Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-04-01

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4$S> I
It's everything you want to hear sue 205 • April 2000 • That Magazine From CiTR 101 .9fM
Full Page Love Affairs
Underground Resistance loves disturbing shit
Anthony   Monday   loves   Class
Christa  Min   loves  Joel  R.L.   Phelps
DJ A-Trak  loves   Ralph  Wiggum
We Got Steak At Home
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
tristan winch
art and design:
jenny, barbara, christa,
chris frey, jack duckworth,
ann, ken paul, tristan
photography and
illustrations: jason da
silva, chris frey, ann
goncalves, jannine
lasaleta, tobias van veen
production: colero,
goncalves, hancunt,
lasaleta, min, moore,
peach, riecken, schrag,
shaw, torchinsky,
villeneuve, wiebe
contributors: kerry b,
chris c, howie c, julie c, val
c, mike d, anna f, jamaal f,
robin f, dylan g, jannine I,
kevin k, cat m, christa m,
janis mck, penelope m,
sam m, gibby p, anthony s,
dave t, tesla v, tobias v,
robert w
on the dial:
anna friz
julie colero
matt steffich
linda scholten
Interview Hell
Vancouver Special
Kill Your Boyfriend
Das Book
Under Review
Real Live Action
On the Dial
After this issue, there will be NO MORE PHELPS in DiSCORDER
(for a while). Maren thinks that putting big name stars on the
cover is a good idea because it makes people pick up the magazine,
the ladies' art caucus convened for the first time on the colour
issue, signalling a new era in consensus decision making. photo
by Ann Goncalves.
© "DiSCORDER" 2000 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
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 cheques or money orders payable to DiSCORDER
DEADLINES: Copy deadline for the May issue is April 12th. Ad
space is available until April 19th and can be booked by calling
Maren at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any
other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies),
or any other unsolicited material. Material can be submitted on
disc (Mac, preferably) or in type. As always, English is preferred.
Send e-mail to DiSCORDER at citrdiscorder@mail.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822.2487, our office at 822.3017 ext. 0, or our news
and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail
us at: citrradio@mail.ams.ubc.ca, visit our web site at
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
printed in Canada Against All Authority
nev record: 2h Hour Roadside Resistance out now!
monte carlo
hr641 -tp/cd  I out now
coming May I6th9 2000
beyond the valley...   mi6k3-ip/cd
new releases from   f^jir.lfljj    Q records that make a difference
Nobodys/The Beautys My World by jeff ott
order online at www.hopelessrecords.com
HOPELESS RECORDS PO Box 7495 Van Nuys, CA 91409   Mailorder Prices: cd-$10 lp-$7 ■
This London-based group incorporates dub,
rap, drum & bass, punk, classical Indian music
and politics to create one of the most original,
intriguing and volatile sounds in the world.
at 8:00PM. PRIZES! Vinyl, CDs,
T-shirts, posters. PRIZES!
in stores
Downtown Vancouver: 556 Seymour St. 687-5837 / South Vancouver: 732 SW Marine Drive 321-5112
East Vancouver: 3433 E. Hastings St. 298-0464 / Burnaby: 4568 Kingsway 439-0223
Surrey: 10280 135th. St. 589-7500 /Abbotsford: 2369 McCallum Rd. 859-4200 Radio
DiSCORDER'. Names, ages, instruments
Mar Sellers, 19 (finally!), bass
Anne-Marie Rawk, 19, drums
Kathy Camaro, 20, guitar
Sean Raggett, 27, voice
Mar, who wears the pants in the band?
Mar: Well, we all physically wear pants most of the time except when
we perform in waitress dresses. But if you're referring to who is in con
trol that would be Anne-Marie, Kathy and I. I guess I have a lot of
authority over what we do because I book the shows, run the website,
and generally deal with all business... but it's always put to a vote.
Where did you gals pick up your singer boy, Sean?
Mar: I knew Sean from the Good Jacket and I thought he had the
kind of personality that could front a band. Then Kathy and Anne-
Marie met him too and we decided to audition him. He came over to
my house and we played that Pointed Stick song. He stripped down
to a Speedo which made me a bit doubtful, but in the end he passed
You guys cover a Pointed Sticks song and local P-rockers
Victorian Pork (who feature Tony Bardach of Pointed
Sticks fame) have also played here on T-Bird Hell. What's
the connection?
Mar: Well, Tony actually gave me a couple of bass lessons when we
first started the band. Me being such a Pointed Sticks fan, I asked
him if he could teach me a couple of songs. Then, when it came to
auditioning Sean, we needed a song to use, so we chose
"Somebody's Mom," the easiest Pointed Sticks song.
Your guys recently played Tacoma, WA the same night
The Backstreet Boys played the Tacoma Dome. Were
there any run ins with the Boys?
Anne-Marie: AJ, Nick and Brian from the BSB's came to our show
and we partied with them all night long in Tacoma. We're doing a
European tour with them in July as their dance choreographers.
Mar: Two words: I scored.
It's the year 2045 and the Riff Randells are doing their
reunion tour with and . (Please fill in
the blanks.)
Mar: Since I'm 64, I figure I'll be golfing lots and watching sports, s
'» have
o do a r«
r. But if possible, The Smiths
the Ewoks, who will have
Anne-Marie: If I still fit into the red dress, th
The Bobbyteens.
Anything else to add?
Mar: My advice to the kids is don't eat Styro
Anne-Marie: We're The Riff Randells and w
)f" on 8-track.
The Toilet Boys and
I DiSCORDER Describe
■ Tiefisher   at  the   following
■ locations: Outside the door
I of your practice room.
I Giddy with anticipation.
| At the laundromat.
'ashed, wearing our Sunday
I best or whatever's at the bottom of
I the drawer.
■ At   the   worst   gig   you've
B endured in a long time.
I Alone, stinking of smoke.
| When the band you're shar-
Giddy with anticipation.
At your parents' for Thanksgiving.
Unwashed, wearing our Sunday best. .
In   your   last   memorable
(Anthony proceeds to ramble on
about some dream where he was
in a glassless undersea garden
aquarium, filled with warm water
and tropical fish...)
Describe in detail the last
show you performed where
you got high on life.
s stage
I don't think we've experienced the "high on life" show yet, but we
have had some good ones, including the Brickyard with Coal and
Bocephus King. The Hank Williams Testimonial show at the Starfish
Room with bands like Palace Flophouse, John Ford, Rich Hope, Linda
McRae, etc. It was a fun night.
Describe a rock event that makes you cringe whenever
you think of it.
Watching Hamm rub fried chicken on his bare chest at a Southern
Culture on the Skids show at the Starfish.
Each member submit an argument as to why their previous band was more important than anyone else's.
Blaise Pascal was more important than Windwalker because Blaise
didn't use butchered pig heads as props. Windwalker was more
important than Blaise Pascal because, according to The Georgia
Straight, cock rock and leather pants are making a comeback.
Describe your sound using only colours, smells, and
Molasses, wet dirt roads, hay, sea air, gray, taupe, warm beige,
lemon-lime, brown corduroy, ochre, forest green, sky blue, musty.
What records that you liked before you became pretentious do you now own and play regularly?
The Cars' first album, Blondie's Eat To the Beat, ABBA's Greatest Hits,
Pink Floyd's The Wall, Steely Dan's Can't Buy A Thrill, anything by The
Describe the most embarrassing moment when a not-so-
enlightened friend from your childhood attended a scen-
ester event with you. Mine was when a friend showed up
with a rabbit-skinned vest and real fur at The Hungry Eye
when members of Revulva were in the audience.
We usually are that "not-so-enlightened" friend.
Ask yourself a question youl
don't want your mother to
' the <
- to,
stretch the truth in youi
answer so that you look
even worse.
A great question, but we ain't goin
there. Tiefisher loves their moms
List the top five reasons to]
keep playing
keeps us off the
DiSCORDER Greetings! Who are you (names, ages, instruments and nicknames)?
Jl: Jordon C, 18, trumpet, "Cobra."
Al: Arleigh M, 19, vocals, "Shine-lucky-star-box."
J2: John H, 19, acoustic guitar, "Youthpersonified."
Who is Boy Vs. Girl? Did Fridge Art Tiara sue them?
Al: I don't know. I just joined this band...
J2: Foolishly, I (and ex-Fridge Art Tiara member Sarah C) released
our demo under the title Boy Vs. Girl — the Losers Weepers cassette.
In retrospect, I have no logical explanation for doing it.
Jl: Fridge Art Tiara was just our old name. We have some new members and songs, so we changed it from the lengthy, incomprehensible
Fridge Art Tiara to our new, happier and less meaningful name,
Cheshire Blue.
Your latest shows have been more "performance-oriented." Why the change?
Jl: Well, we haven't really taken focus off our songs. We've just
added some different stories and poetry to read, to hold the entire
show together.
Al: Basically, John has written some mini-operas. The reasoning for
this was mainly because I didn't know what to say to the audience
between songs.
J2: We're practicing with different show styles so we can have something really interesting when we go on tour. We're planning to go
down the West Coast in July and play some shows.
Al: Your new songs seem more lyrically penetrating.
Explain your song "Arriva," please.
J2: Well, I wrote it after a high school friend told me he was bisexual. I was just trying to put myself in his shoes, to understand the difficulties he was facing from society and his family, etc.
Are you trying to add more honesty to your lyrics?
J2: Yeah. I guess there hasn't been enough brutal honesty in our
songs... especially when I compare our stuff to people I really respect,
like Lou Barlow maybe.
Arleigh, ask Jordon a question:
Al: Jordon, where does depression stem from and what are its necessary ingredients?
Jl: Well, sadness comes and goes, I guess. I think it is the easiest solution for most, but it's solely a temporary one. There are always two
sides to everything, good and evil reside within (almost) every emotion, action, and event. I guess for a happy life, you need to be...content. Or, no. Happiness comes through others. Sometimes. What kind
of dumb question is that?
Any advice to leave with usf
Al: Yes, read Miyu's excellent "Happiness" column in DiSCORDER.
I really love reading it every month.
604.943.5091 (John)
www.geocities.com/Nashville/5183 Vancouver
t CD,
I of tho<
of i.
I've got a book from the library
at home right now, called
Sixties Rock: Garage,
Psychedelic, and Other
Satisfactions, by a music professor named Michael Hicks. I
picked it up because there's a
picture of the amazing (and generally unknown) 1960s band
The Music Machine on the
cover and there's a whole chapter on the development of the
"fuzz guitar" sound. I thought I
could spend a few happy hours
reading about Dave Davies cutting up an amp speaker with a
razor blade and that sort of
thing. But, as usually happens
with books like this, the nuggets
of "how did he get that sound?"
and back-stage gossip are overwhelmed by phrases like this:
"The result is clearly heard as
triple plagal motion: they
approach the tonic at the beginning of each two-measure segment by no less than three
falling fourths" (describing a
song by an obscure band called
The Shades of Night)
Now we all know that The
Shades of Night weren't thinking about tonics and triple plagal motions — they were
playing bar chords up and
down the necks of their guitars
and finding out what sounded
cool and what didn't, and that
is what separates the music
scholar from folks who actually
play in bands. Or at least it
should. That's my basic problem
with a self-titled CD I received
from a band called
PLASTICINE, from Kitchener.
It's not just as if they've practiced  too  much  or  spent  too
that they're too technically good
as musicians to give their CD
any kind of quality of freshness.
It's more like they've studied the
life out of pop songs and pop
musicians, and put together a
look and sound that is precisely
calculated to have a particular
effect. These four young men
look appropriately earnest,
gaunt, and stylishly dressed on
the CD cover, and one of the
singers has a likeable Elvis
Costello/Dave     Edmunds
kind of delivery. But there's
something terribly sterile about
about this CD, which hearkens
back to Pablo Cruise and
lOcc as much as to the
Rockpile guys, whose tracks
vary from controlled-rock-out
pop to wimpy, clever, and slightly ironic ballads with what might
be considered to be a twist. As
if this weren't enough, there's an
attempt at blue-eyed soul falsetto
vity   i
i   the
(god help us) live bonus track. If
Plasticine's songs were catchier
and had a gorgeous gift of
singing harmonies, they might
be up there with Vancouver's
Roswells, but no such luck.
Visit Plasticine's website at
www plasticine net for their side
of the story.
On the other hand, no one
could accuse THE SMUGGLERS of over-intellectualizing
the pop song. These boys are
Vancouver's own ultimate eternally adolescent noisy politically-incorrect hard-working garage
party band, and Rosie, their lat-
t jumping up
and down to. Recorded over just
a few days at Mushroom Studios
by Kurt Bloch (of The
Fastbacks and the Young
Fresh Fellows), this is a relentlessly energetic and enthusiastic
offering, featuring guest appearances by Rose Melberg (who
shares lead vocals on the title
track), Ford Pier, and even
CBC Radio celebrity Leora
Kornfeld. The extremely sweet
Kinks cover, "I'll Remember,"
provides a bit of contrast to the
general themes of 1 20-miles-an-
hour (clumsy) sex, hard drinking,
and snot-nosed rock and roll that
permeate this record — at least
up 'til the extended, and often
funny, bonus material at the end.
I'll let you decide for yourself
how much of the offensive
schtick (i.e. talk of fifteen-year
old girlfriends) is meant ironically and how much of it is just
the way these guys are. Go see
their website at
Maybe   I'm    just   grumpy
broke into my house last month
and stole the CDs I was just
about to review for the March
issue, including exciting recordings by The Bell Jar and
BuCk If I can get my hands on
replacement copies, I hope to
review them here soon. Sorry,
impressive female-content bands
out there. I feel like I let you
local demos
know that nobody reads this
column. If people actually read
it they would complain that I
se this valuable print space to
whatever the hell
ike, regardless of the music
m supposed to be writing
bout. Let me demonstrate the
my   cryptic
hate all genres of music. I
hate all the connotations that go
along with them. When I place
a band inside a genre, it
ly means that I have nothing to
say about them. PSEUDO
NYMPH is electronic rr
Happy, upbeat, danci
music. You may like it. I
know (my favourite phrase) anything about these people, except
that they should leave John
Donne out of if. "For Whom the
Bass Tolls?" Leave the poor man
alone. (No address)
The worst part about this job
is meeting the people when they
give you their demo because I
just might run into them after I've
reviewed their music. Bad music
does not necessarily equate to
bad people I'M NOT FRANK
is quite bad. The lead singer can
sing in tune, and the band can
all play their instruments, but
why must they resort to writing
bad songs? The best part about
this band is the lyrics. "With
trips on hiatus/my white ass has
no status/'cause I'm a bum with
a home/I'm a cat with a bone."
I almost forgot to put them in a
genre. They would be filed
under the pop/rock category.
I was listening to MEAN
REDS, and someone said, "Hey!
It's the band that sounds like
Pavement, but isn't Pavement!"
Mean Reds are Indie Rockers.
Their three song demo is damn
catchy with all them "doo doo
doo doo"s. But don't be thinking
that I was actually singing along.
Once Pavement finally breaks
up, you can just listen to these
guys. (494 West 58the Ave.,
Vancouver, B.C., V5X 1V5)
rock 'n' roll. I wish this Murder
City Devils thing would hurry
up and die. C'mon, Seattle, it's
time for he next big thing. If it's
any consolation, The Den-mothers are better than the MCDs.
That "complin
ake rr
v bet
like saying, "You smell
better than a public bathroom."
I'll give The Denmothers props
for their ridiculous song titles
(like "Saudi Arabian Rain Forest
Riot") and for that five second
bilchin' guitar solo. If you're
going to play bad music, make
up for it with eight-finger tapping. <mallorya@coiseattle.com>
Nonexistent readers, don't
get angry after reading this.
Local bands rejoice. If no one
else is going to do it, I will. I'm
firing myself. I quit. •
Kill Your
Starting July of 1998, Dark
Horse Publishing released
a group of small, digest
sized books — extremely faithful
adaptations of the Star Wars trilogy, drawn in manga style. I say
"extremely" because the dialogue was word-for-word the
starts with a black page and the
words, "A long time ago in a
galaxy far, far away..." You can
almost hear the music. Okay, I
can't continue this charade. This
isn't a review but a thinly-veiled
love letter to Star Wars.
