Discorder CITR-FM (Radio station : Vancouver, B.C.) 1998-08-01

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1                     Jazz Festival memoirs
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'rt      NO LIMIT RECORDS - WE CAN'T BE STOPPED I 87 • AUGUST I 998 That Magazine
Black Anger
Jazz Fest in review
Looking Back __
Interview Hell
Printed Matters
Grumpy Old Dog (new!)
Seven Inch
Demo Derby
Real Live Action
Under Review
On The Dial
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
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
Botched Ampallang
Good Tasty Comic
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
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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
^ SaraH\jfcLacnfan
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* ^Ce'Sljed' Kdegeoceffo
l/*      Diana (Kra/I
* Lisa Loef    ®*r rtfi*™. m>,
witt. guests BIO RITMO Citp>
, THE RAGE Fox Fridays
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f Radio
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!
Four-song cassette recorded in April 1998.
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
A History of the World in
10 1/2 Chapters
Virtual History
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,
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.*
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
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
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.*
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.#
Passionately playing melodic hard
core since 1983. Third U.S. full
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.
|Oog°Sth *™k *«* «*gg?SSS
Out-    Greatasstits hrss cd only
♦     Nrn-jr*    The ame11 Of Victory hrkb _j-.cd.es
«UW.     Short So_.fR..    _____ lp.cd.es
6     August 1998
/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
Defensive Street Entertainers Will
Die of Hunger" by the MISANTHROPISTS. (Slap-A-Ham, PO
Box 420843, San Francisco, CA,
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
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,
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
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
' 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
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
"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
It s Been About Five Yeai ;'
Infinite Productions, PARSEC, KCMU & The Stranger present
tke* only NW &weoM»ce, ** «><«♦«** »£
_|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
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 ...
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
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?
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
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
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
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
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
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
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
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
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^ /
#233-6138 SUB Blvd, Vancouver, BC V6T 1Z1
Brady Crhnfield.
1H RtMltVJ
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
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
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
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
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
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
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
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
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
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
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 -
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
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
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
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
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.
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,
13 E^gSUiSS Under
Cran-Doodle Dandy
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
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
Music Has the Right to
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.
_-_-___-___       Vta
s^_urvy*<fr T&d\\_#
"Aquarius" has Sesame Street-
like counting and naming of
colors. I don't think I could live
a day without it.
Shane Vander Meer
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
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
(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 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
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
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      &
Mambo YoYo
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
Basic Concept
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
Push the Button
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!"
The Downer Trio: 3
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
(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
How to Lose
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
Precious Moments
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
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
Fred derF
Solex vs. The Hitmeister
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.
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
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
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
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.
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
Every Part of the Animal
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
Hitler Bad, Vandals Good
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
Houseptic:  New Skool
and Old Flavour
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
Listen  Upl  Songs  from
Fraser Academy 97-98
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.
«rt,0_HM AWHaj jllig,   byral'Dccvc
i5E^§a3S!3a On The Dia
12:00PM All ol time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
Reggae inna all styles and fashion.
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.
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.
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts Mr.
Checka, Flip Out & J Swing on the 1
DJ DECTER 1:004:00AM
8:15-11:00AM Your favourite brown-
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy each weekly brown plate special.
Instrumental, trance, lounge and
AM-1-00PM Playing a spectrum of
music from garage band to big band,
acoustic to electric.
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
EVI. VS. GOOD 4KW-5.-00PM Who
will triumph? Hardcore/punk from
beyond ihe grave.
the Sports department for their eye
on the T-birds.
6r00-7.*00PM Mixofmostdepressing,
unheardand unlistenable melodies, tunes
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
4.*00AMHosted by Trevor. It's punk
rock, baby! Gore from the charts but
not from our hearts - thank fucking
Japanese earfy morning imports hosted
by Shin.
HOUR8:3O9:30AM Middle eastem
music for your morning drive.
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!)!!
1:00PM "Have a rock V roll
McDonald's for lunch today!"
5:00PM Power to ihe people! Feminist
news, hiphop Iracks, lesbionic rock and
sushi galore!
SAREGAMA Featuring traditional
(classical, light and folk) and
contemporary South-Indian music.
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
10:00PM-12:00AM Noise, ambient,
electronic, hip hop, free jazz, christian
belter living Ip's, ihe occasional amateur
radio play, whatever.
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
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.
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
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,
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/
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.
9:00PM versus, godspeed you
black emperor!, nutter butters...
these are a few of our fave-oh-
writ things, la la la!
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
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
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
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.
JUSTIN'S TIME 2:00-3:00PM Serving
up your weekly dose of Shirley Horn and
other jazz-filled confections.
Hardcore and punk rock since 1989.
6:00PM Movie reviews and criticism.
OUT FOR KICKS 6*00-7:30PM No
Birkenstocks, nothing politically correct.
