter and I got a little antsy. It was an amicable split, though. Natt and I get along better than ever. So Clover Honey's songs are mostly jammed out, with all of us getting a crack at lyrics, singing, writing, etc. Anita, does working at a certain photocopy place instill a greater fear of human cloning? Speaking of copying, have you printed many flyers for local bands? What about your Clovermates — what do they do? Anita: As far as cloning goes, I have no fear of this. I would, however, fear the cloning of some of the mean, nasty, awful customers who cross my path. Yeah, I've printed more than my fair share of band bios, posters, and CD/7" covers to realize how many crappy bands exist. Amy: I am a face-painter/temporary tattoo artist. As well, I hand- paint T-shirts with my business partner/friend, Angie, and we sell them af festivals and stuff. Lauree: I work as an office assistant at the mo', but don't plan to do that forever. Probably will go back to school soon ... Amy, the baton-twirling Halagonian of Clover Honey that you are, do you feel that this hobby of yours has developed certain muscles that have aided you in the success of your current project? How does the music scene in Halifax compare to Vancouver (gigs, cover charges, venues)? Amy: I don't think baton-twirling has anything to do with my muscles, or my guitar-playing, although the idea of twirling on-stage seems kind of interesting ... Halifax, I haven't lived there for two years, so I don't know what's happening now, but I've always thought people in Halifax were really supportive of bands, no matter what kind of music you play. Because Halifax is so small, there's not much selection of gigs to go to, so usually lots of people show up when there's a gig. In recent years, all the good venues have closed down, which led to some tapering off of the m but when I went back for Christmas I caught a show with about 10 really good bands and I saw a lot of familiar faces, so I guess it's still happenin' back there, and probably always will be. People spend more time making music there because there's nothing else to do. Cover charge is way cheaper — and so is the beer! Lauree, you haven't been saying anything. Tell us about yourself, OK? Lauree: I guess this is where I'm supposed to come up with something witty and intelligent to say, but I'm not too witty these days. I think I was at some point in my life ... it must have been while I was going to UBC and my brain was ultra-stimulated. These days my brain just seems to operate in slo-mo. Perhaps it's my mundane office job, perhaps the loud drumming sounds I make knocked the sense out of me, or perhaps my cat ate it. But .» back to the music thing ... (since you asked J, me such a vague question, I feel that gives me license to spew.) How about some thing relevant: I think I've always known I could be drummer, 'cause I'm always tapping. In fact, my grade 10 yearbook comment was 'ambition: to become a drummer.' Is that ironic or what? Even though I had a perm, I still knew what I was talking about. What the hell is Clover Honey, anyway, and have you ever tried/how do you feel about jalapeno jam? Speaking of jam, where do you jam and where are you gals based? Anita: Clover Honey is the honey extracted from the clover plant. It's also the name of a pop-culture comic-like book written by a Seattlite (I forget his name). No, I've never tried jalapeno jam and it sounds totally gross even though I love jalapenos and hot stuff. We jam at First Music in a lock-out room with Solarbaby. We are based out of Vancouver; however, we are a truly Canadian band because Amy is from West Chezzetcook, Nova Scotia; I'm from Windsor, Ontario; and Lauree is from Coquitlam, BC. Amy: Jalapeno jam — haven't tried it, I'm intrigued. Lauree: I think I did try it once, but promptly grimaced and uttered, 'It's yuck!' Ask yourself one question and answer it. So, why do we play music? Anita: Because I'm a total ego-maniac. It's not really about 'music,' it's more about me, me, me! I love being on stage and being watched. If I had it my way I would kick out my Clovermates and be a one-chick band. Ow! Amy: Because I love it. Lauree: Because I can't do anything else. Oh yeah, and groupies, groupies, groupies! Discography: Four-song cassette recorded in April 1998. Contact: Anita L. Binder, #4-824 E. 19th Ave., Vancouver, BC, V5V 1 K5 604.709.3141 or 685.0535 (Lauree) cloverhunnie@hotmail.com • loVe^ Mty Printed Matters JULIAN BARNES A History of the World in 10 1/2 Chapters (Vintage) NIALL FERGUSON, ED. Virtual History (Macmillan) By virtue of necessity, this will be painlessly short, similar to the patience of our dear editrix when she discovered I was being tardy again. Anyway ... Julian Barnes' History begins with a stowaway woodworm telling the truth about Noah, his family and the ark business. With Noah's expedition — and God's peculiar way of dealing with its creation — as his central theme, Barnes throws at us a hostage situation, a 16th century trial (against those vile woodworms again}, trips to discover the ark and oneself with equal ease, humour and insight. These short vignettes reveal all too human frailties considerately — a pleasant and light summer read. Virtual History, edited by Niall Ferguson, discusses how certain key episodes of European history might have been different had other decisions or events occurred. Using information available to the contemporaries , and to the present day historians, they explain how unpredictable events truly are until after they have occurred and how it is unreasonable to assume history—made as it is by fallible humanity — is or can be predetermined. In no way do the essays show "life would have been rosy if..." and sometimes the authors stress how situations may have easily been made worse by inaction, BY GREG ELLIOTT concession, or defeat. It is a welcome change, however, to see how history might have been, rather than being told how it did occur without any room for discussion.* CiTR 101.9 fM Another 1 3 weeks of friendly competition, jokes-for- beer, and amazing prizes. CiTR is now accepting demos for Shindig '98 from all over BC. Get your act together and let us hear your noise. All that is required is a 25-35 minute set of original material and a little chutzpah. Deadline for submissions is September 8, 1 998. Send your tape to: ^ Shindig '98 * c/o CiTR 233-61338 SUB Blvd ^ Vancouver, BC V6T 1Z1 Remember to include contact names & numbers! For more info, phone Julie @ 822-8733 or to become a sponsor phone Katrina @ 822-1242 Basslines o a BY DJ NOAH • dine Techno music has been mutating and changing since its "officially recognized" beginnings in the early '80s. Although artists like Kraftwerk and Brian Eno were around in the '70s, techno was a little rough around the edges, as with any new musical genre. Eno and Kraftwerk were pioneers of electronic music and produced many classic songs. Several Kraftwerk singles have been sampled repeatedly and command a pretty penny from collectors. Then the '80s came around and "techno" was born. It started almost simultaneously in Chicago, Detroit, New York and many parts of Europe. Derrick May from Detroit, considered by many to be the Godfather of Techno, started hammering out minimal beats and warped synths in a turbulent stew of alien funk and cyborg electronics. A lot of deejays have come and gone since then, some of whom were at the top of their profession at one time or another. It takes a lot of talent and knowledge to make it as a dj and, thus, not everyone will make it. Without the ear for good music and the ability to create new ways of mixing (let's face it, one beat mix is the same as another), a dj's career could be as short as the life of a fruit fly. Derrick May is still around, along with Mark Moore (S'Express), Andy Weatherall and Marshall Jefferson But there are also some newer ambideckstrous mixsters that will be around for a long time. One of the most popular and frequently booked of them right now is DAVE CLARK On Wednesday, July 8th at Luvafair, Dave Clark made his Vancouver debut in grand style. The backdrop for his techno opera was a setting of stimulating visuals projected onto three-dimensional surfaces that altered the already warped loops even more (great job, Isis!). The crowd slowly straggled in, the majority arriving at a fashionable 12:30am, justas Dave Clark unleashed the beast within. In sharp contrast to the electro and big beat that Czech was droppin', Dave Clark pulled his techno saber from its scabbard and plunged it deep into the crowd, striking down the wannabes and injecting the true with new life. He manipulated the music in a hip hop versus techno manner, combining scratching with transforming. These are two of the oldest tricks that every dj should be able to do, but it's how the tricks are used on the records that separates the good djs from the best ones. I was sitting upstairs with a clear view of Dave and the dance floor. I spent a lot of time scouting the crowd to see how they reacted fo the hard sounds bleeding from the community bins and was somewhat disillusioned. Here was one of the world's most popular djs kickin' it in Lotus Land and there were more people sitting on their asses than at a civil servants' convention. The club should have been packed with frenzied ravers and club kids dancing as hard as a 909 kick drum, but instead it was only about half full of people and energy. In Europe, Dave Clark commands crowds in the thousands, but we were only able to scrape up a few hundred. He was the best dj to spin in Vancouver in years and anyone who went to the club just to see him could tell you that. We still have some work to do educating people in techno music but the students are slowly learning. Pretty soon the Dave Clarks of the world will be playing here every weekend to sold out crowds.* Grumpy Old Dog I gave my little sister, Becky, a CD for Christmas. Rather than give her something that she had asked for, I gave her something that I knew she would never think of buying or know anything about. My idea was to challenge Becky to listen to something different. Expand her horizons a little. As I tried to decide what to give her, I remembered her at age seven, pinning New Kids on the Block posters to her wall. As horrified as I was then, I figured it was a phase, and it was. Before long she was listening to The Pixies and Ani Difranco, thanks to me. I never had an older sibling to teach me about music when I was growing up. I had my parents. So don't laugh too hard when I tell you my first concert was John Denver. Or when I tell you that I would go to sleep at night listening to Roger Whittaker and Kris Kristofferson, both of whom I still like. I take my role as older brother very seriously and I do my best to be the source of information that isn't likely to come from any other source. I figure that if my younger siblings don't know something exists, they'll never be able to decide if they like it. Lately Becky has started listening to different music. Music that I don't care for or know much about. I think it is some sort of bland pseudo-hip-hop dance stuff from the heart of corporate America. To be honest, I really don't know. I attribute the shift to her friends, those at school as well as those she has met over the Internet. I want to believe that what she listens to is her bus , but il stated duty tc a chance to find out about alternatives. Options. I thought the latest Mecca Normal CD, Who Shot Elvis? was a perfect choice for her Christmas gift. Even if she only listened to it once before putting it on her shelf, I would have done my job. On Boxing Day, Becky gave me the cold shoulder. Since she is a 1 5-year-old, I attributed her treatment of me to the same adolescent mood shifts that afflicted me at that age. Imagine my surprise when she told me that she was boycotting a reading I was giving in protest of my "elitist attitudes about music and culture." So much for allowing her to like whatever'she wants. I hadn't thought that I was being elitist, but since Becky obviously felt strongly about my attitudes towards her listening taste, I owed it to her to take my own advice and KEEP AN OPEN MIND, which meant listening to, and trying to understand, the music she likes. But there was no point in doing something half-assed, so I decided to get back in touch with all types of music: ambient and trance, rap and hip-hop, rock and pop, folk Not an easy thing to do. There are simply too many labels, too many bands, too many records. Keeping on top of money, effort, and a willingness to know what is going on. But I am committed to getting caught up and keeping caught up. This column is my regular report on what I sense is happening. Can you teach an old dog new tricks? Sure you can.