I'm sorry, but it had to be
done. This series is probably the
most fresh, Fun, innovative, and
faithful adaptation of the movies
yet. So, yeah... if you don't like
Star Wars (horrible new movie
aside), stop reading now. Okay,
who's still with me2
The manga series is both
familiar and novel. Three different artists interpreted the first
three movies and Adam Warren
did all the covers. Each series
has brand new panels and
brand new angles. And, though
my memory isn't the best, or
maybe because I'm paying more
(> «fXA*£zDOO
n to the dialogue 'cause
I'm reading it, I swear I saw a
couple of new lines in the books.
All of the manga artists are
unfamiliar to me, but my
favourite is Hisao Tamaki, the
artist for the New Hope series.
His art is clean and crisp.
Tamaki also uses a lot of humorous gimmicks — like making C-
3PO sweat and spasmodically
flap his arms whenever he's agitated. Tamaki's action scenes are
so energetic. A lot of it has to do
with the trillions of little manga
lines he uses, but I got more
hyped up reading the final battle
in the book than seeing it in the
movie. Each climax of the first
series ended differently than in
the movies, so it added a whole
new perspective.
In the back of most of the
books were sketches from the
artists. A large majority of them
focussed on the art of Adam
Warren, which is pretty lame. I
mean, Warren's a great artist
and all, but he only did the covers, not the books.
The second artist for the
Empire Strikes Back series,
Toshiki Kudo, is a little different.
(Check out his Chewie!) It
grabbed me so quickly that I
found myself reading the book
out loud in my (empty) apart-
accents right. Kudo makes
amazing use of the panels. Like
that moment on Hoth when Han
says to Leia, "Afraid I was going
to leave without giving you a
goodbye kiss ?" Kudo manages
excruciating to read. The difference between Kudo and Tamaki
is that Kudo puts a lot of gore
into the comic — he actually
shows that one rebel who gets
caught under the AT-AT's foot.
BLAM! Blood and guts everywhere. Kudo also manages to
comics. There is an adorable
scene with Yoda and R2-D2
fighting when Luke first gets to
Dagobah. Little green gremlin
with stick beats on little metal
droid with skinny metal arm:
Baf! Baf! Baf! Kudo is really
heavy on the symbolism, to the
extent that the Imperial symbol
and the Rebel symbol are constantly hanging overhead in a lot
of the panels. It's all about the
And now to Return of the
Jedi, with art by Shin-lchi
Hiromoto. Hiromoto is a great
artist, but his style is a lot less
detailed and very shojo ("girl"
manga style): lots of simplicity
and feminine-looking men. But
he has the action down and is
really adept at drawing battleships and the like. It's really
explosive, especially the final
book. Adam Warren's cover for
book 2 of the third series makes
it a worthwhile buy. Die Jabba,
die! There isn't as much goofy
humour as there was in the other
two series, but I had to complete
the collection.
The only thing bad about
this manga series is the price:
each book costs $14.95. If you
can't afford all that adoration
(LIARS! I bet you went to the
movie at least 5 times! That's
over $40!), just remember that
the best series is the first. I would
also have liked it if Dark Horse
had included artists' bios. I know
nothing except their names and
it's a shame because they should
be taking this opportunity to not
only expose people to a new
style of art through a well-known
series, but also to give people
the opportunity to pick up other
stuff by the artists.
Incidentally, Dark Horse has
just put out the first book for the
Phantom Menace series, drawn
by Kia Asmiya. I didn't care for
the new movie too much but,
pleasantly surprised to find that I
did like the comic adaptation.
Wanna know why? Asmiya
drew the first two books without
having seen the movie. He saw
set designs and costumes but he
didn't see any of the film itself
because of all the initial secrecy.
So it's almost like a brand new
movie! And though it still isn't as
good as tamaki's books... well,
everyone should have s<
Wars adaptation in residence.
Why not win friends and
influence people by showing
them another culture's perspective on the whole Star Wars
thing? You'll be the coolest girl
around and they all look really
nice together on a bookshelf.
Now all you need is the Star
Wars Cookbook; that's a whole
different story. •
WAR? Das Book
on the back for using "you're
'Kits' if you bought the whole
'everyone in vests' campaign.
You're 'Kits' if you think everyone
invests." All the cool kids, I was
disse/ed  banded  nation
The greatest film-makers in the
world are from Iran.
Also, contrary to popular
opinion, volunteer freelance writ-
connected social butterflies that
I'm sure you all think we are.
Our lives are not a big potpourri of brushes with celebrity,
comps for big fuckin' rock 'n' roll
shows, fame, fortune, star-fucking, etc. I know, I know... all of
ya out there in reader-land are
surely thinking "But I thought
those DiSCORDER kidz were
really livin' large. Fancy cars,
cocaine." Honestly... we're all a
)r-stressed fuck-ups
More truth: we all think that honest, it rarely dealt with the
we're pretty fucking important. books at issue (see a pattern?). I
Our egos are big enough
: gives a rat s nuts what V
we write — or think, for
that matter. We all laugh
our little asses off when
fuckwads send us ridicu-
who n
r get c
>nth putting our
x Barbara on the verge of
s breakdown [Verge?
—Ed.]. Sure we get to rock out
to '79-era Maiden in the office,
but, truth is, we are all pretty boring, boring, boring. Shocking,
ain't it?
going "everyone invests..
I finally got to the point by comparing people from Kits with people who like Ian McEwan's book
Amsterdam. I wrote, "if you
enjoy this book, may your Bread
Garden cinnamon bun accidentally brush against your new Fido
right before you get a call from
- plastic surgeon, in Friday
Eastside I was overjoyed by the
fact that Odhiambo's writing was
unpretentious, his publisher was
small, and his characters weren't
a bunch of vacuous spazz-balls. I
was hoping that the whole city of
Vancouver    would    read    my
jsh hot
fanfare that my column for
the March issue was greeted upon arrival in the
DiSCORDER office. When
I turned in last
figured that it
was some hot shit. I pictured
some local literary bigwig reading it, ringing our office, and trying to track me down. But who
was I kidding? It was a week
and a half late, full of haughty,
over-blown language, and, to be
pretty excited that I'd gotten
away with using most of my column to criticize people from
Kitsilano, though. I laughed at
their SUVs. I laughed at their Ikea
furniture. I laughed at their cat-
sized dogs, their country clubs,
their cargo pants. I patted myself
Robson, causing the phone to
stick to your face, knocking your
Starfuckers mocchacino all over
the leather interior of your 2000
Mercedes Kompressor, forcing it
into the path of a bus of sunburned German tourists. So
there." I was so pr.
In hindsight,
probably too mean to McEwan. I
still think that his book sucks ass
but, hey, he probably put a significant amount of his life into it.
And,   hey,   the  Booker judges
one    listens    to    my   opinion
My disgust for McEwan's
rich, classical music-loving white
folks' novel was somewhat offset
by my enjoyment of David Nandi
Odhiambo's   diss/ed  banded
antithesis  to  McEwan's  shitty
book. Poor, Black ji
month's column? you might be
wondering. Well, in the frenzied
atmosphere that existed in the
DiSCORDER office one week
after the deadline (when I finally
handed in my fuckin' column),
Barbara accidentally squashed
-Mac G3
fancy see-through piece of
junk sent it to the trash.
And I didn't even care
much. Beause I don't write
rough drafts, it was gone
to the dustbins of history.
Forever. Like Morrissey, I
usually bear grudges, but
Barbara's mistake simply
meant that I wouldn't have
books for this month.
So what's my point
really? What the fuck am I
getting at? Well, here's
the word, nerds: Abbas
Kiarostami, arguably the
greatest living director, is
coming to the Pacific
Cinematheque on April
10th. I rip off his ideas on
a regular basis but no one
jt and you'll
I'm talking
yeah.   The
w and run right out to the
Chapters-ized) East End
Book Co. and pick up diss/ed
banded nation. But who was I
A month later, I still agree
with whatl initially wrote.
So what happened to last
check hirr
ibout.    So,
ranians bee
film. Oh, and one more
.. the Spanish are pretty
our office and tell us what
ferring to will win a free
tin.   The   fai
.. ah fuck it, you'll get
New Bomb Turks play 4
, kickass, straight-up,
punked-out rock and
fucking" roll, baby.
lese boys make many '
Jof jtheir so-called "punk"
contemporaries look like
whiny, talentless, fashion
pinups who never had
souls to sell to the devil
in the first place.
I \\ \ \JNightmare Scenario
Tv'J 1 \  \\ "■«     ' . '   -
* new record out 4/2S/00
Jfe*Bpi. Ww.epitaph.c
NOISE CONSPIRACY      featuring former frontman of REFUSED. Dennis Lyxzen NOISE CONSPIRACY
?E[^gSMISS J ®jl<^
This month I received the new
Riff Randells 7", and I
don't know what to do with
it. After reading Billy Hopeless'
vapid, unsubstantiated (ever
n the band play?) <
POLICECAT instead. This band,
straight outta Glasgow and featuring Jonathan Kilgour of The
Pastels, doesn't rock hard a la
Korn, and it doesn't feature
scantily clad youths, but it does
On another record from the
same label, TEACH ME TIGER
offer up a weird piece of dub,
the   band
v pop song:
pop songs have nice boy/gi
harmonies and come across c
n of
makes sense to do so.
Unfortunately, I have my suspicions that it might, so I'll just
leave this one untouched. This
band has already got its Mint
vibe on, and I've seen pictures
of the lovely ladies of the band
plastered  all
> I
might as well leave the band t«
its own stardom-bound devices.
The Riff Randells don't need my
support (and certainly not Billy
Hopeless') to make it big. What
are we but a bunch of lame-o
rock critics, anyways? Nobody
there's a God;
involved. Gotcha
. And c
that i
here's a bunch of info about
some great 7"s you'll never look
for, or buy. Stupids.
Today at work, I saw a
Kittie 7". It was pretty and blue
and featured their big hit,
"Brackish." Ick. If you want some
have its own special charms.
"Give Us This Day" is a killer A-
side tune, a slow rambling country/clumsy sort of song,
featuring pleasant guitar work
and almost-tuneful harmonies.
This band could strike some as
too cute, but they'd be missing
the point. What is the point,
but I felt great listening to this
record. Sometimes, cute works.
(Fanastic, PO Box 5935 Kansas
City, MO 64171)
pop palette? Here are a couple
of tunes for you, courtesy of
Germany's    BARTLEBEES.    I
thought that their contribution to
last year's Selector Dub Narcotic
compilation on K achieved new
heights in pop perfection (I have
s for (<
ties), and have been
inted by everything e
jnd by the band. This
better than the last f
heard, thanks to the contribution
of Dean Wareham of Luna on
the flipside. Well, not like you
can really hear him or anything,
it just helps to know he's there,
guiding these Euro-popsters on a
straighter course. I like that the
3296 Main St. @ 17th
LPs • 45s • CDs
New & Used
this record; it reaches all the
asleep bits of the brain and
wakes them right up. (Brimming
Vessels/Garbage Society
Manufracture, no addresses
given, but this is available at
Singles, Zulu, and Scratch)
I can't help but revert back
to pop mode for the last release
of the month — the Patty Duke
tribute 7". The man behind the
Patty Duke fanzine has banded
together the all-stars of twee to
pay homage to that lovely lady
who came way too far before
my time for me to be able to feel
nostalgic. I suspect that, to some
people, Patty Duke means quite
a lot. To me, she provides a
good excuse to find songs by
singer's voice is crap, and that
his lyrics are nearly indecipherable. What I could make out,
however, sounded pretty painfully endearing. What sweet nonsense! (Magic Marker, PO Box
9342 Portland, OR 97207)
Something a little more
jagged came my way courtesy
As far as I can conjure from
hearsay, this band is from back
east and has released a pair of
7"s prior to this one. The result
of four men with big hair banging out rock tunes on guitars and
keyboards is strangely enticing,
and is certainly all the rage these
days. Although I am at a loss to
provide you with the hows and
whys, The Mooney Suzuki is a
cut above most of those other hot
new rock bands. The songs on
catchy, and I'd bet you anything
that this band is in cahoots with
Tricky Woo... (Telstar, PO Box
1123 Hoboken, NJ 07030)
If you're looking for some
seriously brain-hemorrhaging
music, look no further than the
release. This thing blows my
mind in the most wonderful ways
possible. Ersatz create another
hauntingly beautiful song full of
bances. I am falling in love with
accordions.  Noggin provides
of screeching, moaning, frenzied
instruments (count that violin IN
on destruction!), to make this the
best thing ever. I want to think to
littHRS,1lkW!1lE LIMIT, CIVIL, and LUNA
HOUSE OF KAREN all on one
fantastically pink piece of vinyl.
Now, I don't much like the Buck
tune, "Sure Gonna Miss Him,"
as it's a little too rough around
the edges, but it seems like standard Buck fare, and my bias
really ought not to amount for
much. Gaze's "Whenever She
Holds You" does me much better, featuring Miko, Megan, and
Anne-Marie on vocals, and
serves to remind us all how good
things were going before they
Oh   N
Machine... IHOK serves up
"Tell Me Momma" in a rather
non-descript poppy way, but it's
really the Rose Melberg song, "I
Love How You Love Me" that
orks for
. Abse
the heart grow fonder, and I'm
starting to develop a new appreciation for this belle dame. Right.
> you c
all the
,  fine
songs, plus a copy of the latest
issue of the zine, if you do some
mailing. I bet the guy that runs
this label makes a great pen-pal.
(Top Quality Rock and Roll, PO
Box 1110, Southgate, Ml
48195) •
P        i
n      e     s    s  b
II yo
/re not
vith you
friends they c
re talking
jbout you, about
Jid wrong, about how you wer
5 wrong,a
soul how there's
thing wrong
with you
. And they're
right abou
t you. They knov
use they
re your
riends, and they'd feel sorry if you died because
done so
mething for yo
j, but right
now your friends
for you
they have no
idea wher
you are.-
9S mmmmmmmmmmmm
\ ,r
-Article and photos by Tobias Van Veen
"Please do not purchase this record from
any large commercial chain store. These
stores have never supported this type of
music and only do so now in order to
appear cool and current. If you decide to
buy this record please only purchase it
from a knowledgeable specialty shop or a
local Mom & Pop store or smaller business
that has supported the music from its
inception. Super chain stores have never
had the time or focus to search out cutting
edge underground music! They can only
react once the specialty shops and underground labels have created a market for
the music, then all of a sudden they and
the major music labels start wanting the
music because they know they can overpower the small labels and work their network of retailers that made this music
possible with their massive advertising
campaigns and prefab artists, that do
weak imitations of what the music really
is. And worst, it's 10 or 12 years late. We
have two questions for you: 1) Would you
watch or read news that was 1 2 years
old? 2) How long you gonna let them do
this to you? Support your local retailers
and specialty shops. Out— UR."
It is well known that the majors constantly rip off independent artists.
Tracks are blatantly stolen, and bands are gobbled up and spat back
out as the flavour-of-the-month. This time around, the majors have
picked on the wrong people — Underground Resistance. UR is a collective of techno, electro and house producers in Detroit, Michigan.
Musically, they are an integral and outspoken part of Detroit techno's
Started in 1993 by Mad Mike and Jeff Mills, UR immediately
took a political stance with their music. Focusing on Detroit as the
failed modernist city, UR picked up on the beginnings of Detroit techno started by the "big three": Juan Atkinson, Kevin Saunderson and
Derrick May. They mixed a message with the music, often through
the words of the anonymous "Unknown Writer" whose poetic words
of resistance can be found written across Detroit's dead warehouse
sprawl. The music was also different from the traditional Detroit sound.