We don't get paid so you're damn right
we have fun wilh it. Hosted by Chris B.
9:00PM Roots of rock & roll.
HELL 9:00-11:00PM Local muzak
from 9. Live bandz from 10-11.
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.
4:00AM Late nightvinyl. Occasional
skips. Cheers.
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
12:00PM Scotty and Julie, playing
the music that gets them dancing and
singing in the DJ booth... (no, really!)
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.
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NOIZ 4:00-5:00PM self-titled.
9:00PM Sounds of the transpacific
underground, from west Java to east Detroit.
Sound system operator, Don Chow.
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.
Tobias' Paradigm Shift (Rant, phone-
in and kiss your mother with the
BOTH SIDES 6:00-8:00AM Jose Luis
discusses free trade and other issues
in the Americas.
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
1:00PM Saturday edition! Once
again, Shin brings you the best of
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
Blues and blues roots with your hosts
Anna and AJ.
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal.).
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
101.9 fM
THE      _Pe N D lT£
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17 ®Kg3l®E__ CiTR
aug. 98 long vinyl
aug. 98
short vinyl
1        evaporators/goblins
i gotta rash
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
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
clue #2
10    rizzo
shymaster                                  cher doll
11     nomeansno
dance of the headless..
alt. tentacles
1 1     skabs
greatest hits                                    wacp
12    amontobin
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
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
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!
c a n a d
i a n     lunch
11:30    am-    1:00pm
26    various artists
up periscope
1      cat power
27    perfume tree
feeler                          w
orld domination
28    various artists
pretty in pop
3      willoldham
29    rainer maria
past worn searching
4      amon tobin
30     the monorchid
who put out the fire?
touch & go
5     bauhaus
31     electrosonics
32     plastikman
33    arab strap
8      sonic youth
34    various artists
selector dub narcotic
9      patsy dine
35    versus
two cents plus tax
10   firewater
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
5       jP5
fuzzyhead pills
6       destroyer
karen is in rome
7       brian ruryk
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
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
TUE 11 Spice Girls@GM Place
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
Molestics@Railway; Murder City Devils@Sfarfish
THU 27 Rheostatics, Local Rabbits@Richard's
ZEKE@Starfish; A Summer's Ta/e@Ridge
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
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,
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
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
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
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
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 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
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
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
$9.98 CD-EP
Silver Sessions 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
$14.98 CD
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        , .
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)
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
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
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.
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
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
Dave Alvin - Black Jack David
His Name Is Alive - Ft. Lake
Box Tops - Tear Off
Beastie Boys - Hello Nasty
Various - Stereo Ultra
Billy Bremner - A Good Week's Work
Arab Strap - Philopfiobia
Gel Up Kids - 4 Minute Mile
Bikini Kill- The Singles
Weakerthans - Fallow
Red Monkey - Make The Moment
Mortorehid - Who Put Out The Fire?
April March y Los Cincos - s/t
Rocket From The Crypt - RFTC
Billy Bragg & Wilco - Mermaid Avenue
Big Star/Alex Chilton - Beale St. Green
Makers - Psychopathia Sexualis
Moray Mark - Push The Button
Tricky Woo - The Enemy is Real
Kim Lenz & Her Jaguars - s/t
Countdowns - Right On Sound
Joel RL Phelps and Downer Trio - 3
Miranda July - Binet Simon Test
Godspeed You Black Emperor - F# A#
Cinerama - Kerry Kerry EP
Versus - 2 Cents plus tax
Rose Melberg - Portola
Modern Lovers - Live at the Longranch
Sugar Plant - Happy
Blue Whale - Congregation
Arab Strap - The Weekend Never
Looper - Belle & Sebastian related 7"
The Nod - Magnetic Anomaly
Sonic Youth - Silver Session
David Fischolf - Winston Park
Money Mark - I've Got Your Head in My Hand
Mogwai - No Education = No Future EP
Tricky Woo - The Enemy Is Real
Tied And Tickled Trio - s/t
Ativin - German Water
Monorchid - Who Put Out The Fire
Rocket From The Crypt - RFTC
Beastie Boys - Hello Nasty
Ruins - Symphonica
Jad Fair & Daniel Fair - 26 Monster Songs
Sukia- Contacto Especial
Sean Lennon - Into the Sun
Solex - Vs. The Hitmeister
The Hangovers - Slow Dirty Tears
Frank Zappa - Cucamunga
iilote Jfme Alices M Music!
Pharmacy CD/LP
MARK LANEGAN - Scraps At Midnight
JESUS LIZARD • Blue (now also on CD)
WAGON CHRIST - The Power Of Love
Right To CD/LP
SIANspheric - s/t CD
ADRIAN BELEW - Belewprints CD
MIX MASTER MIKE - Anti-theft Device
$16.98 CD


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