# HOPELESS RECORDS inmiiii! BACK ON THE STREETS HR635 LP/CD/CS OUT SEPI.SIH ALSO AVAILABLE; BEHIND BURS HR607-LP/CD/CS UP YOUR ASS HM1KD/CS mS3+/p/cd/cs Passionately playing melodic hard core since 1983. Third U.S. full HRS33-lp/cd/cs Aggressive, catchy punk witH social awareness. Debut full length from this Minneapolis four piece Long awaited 2nd full length brings you a more defined sound from this eastern Pei ' New tow-priced Hopeless Sampler features one unreleased track Iram each band as well as one song from all of the hand, met recent release. MELODIC HARDCORE AT IT'S FINEST FROM CHICAGO, THIRD FULL LENGTH. i *THE QUEERS* |Oog°Sth *™k *«* «*gg?SSS EEIEESIi Out- Greatasstits hrss cd only ♦ Nrn-jr* The ame11 Of Victory hrkb _j-.cd.es «UW. Short So_.fR.. _____ lp.cd.es THE QUEERS AND NOBODYS ON TOUR NOW! CHECK THE HOPELESS WEBSITE FOR DAILY UPDATES AUGUST 7TH TORONTO, ONT HORSESHOE TAVERN 8TH OTTAWA ONT DOMINION TAVERN 9TH MONTREAL, QUE L'X 10TH QUE. CITY, QUE L'AUTRE CASERN 12TH HALIFAX, NS THE PAVILLION 6 August 1998 PO BOX 7495 VAN NUYS, CA 91409 WWW.H0PELESSREC0RDS.COM PRICES: CD-S10 LP/CS-S7 SAMPLER CD-S4 /ui prices rosMsc rm vtmts,ux omits m m What am I doing writ ing at five in the morning? Where did my week go? Once upon a time there was a band called Kicking Giant which threw open the doors of the musical experience for those patient enough to listen. There were a couple of albums, both of them brilliant works of scratchy code disguised as pop music disguised as art, and then silence. These days, what used to be Kicking Giant is called, simply, KG, and both the formula and the ingredients have undergone a metamorphosis. "Show Me" is a strikingly complete song, drawn up in shades of nostalgia and timelessness, providing the listener with quick, elusive flashbacks. Is this The Cure dressed up like soul? Have I heard this song before? When did KG get so good? The now- obligatory Dub Narcotic remix will leave you wondering which version is your favourite. Prepare to be shocked and amazed. (K, PO Box 7154, Olympia, WA, 98507) Further shock is provided by THE SKABS, who, at first glance, seem to be no more than a few gutter-issue mohawk-toting crusties. Closer inspection reveals one of the most enjoyable 7" releases in eons. "The Greatest Hits: A collection of timeless classics" is more than a safety-pin- studded shouting match — it's original, highly entertaining, and full of happy surprises. Helen Ghastly coos, yelps, and croons in English, Polish, Spanish and Greek; Ana Mischief provides energetic keyboard lines; and the rest of the band follows the peace- punk line with creativity and ease. New-wave Oi? "Illegales" proves it can be done. "You Shithead" carries echoes of The Poison Girls. Don't miss this record — it may restore your faith in punk. (WACP, 12 Wayatt Circle, Somerville, MA, 02143) Bleeeeaaauuurrrrgghhhl compilation crams 84 songs by 73 bands shoulder to shoulder in a nerve-jarring pastiche of speedy, dirty, noisy violence. Most of the songs go by too quickly for any reasonable critique to stick; however, some of the titles are quite amusing. My votes go to "Strawberry Shortcake and Friends Holding Hands and Going Around the Gazebo with Custard and Pupcake Watching" by NOOTHGRUSH "I Ran Over Your Dog While He Was Taking A Shit (Part 2)" by JAPANESE TORTURE COMEDY HOUR and "Cruel, Rude, Defensive Street Entertainers Will Die of Hunger" by the MISANTHROPISTS. (Slap-A-Ham, PO Box 420843, San Francisco, CA, 94142-0843) Teenage Powder Keg by THE DINKS is essentially a tribute to Canadian adolescence. Who among us can approach pop- punk versions of "Everybody Wants Something" by Zit Remedy and the theme song to the Edison Twins without cringing in recognition? (Meathead, 56 N High St., Thunder Bay, Ontario, P7A 5R3) On Solex All Lickety Split, Miss SOLEX (known to earthlings as Elisabeth Esselink) prepares us a field full of boingy, digitized flowers and then hops through it in perfect time. Her electronic pop fusion is brassy, bold, and very, very catchy — so catchy that one wonders just how trendy and famous Mile. Esselink will be in a month or two. "One Louder Solex" toasts in the eerie blue light of the television screen. This is music for indie-pop stoners, so crack open a litre of cherry-cheesecake ice cream and share a spoon with your friend. (Matador) RIZZO is Sarah and Jen, two highly adorable ladies who have perfected the clever turn-of-phrase and naive semi-competence es- for really ell ground pop. "Shymaster" is lyrically sly and touching — the whole sniffly-nosed-cardigan-boy image is summed up perfectly in but a few short lines! "Roadsong" features the inimitable (Bonfire) Madigan Shive on cello. In less than ten words: fetchingly attired love-saturated lo-fi... gosh, sigh. (Cher Doll, PO Box 23333, Seattle, WA, 98102) The ladies and gent of LONGSTOCKING are, musi cally, quite competent but conceptually unexceptional. "Will You Stay" failed to resonate with me. "Something Else I Can Never Change" stirred a couple of faint ancestral memories — I see the rainy exterior of a drugstore, some early 1980's graffiti, and the mid-calf hemline of a nameless girl. Missing tones and walls of notational error make the song interesting. Once they get a stronger toehold on the new sound (which new sound I can't say — anything, really), Longstocking might be great. (K, It is a pity that The DISGUSTEENS is only a pop punk band; the lyrics are of a distinctly higher grade than most writing of the genre. Whoever writes the words to these musically unchallenging melodies is obviously capable of more than verse chorus verse repeat, ad infinitum. (Longshot, #233-606 Abbot St., Vancouver, BC, V6B 2K7) Welcome to a crypt full of seabottom fish. On "Bologna Pogna," THE DUKE OF MEDULLA greets us with full heavy metal regalia, King Diamond makeup and queer Primus mimicry. Watch out for the extended guitar solo. "A Cup of Black Ice" signals: roll the twenty-sided dicel We're in funked-up D&D territory here. The record ends with some slow-pace amplified wanking. Dude. (Freeload, www.minotaurmedia/ freeload.com)*" Demo Derby missed the last issue of Discorder because I was off at the Z Media Institute in Cape Cod, Massachusetts. This week-long conference brought together an interesting group of participants to discuss media theory and radical politics. This annual gathering is hosted by Z Magazine and features "left luminaries" such as writer Michael Albert, foreign policy expert Steve Shalom, Alternative Radio host David Barsamian and linguistics professor Noam Chomsky. We explored subjects like anti-racist organizing, queer theory, alternative economics, and political satire. To explore Z Magazine on-line, with live forums and links to activists around the world, go to www.zmag.org. Vancouver's transgendered community held its first demonstration at the end of June. Trannies, in case you're not sure, are people who don't fall into fixed gender categories. The label includes transsexuals, people planning to undergo sex change operations, and people who don't want a sex change but nonetheless feel they don't fit into their biological gender category. Transgendered people encounter fierce hostility in many areas of their lives for defying the binary gender system, one of the most firmly entrenched beliefs in our society. In Vancouver, transgendered people have been excluded from women-only gatherings and have been targets of hate literature. They often face difficulty finding employment and are the victims of violence. The demonstration, however, was a very positive and unifying event. The Right to Protest is a coalition created in response to the city crackdown on activism in Vancouver. Several months ago, the International Women's Day Committee was fined over $6000 for policing costs for their annual march. Earlier this year the Canadian Fed eration of Students were billed $ 1454 from the Day of Action against student debt in January. They were charged for policing costs and the videotaping of the demonstration, despite having an official permit from city hall. And just last month, the organizers of the anti-racist demonstration in Surrey were charged thousands of dollars for policing costs. In Vancouver, demonstrating is no longer a right but a privilege. You are free to express your views, as long as you have ten grand in the bank to back you up. The police are not acting in the interests of the general public, but instead are operating a fee-for-service business. Soon they will charge a fee for arresting you, and for room and board in prison. I figured the Folk Festival was one place I could count on for a bit of sanity in this city, but this year I ran into some rather questionable characters. I stumbled across a table set up by the BC Men's Resource Centre, who were peddling a very dodgy book called The Myth of Male Power by Warren Farrell, Ph.D. The basic premise of the book is that feminism is a lie, and in reality, it is men who are oppressed. Here are some sample argu- /. Most men are not only women's unpaid bodyguards, they actually pay to be a woman's bodyguard by paying on dates. 2. Men die earlier than women because women lead easier lives because they get to leave the work place to have children. 3. Scxalled rape is usually the result of a woman regretting her drunken actions from the night before. ' The book is riddled with endless examples of this neo-sexist illogical garbage. But Farrell assures us he's a true supporter of empowering women. In fact, he even writes, "When I see girls playing baseball, my eyes well up with tears of happiness ..." Hopefully I'll have better luck at Under The Volcano, described as "a festival of art and social change." The day features 70 performances, including punk, folk, hip hop and blues from various far-flung countries. The festival is Sunday August 16 at Cates Park in North Van, and admission is on a sliding scale and ranges from $5 to $20. If you like to drink coffee and don't like authority, you might want to go to the Anarchist discussion group, 7:00 Fridays at the Grind (Main @ 25th). Expect to meet some good people, and some overbearing men who love to spew incoherent semi-historical conspiracies. There's another Free University happening on August 1st and 2nd. These free forums are meant to supplement the things you didn't learn in school, e.g. political situations, media analysis, hands-on skills. You can learn how to make a guerrilla garden, how to create your own zine and how to fix your bike. The weekend will be followed by a yet-to-be-announced action on the 3rd. Active Resistance looks set to be the biggest radical gathering ofthe summer. From August 17-23 activists will gather in Toronto to participate in workshops, forums and hands-on projects. The core groups focus on building revolutionary movements, alternative economies and collectives, community organizing and Art and Revolution. For more info, call (416) 635-2763, or e-mail <resist@tao.ca>. And don't forget one of the most fun days of the summer, the Queer Pride Parade The march begins at noon on August 2 on Denman Street, and heads down to Sunset Beach. The Roundhouse Community Centre has a show of queer artists until August 1 5. If you have any information to pass on to Demo Derby, e-mail me at <citrnews@mail.ams.ubc.ca>*' "It's been aBout five years hasn't it?" This August, in celebration, we are releasing our fifth anniversary compilation, featuring tracks by all of our artists, past and present. We also just released an EP by Halifax folk/pop artists Five Foot Nine. In September, look for new CDs from the Robber Who Robbed the Town ^^^^ " yrmk out our web site for more info yrstmpJi our online indie record more: It s Been About Five Yeai ;' Infinite Productions, PARSEC, KCMU & The Stranger present tke* only NW &weoM»ce, ** «><«♦«** »£ &TBE _|ADSEH)S Black Anger © -tha movement Black Anger is a fiercely political hip hop band from Tacoma, WA. Formed in 1991, their current lineup consists of Kendo (sometimes spelled Kindu or Kendu aka the 3rd Eye Assassin), age 28; DJ Sayeed jaka the Beat Mechanic), age 23, E-reol [Asim — the lyrical assassin), age 24; Wicked D (the Ruff V Rugged One), age 23; and introducing the unofficial new recruit Nomad the Nomadic, age classified. The following interview is another one of those strangely impersonal but highly cost and time effective deals, the e-mail interview. by Mica Rage 9 fcK Records is legendary for its support of indie lo-fi bands, but has little history with the hip hop community. What was your reasoning behind releasing your music on K? How has the label been able to network with the hip hop community and do you feel like your integrity is questioned because you aren't signed to Def Jam or another big rap label? Our relationship with K records is actually a relationship with Calvin Johnson, but the entire K staff is down with us. Dead Presidents were actually the first hip hop group to put a record out with K. Brian Webber, who produced for Dead Prez., also plays with Dub Narcotic Sound System. We met Colvin through our friends in DP My partner Son-E, who was the lyricist of D.P, invited us to a show, we met Calvin, invited him to one of our shows, and BAM! Making hip hop records was and is o learning experience for K. Hip hop and alternative, punk, and rock music are totally different when it comes to the business end of this art, Hip hop right now is 'pop' — well, what most people hear on the radio and see on MTV — so to really sell records (10,000 plus) you have to follow certain guidelines But the most important is to build a hip hop UNDERGROUND following. That means, speaking hip hop 'spitology,' dealing with hip hop distributors that deal strictly with grassroots, non-cammer- ciol-lype hip hop as well as their normal distributors like Caroline, and last and not least, that means putting out vinyl in ths past, we haven't been able to reach that core hip hop audience that we would have liked, but the alternative heads are cool. They try to be open-minded and really dig deep to understand whot we are trying to say Sometimes the shows that we do with Dub Narcotic Sound System are our best shows. But our message is aimed at a certain audience We want to wake up our brethren. Knowledge of self was stripped from the conscience of Black people and we are here to restore certain truths and values that were lost and spurposely hidden We never really wanted to be signed to a big label. With K, we could be free to do what we wanted to do. Even though we are putting our music out on Du4Self Recordings we are still associated with K records. We want to use the paradigm that was set forth by Rawkus Records, who were just awarded the industry's No 1 indie-ldbel What are Black Anger's musical and political influences? Musical infli Carmichael; How to Eat to live, Theology of Time, and Message to ihe Blackman by Hon. Elijah Muhammad, and many others set the motion for our spiritual, mental, and physical growth Again, we want people to know we didn't embrace hip hop culture because if seemed cool at the time, nor did we learn how to rop from watching videos on MTV and Rap City. Many up-and-coming hip hop artists are stiff searching for an identity in this hip hop battle field. Kendo: I've been makingcrowds scream 'Booooo!' since 1982-83. That's when I became on MC (Master of Ceremony). A lot of so-called MC's can rip the most compfe> Kendo: I've been doing this music just as long as KRS One, Chuck D of Public Enemy, and Rakim of the legendary Eric B & Rakim, though I consider these cats to be leaders of a hip hop movement. Sayeed: My father inspired me simply by collecting oil of those old records that we used to sample our first 100 or so songs. Donald Byrd, Herbie Hancock, ond Stanley Turrentine were my favourites. Before a lot of other cats like Tribe Called Quest were using jazz loops, we were heavy into it back in 1987. We live hip hop, so that in itself influence what we do. We are active in our communities on a grassroots, organizational level so we rap about what we know and how we're living, honestly and sincerely. No gimmicks. If was once said that if you wanted to hide information from Black people put it in a book. Reading books like Black Nationalism by Stokley wik wack. Straight up a 3-1000 people and they're wik ir night at the Apollo. MCing has always been sort of competitive ally, all elements of hip hop are 50% competition, 50% artistic expression — but you know I'm sick and tired of hearing rappers kick all this brag- gadocious shit on the mic who have ONLY been in one battle in their entire life. The content in your music has a definite political leaning. Can you elaborate on the messages that Black Anger portray? We portray righteous living. Bulwe ain't monks. Peaceful living. But we are militant. If we have to go down, we will go down fighting for what we believe in. We really don't