Harder and coarser, the work of Jeff Mills became increasingly dissonant, minimalist and angry, while Mad Mike's experiments blended
elements of funk, jazz and blues with incredibly diverse beat structures
and themes. Jeff Mills, aka the Wizard, gained his fame in techno as
UR's first Assault DJ. After Mills left around 1994 to found his own
label, Axis Records, DJ T-l 000, aka Alan Oldham, stepped over as
UR's Assault DJ. The UR Mission is to "deprogram the programmers"
— play the music, the independent fighting music, to show what can
be done, what can be felt, what can be thought. Fiercely independent,
UR distributes through its own company, Submerge, and actively promotes an anti-major message, and often an anti-racist, Black Power
message as well.
T-l 000 left around 1997 to work on his own projects, and by this
time UR had grown to more than a dozen producers, artists and DJs.
The identities of several of them remain unknown, such as the Martian,
whose Detroit-techno-acid trance projects are now infamous, and
Drexicya, the otherworldly aquamarine electro assault crew. It was
this climate that DJ Rolando stepped.
Part of the third or fourth wave of Detroit producers, Rolando
from a skilled DJ background, and immediately began putting
ibtle techno-house tracks under the moniker "The Aztec Mystic."
i instated as a UR Assault DJ, and began to tear up dance
floors everywhere with his skilled beat-juggling style, following in the
footsteps of Mills and T-l 000.
The Knights of the Jaguar EP was released during the summer of
1998. A beautiful, moving track, "Jaguar" captured the essence of
Detroit: sweeping, haunting and beautiful strings; a subtle melody, a
crying sense of beauty compressed by a driving 909 kickdrum and
punctured with a bassline with debts to the Motown roots of Detroit.
It was monumental. It was Detroit techno all over again. And Dirk
Dreyer of Sony Germany saw the perfect opportunity to make a quick
buck by getting two progressive trance producers to produce a stink-
ingly cheesy smash club hit. This is where the trouble began.
Although picking out the bad guys in this sort of game can be
sometimes too easy (and perhaps too simplistic for the case at hand),
Dirk Dreyer plays right into the hands of this evil persona. Without
permission from UR or Rolando, Dreyer either commissioned or convinced (it is very unclear) two German trance producers to do a tone-
by-tone "remix-cover" of the track. Covers are usually done several
years, if not decades later, and with perrr
vith the arti
A/ith the
n of creating si
thing new. A tone-by-tone track, however, is a rip-off which skirts the
law. It's not really a remix, and it's not really a cover, either. You're
just sort of copying it and then calling it "our own, throwing out anything too mature or subtle and turning it into a cheese-dance hit for
the rave kiddies.
When UR found out about this, Dreyer tried to contact UR through
Submerge. He claimed that he had "tried to license the track for a
Dreyer st
" So, "As v»
lyl partner Discomania but we did not get a
:k of response, for Dirk Dreyer, somehow meant
Jon't want to be seen as guys who rip off or boot-
ack, we have chosen the way of re-recording the
" What sort of legal precedent is being set here?
himself in his letter that "the philosophy of Underground
Resistance not to cooperate with the industry is well known." UR
responded with the only way it knew how. Unable to fight in the
courts, UR went to its supporters, and to the internet community, with
Cornelius Harris as the UR spokesperson.
Harris outlined the campaign: "We urge all concerned individuals to flood Sony's offices worldwide with calls, emails, and faxes
expressing those concerns. This kind of crap has to stop and it has to
stop now." Websites popped up across the internet; mailing lists such
as 313 and Global-Techno started email campaigns and a petition
list. DJs and producers refused to play Sony records and returned
Sony promotional products. The end result was a victory, albeit a bittersweet one. Dreyer and Sony decided that "Sony Music will not
commercially release the track rather [sic] on CD maxi or compilations. We are quite sure that a different company will use the idea and
milk the cash cow." How telling — ending with a blow to the stomach
and a slap to the face. Who picked "Jaguar" up next? BMG.
With many UR supporters basking in this false victory, BMG
stepped in to license the track from the same "2 cheesy trance DJs" (in
the words of Mad Mike).
This is what happened (Cornelius Harris): "In the new German
dance charts, "The Jaguar" is at #4 with the label BMG, no longer
Sony! BMG make a deal with the cover version producers after Sony
has cancelled the record." UR's response was to proceed with a remix
project of "Jaguar" which was originally cancelled after Sony misappropriated the track. This time, however, UR's own remix release was
to be a rallying cry from the underground, fighting back with remixes by Jeff Mills, Octave One and 430 West producers. Meanwhile, DJ
Bliss from Renegade Rhythms, who has a comprehensive website on
the whole issue, began hunting through the corporate :
BMG to try and fi|
ut exactly who w
s responsib
j. At the
BMG was flooded with more emails from UR supporters.
Cornelius Harris tried to get in contact with BMG but was given the
run-around, same as everyone else.
Eventually, Richard Griffiths of BMG UK responded with this:
"They [BMG Germany] maintain that they released a cover of
"Jaguar" in the form of a maxi-single which they licensed legitimately from a label in Cologne, which had in turn licensed it from a
Frankfurt DJ." They then referred Harris to their lawyers. Might is right
— money talks. UR, like most independents, does not have the money
to fight within the courts. BMG claimed to know nothing, even though
this was on their website (translated from German):
"The original of this number from Aztec Mystique was not to be
missed this summer. This title is not only the highlight of every Sven
Vdth set, but also the first Technohouse consensus hit since years.
Without exceptions, every top DJ — no matter if into Techno, House
or Trance — spins this song and the feedback from the crowd is without comparison. Because the original of this title will not be released,
a production team from Frankfurt has re-recorded it and added a
Trance remix which will blow your hairs away. "The Jaguar" — available on 02/14."
DJ Bliss then sent a long em
with all the names from the petition,
and demanded:
1. Complete removal of said product
2. Payment of Licensing Fee and
Royalties for all shipments have
occurred to this point (including pro-
ia|Or press
3. Open apology in al
(US,     Europe,    Asia,    Africa,     &
4. Provide publishing and licensing
rights to Mad Mike and Rolando for
the cover of "Jaguar" so this will never
happen again.
According to the Renegade
Rhythms webpage, there has been no
further response.
This should not be taken lightly. As
Cornelius Harris says, "While this is
an unethical and unprincipled act in and of itself, it is also a very
dangerous act. In doing this, a major label, Sony [and now BMG],
has determined that it has the right to stomp all over an independent
label in its pursuit of profits. With this as a precedent, the question that
should concern any and everybody in the music community is who will
be next? It is imperative that Sony [and BMG] be held accountable for
What can you do? Get online. This is where the fight brews. Go here:
You'll find the complete text of all the letters, links to information, interviews, UR and other websites, and the UR vs. Sony/BMG mailing
Email BMG's CEO. Buy the original record. Tell your local record
store not to order the BMG rip-off. Boycott BMG and Sony. Let your
voice be heard.
And go here: http://www.submerge.com
Note: At press time there was a rumour going around that BMG
had dropped the Jaguar rip-off. However, no confirmation of this
could be found. •
C^XA^J zSjOO 've fallen in love over the internet.
Not the banal love from a Hollywood film where
Meg Ryan would be playing my love-sick role. No. This is the sort of
feeling that manifests itself in slow, beautiful songs; a feeling that can
ily live in ether, a love that is made — built slowly — of small words
and soft music. Every time I sit down to check my e-mail, I get a surge
of excitement: did he mail me? Did he? And there is always music
playing and strangers speaking quietly about love.
I've been interviewing Peter Green by e-mail. He's the head-man
of the awesome Double Agent record label, a label that carries a
ide variety of tastes and genres — Unisex, Rose Melberg, Push
Kings, My Favorite, [Smooth] Operator, even re-releases and remakes
of Dan Green, Peter's father, a song-writer from the '70s. And, of
course, Class, of which Peter is one of the awesome members.
And he doesn't know that I've tumbled innocently in love with
, someone I've never met. But that's okay. It's not really supposed
to be mutual. After listening to Class solidly for the last 2 months,
with all its melancholy sadness and beauty, I'm beginning to understand that, sometimes, love is better felt from far far away, unrequited. It stays purer and, somehow, more wonderful. If you've no idea
what I am talking about, just pick up any Class CD, turn all the lights
off, and you'll understand.
Class is a two-person team from Massachusetts; an electronic
cohesion made up of Peter Green and Leigh Tsai. They have been
described as making music where "you can envision the time far in
the future — a sad future where lovers can be separated by the
distance between planets and computers run our worlds with a cold
iechanical efficiency" (Steven Byrd, www.pitchforkmedia.com).
I'd never done an e-mail interview, but it seemed fitting thing to
o with Class. The formless ether is probably the only way their
could honestly be filtered though.
pop, how's that? ,)
On First you do some acoustic and some electronic, and
the two blend great. Are you mainly into the computer
thing, or does it really matter?
I finally got digital sound editing software [and] the amount of editing
control I have now is incredible. The Figurine remix is the first thing I
did with this new set-up. I'll eventually incorporate our acoustic side
into future Class releases.
A Quiet Life has quite a few remixes of "Strobe Light."
Where do you stand on the whole "remix as artform"
debate? Is it a new work? A collaboration? A rip-off?
Certainly not a rip-off, we asked them remixers to do 'em. I really
like the ones we got for different reasons. [Smooth] Operator did the
basic add-a-funky-beat remix. Flowchart sampled some sounds we
used, and created an entirely new composition using those sounds in
new ways — very creative. Martin Carr, well, I'm not sure what he
did, but I like his remix because it thumps with an intensity I couldn't
/ research the Double Agent web-site, [www.doubleagent.com} and I
find an interview with Class in Portuguese. Translating it with
Babelfish, it reams out a nonsensical collection of words, all seemingly unrelated to each other. When I comment on it to Peter, he
sends me back his favorite section, highlighted.
Sonar Which is the white public of the Class?
Class: I do no know, really, I do not know. We do not touch
to the living creature, then, I never found as much fans.
Sonar. Voices does not want to touch to the living creature? You do not find a band important
to touch the living creature?
Class: We do not want to touch to the living creature. We
compose musics, record generally and never more we
How does your dad feel about Double Agent re-releasing/remixing/re-doing a bunch of his stuff?
It's great. It keeps my dad and I in close touch.
Our e-mails become less frequent as I get busier. In the back of my
mind I think, I don't want this to end, but it can only end in tea
week goes by, enough time to let me float in a Class-induced tr
for awhile. I write back.
February 11 2000
I've been listening to "Overdose" from First over and
over again. What's the sample near the middle? It's
That's a sample from 200 I. That song is a classic example of one we
wrote and recorded in a few days and never thought about again.
Did you and Leigh go to school for professional music
I majored in Anthropology and minored in Art. Leigh majored in
English, minored in Studio Art.
Are you still acoustic or have you done the full tilt boogi
to the electronica thing?
I haven't touched my guitar in months, but I will definitely use it on oi
Does anyone ever say you/Class remind them of The
Magnetic Fields? Or that The Magnetic Fields remind them
of Class?
In the past, yeah. I know what they [sound] like, but I don't have any
of their recordings, so I can't really
A package arrives today and its full of Double Agent goodies. Ne\
Rose Melberg and Unisex albums and a Push Kings LP. I get to keep
the pen that has their little signature rocket that moves up and down,
like one of those "remove the underwear" pens. I love it.
music to fall in love to
January 26 2000
DiSCORDER: I've never done an e-mail interview before.
How do you want to go about this? Do you want it as a
conversation thing, or a whole bunch of questions at
Peter Green: Send some questions, and I'll reply. The conversation thing.
January 31 2000
Okay, um, I guess I'll start with the basics. Who are you?
Leigh and I met as freshmen at Tufts University and we've been close
friends ever since. I started recording/releasing songs under the
ie Zaius in 1 994, but once Leigh agreed to play music with me,
formed Class. We're not a typical band -— we only record.
Whenever I feel like it, I compose some songs and ask Leigh to come
and add"her magic to them. We could never reproduce many sounds.
never perform live, we never even practice. Our recordings cap-
a quiet, creative afternoon.
Discography? I am aware of 1996's First and the 1999's
A Quiet Life. Are there more? Are you involved with other
projects, or is Class pretty much it for both of you?
We had a 4-song 7" out before the first CD. I was also in The Three
Peeps; we released one 7" on Double Agent. It was me and Jen and
Rose [from] The Softies. I've also been remixing some people — most
illy, Figurine.
The style of music you guys make has a definite niche.
Did you come by it organically, as a progression from
other projects, or is just something you felt needed to be
made? How would you classify your music, if you're into
the labeling thing? Ether pop? Ambient?
:an definitely see our sound change with each release. The first
7" is entirely acoustic. Then I bought myself a keyboard for recording
First. A Quiet Life was also completed on a 4-track just before I
installed my new computer recording studio, so the next release will
evolve light years further. I'd say we're melodic, intelligent, ambient
It seems to fit somehow — instant ESL food poetry. It adds to the beauty of Class.
I love checking my mail these days; the honeymoon bliss phase,
I guess. I find another tidbit on their website that furthers my enam-
oured-ness of him: pictures of Donovan. Peter's cat. With his own
page dedicated to him and his friends, Donovan is shown lending a
paw in the day to day running of the record label.
February 4 2000
Donovan is cool. Does he like music? Does he have
I've only really noticed him react to Bjork's Homogenic. There's a lot
of extreme stereo pans and weird blips that catch his attention.
Yeah, she does that to me, too. Why the name Donovan?
A tribute to the '80s pop star Jason Donovan? The
Australian hunk-a-hunk-burning-love from Neighbours?
Thanks, yeah, Donovan is mybest buddy. No, he's not named after
Jason Donovan, he got his name from the '60s pop star, Donovan.
i, look up there in the sky now,
See the stars are shining just for us.
I love that song. Do you like Space? All the Brit-pop stuff?
What are your influences? What's in your CD player right
Yeah, I like a lot of Brit stuff. I always have Massive Attack, Blur,
Tricky, Everything But The Girl, Slowdive in my CD player. [That] isn't
really indicative of my tastes; I usually buy vinyl. These days, I love Ian
Brown's new LP, Dr Dre's Chronic 2001, new Unisex demos.
Cool. Is your family into the music too? Do they listen to
it at home? Does your father still write music?
No, no, no. But they are proud of me and Double Agent. My dad's
a printer now, so we do get to work on projects togelhe
February 21 2000
Hey Peter. This is the funnest interview I've ever done
perhaps it's the sheer looseness of it, or perhaps it's the
new Double Agent pen I now own that has an excellent
rocket ship that goes up when I turn it upside down, and
then down then its turned over again, then up and down
and up and down.
I'm glad you like the pen. I'm almost out of them, so hold onto it very
And I suddenly think, that's it. It's over. How can it be over? I'm still
sitting here and he's not e-mailing me back.
Okay, so I wasn't really in love. The honeymoon phase was probably just a lunar mishap. Perhaps it was the mood I was in. Perhaps
it was the fact that I was chatting with a smart and witty and talented creature. Perhaps.it was my hormones. I like to think it was the
music playing as I checked my e-mail every day — Class.
With a little Class, anyone can fall in love. •
IMS radio   berlin   I   hoi   hot   heat
tour    >    winter    >    december    1999
Between December the 3rd and 18th of 1999,
Radio Berlin (Vancouver) and Hot Hot Heat (Victoria) played
12 shows between Vancouver and San Diego. We left
Vancouver in two vans (which we spent many hours in!) and
enjoyed the freedom of being on the road. Along the way
we played with some good bands such as The Locust, Vue,
and I Am Spoonbender, and experienced the hospitality of
great people in many cities. The following photographs were
taken to record some brief moments of a great two weeks
on the road...
8. A day off spent at the beach in San Francisco with Jonah
of Vue as our guide. L to R: Josh, Jack, Dustin, and Jonah.
X. Radio Berlin playing on the eve of departure in Vancouver
at the Church of Pointless Hysteria. Photo by Lori Kiessling.
2. Radio Berlin in the kitchen of the Bottlenekk loft/warehouse in Oakland, CA. L to R: Warren, Josh, Jack, Chris.
8. A brutally chaotic Locust set the Che Cafe located o
UCSD campus in San Diego.
bin in Portland, OR.
6. Crossing the bridge on a beautiful Portland afternoon into
the state of Washington.
9. (to right) Warren Hill, the "angel of the morning," emerging from slumber.
fc m^£ ZDOO 11. Sex Pistols (Hot Hot Heat) live 1999 Reunion Tour at their San Diego date
12. San Diego skateboard prodigies profilin' in front of Pokez.
All photos by Chris Frey except where noted. Layout by Chris Frey and Jack
Duckworth. Comments and inquiries about these photos can be sent to Chris Frey at
<sadrobot@home.com>. More pictures of this tour and information about Radio Berlin can be
found on our website at www3.bc.sympatico.ca/sevensegment/radioberlin/.
Written correspondence can be sent to 1682 Frances St., Vancouver, BC, V5L 1Z4,
Canada or you can e-mail the band at <radioduckworth@hotmail.com>. •
Look for these great CDs at Scratch and Zulu Records
is^^^aKEs Joel R.L. Phelps
%s interview by Christa Min JL.
r by
photos by Ann Goncalves
I've decided that it is useless to write in the third
person. It is deceptive to describe the music of
Joel R L. Phelps objectively, pretending that I am
listening to it from afar and thinking about it critically I tried to do this interview from an objective
point of view. I asked him if he would do it by e-
mail. I wanted to only see the words, not to hear
them and be affected by them. And I was scared as
hell to do it in person.
Maybe the whole idea of interviews is stupid
because music is not literary. I can try to describe
what The Downer Trio sounds like, but no matter
how comprehensive I am you won't be able to hear
the music in my words. I can only tell you how it
makes me feel.
I don't like talking about "feelings." I don't
walk around with flowers in my hair, crying all the
time. Words like "exquisite" and "beautiful," I barely know how to pronounce. But here I am, letting
myself be a freakin' hippie in front of everyone who
reads this.
For the short length of a Downer Trio set, or the
hour that one of their records spends, I feel inextricably happy. And I'm not sure I deserve to listen.
Their music makes me want to be better. So this display of ridiculous emotion is for you. I want you to
be able to feel what I do when I hear Joel R.L.
Phelps and the Downer Trio. Read this if you like —
to laugh at my stupidity and with Phelps' wit — but
for your sake, listen to the music.
DiSCORDER Is it ridiculous to do this without Robert and William? How involved
are they in the songwriting?
Joel R.L. Phelps: Robert and William PLAY the
songs... by that, I mean they are sensitive, intuitive
players with a clarity of vision that brings the songs
to life. In my opinion, the reason that jazz tunes
can have so many recorded versions is that, at the
heart of it, the real song is probably the one that
hasn't been played yet. The one you try to pull into
being when you play it. The magic happens when
you can play it in such a way that you're convinced
(and perhaps the listener is as well) that THAT'S
THE ONE. Go see Silkworm or Shellac and you
can see what I mean So it goes beyond give and
take, follow-the-leader, improvisation etc. It's a
transformation not just of the song and its parts but
of the players as well. As a player if you can really give yourself to a song, it gives itself to you and
it becomes yours.
I believe William and Rob make the songs
their own and give them back to me. Unless the
song sucks... then no amount of hippie mumbo
jumbo can save it.
So, to finally answer your question — generally speaking, the songs are constructed from the
parts I present for inspection, and then we see
what's gonna happen.
I heard a live recording from about a year
ago, and you were playing "Get the
Chills." I guess you hadn't come up with
the lyrics yet. You had a melody, but the
words were being improvised. Is that how
your lyrics come about, just playing and
then singing whatever words the music
Sometimes, but it varies from song to song. I don't
have much of a method or routine, really They just
come the way they come. Sometimes with some
songs I'll get the feeling that the words are just, you
know, in there somewhere so I'll play with them as
they develop until I feel like they're done. In the
case of "Get the Chills," I guess I felt like it was
worth performing even though I had to play a bit of
what, exactly, your songs are about. Are
you writing your lyrics with universality
in mind, so that everyone can relate, or
are you more concerned with privacy, not
telling too much about your own experiences?
I don't mean to be evasive except in cases where I
feel a need to avoid intolerable embarrassment.
habit but out of need, "do you know what I mean?"
So, no to universality. After all, I know that when I
ask if anyone else feels like me and if I'm the only
one that feels the way I do,the answer is no to both.
Stupid coincidences: I hate the Beatles, but
my friend forced me to listen to The White
Album. Your album is called Blackbird.
There is a song called "Blackbird" on The
catch up. Some, like "Now You Are Found" —concerning my sister, who committed suicide this past
December — come more fully formed and undergo
less tinkering. It seems the need to express can
either help or hinder the process. So I just have to
make do.
Your lyrics are quite fragmented. Each line
in a song provokes the same emotion, so
there is a definite theme, but the phrases
themselves are ambiguous. You use specific names and details, but it's hard to say
And, honestly, the lyrics are that way simply
because that's the best I can do. I could never write
a good story or a decent poem and I'm uncomfortable with the words outside of their context within a
song. I'm fortunate to have notes and rhythms and
sounds because I need them to help me say what I
mean. For me, memories come as fragments, and
that the words do too only highlights my need and
inability to convey the events clearly. I	
;s and say "thi
when I
." but in the end dur
ing conversation I find myself saying, r
White Album. Everyone talks about how
The White Album is a complete album,
that the order of the songs construct a
journey. I think Blackbird does the same,
but better. Your CD is white. Please tell me
that you hate the Beatles and you have
no idea what I'm talking about.
Although I don't hate the Beatles and the record is
white, that's pretty much where the trail goes cold.
Who is the Reverend Robert Irving? I'm
assuming he's a real person because you
n *fJAxi' zdoo thanked him on L'Ajre. I only ask because
that song is one of my favourites... who
am I kidding? They're all my favourite.
That's the Reverend Robert I. Phelps, my father,
who, after more than 40 years of pastoral ministry,
retired this past December and lives in Whitefish,
Montana with my mother, Alita L. Phelps.
You know, I always find Comsat Angels
and Dramarama records in the bargain
bin. No one seems to like these bands
anymore. Only after hearing your covers
did I realize that they were good songwriters. What were you doing in 1986?
Why have these bands stoodout for you?
The Comsat Angels wrote many greats, and though
the sound of the records took a strange — and
some might say unfortunate — turn they continued
to write good songs and their records are still dear
to me. The second record, Sleep No More, is the
home of "Our Secret" (from 1981 I think) and "Lost
Continent" came from the Robert Palmer-produced
(!) Chasing Shadows (1986).
What was I doing? Still dropping in and out
of college (the scales would finally tip toward "out"
a couple of years later) playing what we thought
was a final Ein Heit show in a Missoula parking lot
and later meeting Rob in Bozeman where I fled for
a quarter at MSU.
If you ever see the first Comsat Angels record,
Waiting For A Miracle, you need to purchase it and
then find another one and send it to me. Thank you.
When did you start playing the saxophone? Your horn arrangements, especially on the EP, are incredible. The
harmonies are beautifully unusual. Have
you had much formal musictraining, theory lessons or anything?
I started to play as part of my school music program in the fourth grade and continued through
college, playing in the various sorts of outfits that
come with that territory. I had started as a music
performance major at UM in Missoula, but I really
didn't like music school so I changed my major
three or four times and then finally called it quits
and moved to Seattle with Silkworm in 1989. I'm
pleased that you enjoy the horn parts. I didn't want
them to sound too gimmicky, but I thought it might
sound cool to hear a saxophone section that was
comprised of only one voice rather than the mixed
voices of most jazz groups As I only own one
horn, an alto, that was my natural choice. So I just
played a central part that could place certain notes
and rhythms more or less where I wanted them and
then improvised the surrounding parts.
Unfortunately, when a single player plays three
parts their faults are tripled, but even so I think the
sound is pretty nice and it was a worthwhile experiment. I'd like to try again with a tenor or soprano
one of these days.
I think if you took all the bad things out of
Arena Rock, you'd be left with Ein Heit.
You guys actually made a Rush song
sound good. Are there any plans to
release another album, or is Ein Heit
something that only happens when all six
of you have nothing else to do?
I know we'd all enjoy making another record. It's
hard to find the right time when we can all be in the
same city with the time and means to make a
record, but I'm sure we'll manage it at some point.
It's a treat to play with those folks, and in a way it's
kind of a double reunion for me, so I look forward
Do you feel a lot of support from the
music press in Seattle? It seems to me that
Seattle likes to support the worst
Northwest bands. Month after month, The
Rocket features bad bands. Also, it's a bit
strange because sometimes you headline,
and sometimes you're the opening band.
Do you find that you get a more positive
response from the East?
The East certainly has a very different feel in many
ways, and we've always enjoyed our visits there.
Around here we get to play once in a while and
make our records, and a fair amount of nice folks
seem to come out and see us, so it's fine. But clearly we appreciate some relief from that swimming
upstream feeling when we leave a city that's had a
case of the cools for years. And I like opening
shows if for no other reason than I get to go home
earlier if the other bands aren't enjoyable (I'm not
getting any younger, you know) or I can enjoy a
good band without having the jitters. And there's
another practical reason for it. Obviously we never
would have played a room like the Seattle Opera
House had we not opened for Billy Bragg. And
opening for Mark Eitzel fora couple of weeks was
the best thing that ever happened to us. As for bad
bands... well, there certainly are plenty to go
Your music affects people greatly. I imagine that your fans have an annoying tendency to tell you all about how they feel,
and how they relate, not necessarily to
your music, but also to you. Is this a problem for you?
No, not at all.
What music affects you?
Oh, all kinds, I guess. You'd laugh if I told you the
half of it.
Do you look forward to playing live? It's
difficult because what you were feeling
when you wrote the song may not be
what you're feeling every time you sing
it. In a way, a good show is when everyone is truly convinced that you mean what
you're singing. Even then, you could be a
very good liar, but the audience believes
you. How much of playing live is "putting
on a show"?
I often look forward to it. I always fear it. There are
so many things that can go wrong and right during
a set that no matter how I plan or prepare I can
always be surprised by what happens and my
reaction. Sometimes I wish I'd stayed in bed.
Sometimes I feel like the lucky dog in the right place
at the right time. And when all the psychological
rewards and punishments for even playing at all
are considered I guess in the end you just have to
do the best you can until you quit. And how much
is putting on a show, well, I have to wonder too...
Is there a show that you've played that is
more memorable than others?
I'm afraid I'm too tired to recall. Really. Sorry.
The Victoria show was memorable because the
next day before we crossed over to Vancouver we
went to The Bug Museum and got to see and hold
all sorts of giant insects. And they were giant and
beautiful and creepy and neat.
The Vancouver show was unusual for me
because after we ended the set a beautiful young
woman and her friends asked me to play "Unless
You're Tired Of Living," as her boyfriend had
recently died. I felt sad for their losses as well as my
own, embarrassed that they would think I could
comfort and ashamed that I could think so too. I
played it and badly.
The art work on all your albums is exquisite. Do you choose it from what you have
already seen, or do you come up with an
idea and then try to fill it? Who did the
cover for Blackbird?
Paul Gillis and Robert Mercer designed the
Blackbird artwork using Paul's photographs.
Sometimes we've used artwork that we're
already aware of, for example, Eileen M. Ward's
painting for The Downer Trio, or Laure Cinotto's
photographs for 3. But we had nothing to do with
the creation of those images. We were just lucky
enough to know talented artists who liked our music
enough to feel comfortable letting their work be
associated with it. Julia White let us pick several of
her paintings to use for Warm Springs Night. J.
Bryant gave us two or three possibilities for cover
photographs and the four of us agreed on the ones
you see on the front and back cover then he created the inner image and designed the insert poster
with Laure, using her photos. Timothy Cook offered
two of his drawings for the "Alita Aleta"/"Spokane
Motel Blues" single. Paul lent photographs of
Mexico and he and Robert designed the cover
around them for Blackbird. Except for the sticker.
Had Robert and Paul (and William and I too for
that matter) known that the distributor would feel so
strongly about the need for a sticker, they would
have almost certainly chosen to leave the cover free
of any text whatsoever. But who knew?
As far as I know, Moneyshot has only
released three 7"s, two of which you
played on. Whose label is Moneyshot? It
feels very small because distribution
seems very limited. I could only find the
7"s in Seattle. Is a live Downer Trio EP
coming out soon, or is that plain old gossip?
Moneyshot is owned and operated by the charming and dear Timothy Cook, former partner in El
Recordo and he is putting out a live acoustic record
as soon as I stop fucking it up.
Last question: What were you doing during WTO? Shopping or smashing the windows at The Gap?
During the daylight hours I was working, and at
nightfall, after navigating the maze and arriving
home, I watched the proceedings on TV while listening to the tear gas explosions outside my downtown window and wondering when those folks
were going to take their sorry asses home. Peaceful
protest? Sure, why not, but some folks are just a little too bummed they missed Woodstock '99.
Selected Discography
Warm Springs Night (El Recordo, 1995)
Alita Aleta/Spokane Motel Blues 7" (Moneyshot, 1996)
3 (Pacifico, 1997)
The Downer Trio EP (Pacifico, 1997)
Blackbird (Pacifico, 1999)
For a complete discography i
probably way too much — n
Jurnove's endearingly obsess
wch DJ A-Trak
A-Trak: I come in peace.
DiSCORDER I want you to tell me how you relate to Ralph
Aw, he's my hero, he touches me right here [lightly punches his heart].
Ralph is a real hero. I don't really relate to him at all, that's the whole
thing I just think he's an amazing character. I'm a Simpsons maniac and
Ralph is one of my favorite characters. Everything he says is so simple
yet so deep.
Like what?
Like, "My cat's breath smells like cat food." It's so naive, yet what more
do you want?
But why is it so deep?
Because it goes straight to the root of what he's trying to say. Ralph is
Okay... um...
I'm not done [laughter]. I think that anyone who knows Ralph... Let's
look at it the other way around: anyone that doesn't know Ralph can't
call themselves a true Simpsons fan. The whole record is a shout out to
the true fans of the Simpsons out there My song "Enter Ralph Wiggum"
has nothing to do with him — it's a dark, moody, introspective type of
song Ralph is this happy, simple kid and I was like "I dunno... I'll name
it as a tribute to Ralph," and as a tribute to dancing popcorn.
Yeah, I've seen the cover [of the Enter Ralph Wiggum 7"].
So what's with you and dancing popcorn?
The cover was made by the illustrious El Captain Funkaho Peanut
Butter Wolf is doing a series of 7"s on Stones Throw, and the first 7" that
he put out was by El Captain Funkaho. Funkaho designed some stuff for
Stones Throw also. He just finished some stuff for the new Quasimodo
album. He actually sent me a choice between two covers. There was
one that looked like some cheesy '80s Russian rock album cover with a
guy's hands on a piano and there were some words in French that said
"caution" or "warning." He was like, "Ah, Alain speaks French!" It was
We got along right away. About a month later, he called me up to
see if I wanted to do a song for this compilation Then, Peanut Butter
was doing well with his label — Stones Throw is one of the most
prominent independent labels, I think — so when he asked me to do
the 7" for him it was, like, obvious.
What do you think about scratching being really trendy
right now? Lots of people want to be DJs, and I've
noticed that they focus mostly on scratching — they don't
even care about mixing. The scratching isn't even really
melodic, they don't try to incorporate it musically. They just
focus on the technical aspects.
I don't know. People are noticing that scratching is this hip thing right
now and I think that's good because, you know, it will help the sales of
DJs' albums and more people will come to our shows. I look at it as a
positive thing.
What hip-hop artists do you like and listen to?
The Roots, Gong Starr, Tribe, Pete Rock and CL Smooth.
Any Canadian artists?
I like Saukrates, he's got some sick beats. Swollen [Members] has done
some dope stuff. I like some more obscure, weirder hip-hop; the MF
Doom kinda stuff.
So how old were you when you started scratching??
i   f\
is getting
orking c
a choice between that and the danc
lg popcorn.