like to Be labeled as a political group, even though it might sound like we are straight up left-wing socialist revolutionaries. Well, we are, but we're not. We get involved in community protest, we support AIDS awareness programs such as P.O<CA.A.N. (People of Color Against AIDS Network), we were major supporters as well as organizers for the Million Man March on Washington D.C. in '95. In fact, we ore down with fhe Nation of Islam and The Nation of Gods and Earths We started an organization called The Black Family Foundation. We did a little toa much with that organization: fundraisers, study groups, lectures, voting registration drives, talent shows, cultural awareness workshops, etc. So we don't just talk, we walk our talk We endorse the ancient proverb of Eoch One Teach One. Knowledge of Self is the most important concept when speaking to the masses. We only know what was taught in the public (brain washing) school system It is a must that we question what is said to be the truth ond, most impor- \tantly, be able to challenge the false fishings of the 10% who are the oppressors, puppeteers of capitalism, blood-suckers of the poor, %/e, the 5%, the poor righteous teachers whose dt|y is to civilize fhe uncivilized, educate the dumb! deaf and blind (85%) who are lost to the knowledge of themselves, given false icons to worship, ond tricked into falling in love with a system that keeps the rich richer and the poor poorer. It's unusual for a hip hop band to talk about 'fulfilling the responsibilities of fatherhood' and that, 'if you are disrespecting men, you are disrespecting God' in their materials. How does being a parent figure into your musical working lives? Having pro-feminist politics obviously distinguishes Black Anger from a lot of other hip hop artists. It might sound unusual for hip hop crews to accept responsibilities such as fatherhood because most artists enter the game at a young age and haven't really been through shit. In fact, the title of our next project is Roising Daughters/In the Temple. We teach that the character of a nation is based on the character of ifs women. In this day and time, women have gone stork wild. Things up in ya ass, dreams of being a female pimp and sporting lingerie in videos has become a marketing scheme to sell records and movies, I mean sell themselves, or exploit themselves or should I say Sexploit themselves Women need to realize that they represent earth, mother nofure. Women are truly divine. Whot Black Anger receives in the hip hop community is RESPECT, Because we say the things that most are afraid to soy. Sisters, especially, appreciate fhe vibe because we call them queens, we treat them as such and, in return, they carry themselves as just that. QUEENS'* by Julie Colero Julie chats with Maggie Vail, and employee of indie label, DiSCORDER: Do you know why the [Bangles] changed their name from the Bangs to the Bangles? Maggie: Well, there was another band, from New Jersey, and they were threatening to sue. Yeah, that's one of the stories. [With us] I guess [Bangs] just sorta sounded better. We figured that if we weren't going to be The Bangs, we would just be Bangs. Does Bangs do a lot of stuff with the Kill Rock Stars artists? Yeah, usually ... well, no, not really. The bands we usually play with are Love As Laughter, they're a K band, or the Tight Bros From Way Back When. You're kind of similar to the Donnas, in the fact that you're really loud ... Right. But the Donnas are getting ten million times more attention than you are getting right now. Now, is that a conscious choice that Bangs has made — not to do a lot of interviews right now? No, we probably get as many requested. Lookout! have gone and hired a publicist for the Donnas, so there's somebody pushing them really, really, really hard. It's strange, because I do publicity at Kill Rock Stars, and I find that when a band has a schtick, then people want to write about them that much more. Like, all of them are named Donna, or they all have T-shirts with their names on them. And then it's like, 'Oh, there's something to write about there.' I'd still bet on you if there was a Donnas versus Bangs fight. It's so weird. We played with them in San Francisco at the Bottom of the Hill, and I was thinking that I'm not sure if I'm into the Donnas, because of the whole thing about their manager writing their songs. But then I was wondering if even that was just a ploy, because of the Runaways thing. It makes them a total 'girl band.' Right. 1 was like, 'Is this some sort of other way to 10 August 1998 get press?' The lyrics just seem like an old man's fantasy of what a young girl would say ... to me. And just knowing that this guy helps them write lyrics — I think they write their own lyrics now. They're amazing musicians, though, they really are. When we played with them, we were totally blown away. I think that they're really good, but I wish they would write their own words. I really like how aggressive your album seems to be. It's so much fun to play, too. It's completely cathartic. Do you play other instruments as well as bass? Yeah. Actually, I'd never played bass until we first practiced. I really want to play drums. That's my big thing. So the next thing is to kick Jessie out? No, Jesse's too good. But I'd like to be in another band and play drums. Do you find that working at Kill Rock Stars ever causes any conflicts of interest, since you guys are on the label? Did you have the job first, or the signing? Oh, I've had the job for four years. So it was just the right thing to do, to sign to Kill Rock Stars when the time came? Well, it's the first band that I've been in that someone showed any interest in. Do you have to do your own promotion? Uhhuh. That must be strange. It was at first, and then somehow [it] became really easy. [But] I don't want people to feel obligated to write about us. I talk to people, to writers, and sometimes we become friends, so I didn't want to have any weird pressure when I call them up and ask them 'Did you get the CD?' Do you have any big influences that you're working from? Yeah, I've got tonnes of very big influences. I'm the kind of person who gets obsessed with little things. Specifically, bands. Ever since I was seven years old, when my dad bought Beauty and the Beat, I would jump up and sing from on top of the coffee table as loud as 1 could. I sorta did that last night, too ... The Go Gos, The Ramones, Elvis Costello. It's my dream to write lyrics like that. I've always written my lyrics. It's so hard to write songs, like music. I have the hardest time doing it. I guess the collaboration helps out. Definitely. I can write anything off of what Sarah's doing. But coming up with a song out of nowhere is difficult for me. And that's my biggest goal, to get past that. Julie chats with Sarah Utter, guitarist/vocalist of Bangs and employee of indie label, K Records. So you got a new job? Sarah: A new job in a place that I've been working at for a while. I work at K Records, so ... I changed my job from radio promotions person to managing the warehouse, where all of our shipping, receiving and distributing goes on. How did you get hooked up with K? I've known Calvin for quite a while. I grew up in Olympia, so I've been going to shows forever. I was in a band called Plastique, a two piece band, and Calvin was really into it. He put out a couple of 7"s that we did. They'd give me miscellaneous work to do, because they knew that I was broke; they'd let me come in and stuff 7"s or something. I kept bothering them for any available jobs because I really wanted to work there and then, sure enough, somebody quit. They gave me the radio job, but I wasn't very well suited to it, because I don't really like to talk on the phone all that much. I'm more suited to the warehouse lifestyle, the cement-land, as opposed to the carpet-land, where all the salespeople work. We're the more blue-collar employees of K. Where did the choice come from to put your record out on Kill Rock Stars, instead of K? I just wanted to see what working with another label would be like. I was sort of torn, since Calvin maybe hadn't heard the record, but recognized the label. It seems like KRS has a ton of recognition anywhere, even in the smallest backwoods towns. Both you and Maggie have jobs that permit touring. Yeah, it's really good. Both K and KRS are places where music is really important to everybody who's there, so they understand when you want to take time off to tour. It's an unwritten thing ... Does your drummer, Jessie, work in the music industry as well? No, he manages a pizza parlour up in Seattle. Actually, I wish that he worked somewhere where he wasn't in the kitchen, because a couple of weeks ago he was chopping something, and he accidentally shoved his finger into the cuisinart, and he cut off the end of his middle finger. It healed up pretty well — he had to get stitches and stuff, and it looks pretty bad — but he's still able to play drums. I'm just kind of worried, though ... High risk ... Yeah, there's not much of that going on here [at K]. We had a big show with Sleater-Kinney about two weeks after the incident happened, and we told him not to play, but he did, and he was fine. He has really big hands, so it's OK. Do you get much time to work on a new album? Maggie is always super-busy with work, Jessie is always in Seattle and can't get off work, and my job has a whole lot more responsibility to it, so in the last couple of weeks we haven't been able to practice very much. Jessie's pretty dedicated to driving down here a lot... he has another band in Olympia that he maggie has helped me out a lot; he's always been the one encouraging me, saying, 'You should record this. Put something out!' I had a weird feeling that I should stick with K, because I'm dedicated to it, but Bangs is really a whole different thing. Maggie was saying that you play with a lot of the local bands, like Love As Laughter and the Tight Bros ... There's always no lack of talent in Olympia at any given time. There are always people making new bands or working on new projects; it always seems like something's going on. Do you have good recognition across the US? It actually surprised me, because we've only been a band for a little over a year and we've only played in the Northwest ... it's kind of scary to be in a new band and go on a US tour alone. One thing I noticed is that the fact that we're tied to Kill Rock Stars is a really good thing; it seemed to bring kids out who jessi practices with too, called Polecat. They're just about to put out their first record, on a label from Ohio. Are you still working on solo projects as well? I'm always just playing with friends and stuff, and don't really have anything concrete going on. I'm working on some things. Right now, I don't have much time [because of Bangs], but I always try fo make time to play guitar with friends or make up songs. I guess that I do do another project — I play in a band called Witchypoo with Slim Moon. I've been doing it for about a year now, but we don't ever practice; we just play a show every few months and practice for about an hour before we play. It's more experimental than anything I've ever done before.* Bangs' new full-length, Tiger Beat, was released just months ago. If you're looking for more, check out their mail order-only 7" on KRS and another new 7" on 10-in-l Records, both due out soon. It's a summer day in June. A tall, thin man, whose hair grows surprisingly like Art Bergman's, walks into the bunker-like studios of CiTR in black jeans, boots, and a long-sleeved shirt. He he pared with gypsy music, the soundtrack to West Side Story, and bottled Budweiser. He ducks outside frequently to smoke. It's hot, but he's not sweating. He's a man with no pores and no last name. It's Tod A. from Firewater. DiSCORDER: I hear there's a little history around the name Firewater. I mean, that it was not the original name that you'd chosen to start with. Tod A.: Well, we had another name. Actually, Firewater turns out to be the better name, so I guess that was a good thing. We were called the Organ Grinders and it turned out there was some two-bit punk rock band in California that had put out one single and then threatened to sue us for a million dollars or some ridiculousness if we used the name — even though they put out one single in five years of existence. I think that's pretty pathetic. I wonder if they put out another single yet. So who's actually in the band? I see the lineup's really changed between the first album, Get Off The Cross We Need the Wood For the Fire, and the new album, The Ponzi Scheme. So who's actually playing on the tour? [in spooky British accent] Nobody really knows. We're shrouded in mystery, [in regular ol' American] It's a bunch of crazy Israelis and Hungarians and Romanian guys that we all met up in New York. There's one guy from Boston, and one guy from ... I don't know where the hell he's from, we found him in the subway. Part of the promotion for Firewater has been, 'We have people from Jesus Lizard and from Soul Coughing and from Motherhead Bug ...' That was the record company's idea. Basically, I ich of song: j favourite musicians: Duane -*■ from the Jesus Lizard, Yuval from Soul Coughing, blah blah blah. And luckily they were all able to do it. But then it becomes some 'Cavalcade of Stars' or some such hogwash. But then, obviously, they have their little side project bands, so I can't take them on the road. So I had to come up with a new band. The other thing about this 'Cavalcade of Stars' image is that it leads you to believe everyone's hanging out in the same bar in New York, but I guess that's not true. No, it took months of preparation to get everyone in the same town for ten minutes. Is it mostly your material? lly distilling into a constant lineup, lat ultimate lineup, then I think there's going to be more contribution from other people. But af this point, I'm the one wielding the whip. V'- What is a Ponzi Scheme? $6nzi was the guy that invented the pyramid scheme "back in the '20s. He was basically an idiot who didn't realize that pyramid schemes don't work. And since no one had ever tried it before, he sort of invented it despite himself. And in the process he bilked thousands of people out of millions of dollars. He wound up doing about three years in jail for it, but basically through his own stupidity. our van — that was pretty hile Someone spotted a suspicious brown paper package under the seat? actually eating in a Japanese restaurant because our show had gotten cancelled — because of the name of the band and the riots had just happened. We had this camouflage van we'd bought from some military enthusiast. So for some reason, this 1 8-year-old National Guard guy was standing on the street and thought, 'Hmm, looks paramilitary, they must be terrorists.' So they came into the restaurant just as we were finishing eating and hauled us out at gunpoint, much to the chagrin of the waiter who had not been paid, put us in handcuffs, questioned us for three hours and ripped our van apart. "Well, it's a concept album, actually. It's about a deaf dumb and blind boy who becomes a skateboard champion ... No, actually, it's just the relationship between organized religion and pyramid schemes ..." - Tod A. Who did you find in the subway? A guy named Dylan Williams, the new viola player, makes his living by busking in the subway. It gets a little hot in New York in the summer, he was looking to get out, and I actually just ran into him and asked him to come on tour and he said, 'Hell, why not?' Would you say you're the one to spearhead this project — [taking mock offense] It's not a project, Anna. It's a band. We get the van, we drive to the club, we make a loud racket. It's a band. A project is like something you do for homework. It has an ugly ring to it. I'm sorry. So the band/collective — Just band. We have an open door policy, but it's a You seem to be the more constant person Didn't he end up penniless when he died, wasn't that the kicker? Yup. But he coined a phrase. How many of us can have that claim to fame, to coin a cliche? What is this album about? [more British accent] Well, it's a concept album, actually. It's about a deaf dumb and blind boy who becomes a skateboard champion ... No, actually, it's just the relationship between organized religion and pyramid schemes in which it takes sort of a leap of faith and the payoff never come6. Tell me some touring stories. In this band, we try to stay away from law enforcement as much as possible, so no stories yet. What about your previous incarnation [as Cop Shoot Cop]? There was the time we got arrested in L.A. shortly after the riots, under suspicion of having a bomb in They finally realized there was nothing in there except dirty laundry and amplifiers and let us go. This proves you'll do anything for free sushi. Actually, pangs of guilt set in and we had to go back and pay the bill. What's the story behind the CD tin? Oh, yeah. Our new CD is in a can 'cause we thought jewel boxes ... well look at this thing. They're cheap, they break. We wanted to do something a bit more lasting, so we put it in a cigar can. But it was a big pain in the ass because the company we hired to do it makes mostly cigar cans and cat food, apparently. They had a huge order for cat food and our record got bumped back by a month. They tell us this two weeks before it's supposed to be in the store. I guess Tender Viffles is more important than Firewater.*" advertising thafs built to last \U-M7(<xt$)forhfir> CLa-su mismMcm to> (msh arc. noon [yixma. ftra^Q^ mfimwM$jii?2 The annual directory, chock full of contact numbers and addresses of bands and the businesses that support them, will be in the September issue. The deadline for entries has been extended until August 15, 1998. Mail or fax us your name, 15 word description, contact name, address, phone, fax, e-mail, and URL v y^ / DiSCORDER LOCAL MUSIC DIRECTORY #233-6138 SUB Blvd, Vancouver, BC V6T 1Z1 Fax: (604) 822-9364 VANCOUVER INTERNATIONAL JAZZ FESTIVAL Brady Crhnfield. 1H RtMltVJ FRANCOIS HOULE FIVE MARK ELIAS' OPEN LOOSE GERRY HEMINGWAY QUARTET Saturday, June 20 Vancouver East Cultural Centre I was asked to step in and check out this line-up relatively last minute. Didn't know much about any of these outfits, but I got a bit of prep courtesy of Brady, who lent me Francois Houle Five's latest album, a tribute to the memory and work of clarinetist/composer John Carter. What I heard left me impressed and eager for the show. It turned out to be an outstanding night, with all three groups displaying incredible virtuosity and passion. The Francois Houle Five (clarinet/trumpet/cellb/bass/drums) essentially showcased the work they've put together for their new release, but this wasn't just some dry record promotion — the live/visual element really showed off the talents of this quintet and their obvious love of Carter's music. NY trumpet heavyweight Dave Douglas was a particular pleasure to watch (whether he was playing or not), and one of the real highlights of his set was a breathtaking cello/bass duet. Bassist Mark Elias' trio (sax/bass/drums) was similarly impressive, strutting out a number of lengthy pieces anchored by Elias' graceful bass work. A bit more rambling than the other two outfits' work, but nonetheless a pleasure to watch. The Gerry Hemingway Quartet (trombone/sax/bass/drums) finished off the evening with a stunning set of real jazz heroics — these guys really cut loose, within tightly structured pieces. This one had the jazzbos awestruck — myself included. AK CUBANISMO! Sunday, June 21 Vogue Theatre The show had just begun when we arrived and, already, the place felt hot and sweaty. This was the party gig of the festival. It took the 19- odd piece band a couple of numbers to get us going — to lose that famous reserve of ours — then there was no turning back. It was dancing heaven, baby. It was all a daze once we started shaking and twirling and jumping. I should have kept my DiSCORDER review head on, but the good people from Cuba saw to my decapitation. The band played and we danced with big smiles on our faces. Trouble and strife were far from our minds — unfortunately, a band can only play for so long ... RJ THE WILLEM BREUKER KOLLEKTIEF DAVE DOUGLAS' THE TINY BELL Sunday, June 21 Vancouver East Cultural Centre I'm not embarrassed to admit that I'm a committed Dave Douglas fan. I was excited to see this show, practically giddy. I love Masada, as well as Douglas' other Tzadik-released stuff. I saw his quartet at last year's Jazz Festival, and I recently saw him in Myra Melford's Same River Twice. I also enjoy The Tiny Bell's first CD, which is on Songlines. Of course, The Tiny Bell did not disappoint. They ruled, I was thrilled, and they justly received a standing ovation. They are enthusiastic, good-natured players who seem to have a good time performing. They were also humorous and ironic without being insipid. Musically, the whole band was absolutely on: Douglas squeaked, burred and sonorously blasted with his trumpet. And Jim Black was all over his drum kit. He was smooth, coordinated, and controlled with everything he did — always on the beat, even when he was just picking up or dropping items from his weird assortment of extra percussion. I had to shake Black's hand; a corny gesture, I know, but he was amazing. Guitarist Brad Shepik was also appropriately driving. From my vantage, though, it seemed that Shepik sometimes got caught up in his small array of foot pedals. Maybe I don't understand their function, but I'm not sure if he was always in control — although it sounded right, which is all that matters in the end. All troubles aside, their d'verse set ran effortlessly through raging Klezmer-inspired stuff, "avant-garde" post-bop and Eastern European folk tunes. They also did one piece that sounded Stint-like, with a moody, repeated guitar line, down-tempo drumming and a lyrical, trumpet lead. I wouldn't want to play after The Tiny Bell Trio. I was surprised they were not headliners. 12 August 1998 The official headliners, however, were willfully absurd. The Willem Breuker Kollektief is an 11-piece band, including Lorre Lyne Trytten, Alex Coke, Peter Barkema, Andy Altenfelder, Boy Raaymakers, Nico Nijholt, Bernard Hunnekink, Arjen Gorter, Henk de Jonge, Rob Verdurmen and Willem Breuker, all on various instruments. They were nuts. They had all these silly routines that were almost slapstick-like. Not surprisingly, the Kollektief's apparent foolishness belied their actual very accomplished playing. As is the case with successful parodists, a high degree of skill is required for the spoof to have any credibility or humour. Power and legitimacy are tied here to fluency and competency. Spike Jones is a famous example. It was obvious that the Kollektief were serious musicians consciously putting on a comedic review. And although not much was musically out of their range, which included swing, free jazz, and classical, the emphasis was always on humour. The humour acted as an alibi for more daring and unconventional playing that would usually slip in during the solos. In particular, Willem Breuker blew an intense, abstract solo. However, the criticality of this "negative" undercurrent was somewhat wasted on the assembled, presumably informed audience. But the Kollektief could also easily play the most conservative venue, where their Dada-inspired antics might both entertain and challenge. The Kollektief's silliness is merely a ruse. Besides, unjaded and unaware audiences still do exist, and even the cynical might be reborn — those embarrassed to be entertained by such simple means. Transgression is not entirely limited to empty gestures, but it is contextually oriented. Such clowning has long been part of Breuker's performance strategy, stretching back to his founding of the Dutch Instant Composers Pool in 1967, with Han Bennink. And, as part of this tradition, the Kollektief was founded in 1974. Needless to say, 1 found them very entertaining. But their unrelenting goofiness was occasionally too much. And even though I enjoyed myself, if I had known in advance what their show was like, I can't honestly say I would have gone to see them. That said, I was pleasantly surprised. The next time the Kollektief is in town, take the whole family — this is not a derisive comment! BC GEBHARD ULLMANN'S TA LAM ZEHN PAUL PLIMLEY, FRANCOIS HOULE, MARK HELIAS and DYLAN VAN DER SCHYFF Monday, June 22 Vancouver East Cultural Centre Pianist Paul Plimley is both a hyper-kinetic guy and a very talented local composer and improviser. His solo CD on Songlines is enjoyable, but it is more entertaining to watch him play live — he's a very odd, expressive, and physical player, like a mad puppet. His colleagues for this performance were equally great: Francois Houle on clarinet, Mark Helias on bass and Dylan van der Schyff on drums. Their material was a seamless hybrid of jazz and new music, but I'm not sure if they performed any composed pieces. It all seemed improvised, like some fantastic magic. It doesn't matter, because they put on the best show I saw at this year's Jazz Festival. No matter how their work was devised, they really rocked. They are smart, dynamic and tactfully restrained players, and they interacted brilliantly and effortlessly, almost intuitively. The pieces developed smoothly and intelligently — I felt involved with them as they happened. There was always some new event or alteration to appreciate. Nothing was predictable, too easy or ingratiating. Their individual and collective talent and experience were generously demonstrated and proven. Most importantly, they understand that improvisation can also involve space and silence, not just flurries of notes and clattering drums. Almost anyone can make a "free" racket, but the subtbty of their work wouid be hard to replicate. I was hypnotized by their skill. When they finished, to much deserved and enthusiastic applause, I compulsively fantasized about possessing a recording of the show for my very own, to listen to over and over and over again. And so, I was in a peaceful and welcoming state of mind to be presented with multi-instrumentalist Gebhard Ullmann's extended band — nine reed players and an accordionist. I had already heard the Songlines CD of Ta Lam Zehn, which is good (at times, Ullmann over-dubs all the instrumentation, to unusual effect). However, nothing compares to the fabulous "existential" event of all those horns going at once. I loved it all. Ullmann's work is highly organized, with tight and dynamic, inter-locking melodies and rhythms, counterpoised with looser, fiery sections. All of the players were great and they all executed amazing solos (including, on various instruments: Hans Hassler, Dirk Engelhardt, Thomas Klemm, Jurgen Kupke, Joachim Litty, Heiner Reinhardt, Volker Schlott, Hinrich Beermann and Theo Nabicht). Apparently, Ullmann has traveled extensively and takes some inspiration from the multitude of indigenous or folk music-types he's encountered. But he does not simply take on such music like a disguise and dumb it down into the surreal and embarrassingly self-congratulatory marketing category of ik, and Patrick Gross world music — this is not dinner-party music for indulgent yuppies. Ullmann gets inside the music's forms and newly utilizes the qualities and particularities present in a non-exploitative and non- objectifying way. His work is respectful and seems to include his references almost obliquely, not superficially. He's also thoroughly familiar with western classical and jazz music, besides. Ullmann's pieces emerge as completely new things — even his version of "Mack The Knife" is distinct. As a curious side observation, the works performed were almost entirely at the same tempo: a firm walking speed. This corresponded to the funny, side-to-side step dance that Ullmann did throughout his performance. Oh, our funny German friends, I love them. All things considered, this was a consistently great show. BC MARK MURPHY and ALAN BROADBENT BRAD MEHLDAU TRIO Monday, June 22 Vogue Theatre Brad Mehldaus is a stunning, soulful pianist. He laid it all out that night — inside out. His opening piece, "Nice Pants," was an amusement park ride that changed its shape and direction a number of times, sweeping us off our seats. That is how this band played. The trio continued with a string ballad, "Song Song," another blazing park ride, "London Blues," and then another couple of ballads that were simply lovely. Both were cover versions, one a Radiohead song, "Exit for a Film," and the other was by Nick Drake, "Riverman." Unlike the Cubanismo concert, this one didn't make you forget your trouble. This one made you confront them and urged you to turn them into something positive and beautiful, making this concert an unforgettable experience. No wonder Mark Murphy was so out of sorts after such an opening performance. Very, very nice. I think Mark Murphy was a little tipsy when he came on. He liked the applause he received so much, he asked for it again. I expected way too much from Mr. Murphy and cursed myself for doing so during his piss up. What happened to him? Where was his melody? There's a limit to the amount of scatting and noises one can hear. The highlights, or maybe the dimlights, of the show were his half-hearted renditions of some Miles Davis classics. But what happened to his own classics? I was hoping to hear "The Beast" or "Dingwalls." Not a chance. Instead I got that sappy "When I Fall in Love." Everyone clapped, he basked in it, he got his dose and went home. I learnt one very important