How did you get hooked up with Stones Throw?
In the fall of '97, there was the Deep Concentration tour and Peanut
Butter Wolf was one of the resident DJs for the tour. Me and Kid Koala
did the Montreal/Toronto shows, and that's how I met Peanut Butter.
did I start? When I was 1 2 or 1 3 my brothe
into hip-hop more and more. Once I saw him trying to sc
I heard scratching on the albums we'd listened to — ai
ed scratching like that on my father's turntable to see wh
One day after school I just showed my brother the stuff
and he was like, "Wow, I can't do that, you should star
this!" I had just done my bar mitzvah so I had a little stash of money
in my bank account. He was like, "Buy a turntable!" That was tough
because I had to convince my parents. I told my father, "Yes, I'm
going to buy a used Technics 1200 turntable." "But we have a
turntable!" "No, but I want to scratch!" "But we have a turntable!"
That was a bit of a hassle. Eventually I got to buying my used turntable
and a mixer, and I saved up more money and bought another
turntable and started practicing in my basement, listening to records
and trying to emulate what I heard. Later, I started being exposed to
the DMC videos and stuff, and I was trying to keep up with all the
newer techniques and stuff.
Out of all the titles you've won, which one do you value
the most? Will you be defending next year?
I don't think I'm going to defend any of my solo battles because I don't
think I'm going to do any solo battles this year. Ever since the '97 DMC
I felt that I still had something to prove because people were saying
that I wasn't against any really good DJs in the world finals, that it was
easy for me because I was younger. In '98, I didn't win. Last year I
really had a lot to prove, so winning ITF and Vestax and placing second
in ITF scratching and DMC teams was really good for me.
Do you have any beef with any crews? Scratch Perverts
No, no beef with any other crews. Scratch Perverts are cool.
Are you going to have a scratch album coming out?
One day. I keep on talking about it, I'm probably going to be putting out
an album, probably on Stones Throw. I haven't put out a single song yet.
I will put out an album. That's probably the main reason why I'm not
going to battle this year — I wanna tour in the summer, I want to put out
an album. You can't record music and battle at the same time because
it's different creative energy, it's not the same mindset.
How about the Allies, anything you want us to report?
Our official name for the year 2000 is The Sexy Six.
Who's in the Allies?
The Allies is myself, Craze, Infamous, J-Smoke, Spiktacular and Develop.
Anything you want to say about Obscure Disorder?
Buy the record. Obscure Disorder is my group, and we have a new
record out. It's called 2004, it's out on Fat Beats, and we've sold almost
6000 units. Everybody should go buy it. •
)(, *?aa£ ZDOO Video Philter
I can't quite remember the name
of a particular movie I've seen
it in, but I know the scene well
enough: the pretty young actor,
ego swelled by the success of the
latest vehicle for his limited talents, screws up his face in an
expression of earnest ambition
and declares that while he does
enjoy acting, what he really
wants to do is to direct.
Thankfully, the bean counters
who get movies made are a little
too tight-fisted to hand the direc-
young hottie on the block, so that
when an actor does get behind
the camera, chances are that he
or she is possessed of genuine
talent, skill and intelligence.
Almost all of the actors-cum-dSectors whose debut films I screened
for this month's column have
proven themselves as actors both
artistically and, to varying
degrees, commercially, making
them all pretty safe bets for direc-
Take Kevin Spacey, for
example. Two-time Academy
Award nominee and star of such
fine and financially successful
films as The Usual Suspects, LA
Confidential, Seven (not so fine,
but it sure made a bucket of
money), and, most recently,
American Beauty, Spacey has
shown himself to be an actor
possessed of enormous ability,
one who expresses more with
well-timed pauses and subtle
changes in expression than most
actors get out of a full-on hissy fit.
Sadly, none of that which makes
Spacey a great actor is in evidence in Albino Alligator, a
plodding, cliche-ridden work of
staggering banality and hi
lessness which features a contrived and thoroughly implausible plot (the perpetrators of two
separate crimes end up together
in the same New Orleans bar,
occupied by a manageable
handful of soon-to-be hostages;
police arrive, siege unfolds,
blah, blah, blah...), a complete
lack of character development,
and the feature film debut of
Skeet Ulrich. Who would have
thought that the man responsible
for making a pathetic middle-
aged horndog heroic could create a film wherein the only fresh
element is a two-bit, watered-
down Johnny Depp wannabe?
Despite working with such
Dunaway, Gary Sinise and Joe
Montegna,  Spacey-as-director
his characters, nor does he build
up the requisite tension that this
sort of material requires In fact,
the only tangible sense of tension
I felt was from v
:ould be.
this tedious debacl
Just the opposite was true of
Big Night, the first film by the
actors-directing tag team of
Stanley Tucci and Campbell
Scott. Filled with fully fleshed out
characters and believable relationships, and covering an emotional range from the sweetest
understatement to ass-biting (literally) over-the-top-dom, this
charming tale of two Italian
brothers desperate to save their
fledgling restaurant without catering to the lowest gastronomic
denominator is so infused with
passion and joy that I regretted
its ever coming to an end. Tucci
and Campbell, working from a
script co-written by Tucci and
Joseph Tropiano, maintain a perfect pitch and pace throughout
the film, never faltering on a
false note or hackneyed sentiment. Having assembled a
superb cast (including the aforementioned Tucci and Scott, as
well as Tony Shalhoub, Ian
Holm, Isabella Rosselini, Minnie
Driver, and The West Wing's
fabulous Allison Janney), these
boys exploit their ensemble for
all its worth, letting each individual actor shine while producing
a work in which the writing and
the company as a whole emerge
as the true stars. Films directed
by actors should, logically, contain excellent acting, and in Big
Night the fine performances
Exemplary ensemble work is
also a standout feature in part-
time actor, part-time professional
ham AND cheese Gary
Oldman's directorial debut, Nil
By Mouth  If all the money he
like Lost in Space, Air Force One
and The Fifth Element went to
financing this beautifully complex
and nuanced portrait of familial
dysfunction and abuse, it was
worth every vapid moment spent
at the multiplex. For every stock
situation and trite bit of business
in Albino Alligator, Oldman presents another layer of emotional
depth, creating a sensitive and
insightful film in which every
character feels real and honestly
represented. Oldman has a genuine compassion for the characters he's created (he wrote the
script as well as directing) and
he deals with issues surrounding
violence and complicity in violence with gi
intelligence, i
simple dichotomy between
abused and abuser. The brutish
Ray is never apologized for, but
the cycle of violence he has been
caught up in is clearly delineated, as well as being mirrored by
a parallel cycle of enablement.
Dealing with somewhat similar subject matter is Frank
Whalley, an actor whose behind-
the-camera debut makes a liar of
me and my theory about only
proven veterans getting their
moment at the helm.
Whalley is by no means a
lightweight — he did just fine
alongside Mr. Spacey in
Swimming with Sharks — but
he's still quite young, and none
of the work he has done has
really distinguished him as a
master Ihespian. He does have
some influential friends, however, and I can't help thinking that
Val Kilmer, Ethan Hawke, and
John Leguizamo, all of whom
appear in Joe the King (the
latter credited as an executive
producer as well), had more to
do with this film getting made
than Mr. Whalley. Like Albino
Alligator, but to a lesser degree,
Joe the King deals in stock situations, flat characterizations, and
uninspired acting and directing.
Whalley wrote the script himself,
and from the little specific details
autobiographical. But truth does
not a good film necessarily
make, and this movie is a glum,
superficial take on the coming-of-
age-in-a-shitty-family genre. As
bland and indefinite, while dad
Val Kilmer is a pot-bellied, bellowing cartoon whose only honest moment comes about 80
minutes too late in the final
frames of the film. Leguizamo
and Hawke add nothing with
their cameos, and the mother's
character is so under-developed
as to be barely present at all.
Whalley should be congratulated for getting this little, personal
film made at all, I suppose. Just
don't rush out to see it anytime
Do rush out to see another
autobiographical film written
and directed by a fairly young
actor: Steve Buscemi's Trees
Lounge. Buscemi, who also
stars, crafted this story of a lost
and lovesick barfly from the
details of his own pre-success
days in New Jersey, and the
poignancy of the tale is downright painful at times. Sad, funny,
pathetic, inspiring — Buscemi's
has a solid sense of the ridiculous, and this, along with the
empathy he creates for his characters, makes for some fine bitter-sweet film-making.
The final film I viewed for
this actors-as-directors odyssey
was Tim Roth's The War Zone
Well acted, sensitively directed,
but ultimately a tad too grim and
relentless, this desperate tale of
incest and crappy real estate suffers from a lack of the humour
and irony that saves Gary
Oldman and Steve Buscemi's
films from a fatal case of the doldrums. As these other actor-directors have shown, dark material
is best served up on a platter
garnished with dollops of
humour and hope, both of which
are absent from this grey
requiem.   Ray   Wins
s Filr
nincj i.
the kid, Noah Flei
end, and s
many missteps and humiliations
will have you cringing in anticipation of the shame to follow.
The scenes in which Buscemi's
character clumsily seduces his
14-year-old almost-niece (played
by the always excellent Chloe
Sevigny) or begs for a final,
redeeming chance with his just-
given-birth ex-girlfriend are wonderfully horrible to watch, and,
like the film as a whole, what
makes them work is the light,
>uch with which the
i played out. Buscemi
does another fine turn her
do the rest of the cast, but the
mood of the film is just too bleak
for any emotional connections to
be made. An earnest documentation of suffering stands as much
chance of losing its audience to
alienation as it does of garnering empathy for the tragedies
undergone, and in The War
Zone the former is true. Faced
with so much unhappiness, I just
couldn't care in the end.
Well, I hate to end on a
downer, but that's just the way it
goes. The always effervescent
Tania Bolskaya will be back to
amuse and entertain you next
April. '•
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This, I like. We had it on playlist
for a while and I started to get
into it. Then it went into the
strange world of archiving and I
lost it for a while. But, like all
good things, it returns.
Adriane Prat is a local gal
with a really good ear and some
obvious electronic talent. Unlike
a lot of "new" artists dealing
with this "new" medium,  she
focused on turntablism, or funky
ass rhythms, or super I'm-float-
ing-in-space-and-isn't-it-pretty sort
of music; although the titles of
her songs do seem to suggest
that that's where we're heading
too — song titles like "Elf" and
"Dream" and "Tender Dove" just
make all my alarms go off and I
think, Oh shit, prepare to be
boarded by the inhabitants of
Kooky Hippie World.
But, thankfully, she is not
from that planet.
She makes sort of a nice balance between ambient and techno While that seems to be an
oxymoron, or at least impossible
same thing — its not. She's got
all the relaxing and ethereal
qualities of "good" ambient, but
she also has the edge from the
electronic side of things to keep
her from floating too far into that
"bad" ambient dimension. The
beats and melodies sort of leash
t to c
3, Id
And she does seem to push
the boundaries of "what a song
should be." My personal
favourite is the first track,
"Existential," which has enough
blips and sounds to keep me
interested for 9 or so minutes.
An excellent first release.
While I can't yet decipher a distinctive personality that usually
grabs and draws me to an artist,
I think it'll come with time and
practice, and I think when it
does, the music will be stellar.
Anthony Monday
Blood & Mood
(Sugar Hill)
Here it is, kids:/he mid-life crisis
album from Austin's bad boys of
acoustica. Anyone familiar with
the Livers' work has come to
expect a gopclfy. amount of
genre-hopping; Pel unclassifia-
bility. The Ba^.. Livers hav
always had a love-hate relatioi
ship with the bf(l|rass and folk
they? They've never hidden their
punk rock roots, and did a fallacious cover of Iggy Pop's
"Lust for Life" on an early project.
But  this   time,   even   their
The quick and the dead
Rainbows and Robots
(Emperor Norton)
I have no idea who Scanner
and Spooky are. I've heard
their names,  sure,  I've heard
record company felt the need to
come up with a new buzzword:
grasstronica. This CD has two
distinct personalities, but more
like Texas roots and
thrash/punk. Given the Livers'
penchant for experimentation
and Danny Barnes' college training as an audio engineer, the
samples and effects was probably inevitable. Some of the extra
electronic layers enhance, most
distract. At its worst, it becomes
the 2 1 st century answer to 20th
century masturbatory guitar
solos Moby they ain't.
Exactly half the 1 0 tracks on
this CD suck and the other half
range from good to brilliant. The
odd-numbered tracks are, ironically, the easiest to take for fans
accustomed to classic BL material such as Hogs on the
Highway. The even-numbered
tracks, are, well, uneven. Track
2, "I'm Losing," f'rinstance, is a
flatline (as opposed to flat-out)
thrash wannabe. Track 6
redeems itself partially at exactly
1 :20 into the track when the
sampling bullshit ends and the
song begins. (And you gotta
admit the title, "I he Legend ot
Sawdust Boogers," is cool.)
Even those good/odd tracks
could do with some tightening
up. The first 25 seconds of "Fist
Magnet" warn in a samply kind
of way that "you're gonna have
to git over and figure out what
that's all about." Yadda yadda.
Lose that and it's an A-l track.
Best track by far is "Little Bitty
Town." Danny Barnes is in fine
vocal form and nails that getting
old/falling out of love experience: "gettin' older, gettin' over
the hill. I live in a little bitty town
and   all   we   do   is   just  hang
This CD is going to generate
a lot of discussion this year, so
check it out yourself and make
up your own mind. Don't let anyone tell you that you "don't get
it" if you don't dig it all. Chacun
work, Livers, but after programming my CD player to separate
the wheat from the chaff, I'm left
with only half an album.
Val Cormier
Crooked Fingers
(Sonic Unyon/WARM)
Well, kids, for me, it doesn't get
much better than this one. Eric
Bachmann, former singer and
guitarist for North Carolina's
Archers of Loaf, has put out
another solo release, this time
under the moniker Crooked
Fingers. Combining some of
the softer, more melodic electric
guitar bits and gritty, rough
vocals of the last two Archers
albums with the lushness and
fully-orchestrated aspects of his
solo albums (under the pseudonym Barry Black; two of my
ail-time favorite releases in their
own right), this one might well
be his masterpiece. The thing
that I've liked best about all of
Bachmann's projects is his lyrical
talent His voice is capable of
stretching from high-pitched and
sweet to raspy and growling.
Whatever the vocal method, his
words always come out sounding great, and the stories he tells
never fail to make you laugh or
cry. My favorite track on this one
has to be the second song,
"New Drink For The Old Drunk",
where Bachmann tells a tale of
an old drunkard roaming around
town begging for some alcohol
to satisfy his cravings. The lyrics
in the chorus get me every time:
"Hours pass by half-forgotten,
night turns black cause it's rotten,
we slide right to the bottom, our
tongues made out of cotton."
Basically, I think that this is one
very fine record.
Chris C.
I like to pretend that Wild Mood
Swings doesn't exist. If a band
has put out one great album, I
ally care if they put out
it aets difficult when an
is half good and  half
Bloodflowers has some pretty stupid lyrics. "39" is the worst.
Smith sings, "The fire is almost
out and there's nothing left to
burn/I've run out of thoughts
and I've run right out of words."
That fire metaphor's so original!
There's an irony in there somewhere, but it's still a stupid
theme. Being 39 isn't even close
to being old. I can't complain
about the music on this album —
it's very Cure.
One more complaint: the
layout and typesetting in the
booklet. Why they would choose
to make it so unattractive, I don't
know. Smith's photographs are
obscured, and CAPITAL LETTERS
The good parts of this album
make the bad parts tolerable.
"There Is No If..." is quietly sincere, and quite a lovely song.
Smith reverts to his classic parallel lyrical structure, and it works
I realize that writing this
review was pointless. Cure fans
are freaks, and they already
own Bloodflowers. They don't
give a damn about what I think.
They all probably love Wild
Mood Swings, too.
Christa Min
>uld l
when all my friends spout on
about this DJ and that DJ and
when they were last seen spinning their wares.