lesson here: never have high expectations. RJ JOHN SCOFIELD QUARTET EGBERTO GISMONTI GROUP Friday, June 26 Vogue Theatre Despite the stark contrast of musical styles between the two sets this evening, the level of playing and the energy with which all the players performed was completely in sync — that is to say, over the top. The evening began with Gismonti's trio, playing a unique fusion of guitar, keyboards and upright bass. The tempo of the music was ferocious, slowing down in places to allow for changes in melody and to suit the various chord changes. Gismonti eventually relinquished his guitar in favour of a grand piano, allowing for a keyboard duel of sorts. Perhaps the highlight of the set came when the keyboardist picked up a one-third-full wine bottle during a pause in the final tune and began to blow into it rhythmically in front of a microphone. Gismonti followed suit by picking up a homemade whistle-flute. The two players then proceeded to work out a complex arrangement that appeared to be entirely improvised on the spot. Definitely a treat to witness. John Scofield and company took the stage after a short delay and quickly laid into a set of songs culled entirely from Scofield's latest album, A Go Go. Scofield's guitar was hardly its usual dominant self at the outset, allowing the other members of the band a chance to showcase their own musical prowess. Throughout the set Scofield and his keyboard player were battling with each other to produce the strongest possible sounds from their respective instruments while maintaining a steamrollering, funked-out groove. While the music wandered between free-form jazz, blues, funk and near-rock, drummer Bill Stewart impressed the audience with his odd-time signature solos, at one point even trading licks with the bassist. Scofield eventually brought the screaming musical engine to a halt, but only after showing us why he is probably the most influential jazz guitarist of our generation, fulfilling his well- deserved reputation as a master of uncategorizeable music. The show was mind-expanding. Both groups were more than entertaining and it was a true privilege to have been part of the audience. No wonder there were no vacant seats in the house. PG Real Live Action DIRTY THREE CALEXICO Saturday, June 13 Starfish Room Talk about a line-up! A bunch of us were eagerly anticipating this one and, MAN, did we get a show. The Calexico bras, were kind enough to do an in-store at Zulu in the late afternoon — they just waltzed right into the store, fresh from the highway, and played a brilliant one hour (!) set that featured much of the material from their latest (and formidable) album, The Black Light. The title song, complete with some crashing guitar-work (that isn't on the album version), was a real highlight for me. Joey proved himself to be not only an incredible guitar player but also a true entertainer, capable of improvising entire songs on the spot: he pulled this one song having to do with borders, and border crossings, and the fact that he was born in Montreal but the customs didn't seem to catch that at the border, etc. right out of his hat — and it worked, both lyrically and musically. Their performance at the Starfish Room started off in a similarly playful/conversational, but quieter, mode, but Joey soon seemed put off by the constant buzz of the crowd and their apparent lack of interest — so he cut the banter and they revved things up a bit and brought out some guitar madness, which seemed to win over the audience. They played another one hour set and didn't play a single repeat from the afternoon show. It's amazing how full they sound for a two-piece. Atmosphere, drama, tension: it's all there. Outstanding. Not to be outdone, the Dirty Three came on and trotted out a huge set of their violin-fueled tunes in all their boozy, lovelorn, impassioned glory, complete with Warren Ellis' signature acrobatics and 'tween song monologues on love, life, and chocolate. Some bands play music, others conjure it, summon it, channel it — the Dirty Three are of the latter variety. It was the kind of night that left you a believer. It was the kind of night where gently rubbed elbows might lead to fleeting kisses. joe bloggs THEINBREDS THE NEW PORNOGRA- PHERS BOSSANOVA Saturday, June 20 Starfish Room I arrived to see Bossanova midway through their set. The band has added a keyboardist to their mix since the last time I saw them, providing the band with a very - l&ixty Th^ee $e£M» it Atthe £ta>t(/ah f&etn - III full sound. Sounding British at times, Bossanova seemed to be playing very well as a band. Next up were The New Pornographers. Haven't heard of them, you say? Well, not too many people have. If tonight was any indication, though, you'll be hearing more of them soon. This quintet creates beautiful pop harmonies along the lines of Zumpano. Vocalist/ guitarist Carl Newman's vocals and harmonies (by the way, he is from Zumpano) were complemented well by the other vocalist/guitarist, Dan Bejar from Destroyer. They were so catchy and they managed to get a few people on the floor dancing up The Inbreds drew mostly from their two recent efforts. Mike and Dave were all too polite and thankful for the crowd who lined the front of the stage, complete with people blowing bubbles and handing over their Hawaiian necklaces. The boys certainly belted out the hits. They revisited their earlier releases, Kombinator and Hilario, and fulfilled one audience member's constant shouts of "Mat- terhorn! ... Matterhorn!" This same guy happened to be at the last Inbreds show in town shouting the same request. Ah, bless his soul, and the Inbreds, The New Pornographers, and Bossanova, all for a wonderful night of pop heaven. Ken Paul SWERVEDRIVER BARDO POND TRANSISTOR SOUND AND UGHTING CO. Thursday, June 25 Starfish Room Winnipeg's Transistor Sound and Lighting Co. surprised me. They were creative and adventurous with their instrumentation. Songs were performed with different arrange- in9 £ es including keyboard: freshing change to see a band deviate from a fixed musical formula. Further, what they played held my interest throughout their 40- minute set: their songs, although varied, never lost consistency. When I heard that Philadelphia's Bardo Pond was signed to Matador records and that they sounded like My Bloody Valentine, I couldn't help but look foi ward to hearing them. I think was lacking appreciation for the band's improvisational style, but I would have preferred to hear them focus on developing their songs rather than just playing elongated, swirly swashes of noise. They did, however, manage to make some interesting noises by adding a flute to their otherwise conventional noise- pop band instrumentation. My feelings were mixed, but they certainly did manage to captivate a sizable portion of the audience by the end of their set. Swervedriver was the reason most people came out to this show, but I have a feeling many were disappointed. Despite years of hearing about the group, this was my introduction to them. While their tight, melodic, fuzzy, high-tempo music was good, it certainly didn't exceed my expectations of them. Nor did it exceed Transistor's performance on the same stage two hours earlier. Brian Wieser THE UNDERCOVERS GANGSTER POLITICS J.F.K. AND THE CONSPIRATORS Wednesday, July 1 Starfish Room Well, kids, if you missed this one, kick yourself really hard. I don't think it's much of a boast, but I've seen almost all the Canadian ska bands this side of Montreal and Gangster Politics are, as far as I'm concerned, the best we got. Don't waste your hard earned dollars on their CD — it doesn't do 'em justice. Live, they were a big bulldozer on the offbeat, with lewd horns and impeccable vocals. They've all got the chops to be covering jazz standards, but they only indulged themselves once. All you faux-glam, heavy-metal wannabe, So-Cal Selpultura lovin , Vancouver ska idiots take heed. These guys The Undercovers are a pretty good glimpse of what's coming up in Canadian ska. Poppier, more vocal based, a tad new wave. Songwriting needs workshopping, but give 'em time. Again, the CD isn't really fair to them. Maybe Stomp Records should be devoting more of the budget to artist development. And although the two-toners in town will have my head, JFK are on the way out. Sure they're popular, but they're the kind of ska your mum wishes you listened to. Trying to be all retro, and then writing songs about Austin Powers? They were two-tone-ska- aoke. Oh, please. Either way, you add one old mediocre band to one fledging band and one amazing and relatively unknown group and you get one of the hottest nights around. Too bad that the fans deserved more. MACH Ill's ROOTES GROUP Saturday, July 4 Rendezvous, Seattle These two groups played a show together at the Anza Club on June 20 and rejoined in Seattle (Rootes Group's home) at The Rendezvous, a very grimy, stinky, dank club with an even danker small room in the back for shows. A giddy atmosphere reigned because it was July 4th and there were about 30 impeccably- dressed members of the Vespa Society there. The Mach Ill's, in their snazzy new uniforms (thanks to keyboardist and stylist Julie Matson) matched this crowd and moved several audience members to dance wildly, entwining a variety of their body parts together and effectively preventing anyone else from entering the tiny space available for dancing. After a time, an exceptionally moved person walked up to lead guitarist Ryan Ogg and started a conversation. While they talked, this interloper gyrated and pulled down his pants and underwear. Finally, he kissed Ogg, who did not miss a beat, and returned to both his seat and his clothes. Drummer Bryce Dunn demonstrated his well-developed capacity for patter between songs and revealed that nakedness was, apparently, the motif for this trip to Seattle, since the Mach Ill's were mooned on the freeway and then greeted in the Greyhound bus station washroom by a gigantic naked man huffing to himself in an open stall The Rootes Group had a Union Jack and an enormous The Who sticker on their gear, which suffices as a description of their influ- They wore wool - Tie tteuidtAtoexApc-the StA^is/i net even, the*"??««/ 73>Viz>^*^e»A**>« > idea will blow your beer-stained rock right out of the water. how they didn't wind up prostrate from heat exhaustion during their set. They cranked their amps, which would probably have suited their gear in a larger space, but was simply painful in that venue. Their songs were not boring, but they seemed a bit messy and under-rehearsed. I would like to hear them again, though, in Wembley Stadium perhaps, along with their great, powerful amps and hopefully their lyrics. VANS WARPED TOUR Wednesday, July 8 PNE Exhibition Bowl The sets of the many bands were cunningly scheduled so that someone was always playing and the determined fanboy/girl could see all the bands (though not each in their entirety) if willing to madly dash to and fro between the two double-staged areas, in addition to enduring a gauntlet of booths hawking various promotional merchandise. I Unfortunately, I received intelligence (via CiTR's own Ska- T) that The Specials didn't make it across the border. Since it seemed unlikely a portion of the $37 ticket price would be refunded in compensation for the no-show of one of the biggest acts on the bill, there was nothing to do but satisfy ska cravings by sampling the smorgasbord of bands with backbeat inclinations. Highlights included Mystery Machine: valley boys do what they do best — melodic indie pop. Geek chic in a sea of teenpunk. Tilt: raw girl vocals, sounded like Iron Maiden doing ska. Selector-punk. The Pietasters: best band of the day. Nice suits. Girl on sax is new, too. The Real McKenzies: local tartan-clad clan o' hooligans, Grand Defenders of the Scottish Realm. They did their usual punk versions of Scottish tunes and Scottish versions of punk tunes. Whole haggis o' fun. Rancid: skipped on the MTV fave "Ruby Soho," but played "Roots Radical" ... yay! Singerman's voice is getting rough beyond his years. Otherwise, sweet, solid state set. Save Ferris: sultry, sassy, ska diva fronting. More fun than a barrel of Sea Monkeys. Bad Religion: these guys have been around long enough to qualify as elder statesmen of the genre. Their popularity has fluctuated over recent years, but they've kept on the straight course through it all, spurning the pitfalls of rockstar cheese. They kicked out the jams with a diverse set that included a lot of older material. No moss on these boys. It was a day of sunburn, SkaFun, PunkEnergy, and SwingSryle ... but most of all, it was a day of marketing opportunities. The fine music of the day served to draw a certain youthful segment of the demographic pie to interact in the consumer market. Not very punk in a conceptual sense; I guess things have mightily mutated since '79 ... but it's the reality we all live in, and some damn fine bands were enjoyed by many. Not a bad deal, Cobalt 13 E^gSUiSS Under Review ALBUMS • ZINES ANOTHER JOE Cran-Doodle Dandy (Landspeed) This is fast, short, snarly punk rock which pays more shameless homage to NOFX than all those zillion other bands will admit to. Twenty songs, not one over two minutes. Okay, one. This album is really good. Support your local scene — man, is it ever worth it. Trevor Fielding BARE MINIMUM Can'f Cure the Nailbiters (RX Remedy) This band sounds like a watered- down version of Sonic Youth: lots of discordant, driving rock and roll with your usual feedback breakdown and angry, yet nasal screaming/talking. Then again, since they're copying one of the world's most innovative bands, there are good points about this album. You'll find licks, and melodic notes, minimally plucked, during the guitar- driven songs. Mostly though, the songs get repetitive and end up blending in with each other, making no song especially memorable. There's really nothing special here that would make me want to listen to it more than a few times. Chris Corday BOARDS OF CANADA Music Has the Right to Children (Warp/Skam) Ah! Boards of Canada have created a truly beautiful electronic album. The sheer genius of some of the tracks makes me hold my fresh-faced cheeks in awe. Only about half of the tracks have a beat. The rest are all melodies. Some non-believers have referred to this record as boring, citing its lack of fast rhythms, builds and complex squawks and screeches. However, after careful listening, the complexities and layering become apparent, much like staring at a huge, colour field painting. The mood of this album seems to mirror the lazy heat of summer days. A theme of children at play occurs throughout and manifests itself as laughter and background chatter. ^^CASH TRADE CONSIGN^^HJ (RIDE ON j ^^^ SPORTS CONSIGNMENT^^^M _-_-___-___ Vta s^_urvy*<fr T&d\\_# mii. oBillilU: MOUNTAIN BIKES ROAD BIKES BMX SKATEBOARDS IN-LINE SKATES 738-773 CLOTHING LOTS OF BIKE PARTS ACCESSORIES NOVELTY ITEMS REPAIRS TO ALL MAKES A 2255 WEST BROADWAY "Aquarius" has Sesame Street- like counting and naming of colors. I don't think I could live a day without it. Shane Vander Meer BOREDOMS Super Are (Warner Japan) Here are seven "super" songs (Super You, Super Are, Super Going, Super Coming, Super Are You, Super Shine, Super Good) clocking in ot over 70 minutes, recorded between 1996 and '98. This album is long awaited and sadly, not available as a domestic release (and I don't like to promote buying your music from anything other than the few indie record stores in the city, but for this item, it looks like a quick search on the net will find you in the right place). For those who were hoping Boredoms would return to their rock roots after the series of Super Roots albums which saw them go ambient and droney, this will fulfill your need. But it's not like their previous rock stuff at all — these songs are clearly influenced by Eye's experiments in tape manipulation, with the likes of Hanatarash and Super Roots 6, and veer heavily into bizarre and almost minimal assemblages. "Super Good" sounds like a Van Halen intro that goes on for eight minutes and has been torn up by a cheap tape player — forcing the song to speed up occasionally to rocket speed. Many songs shift from freakish monster rock to quiet chanting and Indonesian bells, followed by shattered drum beats and melted guitar chords. There aren't all the insane Ruins-ish time changes that made the other Boredoms albums so immediately impressive, but there is enough experimenting and audacity to make it a fine addition to the already giant Boredoms discography. tee Henderson CHETICAMP Aeroplane Vs. Automobile (Poster Girl) With the fall in price of CD manufacturing and high-quality home recording, musical democracy has already gone too far. Bands that aren't ready (especially those with relatively high- profile members such as this one) can easily find someone else to put up the money for it. I'm not implying that Cheticamp's debut is bad, just that this record is pretty mediocre. I think a better impression would have been left with me if two of the best songs were released as a 7" single. This collection of 10 tracks sounds mostly like under-developed Wilco covers, under-performed by otherwise excellent players, including Dallas Good (of The Sadies) and Andrew Scott (Sloan). Cheticamp doesn't appear to have been a full-time band for long (songwriter and singer Mike Belitsky was the drummer in Jale and remains in The Vees), so this could certainly explain things. Given more time, Cheticamp will hopefully be able to follow up with an improvement on their future recordings. Brian Wieser CONSOUDATED Dropped (G-7 Welcoming Committee) G-7 Welcoming Committee Records, based in Winnipeg, is "an independent media outlet whose main function is to produce and distribute music by and/or for people working for radical social change." Collectively owned and operated, the label scored a coup by securing the latest release from Adam Sherburne's Consolidated. With Dropped, the Portland band sticks to what works for them: everything. Blends of rock, hip-hop, jazz, techno, noise and blues serve to showcase the lyric- driven music because, despite how catchy the Consolidated sound is, they are all about getting a point across. They dive into gender and sexual equality, racial injustice, overbearing patriotism, and victim/survivor rights. A strong contribution and just what we've come to expect from the conscience of American Blaine Kyllo DANKO JONES Danko Jones EP (Sonic Unyon) Garage-fueled cock-rock that dwells on lost loves and broken relationships (e.g. all songs). Reminiscent of the Blues Explosion and, therefore, not for everyone's ears and appetites. Steve Guimond DESTROYER City of Daughters (Tinker/Cave Canaem) I've listened to this album 20 times or more and I still haven't figured out the "meanings" in almost all of the songs. I think Destroyer has really thrown me for a loop this time. When first "intellectually" assaulted with lyrics like "I want this Cyclops," "a cartographer's drunken haste" or "newly husbanded to your voice," my brain seized up. My ego bruised, I reacted: "This album sucks." Destroyer had done its job, but now I've learned to appreciate that. City of Daughters forced me into using my imagination. There are few albums which actually engross the listener in such a way. Dan is a great songwriter. His songs compel me to become involved in interpreting his vague and fragmented lyrics into stories which can span from just one song to the whole record. Every listen brings new interpretations. The odd recording techniques, unusual songs, and Dan's unique voice may appear inaccessible, but a more involved listen opens up a vast landscape of goodies to chew on. And the great musicianship, especially in the few instrumental tracks, really deepens the colours in this landscape and adds some dynamics beyond the songwriting. Unfortunately, this effect is not duplicated as well in their live shows, as their keyboards, live, present HARVEY DANGER Where Have All the Merrymakers Gone? (Arena Rock/Slash/London) This is a buzz-band that straddles the fine line between today's versions of indie rock and mainstream rock, falling unceremoniously into the latter category. The album's guitar-driven and lyrically-lame songs offer the listener nothing really new, which probably explains CFOX's rotation of the album's first single, "Flagpole Sitta." You've probably heard this song played at hockey arenas recently across the continent (enough said), which ensures its place on the next Power Play anthems compilation. Steve Guimond RICARDO LEMVO & MAKINA LOCA Mambo YoYo VARIOUS ARTISTS Afro-Latino (Putumayo) The mainstream public and trendy yuppie martini clubs have moved from lounge music to Afro-Cuban jazz, without any sense of the historical trek such music made from Africa to Cuba and back again. Well, I don't really have any sense of history, either. But I refuse to be dissuaded from enjoying Lemvo and Afro-Latino simply because some idiot lawyer with a silk tie and slobbering cigar day at five. Putumayo has done it again, recording and making available exciting, visceral music. The lilting horns, airy rhythms, and cascading voices make these the perfect summertime albums. Blaine Kyllo LOCAL RABBITS Basic Concept (murderecords) This is a sprawling, diverse and all-encompassing sophomore release from this Montreal-based quartet that betrays the band's youthfulness. The album pits the moody, mid-tempo songs of Ben Gunning versus the more upbeat and straight-ahead ones of Peter Elkas. The band's multi-layered approach features the traditional four-piece, augmented by piano, keyboards, horns, harmonies and strings. Basic Concept is a very impressive, non-traditional rock album, which is a wel come change to the scene. Steve Guimond MONEY MARK Push the Button (A&M) I have been a longtime fan of the Beastie Boys and decided to check out the first major solo effort of the Beasties' keyboardist (since Check Your Head]. Throw the Beasties in a blender with a sampler, an acoustic guitar, a lounge-singing red-nosed comedian, and a plush couch — and you've got a mess, not to mention the weirdness of Money Mark. Strange lyrics, Christmas bells, and guitar riffs alternate with accordion, anarchist drum V bass break rhythms and lounge hip hop. Weird yells and screeches punctuate: "Look up at the camera/and say hello!" tobias JOEL R.L. PHELPS The Downer Trio: 3 (Pacifico) There are only two words which can be used to describe this album: gutwrenching and heartbreaking. This CD is full of acoustic tunes backed up by just a little bit of drums, bass, brass, slide-guitar, and Phelps' ach- ingly emotional voice. A former member of Silkworm, Phelps keeps up the traditions created during his time in that band (reminiscent especially of their incredible Marco Collins Sessions acoustic EP) by playing soft chords on his guitar and perfectly supporting them with his sometimes jagged and uniquely uplifting vocals. It's the perfect accompaniment for the depressed indie-rocker who likes to sit around on a rainy, northwest day and drink a little high-content alcohol while wallowing in his/her own self-pity. It's guaranteed to make me teary-eyed every time I listen to it and, at the same time, it soothes and calms me like nothing else can. My pick for best album of the year so far. Chris Corday RADIO TARIFA Temporal (World Circuit/Nonesuch) Intelligent, diverse — yet accessible—Radio Tarifa s sophomore release, Temporal, is worthy of continued applause. Recorded over a two year period, the nontet hone their Spanish/North African/Arabic sound with ever-increasing focus and precision. Radio Tarifa's leader, Fain Sanchez Duenas (guitar/percussion), delves deeper into the world of flamenco while never straying from what made Rumba Argelina, their debut, so fresh. Accordion, flute, box drums, dumbek, electric bass, saxophone and traditional instruments never collide; they simply meld into one musical vision that is modern and traditional in the same breath. Gypsy Kings, this is not. Radio Tarifa maintains a roots-orientated discovery of their Iberian homeland. Eclectic and intriguing, the group mixes a magical cauldron that harkens back to roving minstrels that may have played for a few coins in some Moroccan bazaar in the 14th century. Capturing the essence of stalls loaded with trinkets, silver, and the odd wisp of hashish, Radio Tarifa are the real goods. There is no need to bargain. Pieter Hofmann SCARED OF CHAKA How to Lose (702/Empty) Hot damn, they did it again! After an amazing LP last year (Masonic Youth), a three song 7", and a split 7" with Chicago's super punks The Traitors, comes this awesome 10" of powerhouse garage punk/pop. Rockin' the party that rocks the body, these guys don't ever let up on these eight blasts that finish before tfiey even begin, meaning you'll be flipping this rekkid more times than Aunt Jemima flips them hotcakes! So break out the fire extinguisher, baby, cuz this hotcake is gonna smoke up your living room with cuts like "Up Comes My Supper," "Loaded," "High Karate," and the secret bonus live cover of Supercharger's "Buzz Off." Make like a bowling ball and roll on out to your fave vinyl vendor and scoop this up, quick-like, ya dig? Bryce Dunn THE SADIES Precious Moments (Bloodshot) Imagine the Big One hits. The west coast crumbles, Richmond dissolves into the ooze of the Fraser delta, and massive tidal across the Prairies to lap at the Toronto skyline. The Sadies would be there, blanket spread out on the shore, cowboy hats on, playing their own brand of traditional country surf in their newly-appropriate coastal Precious Moments is full of just that: 20 tasty tunes averaging under two minutes, more instrumental than not. And Ms. Neko Case is only on one track — they can make music just fine without her golden crooning and have been doing der ballads abound. "Little Sadie" and "Pretty Polly" stand out, as does the more blues-inspired "Seventy-Six." That ubiquitous roadkillabilly rhythm does get a little repetitive around two thirds of the way through, proving that even insurgent country can't always avoid the pitfalls that plague three-chord indie rock. That said, the truth is that The Sadies provide the boot stompin' buck- shot-sprayin' good time we've come to expect. Anna Friz SMASHING PUMPKINS Adore (Virgin) I used to lie awake at night won dering what the next Smashing Pumpkins album would sound like. Now I know ... it sounds like frickin' Depeche Mode. Adore drags on and on and on for 73 minutes. It's one plodding, monotonous song after another. Just when you figure the album must be almost over, you discover there's still eight more songs to go. The once familiar wall of guitars are gone and are replaced with keyboards, electronic effects, and loads of programmed drums. Okay, they've got a couple of likable songs such as the opening track, "To Sheila," a quiet, low-key song focused on vocals and an acoustic guitar and "The Tale of Dusty and Pistol Pete," a simple, relaxed tune that sounds like it has actually been played and not programmed. But those two songs account for less than ten minutes, leaving over an hour of what sounds like U2's Pop Mart album. Fred derF SOLEX Solex vs. The Hitmeister (Matador) From the tinny "Waking up with Solex" to the excessively catchy "Solex Feels Lucky," this album is hypnotic in a train- clicking-on-the-track kind of way. Sure, it's made from loops of music distilled into tracks at Solex' (AKA Elisabeth Esselink) home on an old eight-track, but this is not your usual electronic swill. Her lilting voice fills in the lyrics that float overtop of the music and lend a more conventional song-like structure to the otherwise largely rhythmic soundscape. Very listenable. Why is Solex in every song title? Because the album's all about her/him/it. SUBSONICS Follow Me Down (Get Hip) These guys sure do know the meaning of the phrase, "If it ain't broke, don't fix it." In fact, the only thing that seems to change for this Atlanta, GA trio is the bass player chair (they've had a different occupant for every record, and this is number four!). That notwithstanding, this is more trademark Velvet Underground/ Cramps-inspired rockin' with a dash of '50s rock V roll, pure and simple. Vocalist/guitarist Clay Reed still sounds like the bastard child of Lou Reed and Buddy Holly and he plays the gee-tar like his hands are on fire, while drummer Buffi Aguero still employs her "less is more" philosophy when it comes to pounding out the primitive beat. Check out cool cuts like "Pretty Pills," "I Think You'll like it," "Disintegrate," and the last rack, "Ten wrapped in a cloak of sarcasm and bitterness — excellent! Bryce Dunn EDWIN TORRES Holy Kid (Kill Rock Stars) Edwin Torres is a dadaist poet for the new millennium and how fitting that he released this collection of sounds with Kill Rock Stars. Holy Kid is driven, not just by words, but by language and a bill bissett-esque brand of speech that takes sentences and words apart and rebuilds them with new meaning: "my sweethren, as yeu floomin-stasis throughout yeur wordxixtnce, how woult yoo have forseeked a pleasurenoon- periouserience which cold plester reincarnation anew alife agiver to slay the death of destiny ..." The backing, sometimes integrated, sounds — that sometimes pass for music — complement the furious chaos of these sets. With strong shadows ofthe Dutch sound poet Jaap Blonk, file this under Spoken Word. Blaine Kyllo TRANQUILITY BASS Beeplll (Astralwerks) Remixes of "We All Want To Be Free," "The Bird" and "La La La" from the Let The Freak Flag Fly album provide an eclectic backdrop to the