I know, I know, by admitting
that I don't know who SCANNER and SPOOKY are I'm probably losing my elite status as an
"electronica" geek and my membership will be renounced and
I'll probably never again be
invited to Sonar, or the Purple
Onion, or some equally idiotic
place to watch some guy/girl
play with their records. And
that's just fine by me... I can stop
pretending I know who these DJs
are and get on with my life. I'll
just stick to my limited knowledge and learn slowly who all
these people are and how the
hell to differentiate them for the
next idiot with a fetish for vinyl.
And, you know what, this
record doesn't help me in that
quest. I like it, sure. It was fine,
yeah, great, whatever. But it
ended up being a blur of background dark noise that sort of
made me feel like the recording
knew who these two
ere I'd probably say,
ool, look what this DJ is
levels v.
If I
doing with that DJ's re-mix of the
other DJ." But I don't, and I don't
think that someone should have
to do extensive research just to
enjoy an album. It should be
enjoyable in its own right, and
the research, if done, can add to
it. But it shouldn't be a pre-requi-
site. Perhaps I'm just bitter and
tired, but sometimes it feels like
the DJ culture is a little clique that
stands in a circle and laughs at
joke — and I'm in high school
again and I don't get the joke
and I'm not standing in that circle, or anywhere near it.
Maybe I'm over-reacting,
judging a little too quickly or
rashly, but this album just elicited a few too many reactions
about the progression and future
music that I can't just shut up.
cized from that little club now,
and I'll never again hear about
another DJ coming to town
again. Fine I guess I can stop
saying "Oh, yeah, that one, I
really, I've no idea what the fuck
they're all about and who wipes
their bum for them.
Then I started to listen to DJ
Me DJ You. The rant that had
forced me into "bitter reviewer
mode" was gobbled up by shiny
happy Ms. Pac-man monsters.
Whereas the Scanner/Spooky
CD made me angry and irritated, DJ Me DJ You lit up my day.
An antithesis that brought me
back from the ugly, negative
high I got from the other album.
This one is light and fun and
accessible and full of little
delights that just made me run
out to grab a friend and said,
"Hey, lets spend a fun afternoon
listening to this CD and enjoying
It's awesomely deliciously
fun fun silly willy.
See what I mean? Good
music does not have to be pretentiously cream-filled with attitude.
Down with the oppressors,
but up with DJ Me DJ You.
Anthony Monday
(Ninja Tune)
Good shit. Downtempo hip-hop
that has been spending a lot of
time in my CD player lately. And
it's Canadian! Slick, well-produced, a well-oiled DJ scratching
wax in the production, rounded
beats and a debt to the funk.
Solid lyrics and rhymes slip in on
track 3. There is little out of place
on this album and it's the best
thing I've heard in awhile. It's
moody without being heavy, it's
downtempo without depression,
it's slick without cheese, it's sampled without sickness, it's crafted
is longer than 7 tracks!
Library Nation
(Sub Pop)
I don't know what goes on in the
libraries of their nation, but there
records & apparel
vinyl, cd^& tape^or DJ's
... casual clotfflog
f o r ™|£!j& ^SP^c*- ■
\.. plusjots more !
in£jitif!lng|: evShltickets,
magazines, dj accessories,
Wk, blank
DATs, etc...
-rard St. (at Da\
I *^J2* memory serves, this Seattle twosome (Tobias Flowers and Andy
Poehlman) are up-and-comers in
that city's hip-hop scene, and if
this disc is any indication, they
will soon be seen and heard far
beyond that city's fogscape.
Library Nation is an eclectic mix
of beats and samples and
rhymes and instruments that didn't do much for me the first time
around, but has since grown on
me with ferocity. The crazy horn
sample on "Saturn" has been
with me all week, and none
have been known to deny the
ode to disco known as
"Rollerskate!" I don't know
which one's the DJ, but he shines
no brighter than on "The Evil
Tambourines Theme Song," an
atmospheric journey that instantly turns into jazz and, just when
you're about to latch on to it, a
pop song. I don't know which
one's the MC, either, but comparisons with the Fun Lovin'
Criminals will rain down upon
him if they haven't already done
so. During the good songs, it's
hard to remember that this is The
Evil Tambourines' debut, and
therefore bound to encounter limitations. Asks the critic: What's
with hip-hop songs that only
have one beat? Whose job is it
to cut instrumentals short when
they aren't going anywhere?
Why must producers (even those
with shitty voices) contribute
guest vocals? Why must R V B
chicks contribute anything?
These are tough questions, questions that are going to demand
some serious soul-searching and
head-scratching, but once the
Tambourines realize that they
don't have to do all those things
that hip-hop bands are supposed
to do, they'll be a serious force
to reckon with. Please come to
Funeral Oration is a Dutch
punk band that has been around
forever and sounds different
enough to warrant checking out.
I think they kick ass. I wouldn't
start here, though. Their older
album, Believer, is really good
and probably a wiser purchase
Now, about this album: it isn't a
true discography. It's a two disc
set with the first disc being a
bunch of old 7"s and album
leased stuff. The second disc is a
live studio recording of a whole
bunch of crap that actually
sounds pretty good. There is definitely some awesome stuff on
this album, but, like I said
before, start somewhere else.
Dave Tolnai
Happiness Proof
Haco has compiled a collection
of eccentric and mature songs
on this, her second solo release.
From Osaka, Haco is well
known in the Japanese underground for her part in the neo-
psychedelic group, After
Dinner. She's been releasing
music in one form or another
since   the   late   '70s.   Having
impressed by her genre-hopping
sound and distinct voice, Haco
sometimes sounds like Kate
Bush (in Japanese, of course)
, at ti
, like o
• of
those Miranda Sex Garden
banshees. Despite the fact that
her voice draws comparisons to
more traditional Western-style
comparable. The tracks on this
album range from pure experimental tinkering with drums, keyboards, guitars, and samplers,
to shoegazing drone accompanied by Haco's story-telling lyrical style. Although a little difficult
to find this side of the Pacific,
Happiness Proof is worth the
hassle indeed. The album title
speaks for itself.
Robert P. Willis
Bam Bam Bam Bam
If you're a sound junkie looking
for '50s-style, hip-gyrating hi-fi
pop, then a dose of the malt-
shop surf ditties of Junior
Varsity might remedy the blues
of your digital tray. This three-
person band has packed some
unique outer space madness
into a little foot-tappin' package.
You can't help but get ding-
dang-doozied by these bitchin'
cuts. In fact, I guarantee that
its own and begin boppin'
along. The Junior Varsity sound
returns the listener to a time of
Saturday morning cartoon innocence and delivers a delicious
bubblegum beat. Junior Varsity
is a cherry pop refreshment for
the jaded commercial soul —
highly recommended.
Howie Choy
Space Launch For Frenchie
People seem to be getting very
excited about this ambient
soundscape stuff. I'm interested.
Really. But not when it is done
badly. Crescendos do not automatically make music dynamic.
Increasing the tempo does not
necessarily increase the intensify. Reverb does not instantly create a soundscape.
Kinski is attempting to
build a "wall of sound," but
their wall is a rejected piece of
plywood that they try desperately to hold up. To keep with
this stupid metaphor, ideally, the
wall would be built and not just
thrown up; it would be layered
instead of flat and thin.
The only redeeming quality
in Kinski is Lucy Atkinson's bass
lines. They oppose the rest of the
band's bad notes and rhythms.
Sister Sonny is quite a
bore. At least I actively dislike
Kinski. Lovesongs just made me
tired. Sister Sonny tries to create
an environment instead of a
wall, but they can't do it. This is
not to say that they're bad, but I
don't think they succeed in what
they're trying to do. If I were eating a meal and Sister Sonny
was playing in the restaurant, I
would barely notice. They're not
bad enough to make me stab
utensils in my ears, but they're
not good enough to make me
listen. They are made for the
Christa Min
Front madman Kurt Wagner
sounds for all the world like he
is yearning to communicate
something desperately and sincerely important. This impression is magnified by the help of
many truly gifted band members. Often 1 2 or more play on
Lambchop albums and always
in a heart-wrenching and quietly
orchestrated fashion. But study
the lyrics and find yourself in the
scratch your head mode. What
Wagner is usually communicating is merely a surreal beauty.
This solid ensemble of Nashville
nuts continue with Nixon to
build an impressive catalog of
releases, all heavily inspired
and sounding something like a
country fwee-pop genre all their
own. It's not hard to come to the
conclusion that Lambchop is
pulling the wool (no pun originally intended) over our eyes,
that this is irony perhaps. But
looking for clues of tongue-in-
cheek from Wagner is like trying to find sanity in Syd Barrett.
It's a secret that probably does
not even exist — so just listen
and enjoy.
Heaven Ain't Happenin'
This month seems riddled with
ex-member releases. The
Lapse is no exception, consisting of Chris (Native Nod, The
Van Pelt) and Toko (Blonde
Redhead, The Van Pelt)
Beyond past accomplishments
these two are definitely up to
something interesting. The songs
on Heaven Ain't Happenin'
deviate greatly from each other,
some sounding reminiscent of
The Van Pelt, and others sounding, urn, like The Lapse? There
are even a few acoustic, ballad-
type songs belted out by Chris.
' duties are split down
l this
which works nicely, in my opinion, as both vocalists have voices with ample amounts of
character. If you are in the
mood for a strange juxtaposition
of well-fitting music, buy this.
Jay Douillard
Mary Lou Lord/
Sean Na Na
(Kill Rock Stars)
Spring is in the air, I'm wearing
my heart on my sleeve like the
gaylord that I am, and I'm craving cheesy, sappy music. It's a
good thing that I picked up this
CD: it fulfills my need for silly,
poppy music, especially since I
think my roommates are gonna
kill me if I play Hatful of Hollow
one more time. This release features six songs total, three by
either songwriter. I hadn't heard
of Sean Na Na before (cause
I'm not actually a hipster, indie
rock kid) but I really dig his random lyrics. And, well, I'm
assuming everyone knows
Mary Lou Lord and her folky
sound. I like that she sounds all
country on "Bang Bang"; not
like that lame new country, but
real country. Yeah. Not bad for
a couple of indie rockers.
tesla van halen
(Words and Works)
An Austin, Texas instrumental,
post-rock, guitar/drums duo,
Pavo sounds, to me, a whole
Beans:    the
drenched guitar melodies, the
same stuttering, clumsy drumming, and the same minor chord
rock-outs that the Beans provide
can all be heard on this CD.
Much like most other post-rock
albums coming out these days,
the tracks aren't especially dissimilar to each other. This is
probably because the lack of
vocals makes it difficult to establish differences between songs.
Still, there are some very decent
guitar-plucked textures and
melodies   on   Pavo,   and   the
drums battling it out on some
songs makes for a more unique
sound than you might imagine.
This is a worthwhile listen, especially if you're itching for :
thing to fill the void that Gastr
Del Sol left when they called it
Chris C.
Dongs Of Sevotion
(Drag City)
I know, I know — everyone
loves Smog. Nobody wants to
hear me rant and rave about
how wonderful a musician and
songwriter he is, no matter how
cleverly I package the flattery.
s this
you won't be able to avoid
gushing, kind words from myself
and others. The best part of it is
that all the praise is utterly
I wasted my first listen of this
record by trying to compare it to
Knock Knock, the last Smog
album, and the one that made
me weak in the knees last year
for months on end. The reason I
say "wasted" is that this record
is so very different from what
came before; Bill Calahan rein-
album he creates. Trying to find
a "better" or "worse" song, or
style, is pointless. It's all wonderful.
I must admit that, at first listen, I was disappointed. I took
an instant dislike to "Dress Sexy
At My Funeral," writing it off as
a silly song. Strangely, by third
listen, I had already mastered
the lyrics and was more than
happy to sing along. Same goes
for the rest of the album. Every
toonie tuesdays with
d] mike alleyne (funk,
etc.) special $2 menu
'funk with a facelift"
featuring various
funk groups
*|azz with an edge"
featuring various Jazz
fusion groups
the Cheryl hodge
samba night
with d) Izzy
Wednesday, april B
funk night with threat
from outer space
thursday, april 6
Jenny gait
the John roper trio
friday, april 7
the bob murphy trio
bunco & the single
malt quartet
Saturday, april 8
the springer
ducommun group
the llbeatos
the brad turner
friday, april 28
the alita dupray
3611 west broadway
7 3 8.1959
'cafe opens at 8 pm
Thursday 6th 9:30pm
Friday 7th 1000pm
Saturday 8th 10:30pm
MAT Tuesdays
$1.49 Wednesdays
19E song is now firmly embedded in
my memory, and I catch myself
singing snippets all over the
place. I do have to admit that I
have a favourite song already:
"Bloodflow," an amazing tune
complete with Jonathan
Richman esque guitar (you
know, that really happy stuff)
and some chanting at the end
by the Dongettes. The last song
of the album, "Permanent
Smile," is so beautiful that it
creeps me out — and ii should,
as Calahan is singing from the
perspective of a man talking to
God and singing of death.
Please, people, if you do
not already love Smog, learn to
love him. This new album is
wonderful in so many different
ways, as was each one of his
many previous releases. If that
doesn't sell you, he dated Cat
Power So there. He really is
the coolest guy in the whole
world, ever.
In Too Deep Again
This CD kicks off with some
blazing guitar work and keeps
1 stellar
This is what rock V roll should
be all about: loud and obnoxious. The production on the latest Spitfires disc is
hands-down better than on the
band's 1998 release on Sonic
Swirl, but nothing is taken out of
the mix that doesn't dismiss the
fact that the Spitfires are currently Vancouver's best live
band. The songs are all memorable, especially the title track,
and my favourite, "One Good
Reason," that tears along in wild
AC/DC fashion. I like the fact
that the band has managed to
capture the energy of its raucous
live show on CD. Drummer Ryan
Seven and bass player CC
Voltage lay down a thunderous
rhythm while guitarist Dean Oh
beats the hell out of his guitar,
leaving singer Jason to scream
his banshee lungs out. With the
addition of new guitar player
Dave Patterson, who doesn't
play on the CD but has added
a dangerous cool to an already
entertaining live show, the band
seems on the verge of great
Kevin Keating
An over-easy, well-done ambient/ethereal d'n'b CD-EP.
Sweet Trip are grabbing a
style of their own that is somewhere between early Orbital-
ish techno, dripping "sweet"
Autechre and Aux 88 elec
tro. There is an overall pasty
layer of Higher Intelligence
Agency that gives the whole
sound one of relaxation: San
Francisco on a sunny morning,
warehouse alight with sweating
bodies meeting the sun, single
triggered MIDI Juno 106's
blending with the insistence of
the signifying chain. The sounds
ZD +^2000
sequenced, and not immune to
melody. A very good EP, one
that I would pop in easily after
HIA's Colorforms. I anticipate
the full-length with comatose
Formerly of scream-o math-rock
band Rodan, The Sonora
Pine and Retsin, Tara Jane
O'Neill brings her soft voice
and even softer guitar pieces to
this solo record. A somber mood
is presented throughout, and
some dark, jazzy chords and
notes in combination with Ida
Pearle and Karla Schickele's (of
Ida and Beekeeper, respectively) delicate strings and piano
parts make for competent-sounding musicianship. The lyrics
seem personal and sad, and
definitely add to the intended
mood of the record. You might
well catch some of the difficult
time-structures that Rodan were
famous for, but this album has
little or none of the older band's
aggression. It's all sparse, quiet
gloom on here, boys and girls.
On the whole, I think that
Peregrine is neither the best, nor
the worst project that Tara Jane
O'Neill has been a part of. Still,
I would probably buy some of
her other band's records before
purchasing this one.
Chris C.