eastern-Muslir ing ale of Tranquility Bass A funky, >und r xed with sampled breaks create the remixes, including a cheese-on by Fat Boy Slim, the creme de la fromage of Big Beat. The "Skull Valley Dub" of "We All Want To Be Free" definitely sinks in as this album's trip-out, though, along with Ultramarine's funky drum and bass mix of the same. tobias Ul Lifelike (Southern) Ui (ooo-eee) still have the bass- heavy groove of their earlier singles and LP, Sidelong, but on Lifelike, the NYC three-piece have come up with an emotive affair with a good deal more staying power. Lifelike is a super funky record, and sees the interplay of bassists Wilbo Wright and head-guy Sasha Frere-Jones downplayed, giving way to more lush instrumenta- i horn s and (heaven forbid) electric guitars get a little more room. Instrumental p-st rock with a heavy dose of funk, Lifelike is a grounded slice, not at all prone to ephemeral meanderings, yet still manages to be pretty, as on the track "Undersided," which flows from sparse, dub-inflected patterns, to a quick, consonant dual bass section, and ends with a melodic cornet passage. Frere-Jones has been wary of making music which is too cerebral, or "Ivy-league, private rock;" instead he's going for a music where anything is possible, but where groove reigns high. d.henry UZUME TAIKO Every Part of the Animal (OO ZOO MAY) Taiko is Japanese for big drum. Taiko drumming is all about the incredible strength and delicacy of animal skin stretched taut and pounded hard. This album marks the tenth year of existence for Vancouver-based Uzume Taiko As one of the first taiko groups formed in North America, their music and instruments represent the diversity of where they live. The ensemble are especially adept at incorporating highland pipes, saxophone and cello along with the big, full sound of taiko drums and the thin, reedy shakuhachi. Of course, no mere CD can compare to the power of a live taiko performance, and Uzume Taiko often use masks and costumes to add to their show. However, this CD is also interactive: plug it into your computer and listen to all the tracks plus gather information on the history of the group and taiko drumming itself. I especially liked the create-your-own-drum- ming-sequence section. Anna Friz THE VANDALS Hitler Bad, Vandals Good (Nitro) Man, do I love The Vandals. Sure, their sound might be a little more polished this time around, but their tongue is still firmly in cheek. This band is funny! "I've Got an Age Drape," "Money's Not an Issue," "My Girlfriend's Dead" — this album just gets better and better. Their style sure has changed over the years, hey? I guess that's 'cause the new(ish) guitarist writes all the songs now. Topped off with a great version of "So Long, Farewell" from The Sound of Music, the album is fantastic! Trevor Fielding VARIOUS ARTISTS Houseptic: New Skool and Old Flavour (IRMAmerica) Kick drums lined up in formation, basslines at bayonet's ready, charge with sampled New York-style vocals with a Latin drum rhythms on Don Carlo's "Purple Day" with a touch of west-coast piano prove soothing, while DJ Rodriguez's "Vibes & Tribes" with repeated almost slow Jeff Mills ish piano chords to create a DJ Sneak stripped- down feel. Later tracks get VARIOUS ARTISTS Listen Upl Songs from Fraser Academy 97-98 (Independent) This album features songs written and performed by students between the ages of 10 and 1 8 who attend Vancouver's Fraser Academy. And let me tell you, these kids have talent! I can't get over the age of some of these artists and it makes for some interesting moments (such as young girls singing about the blackness of night). All the songs take on a rock format and most really rock. To pick a favorite song would be very difficult because all of the songs have appeal for me in so many ways. Maybe we can hear the next Catpower, Smog, or Will Oldham in the making Heck, some of the songs remind me of Patti Smith! If you have some spare coin, this may be the album to pick up. Shane Vander Meer and a of recent Masters At Work/ Mood 2 Swing projects but Oblique's "House of Blue" restores a touch of the deep non- vocal sound. Well produced, beautiful house. tobias «rt,0_HM AWHaj jllig, byral'Dccvc TEJ> FAV-r fZ i5E^§a3S!3a On The Dia SUNDAYS GET TO THE CHORUS 6:30-8:30AM ARE YOU SERIOUS? MUSK 8:30- 12:00PM All ol time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00-3.O0PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE alt. 3.00- 5:00PM Real cowshit caught in yer boots country. WIRELESS alt. 3.*00-5:00PM QUEER FM 6:004:00PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver and listened to by everyone. Lois of human interest features, background on current issues and great music from musicians of all sexual preferences and gender identities. HELLO INDIA 8:009:00PM GEETANJAU 9:00- 10:00 PM Geetanjali features a wide range of music from India, including classical music, both Hindustani and Carnatic, popular music from Indian movies from Ihe 1 asas to -he 1990's, semkJossicol music such as Ghazals and Bhajans, and also Quawwalis, folk songs, etc. THESHOW 1<W)OPM-1:OOAM Strictly Hip Hop — Strictly Underground — Strictly Vinyl With your hosts Mr. Checka, Flip Out & J Swing on the 1 &2's. DJ DECTER 1:004:00AM MONDAYS BREAKFAST WITH THE BROWNS 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 ambience. THE STUPID RADIO SHOW 11*00 AM-1-00PM Playing a spectrum of music from garage band to big band, acoustic to electric. THE MEAT-EATING VEGAN 3:00- 4.00PM I endeavour to feature dead air, verbal flatulence (only when I speak), a work of music by a twentielhcenlury 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. EVI. VS. GOOD 4KW-5.-00PM Who will triumph? Hardcore/punk from beyond ihe grave. BBC WORLD NEWS SERVICE 5*00- 5:30PM BIRDWATCHERS 5:30-6:00PM Join the Sports department for their eye on the T-birds. HANS KLAUS' MISERY HOUR alt. 6r00-7.*00PM Mixofmostdepressing, unheardand unlistenable melodies, tunes HIP HOP HAVOC 7K)O-9rf)0PM THE JAZZ SHOW 9KJ0PM- 12.00AM Vancouver's longest running prime time jazz program. Hosled by the ever-suave Gavin Walker. Features at 11. Aug 3: Legendary pianist/composer Sonny Clark. Aug 10: Miles Davis at Carnegie Hall 1961, Parti. Aug 17: Miles Davis at Carnegie Hall, Part II. Aug 24: Vibist/composer Bobby Hutcherson with Waiting. Aug 31: Incredible jazz guitar of Wes Montgomery. VENGEANCE IS MINE 12:00- 4.*00AMHosted by Trevor. It's punk rock, baby! Gore from the charts but not from our hearts - thank fucking TUESDAYS J-POP WONDERLAND 6:308:30 AM Japanese earfy morning imports hosted by Shin. AROUND THE MIDDLE EAST IN AN HOUR8:3O9:30AM Middle eastem music for your morning drive. THIRD TIME'S THE CHARM 9:30- 11:30AM Torrid frashrock, sleazy surf and pulsatin' punk provide ihe perfect scissor kick to your head every Tuesday mom. There's no second chance when KungFu is used for evil wilh drunken fist Bryce. Kilfyaa!)!! FIVE HOUR LUNCH 11:30AM- 1:00PM "Have a rock V roll McDonald's for lunch today!" COLONEL SANDER'S HIDEOUT 2*00-3:30PM LADY DEATHSIRIKFS BENTO 3:30- 5:00PM Power to ihe people! Feminist news, hiphop Iracks, lesbionic rock and sushi galore! BBC WORLDNEWS SERVICE 5:00- 6:00PM SAREGAMA Featuring traditional (classical, light and folk) and contemporary South-Indian music. THE UNHEARD MUSIC 7:00- 9:00PM Meat the unherd where the unheard and the hordes of hardly herd are heard, courtesy of host 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 and Rodrigo as they shake it and wiggle it to the latest in Salsa, Merengue, Cumbia and other fiery fiesta favourites. Latin music so hot it'll give you a tan! jjRADIO SABROSA!! WITCHDOCTOR HIGHBALL alt. 10:00PM-12:00AM Noise, ambient, electronic, hip hop, free jazz, christian belter living Ip's, ihe occasional amateur radio play, whatever. VENUS FLYTRAP'S LOVE DEN alt. 10:00PM-12:00AM Join Greg in the love den for a cocktail. We'll hear retro stuff, groovy jazz, and thicker stuff too. See you here... and AURAL TENTACLES 12-OOAM-VERY 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, dunce, punk, electronic, synth, blues, and unusual rock. WEDNESDAYS SUBURBAN JUNGLE 7:00-9:OOAM A perfect blend of the sublime and absurd, with your refined and exotic hosts Jack Velvet and Carmen Ghia. DIGITAL ALARM CHRONOMETER 10KX)AM-12K)0PM Electronic LOVE SUCKS 12:0O2:00PM Music atwork. (Cutupmixed genres— eclectic, electric included but not mandatory). MOTORDADOY 3KW-5.-00PM "eat, sleep, ride, listen to Motordaddy, repeat." BBC WORLDSERVICE 5:00PM- 5:30PM RACHEL'S SONG 5:30-6:0OPM Info on health and the environment. From recycling and conseivation projects to diet, health, and consumption and sustainability in ihe urban contexf. ESOTERIK alt. 6:00-7:30PM Ambient/ electronic/industrial/ethnic/ experimental music for those of us who know about the illithids. SOLID STATE all. 6:00-7:30PM Featuring the latest in techno, trance, acid and progressive house. Spotlights on local artists, ticket giveaways, & live performances. Hosted by MPath. AND SOMETIMES WHY alt. 7:30- 9:00PM versus, godspeed you black emperor!, nutter butters... these are a few of our fave-oh- writ things, la la la! MARY TYLER MOORE SHOW alt. 7:30-9:00PM Girl music of all shapes and sizes. FOLK OASIS 9'00-10'OOPMThe show that's not afraid to call itself folk. Featuring the best in local and international acoustic-roots music: Singer-songwriters, Cajun, Celtic and beyond! STRAIGHT OUTTA JALLUNDHAR 10K»PM-12K)0AMLetDJsJindwa 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 way. THURSDAYS REEL MUSIC 8:30-10:00AM Soundtracks and classical. FILiBUSTER alt. 10:00-11:30AM From accordian to the backwoodsvia swingin1 lounge sounds... Ihis show is a genre free zone. MUSIC FOR ROBOTS alt. 10:00- 11:30AM Viva La Robolica Revolution. Estrogen-charged robots on Planet Noiz. CANADIAN LUNCH 11:30AM- 1:00PM From Tofino b Gander, Baffin Island to Portage La Prairie. The alfCanadian soundtrack for your midday snack! SIEVE & MIKE 1:002:00PM Crashing the boys' club in the pit. Hard and fast, heavy and slow. Listen to it, baby. (hardcore). JUSTIN'S TIME 2:00-3:00PM Serving up your weekly dose of Shirley Horn and other jazz-filled confections. FLEX YOUR HEAD 3:O0-5:00PM Hardcore and punk rock since 1989. www.geocities.com/SunsetStrip/ club/6479/ BBC WORLD NEWS SERVICE 5:00- 5:30PM ENTERTAINMENT DESK alt. 5:30- 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 wilh it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30- 9:00PM Roots of rock & roll. UVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bandz from 10-11. SLIPPERY SLOT alt. 11:00PM- 1:00AM Farm animals, plush toys and Napalm Death. These are a few of my favourite things. Ifs all about shootin' the shit and rock n' roll, baby. PLUTONIAN NIGHTS 1:00- 4:00AM Late nightvinyl. Occasional skips. Cheers. FRIDAYS CAUGHT IN THE RED 6:30-8:30AM Garage rock and other things. ONE LOVE 8:3O-10KX)AM Anything and everything from the wonderful world of music, as long as harmonies can be sung, and the melodies be heard. SKATS SCENE-IK DRIVE! 10:00AM- 12:00PM Scotty and Julie, playing the music that gets them dancing and singing in the DJ booth... (no, really!) THESE ARE THE BREAKS 12:00- 2:00PM DJ Splice brings you a flipped up, freaked out, full-on, funktified , sample heavy beat-lain trip, focusing on anything with breakbeats, be it old school hip-hop jams, fresh drum and bass jump-ups, downtempo experimental trip-hop tracks, cold chillin 70's soul cuts or crazy-ass white label electrofunk. Versatile at any style. UTTLE TWIN STARS 2:00-3:30PM Underground, experimental, indie and women. Jacuzzi space rock at its finest. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:OOPM NOIZ 4:00-5:00PM self-titled. BBC WORLDSERVICE 5*O0-5:30PM FAR EAST SIDE SOUNDS alt. 6:00- 9:00PM Sounds of the transpacific underground, from west Java to east Detroit. Sound system operator, Don Chow. AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa & African music from around the world. 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. PARADIGM SHIFT 12:00-6:00AM Tobias' Paradigm Shift (Rant, phone- in and kiss your mother with the guests]. SATURDAYS BOTH SIDES 6:00-8:00AM Jose Luis discusses free trade and other issues in the Americas. THE SATURDAY EDGE 8:00AM- 12:00PM Music you won't hear anywhere else, studio guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways. 8-9AM: African/World roots. 9AM-12PM: Celtic music and performances. J-POP WONDERLAND 12:00- 1:00PM Saturday edition! Once again, Shin brings you the best of Japan. POWERCHORD 1:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. LUCKY SCRATCH 3:00-5:00PM Blues and blues roots with your hosts Anna and AJ. RADIO FREE AMERICA 6:00- 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.). LIVEI AT THE HI-HATII alt. 10:00PM-1:00AM "Live!-shows and bands - admission $6.00 - Performers are subject to change." Maximum Soul. REBEL JAZZ alt. 10:00PM-1:00AM High. Low. In the middle. All around. Sense. Nonsense. Happy. Sad. Context. Truth. Lies. Shiva. Shava. None of the above. All of the above. And a sea of synthesis. 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 CiTR 101.9 fM STOP BY FOR DINNER, DESSERT, OR SOMETHING COLD TO DRINK. GREAT NEW DAILY SPECIALS OPEN 8 AM TO IO PM MONDAY TO FRIDAY OPEN 9 AM TO 8 PM SATURDAY/SUNDAY GREAT BREAKFASTS SERVED UNTIL 2 PM ON WEEKENDS THE _Pe N D lT£ RESTAURANT & LICENSED PAT <3£_li'<3__ _QW3 35>@&T?8 £\(3tf_©_- ©G_ @Q_C_ __ SO© 8(___QaB_89 GOOD OLD STANDBY-ALWAYS FUN, ALWAYS DEPENDABLE-THEI THE STUDENT UNION BUILDING • 6138 SUB BLVD. 17 ®Kg3l®E__ CiTR charts WHAT'S BEING aug. 98 long vinyl aug. 98 short vinyl 1 evaporators/goblins i gotta rash nardwuar/mint 1 curse of horseflesh the fuck you say, jim dandy! ship rec'd 2 various artists oh canaduh! 2 lance rock 2 the untamed youth youth runs wildl norton 3 the spinanes arches and aisles sub pop 3 the kiss offs bottle blonde peek-a-boo 4 bikini kill the singles kill rock stars 4 icu despite the smell of colors ... n.e.w./k 5 duotang the cons & the pros mint 5 cotillion s/t turnbuckle 6 gangster politics s/t r noon ska/stomp 6 julie doiron/snailhouse split stereo-type 7 tricky woo the enemy is real sonic unyon 7 the vendettas can't stop 360 twist 8 bonfire madigan ... from the burnpile kill rock stars 8 the murder city devils dancing shoes die young stay pretty 9 miranda July the binet-simon test kill rock stars 9 run chico run a secretary speaks stereo-type 10 render useless s/t clue #2 10 rizzo shymaster cher doll 11 nomeansno dance of the headless.. alt. tentacles 1 1 skabs greatest hits wacp 12 amontobin permutation ninjatune 12 various artists teen scene volume three misty lane 13 d.b.s. i is for insignificant sudden death 13 the prima donnas she had alien written ... peek-a-boo 14 the bomboras head shrinkin' fun zombie a go-go 14 frigg a go-go frigg-a-licious! 