Little Lost Soul
Matt Elliot is an alumnus of
English guitar-scapers Flying
Saucer Attack As The Third
Eye Foundation he has,
sheer quality alone that makes it
an essential purchase. This truly
innovative and visionary album
is a mocking laugh at all the
dreary instrumental indie-rock
and trite electro-kitsch masquerading as futuristic experi-
mentalism. Its translation of
clamorous technical complexity
> simple emotional impact is
moved away from six strings
towards a state-of-the-art, sample-based sound. Throughout he
has maintained his idiosyncratic and affecting aesthetic characterized by a disconcerting
marriage   of  garishness   and
TEF's debut Semtex simulated the sort of drum 'n' bass-influenced work My Bloody
Valentine had allegedly been
recording — skittering beats battered against dissonant guitar
storm. More recent works have
expanded on MBV's solitary
sample-based miniature
"Touched." Meanwhile, Elliot's
acclaim and popularity have
grown to a degree remarkable
for someone whose work reaches formidable peaks of intensity.
Advance reports suggested
Little Lost Soul would represent a
mellowing of the Third Eye
sound. In fact, although this is
Elliot's most tasteful and simply
beautiful work to date, the sheer
density, otherworldliness and
fevered, polytonal rush of the
noticeable stylistic shift is a
greater emphasis on ornate
vocal samples, evocative of
"Vinnie Riley" by The Durutti
This is probably the best
Third Eye LP yet, but it's not
of a n
ing the potential of his chosen
instrument. With every piece of
ripe for sampling, Matt Elliott's
only potential limitations are his
technical ability, courage, and
All the evidence suggests he
is not even remotely inhibited in
any of these regards.
Sam Macklin
A solo album from the frontper-
son of colourful US indie-rockers
Helium raises certain expectations. On first listen, Mountains
is disappointingly unobtrusive.
It's got plenty of good tunes and
cool sonic flourishes but it lacks
rhythmic energy or anything
forceful enough to make it immediately memorable. Boy is it a
grower, though!
The album's understatement
is actually a large part of its
charm. Timony admirably rejects
hysterical expressionism in
favour of a dispassionate deliv-
emerge organically from the surrounding music. It's helped
along by her remarkably imaginative way with harmony, structure and arrangement. These
songs are certainly not as conventional as they initially appear
and represent a subtle display
of daring and imagination that
many lesser musicians could
learn a great deal from.
A couple of negative criticisms do spring to mind: first,
one can't help but wish she'd be
a little more demonstrative occasionally. Second, is there anything on here that she couldn't
have done with Helium?
It's a bewitchingly idiosyncratic piece of work nevertheless, that has more in common
with Nico and Jefferson
Airplane than anything on the
contemporary   left-field    rock
Kahimi Karie on their last two
North American tours, first as
Gilles and then as Toog. If you
are familiar with Momus' work
of late, perhaps you can imagine the "analogue baroque" that
tweets through Toog's 6633.
Toog's take is even more French-
twee. A real nightmare for your
average homophobe, ya dig?
English lyrics are provided for
folks like me and they reveal the
prose of a thoughtful artist, or
perhaps just the ramblings of a
drama-queen. Having said all
that though, there is much on
this disc I quite enjoy. Muscle-
men beware!
The Good Jacket
Presents... Vancouver
If you happen to have some
pesos left over from the weekend's sin and debauchery, and
your kitchen cupboard is well-
stocked with Kraft's finest, then I
would recommend that you
spend the remainder of that fun
money on something worthwhile. For a small price, you
can help A Loving Spoonful, a
meals-on-wheels program which
provides nutritious meals to people living with HIV and AIDS,
and get to listen to some brilliant, pop-intellectual sounds
from Vancouver's finest contemporary underground artists.
Vancouver Special, a benefit album released by Mint, is a
surreal journey of musical Zen,
a non-drug-induced meditation
with a bit of kick. The music is
largely hypnotic and mellow —
the perfect soundtrack to
Vancouver's gray and rainy
decor. Yet, despite the depressing, "Help! Help! I'm being
oppressed!" avant-garde feel,
this collection of music is a platter of vibrant, diverse, seductive
beats which becomes clearer
after a brief, self-imposed exile
from the busied traffic of pop
radio. Each artist delivers a well-
crafted, sometimes intoxicating
experience for the mind and
"Jackets Say It Best," and
the CD jacket itself is quite the
noticeable, eyesore lure. This
album will put a smile on your
Howie Choy
And Nothing Turned Itself
Yo La Tengo has now been
together for thirteen years. This
is their twelfth full-length release.
They have stripped down their
sound, got rid of their signature
layers of electric guitar, and
come up with a sound that
focuses on strong vocals backed
up by a solid yet soft instrumental section. This album is the perfect listen for any lazy Sunday
afternoon Set the volume on
your stereo to medium and listen
closely, because you will most
likely find this album strange,
yet powerfully moving.
Mike Davis
,r a cache of rich
hords, weird scales, eclectic
instrumentation, colliding musical opposites and rambling
structures all deployed for maximum atmospheric effect.
Sam Macklin
(Le Grand Magistery)
Would Brel or Gainsbourg have
twiddled with the knobs and
keyboards available to Toog?
Does it matter? Comparisons
probably should not be made
anyway, I mean just because it's
all French doesn't make it YeYe,
right? The Frenchman with the
Gilligan-esque body is actually
Gilles Weinzapflen, a guy who
has accompanie
3617 W. BROADWAY ~ 738-1113
Tuesday, February 15
Wednesday, February 16
Thursday, February 17
Sugar Refinery
I  was  a  walking   zombie  on
February 18. For three nights in
a row, I stayed up way past my
bedtime to take in what was
rumoured to be the music event
of the season.
Tuesday, Sitki: played a
short but flawless set to an
absolutely ENORMOUS crowd.
(Standing room only! Who
knew?) Combining keyboards,
drums (and machines that make
those drumming noises) and intricate guitar work, the band sat
those of us with chairs firmly on
the edge, and had everyone
paying close attention to the
musical feats performed.
Between sets, Industry and
Agriculture had everyone mellowing out to sweet sounds by
such big-named dreamsters as
Yo La Tengo and Low. The
Eye Of Newt Collective
played an intriguing, jazzy set,
adding some horns to the mix
and creating sounds with their
instruments that I didn't think
were possible. Very cool.
Wednesday was a bit less
crowded, but still the place to be.
Saul Duck played a solid (if
slightly too long) set full of repetitive riffs and tight meanderings
into the dreamier part of math-
rock. Loscil made music I didn't
recognize, but it suited the night
entirely. The highlight of the
evening was definitely The
Secret Three, playing new
material that blew my mind. The
addition of a second guitarist
has done wonders for the band,
adding some misbehavin' to the
sit-down antics of the band. The
fuzz-rock on top of post-rock was
like chocolate sauce on icecream. So good!
Thursday, P:ano fought to
be heard above the room's many
conversations, but the quiet har
monies that made it to my ears
were wonderful. A two-piece
with lots of equipment and little
short, sweet songs, providing the
only vocals of the entire festival.
Their set was utterly charming,
and I'd love to see this band
again. DJ Stereo 8 was the
man behind the turntables this
night, and he played more familiar bliss-out tunes to drink
smoothies to. The festival came
to an end with an amazing performance by The Beans, full of
everything good about post-rock
instrumental music. Everything
came together perfectly for the
band's set — all the musicians
were in top form, whether rocking out or just rocking back and
I can't tell you how it all
ended, unfortunately, as I
skipped out a few minutes early
to go home to bed. My nights of
sleep deprivation were highly
rewarding, and I wouldn't
change the music-induced daydreams experienced at the show
any day. Ahh.
beautiful n
Friday, March 3
The Brickyard
Some nights I really need some
grit. Not obvious roll-in-the-gutter
punk, not contemplative after
hours one-string blues, definitely
not unremitting beat box action,
but music that scrubs the wax out
of yer ears; music like bourbon
over gravel in a dry county. The
Knoxville Girls are all that
and a bucket of chicken. The
Girls are the all-male line-up of
Kid Congo Powers of Cramps
and Bad Seeds fame, former
Boss Hog member Jerry Teel
(who currently plays in Little
Porkchop with fellow Knoxette
Jack Martin), Bob Bert who's
drummed with Sonic Youth
and Pussy Galore, and emo-
scenester Barry London. Yeah, I
know what you're thinking, they
probably all drank at the same
bar in New York for the last 15
But nevermind their over-publicized history. Friday night people squeezed into the Brickyard,
where local boys Jerk With A
Bomb delivered the right level
of appetizer grit while we
cruised the crowd and played
name-that-Vancouver-punk-alumnus. After CiTR's own Nardwuar
the Human Serviette screeched
his way through the introductions, the Knoxville Girls sauntered on stage and kicked into a
garage-raunch rock-a-billy cow-
punkola set that lived up to all
expectations. Jerry, Jack and Kid
Congo formed a line of beautiful
cadavers with guitars; the Kid
especially casual as he slid into
some perfectly distorted bottleneck style. All three took turns
singing, some songs hard and
fast, some lowdown and dirty,
mostly original tunes off their self-
titled debut album with a few
jndards like One Kind Favour
Judging   fro
may have indulged in a little ido
worship, but I was stoic unti
Jerry Teel started singing abou
black-eyed   peas  and  collard
in his
and I had to join in on the "yeah,
baby, yeah."
In the end, the audience only
lasted for one encore, which
was, sadly, too short, but I left
with that slide guitar riding my
spine and the knowledge that
rock and roll can still save yer
Anna Friz
Saturday, March 4
Picadilly Pub
I missed Wheelie. I had called
ahead to find out what time they
May Issue
Book: April 19th
Art: April 25th
Streets: April 28th
dial maren @ 604.822.3017 x 3
were playing and was told 10
pm I arrived at 9:50 only to see
the guys packing up their gear.
Bummer! I do know that Wheelie
has ex-members of Tankhog
and The Pasties and, by all
accounts, did a hard-rocking set.
After a beer or two, Seattle's
Backstabbers took the stage.
These guys looked barely old
enough to be in the bar, and
their youthful exuberance was
the only plus of a sloppy set of
punk rock.
Bernie Pleskach, Dave
Patterson, Stephen Hamm, and
Terry Russell are The
Orientals. I'm sure they're managed by a Tommy Lee or a Bruce
Chow, but that's another story.
These guys put forth some seri-
warts of the local music scene,
Hamm and Terry drive a very
cool rock 'n' roll band that
enjoys playing as much as the
front of them. See this band in
April. Trust me.
Kevin Keating
Sunday, March 5
Performance Works
Subtitled "an ironic and witty
cabaret exposing the seven
deadly sins," this little soiree was
as interesting for its failures as it
was for its successes. Whether
intentionally or not, it attempted
a hybrid that just didn't work.
Too loose to be a contemporary
dance production and too self-
the show had me feeling fwitchy
and disgruntled pretty much from
the get-go.
Cabaret is probably the
most arch and, at the same time,
innocent of theatrical forms and
to simulate it is to blunt its potential for subversion. It's also condescending   to  the  audience.
Of the three main performers
(Andrew Olewine, Lynne
Sheppard and choreographer
Joe Laughlin), only Olewine
seemed completely at home in
the cabaret format. As the MC,
he was the show's heart and he
blazed. The character he created was wise and inflammatory
— a fetchingly vulnerable soul.
One moment I wanted to bonk
him, the next I wanted to pour
out my troubles and ask for his
advice. He's also one hell of an
interpreter of various chansons.
Never thought I could forgive a
man (even one in andro-drag) for
covering Marianne Faithfull s
"Why'd Ya Do It?", but I
absolved him instantly. Laughlin
and Sheppard are also powerful
performers, but many of their
dance sequences felt like a part
of a separate show, and I had to
keep shunting myself out of the
one at hand to give them the
appreciation they deserved.
And then there were the supporting players: a drinks waitress
who was really a gymnast waiting for her turn to go on stage
and a "hostess" who spent the
evening barging rather aimlessly through the audience. The
gymnastics caper was so golly-
gee that I wasn't sure whether to
clap or hold up a number. A pity,
because those walkovers were
straight out of Blade Runner and
could have been used to wonderfully insidious effect had they
occured more randomly throughout the show.
Jean-Philippe Trepanier did
a laudable job with his ominous
lighting design. A disconcerting
follow-spot would suddenly whip
around and graze our heads like
a wartime searchlight. One
never felt entirely sure where to
look until something was already
happening. In cabaret, this is a
good thing.
And how about that band?
The Hard Rubber Orchestra
was tight, loose, and perfect.
Evocative and. versatile, they put
out everything from arena rock
to skronky jazz plus enough
echoey junkyard plinkings to
shake a Tom Waits CD at.
And the seven deadlies?
Except for the obligatory Lust,
they were never really alluded
to. But that's okay. I'm a great
fan of the oblique approach. The
end, you see, was so meaningful that it was almost shocking in
its unexpectedness. In a punishing piece of physical theatre,
Laughlin and Sheppard stripped
Olewine of his costume, literally
and metaphorically. He became
the innocent whom they would
crucify for embodying love.
"Love is an injured angel..."
began a gorgeous piece of spoken word. Not considered a sin
in itself, love is the reason all sins
are committed, it seemed to be
saying. It didn't quite pull the
evening's motliness together, but
tie me up and call me bleak if it
wasn't the best part of the show.
Penelope Mulligan
Friday, March 10
Railway Club
Finally, a room to match the personality and sound of the coolest
roots-rock band gracing our local
these guys in venues ranging
from the Christchurch Cathedral
to the Pic to the Arts Club
Lounge, but the Railway's the
Even with the absence of
smoke (in the Railway? who'd a
ever thunk) this downtown oasis
for the chronically underemployed, underloved, and confused was the perfect stage for
the Gospel According To
Bocephus. Everybody digs a live
Bocephus King show, from the
cynical drunken regulars to the
giddily drunk out-of-towners.
("Bocephus... wasn't he like an
Egyptian god?" asked an inebriated Kiwi at the next table)
The band was still energized
from a successful Euro tour and
pulled out tried-and-true crowd-
pleasers like "Digging My
Grave" (with a jazzy excerpt
from "My Favourite Things"),
"What Am I Doing Here" ("even
though we're tired of this song")
"Josephina," from their upcoming CD.
I've always been bummed
that someone doesn't start a
Mardi Gras tradition in this town
to liven up the late winter, 'cause
BK would be the ideal house
band. Bocephus King's time
absorbing the scene in New
Orleans is reflected in much of
his writing and is brought to life
brilliantly by the band, most
notably the light touch of drummer Dan Parry.
A highlight of any Bocephus
King show is the moment in the
night (usually late) when
Bocephus    and    his    sidekick
of thei
and-response rants where Darren
quickly repeats whatever
Reverend Bo has just said. Just
like being in a Southern Baptist
church gone bad. Real baaad. I
don't remember what the hell
they were on about (likely some
movie, another BK passion) but
that's not important.
Live at the (sugar refinery)
Sunday April 9 / Monday April 10
8:30pm        / 9:30pm
Tix: $10 in advance, available O
Highlife, Scratch, Zulu Jfe the (sugar
refinery). Info: 893-6519
WIN A YAIR Or TICKETS TO SEE THE BOBS!!! with a fab rendition of the Purple
One's "Little Red Corvette," complete with a story in the middle
involving love, a video store, and
strippers who've seen better
days. Long live the Purple King!
Val Cormier
Friday, March 10
The Marine Club
If the turnout for this first night
was any indication, two things
will have happened by the time
you read this: the Good Jacket
Presents...   Vancouver Special
concert series will be over, and
the series will have raised quite a
bit   of   money   for   A   Loving
This show marked Thee
Goblins' second show since
Nardwuar's recovery, and things
were a little rusty. Not Thee
Goblins, whose keyboard-and-
drums shenanigans were just as I
recalled from the last time I saw
them — the people out of practice were the audience members.
In the space of a few short
months, we had almost forgotten
that Mario Cuomo works at
Domo. Fortunately, the audience
woke up, started participating,
and had so much fun that not
even the Gothblin could put a
stop to it.
It would be easy to shrug off
The Riff Randells as three
well-dressed girls (and an equally well-attired guy) with instruments and a thing for The
Ramones. This, however,
would be missing the point: The
Riff Randells rock. While their
lyrics may be a tad on the simple side, it doesn't matter,
because they have stage presence and seem to be having a
good time as well. To paraphrase Rock and Roll High
School, The Riff Randells are
songwriters, not groupies.