360 twist 15 the sadies precious moments bloodshot 15 kg show me k 16 shonen knife happy hour big deal 16 tight bros take you higher ten-in-one 17 willoldham black/rich music drag city 17 bunnygrunt/rizzo split kittyboo 18 ruins vrresto sonore 18 gaze seedless k 19 swingin1 utters five lessons learned fat wreck chords 19 tren brothers gone away secretly Canadian 20 jfk and ifie conspirator" the mayor of ganja city stomp 20 ladies who lunch everybody's happy ... grand royal 21 closed caption radio 22 chixdiggit! 23 bangs slang x generator born on the first of July tiger beat honest don's 24 the makers 25 bughouse five psychopathia sexualis everything must go! estrus c a n a d thursdays i a n lunch 11:30 am- 1:00pm 26 various artists up periscope Stardust 1 cat power 27 perfume tree feeler w orld domination 28 various artists pretty in pop endearing 3 willoldham 29 rainer maria past worn searching polyvinyl 4 amon tobin 30 the monorchid who put out the fire? touch & go 5 bauhaus 31 electrosonics rampion drive-in 32 plastikman consumed novamute 33 arab strap philophobia matador 8 sonic youth 34 various artists selector dub narcotic k 9 patsy dine 35 versus two cents plus tax Caroline 10 firewater OW THE CHARTS WORK The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by our djs during the previous month (ie, "August" charts reflect airply in July). Weekly charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*» aug. 98 indie home jobs 1 captain cook and the nootka sound i'm glad for you 2 the colorifics 7A7 (now i see heaven) 3 the kirby grips mod boy 4 full sketch sketchersize 5 jP5 fuzzyhead pills 6 destroyer karen is in rome 7 brian ruryk untitled 8 the go-devils trigger me 9 london paris unmatched sock 10 the dirtmitts amaze me 11 the wonderful world of joey eddie vegas dui 12 closed caption radio people of the lie 13 the benedictions oh no, sick side 14 emulsifier up the down side 15 the hounds of buskerville blowin1 off some steam 16 squeeky ten twenty-three 17 celestial magenta in return 18 dreamy angel laundromatte queen 19 the basils eyes that break 20 the solution to the problem serious about lunch hour what we listened to ... Spinanes (arches and ashes) • Liz Phair (Whitechocolatespace egg) • Smog (Burning Kingdom) • Mountain Goats (Sweden) • Tuscadero (My Way or the Highway) • Arab Strap (The Week Never Starts Round Here) • Bikini Kill (The Singles) • Bangs (Tiger Beat) • Various Artists (Darla Sampler, vol. 10) • Pulp (Different Class) • Art Bell Jmrvuu i\mn b,u Uason da silva Datebook* FRI 31 The Evaporators, Fortune & Maltese, The Francophobes, Captain Cook & The Nootka Sound@Langley Civic Centre; Tapia & Leturia, Hiru Truku@WISE Hall; Rosie Flores@Doublewide, Bellingham; Justin Hinds & The Dominoes@Starfish; Grand Opening Party@Blinding Light SAT AUG 1 Powell Street Festival@Oppenheimer Park; Beastie Boys, A Tribe Called Quest, Money Mark@PNE Coliseum;VanCon°8@Sugar Refinery; Bloomsday, Resurrection Mary, Glimmer@Starfish Room; Curious George, Bug, Violet@Anza Club; Uzume Taiko CD release party@Firehall Arts Centre (280 E. Cordova) SUN 2 Powell Street Festival@Oppenheimer Park MON 3 Billy Bragg Combo@Vogue; Girls Against Boys, Buffalo Daughter, Distortion Felix@Starfish Room TUE 4 Slayer, Fear Factory, Kilgore@PNE Forum WED 5 Headstones, Nickelback, Ring@Richard's THU 6 Automatic Slim, Little Gorphin Annie@Starfish Room; Wow, The Reel Ones@Railway; Capercaillie@Vogue; How to Marry a Millionaire, Gentlemen Prefer B/onc/es@Pacific Cinematheque FRI 7 Rocket From The Crypt, Creeper Lagoon@Slarfish Room; Esthero@Sonar; Wow, The Reel Ones@Railway; B.B. King, Dr. John@GM Place; Neil Finn, Ebba Forsberg, Morley@Vogue; Dreams Come True@Rage SAT 8 Buck-O-Nine, Suicide Machines@Starfish Room; The Kiss Offs@Pic; The Butcher Boy, The Winter Gues/@Ridge; Janet Jackson@GM Place SUN 9 The Butcher Boy, The Winter Gues/@Ridge MON 10 Comedy Train: Josh Stubbs, Brad Brake@Railway TUE 11 Spice Girls@GM Place SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION "DATEBOOK." DEADLINE FOR THE SEPTEMBER ISSUE IS AUGUST 15TH! WED 12 No Fun@Railway THU 13 Captain Tractor, Rick Colbourne@Railway; The Killers, The K7///ng@Pacific Cinematheque;Mike Bullard@Plaza of Nations FRI 14 Six Feet Under, Tendonitis, Hurt@Starfish; Molestics@Railway; Moe Berg@Van Press Club; The Surfdusters CD Release Party@Marine Club; Six Feet Under@Starfish Room; Mike Bullard@Plaza of Nations SAT 15 CITR PRESENTS: Bouhaus@QET; Molestics@Railway; Murder City Devils@Sfarfish THU 27 Rheostatics, Local Rabbits@Richard's FRI 28 CiTR PRESENTS: NASHVILLE PUSSY, ZEKE@Starfish; A Summer's Ta/e@Ridge SAT 29 CiTR PRESENTS: NASHVILLE PUSSY, ZEKE@Starfish; Coal, Bocephus King@Railway; A Summer's Ta/e@Ridge SUN 30 Red Krayola, David Grubbs@Starfish Room; A Summer's 7a/e@Ridge MON 31 Lilith Fair: Sarah McLachlan, Diana Krall, Lisa Loeb, Wild Strawberries, Dar Williams, Angelique Kidjo, Mae Moore, Yvette, Tammy Greer@Thunderbird Stadium Backstreet Boys@GM Pla Mike Bullard@Plaza of Nations SUN 16 Shelly Lennox Band@Naam MON 17 The Verve, Massive Attack@Key Arena, Seattle TUE 18JazzFish@Naam WED 19 Citroen, Secret Three, Forecasts Farewdl@Starfish Room; Mike Wetterings Band@Railway THU 20 circlesquare, Ottobon, DJ Science, DJ Remedy@Richard's; Hellenkeller, Third Eye Tribe, DJ Andy B@Starfish Room; Cartoon Party!@Blinding Light FRI 21 The Kingpins, The Malchiks@Starfish Room; Vandals, Brand New Unit, Kid lcarus@Croatian Cultural Centre (3250 Commercial Drive, ALL AGES!); Mary Jane's Not a Virgin Any/T?ore@Blinding Light; Ma Vie En Rose, Characte/@Ridge SAT 22 Maow, Junior Varsity@Anza Club; Damn The Diva@Starfish Room; Yvette and Adam (of Mollies Revenge), Chin, Thurston 5@Railway SUN 23 Ma Vie En Rose, Character@R\dge MON 24 Jazz Fish@Naam TUE 25 Paul Mitton@Naam WED 26 Jim Black@Naam VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORE The Abyss 315 E. Broad- y (side entrance) 488 6219 Anderson's Restaurant (Ja. >n 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 Blinding Light 36 Powell St. 878 3366 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 Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959 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 Denman Place Cinema 1030 Denman (V\fest 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 Greg's Place 45844 Yale Rd. (Chilliwack) 795 3334 The Grind Gallery 4124 Main (Mt. Pleasant) Hollywood Theatre 3123 W. Broadway (Kitsilano) Hot Jazz Society 2120 Main (Mt. Pleasant) It's A Secret 1221 Granville St. (downtown) Jericho Arts Centre 1600 Discovery (Pt. Grey) Jupiter Cafe & Billiards 1216 (near Demon St) La Quena 1111 Commercial (the Drive) The Lotus Club 455 Abbott (Gastown) Lucky's 3972 Main Luv-A-Fair 1275 Seymour (downtown) Mars 1320 Richards (downtown) Maximum Blues Pub 1176 Granville (downtown) Medialuna 1926 W Broadway Minoru Pavillion 7191 Granville (Richmond) Moon Base Gallery 231 Carrall St. (gastown) Naam Restaurant 2724 W 4th Ave (kitsilano) Old American Pub 928 Main (downtown) Orpheum Theatre Smithe & Seymour (downtown) Pacific Cinematheque 1131 Howe (downtown) Palladium (formerly Graceland) 1250 Richards (downtown) Paradise 27 Church (New West) Paradise Cinema 919 Granville (Granville Mall) Park Theatre 3440 Cambie (South Vancouver) Picadilly Pub 630 W Pender (at Seymour) Pitt Gallery 317 W. Hastings (downtown) Plaza Theatre 881 Granville (Granville Mall) Purple Onion 15 Water St. (gastown) Queen Elizabeth Theatre Hamilton & Georgia Raffels Lounge 1221 Granville (downtown) The Rage 750 Pacific Blvd. South (Plaza of Nations) Railway Club 579 Dunsmuir (at Seymour) Richard's On Richards 1036 Richards (downtown) 322 6057 738 3211 873 4131 688 7755 224 8007 251 6626 685 7777 875 9858 685 3288 230 MARS 688 8701 608.0913 738 7151 682 3291 665 3050 688 3456 688 2648 525 0371 681 1732 876 2747 682 3221 681 6740 685 7050 602 9442 665 3050 473 1593 685 5585 681 1625 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 Seylynn Hall 605 Mountain Hwy (North Van) Shadbplt 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 The Space 316 Hastings (downtown) Starfish Room 1055 Homer (downtown) 682 4171 Starlight Cinema 935 Denman (West End) 689 0096 Station Street Arts Centre 930 Station (off Main) 688 3312 St. Regis Hotel 602 Dunsmiur (downtown) Stone Temple Cabaret 1082 Granville St. (downtown) 488 1333 Sugar Refinery 1115 Granville (downtown) 683 2004 Theatre E 254 E. Hastings (Chinatown) 681 8915 Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473 Vancouver E. Cultural Centre 1895 Venables (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) 331 7909 Waterfront Theatre 1405 Anderson (Granville Is.) 685 6217 Western Front (303 E. 8th Ave) 876 9343 Whip Gallery 209 E. 6th Ave (at Main) 874 4687 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 19 E^gSjUISffi tOjtWark<af g>fjarp ffitto ^otmte C!)j5 &tt0tt5t DUB NARCOTIC Out Of Your Mind CD/u? Olympia, Washington is still Babylon! Still the Fertile Crescent, which to some is the true birthplace of America's D.I.Y indie-pop aesthetic. Bountiful waters flow as Calvin Johnson and co. add up the numbers in this Zulu Fave equation: abandon, havoc, trip-pop, and what the world needs right now is Love. $16.98 CD $12.98 LP GRASSY KNOLL III CO Positioned somewhere between Rauschenberg and OJ Spooky, Bob Green (a/k/a GRASSY KNOLL) understands the complexity of jump-cut sonic arrangements — their colour, timbre and collage texture — without sweating the beat! Thurston Moore, who's blown more ***———--—-— speakers than anyone this side of the Atlantic, lends a subtle guitar craft to this opus, as the new noise indicates "radical problems" require "radical solutions." On Nettwerk. $14.98 CD HEROIC DOSES Heroic Doses CD Now under a different moniker, former Five Style guitarist Bill Dolan returns with another robust serving of smart tunes. And off-kilter, Meters-influenced funk isn't the only style offered now, either. Nope, this is some kinda new rocking hybrid —all very satisfactory! In short, you're gonna wanna get this shit. Rock on, Bill $16.98 CD Various Artists MO'FUNK COLLECTION CD Architects of the cool Chameleon and Sonar vibe, the Mo' Funk Crew jumpstarted our music scene, championing the new urban sounds of a beat driven culture. Raise a glass with Zulu as we salute these cacophonous concoctions including The Millenium Project, Jazz Pharmacy, One Step Beyond, Soul Crib and more $16.98 CD MOGWAI No Education = No Future cd-ep Ever since My Bloody Valentine whispered into the ambience of white noise, cross-oceanic fuzz has been deemed the blissful sound of the "hinterland." Well, if Scottish lads MOGWAI do indeed hold court in this out- rock netherworld, book my time-share wfth them now! Young, handsome and equipped with Marshall Stacks —their papers ai order! $9.98 CD-EP SONIC YOUTH Silver Sessions CD PIXIES At The BBC CD Archival howls from these much-loved banshees, who here, stripped down in the comforts of John Peel's legendary radio studios, perform a near perfect rock record that's got so much tone its wasted. Vintage Back Francis is like vintage wine — even the dust exudes passion! $14.98 CD TORTOISE TNT Derrick Carter Remix 12" Yup, more fab remixes for these reluctant trendsetters. Besides, if the hermetic coolness of TUT caught you off guard, the versions presented here will demonstrate new perspectives for appreciative listening. This isn't just a sit down affair eitfier, it's for hoofing. Famed producer Denie* Carter knows how to fill a dance door. Get it and get down. A benefit CD for San Francisco's Suicide Phone line, SONIC YOUTH "fight fire with fire," in an attempt to drown out some noise from the studio beside them, they construct their own high decibel wall of drone. Beauty can be extracted from excess! Another unparalleled canvas from a great band. $12.98 CD , . | PRICES IN EFFECT UNTIL AUGUST 31,1998 | $10.9812' i»» ** MOUSE ON MARS Glam lp Supposedly this was produced but then rejected for some independent film. But rather than leave it unheard, the boys from MOUSE ON MARS decided to issue it as a limited, vinyl only gem. Really, whatever the reason for its origin, Glam is a fine work, sounding somewhat similar to their other limited vinyl release, Instrumental: sparser, more ambient than Auloditacker, but with their particular gurgling bass and percussion. A regular Zulu top pick. $12.98 (IP ONLY) OF MONTREAL Bedside Drama CD Members of the Elephant 6 Collective which, while fast becoming the saving grace of American pop, includes Neutral Milk Hotel, Olivia Tremor Control, Apples In Stereo. Gerbils, Secret Square etc here shine on a nice jaunt through the folky .each Boys - jug band countryside. The word is "Infectious"! $16.98 CD WORLH STANDARD Country Gazette CD A new sojourn from pop-electronic pioneer Haruomi Hosono of Yellow Magic Orchestra, WORLD STANDARD is a sonic essay on the American Western film genre — complete with banjo interludes and hazy ambient soundscapes. This sounds tike Cornelius' long lost Texan cousin — or the hobo ghost of a John Fahey record! Subscribe to Country Gazette ASAP! $16.98 CD MARCRIBOT Y Los Cubanos Positizos CD Recently mass-popularized by Ry Coocfer, Cuban jazz is catching on, and good old MARC RIBOT has the skill to let us know why. Here taking time off from the hustle and bustle Of New York, RIBOT is also looking southward for a little equatorial inspiration — American political foibles and hang-ups aside. It all makes sense to us, we're Canadian. What's more, Cuban jazz is coo! and laid-back, but still uptempo and driving, and RIBOT's interpretation is suggestively off-beat. Buy this to complete your summer. g>ta£ff)icfcs Brady Tied & Tickled Trio - s/t Get Up Kids - 4 Minute Mile Goo£peed You Black Emperor - F# Mr Heroic Doses - sA Miranda July - The Binet Simon Test Plasticman - Consumed Joel RL Phelps and Downer Trio - 3 Christine OST - Thomas Crown Affair (MGM Re-issue) Fantastic Plastic Machine - By Fantastic Boards Of Canada - Music Has the Right To Mainstream - Canjam EP Q-Burn's Abstract Message - Oeuvre Rialto - s/t (cute) Various - Song For Eurotrash Super Furry Animals - Ice Hockey Hair EP Grant H Pere Ubu - Pennsylvania Pan American - s/t David Kilgour - And the Heavy 8's Calexico - The Black Light Dirty Three - Ocean Songs Fugazi - End Hits GrantM Dave Alvin - Black Jack David His Name Is Alive - Ft. 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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-08-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1998-08-01 |
Extent | 20 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1998_08 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 2909f6f7-a711-469f-9116-aca5080c7f3e |
DOI | 10.14288/1.0050797 |
AggregatedSourceRepository | CONTENTdm |
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