Someday, they might be great.
During a seemingly endless
intermission, The Ewoks took
the stage and played a song.
Their garage-y organ, drums,
and guitar sound was quite the
pleasant surprise.
Also surprising, but not in a
good way, were Pepper
Sands. Weren't they fronted by
two females, poppy, and, well,
consistently enjoyable at one
time? The band that was onstage
tonight, however, sounded like it
might as well have been called
The Matthew Good Sands.
Fortunately, some songs that
sounded like the Pepper Sands
of old made the set list, affirming
that y
s the &
e band.
And   yes,   these   songs   were
appreciated, albeit by an ever-
dwindling crowd.
Cat Moore
Saturday, March 11
No, I am not falling out of love. I
just need to be honest. This show
was not the best thing I have
seen in the last million years, or
even the last few months. Mr.
Phelps, you need to start your
shows so much earlier! Or, if that
plan is not to your liking, don't
bring along bands like Kinski,
a rather trying act which played
for much too long. Damn I
mean, Phelps didn't even get to
finish his set before they turned
the lights on!
True, the show got off to a
late start. Arriving at 1 I pm, I
was in time to catch FCS
North's first song. I had heard
their 1 2" release, but was unprepared for the awesome musicianship that I saw The band is
quite strange in that they make
music that you might hear in an
electronic club — all danceable
and stuff. The drummer was
amazing to watch because of his
mad skills, and the bassist...
well, he just kept making funny
faces while alternately twanging
or pressing sampler buttons. This
was more exciting than your
usual post-rock show — there
was some definite action goin'
Oh, Kinski. You look nice.
You have lots of pedals. My
friends Randall and Scot love
you. The rest of my friends, I
learned, DO NOT. I just thought
that the set was boring, and
much too long. Wall of sound,
wall of fuzz, wall of hurting ears,
wall of watchers waiting for the
When Phelps finally took the
stage with his band, The
Downer Trio, it was to some
immensely annoying catcalls,
and some lame dancing girls at
the front. Was it a Kinski crowd,
I wonder? Anyways, someone
yelled during the quiet bit of the
first song, and threw everything
off wonderfully. I really hate people when they mess up good
music. Once things were sorted,
the band managed to piece
together a fairly strong set, the
best part of which was saved for
last. During the final song, the
drummer from FCS North joined
the Downer Trio's drummer on
stage, on the same kit! I am a
big fan of drumming feats, and
it's hard to beat four sticks beating down upon one little drum
kit. Ah... truly fantastic.
Unfortunately, that's where it all
ended — the lights were turned
on, and we were hustled out.
Stupid two am. Maybe it's the
curse of Joel Phelps; last time he
played until 2:30 (after sound
difficulties). Better luck next time,
if ther
magic show, but Phelps always
has the power to pull out a few
musical tricks.
Friday, March 17
King Cat Theater, Seattle
It's been one of the busiest days
in recent memory, beginning
•vith filling-in for a radio show in
the rr
in the afternoon and then the
drive down to Seattle to see two
of the most impressive working
bands. Now I'm surprised how
well everything has gone off.
Not my kind of luck, ya know. I
stand in line at Seattle's King Cat
Theater [theatre to Canadians)
for nearly 20 minutes. Someone
in line is talking about travelling
down the coast to see 3 more Yo
La Tengo shows. I'm originally
from Seattle but don't remember
any bands playing here before.
When I get to the doors I ask if I
am on the guest-list and am
informed that that is another line
altogether. Back in line.
Fortunately my friends (who
have come all the way from
Merritt, BC) have already located some groovy-ass seats. Right
away I see Yo La Tengo's Ira
Kaplan conversing with a couple
of Sleater-Kinneys and I butt
in. I ask Ira how the tour is
going, how he likes touring with
Lambchop and I tell him that I
think they are so good that they
bring tears to my eyes. Then I
feel like a dork and say "but I
guess you hear that sort of thing
all the time." "Well I never get
tired of hearing  it,"  Ira  says.
The stage has to be as large
as it is in order to hold the 12
Lambchops and all of their hard-
Hammond organ, plenty of
drums, Sax, horns, steel guitar,
vibraphone and some percussion
consisting of a line of hanging
open-end wrenches and an old
Everything comes together with
lush, swooping melancholy just
a-drippin' of the stage. By now
Lambchop have accumulated a
vast catalogue and, considering
that they could be headlining
their own shows, the set was
rather short. Kurt Wagner's
smooth and sentimental crooning
about topics ranging from the
surreal to the wretched break the
ice for an intimate night.
Eventually along swaggered
the 3 cuddly unmade beds
known as Yo La Tengo. Things
began in a grandiose fashion as
Ira, James and Georgia mor-
phed the room's atmosphere with
the new album's 17-minute plus
"Night Falls On Hoboken." Ira's
guitar feedback experiments
revealed a beautiful chaos which
would be revisited now and
again throughout the evening.
The band was then joined by
Mac MacCaughan (Super-
chunk) and David Kilgour (The
Clean) for the remainder of the
night, helping out with extra guitar and keyboards, etc.
The new album was represented in a major way here but
some older material hearkened back to years gone by.
Unfortunately, some great stuff
off of Electr-O-Pura and I Can
Hear the Heart... was MIA.
I couldn't help but conjure up
images of Sonic Youth and
Marty McFly when Ira would
declare World War 3 on his guitar, and I pitied everyone who is
ignorant of the greatest band
since The Velvet Underground.
Seeing most of Lambchop
return to join in on "Little Honda"
make a cynic believe  in  the
magic of pop-fantasies again. I
wished I could sit there and listen for the rest of my life.
ZL  tuftM*
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, "April" charts reflect airplay over March). Weekly charts can be received via e-mail. Send mail to
najordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*
1 VI
april long vinyl
2 kid koala
4 peggy lee band
5 destroyer
6 beekeepers
8 spitfires
9 smugglers
10 bowery electric
11 loud
12 do make say think
15 yo la tengo
16 tied + tickled trio
17noam chomsky
18 arling and cameron
1° swollen members
21 lambchop
26 heatscores
27 dixie's death pool
28 boss hog
29 piggy
30 need
31 air
32 peaches
33kahimie karie
carpal tunnel syndrome
furnace room lullaby
iun niggung
l too deep again
m/.riple crowr
goodbye enemy...
beggars banquet
mr lady
eal ea2 drag city
free market fantasies      alt. tentacles
and then nothing...
c for...
bright eyes
this day won't last.
360 business...
light 'em up!!
beauty sleep
don't stop ihe calypso
the need is dead
teaches of peaches
k.k.k.k.k. Ii
mali maya
emperor norton
battle axe
drag city
in the red
1 smash up derby
2 all girl summer fun bar
5 destroyer
6 midnight evils
7 the spitfires
8 the moves
9 the haggard
10 ersatz/ninetynine
12 tremolo falls
15 ersatz/noggin
16 geoff farina
18chelicamp/j. pernice
19 starlet
20 going stagg
april short vinyl
II the hell!
april indie home jobs
enter ralph wiggum
the block alone
the temple
slick black cat
in the bottle
steely dan
diary & herself
stones' thro
mr.   lady
project icarus
poster girl
2 the birthday machii
3 riff randells
4 spacerock2000
7 the nasty on
8 new hedron
9 hot hot heat
10 not for the crowd
1 1 hugh phukovsky
12 the radio
13 coupon
14 kid kordene
15 david lester
16 sparrow orange
18 full sketch
20 reverberators
lester bangs
heap wonder
tourist in your own town
jesus loves me
crystal blue
in their sleep
the light changed before i could blink
the orange  peeler
bridge and tunnel
el perro loco
what we listened to...
throbbing gristle • red snapper •
stiv bators • bikini kill •
tami hart • dave carnie's reflection
s of my cock • shellac •
technohead (i know, i know...)* nc
meansno • dirty three •
portion control »dmx krew • dee
dee king • do make say
think     •     whining     people
mostly     ourselves)      .
the ouija board's predictions   •
mini-pops • bongwater
top five things the ouija
board left unclarified
1 who
s barbara marrying on monday?   ,
2 who
3 how
s meatloaf going to eat andrea
s cock?
4 how
exactly does "stumpy" relate to
5 why
are we all going to die?
Julie's top five hottest
1 tommy lee
2 that r
yan guy from euphone
3 John
4 rachel from the need
5 marc
from red monkey
flood VaAtty Comic (dill in, ^Kciia...)
■.jda^il<M2A,@h<dmcul. a
ftadcm 2)a Silaa
23 S^SaEBS On The Dial
9:00AM-12:00PM   All of
time is measured by its art.
This show presents the most
the world. Ears open.
12:00-3:00PM Reggae
inno  all  styles  and  fashion.
3:00-5:00PM Real-cowshit-
caught-in-yer-boots    country.
alt. 5:00 6:00PM British
pop music from all decades
SAINT TROPEZ alt. 5:00-
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER  FM     6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
HELLO INDIA   8:00 9:00PM
GEETANJALI 9:00- 10:00PM
Geetanjali features a wide
range of music from India,
including classical music, both
' and Carnatic, pop-
Ghazals,   Bhajans and also
Quawwalis, etc.
THE    SHOW 10:00PM
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl With your hosts
Checkmate, Flip Out & J Swing
on the 1 & 2's
12:30-2:00AM Hip hop
and R&B with DJ Klutch, techno
and house with DJ Decter. Lotsa
great tracks—come smell what
we're cookin'! Stay up late and
VIBE  2:00-6:30AM
8:00AM Spanish rock, ska,
techno and alternative music-
porque no todo en esta vida es
BROWNS 8:00-11:00AM
Your   favourite   brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delights! Tune in and enjoy
each weekly brown plate special Instrumental, trance,
lounge and ambience.
Vancouver's   only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted by
POP SCENE alt. 11:00-
3:00PM Feeling a little
French-impaired? Francophone
music from around the globe,
sans Celine Dion.
5:00PM Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM Join the sports
department for their eye on the
FILIBUSTER       alt.
AUDIO VISUAL alt. 6:00-
7:30PM Critical theory,
debate and dialogue on art
and culture, set to a soundtrack
of breakbeat, worldbeat and
other eclectic sounds.
PIRATE RADIO alt. 7:30-
9:00PM Formerly "Love
Sucks," now at a new time.
EEP-OP-ORP alt. 7:30-
12:00AM Vancouver's
longest running prime time
jazz program. Hosted by the
ever-suave Gavin Walker.
Features at 1 1.
April 3: Evolution by trombonist/composer Grachan Moncur
April 10: Pianist/composer
Andrew Hill with trumpeter
Woody Shaw and drummer
Idris Muhammad.
April 17: The Birth of the Third
Stream: orchestral compositions by Mingus, Giuffre,
Russell and Johnson.
April 26: Pretty for the People
12:00-3:00AM   Hosted by
Trevor. It's punk rock, baby!
Gone from the charts but not
from our hearts—thank fucking
3:00-6:00 AM
SHOW 6:00-8:00AM
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Torrid trash
rock, sleazy surf and pulsatin'
punk provide the perfect scissor kick to your head every
Tuesday morn with Bryce. KIII-
11:30AM-1:00PM Tales of
puppy love gone awry, all
backed up by a sad soundtrack of indie-rock. Cry in your
beer please
2:00PM Poetry, piano and
3:30PM Music for families
and little people.
4:30PM     Featuring     That
fef&ae V«»>Kup
The H-Freahs
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against a{{ o44s
The browms
©mushf hbs me eh®
Reel Music
are you
Fools Paradise
'wmmm imam
pop scene
Tragic Aoiwal
The SEif'SH show
the shake
t>J in o coMa
High on Grass
31999 9HT33 SADDLE
A "W»l,KA«OllT TA.C
s?*' fli'o auiiimzz snow
/Saint Trope*
Queer FM
FwEostSiele Sounds
wsnna dsrmgigi) smm
UfllO Dim
Y6>LK <9ASiS
Live f roiv>...
Tr/(/r/J>ERB/r«> HELL
The Show
moods.grooves and
■v»virw\ vipVcin
M0Rr//r/6 AFTER
?fcOGf* 1*1**0*
k____.._-.__-.__..___....__i — ■._-._ — ____ — _.... — __.-_-.....___ — __J
tf «taa£ zDOO Feminist Collective from CiTR.
10,000    VOICES        5:00-
5:30PM     Poetry,     spoken
6:00PM Activism, issues and
fucking up the corporate
powers that be.
8:00PM Hardcore and punk
rock since 1989.
8:00-9:00PM Greek radio
LA BOMB A 9:00-10:00PM
Spanish music and talk.
alt. 10:00PM-12:00AM
Noise, ambient, electronic,
hip hop, free jazz, etc.
DEN alt. 10:00PM-
12:00AM       loveden@hot-
3:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
3:00-6:00AM 1 00% West
Coast rap. Huge giveaways,
with your host like no other
Shawn Powers.
7:00-9:00AM A perfect
blend of the sublime and
absurd, with your refined and
exotic hosts Jack Velvet and
Carmen Ghia.
10:00AM Japanese music
and talk.
12:00PM Spike spins
Canadian tunes accompanied
by spotlights on local artists.
12:00-1:00PM DJ Hancunt
urges women to get down with
while li
ning h
,   funk,
soul, world beat, disco and
THE  SHAKE   1:00-2:00PM
DJ IN A COMA 2:00-
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
7:30PM Info on health and
the environment, consumption
and sustainability in the urban
context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
7:30-9:00PM sleater-kinney,
. these
of our fave-oh-writ things.
9:00PM   Independent and
from an ex-host of Little Twin
BY THE WAY alt. 7:30-
9:00PM Let's give aternative
media a chance-VIVA VINYL!
7"s new and old, local cassettes and demos.
FOLK OASIS 9:00-10:30PM
The rootsy-worldbeat-blue-
conjunto show that dares call
itself folk. And singer-songwrit-
HAR   10:30PM- 12:00AM
Let DJs Jindwa and Bindwa
Bhungra! "Chakkh de phutay."
HOUR      12:00-3:00AM
Mix of most depressing,
unheard and unlistenable
melodies, tunes and voices.
REEL MUSIC 8:30-10:00AM
Soundtracks   and   classical.
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE    &    MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
2:00-3:00PM Comix comix
comix oh yeah and some
music with Robin.
6:00PM Movie reviews and
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM Roots
of rock V roll.
RADIO     HELL 9:00-
11:00PM Local muzak from
9. Live bandz from   10-11.
11:00PM- 1:00AM
6:00AM Loops, layers and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers, sine.ranch,
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real rock V roll debris.
10:00AM-12:00PM Email
requests to djska_l@hotmail.com.
12:00-2:00PM DJ Splice
and A.V. Shack bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
3:30PM Join your hosts for a
skillet-lickin' good olde tyme.
The  best  in   bluegrass  and
down-home groove.
3:30-4:00PM Have a good
BLACK NOIZ 4ish-5:00PM
Essays, poetry, social commentary, and conscious music
from a Black radical perspective. If you can't take the heat
listen to Z95.
NOOZE & ARTS 5:00-
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa & African music
from around the world.
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
SHITMIX alt 12:00-3:00AM
The Shitmix council convenes
weekly. Chairman: Jamaal.
Correspondents: DJ Marr, the
delicious yet nutritious Erin,
D.C. Cohen, the Rev. Dr. K
Edward Johnson and Wine-
Jug Hutton.
SHOW 3:00-8:00AM
8:00AM- 12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket give-
aways.8-9AM: African/World
roots. 9AM-12PM: Celtic
music and performances.
SAREGAMA 12:00-1:00PM
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Anna,
Jim and Paul.
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
1:00 AM
TABLETURNZ alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out. —Guy
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
10 years of homebass
the west coast's original techno show
celebrates ten years on CiTR, 101.9 FM
listen in fridays in april for special guests and prizes,
including concert tickets, CDs, t-shirts, Boomtown
gift certificates, and much more...
april 7: robert shea (map music) — an eclectic cascade of
inspiring soul-sonics.
april 14: jay zoney — pure techno, straight ahead.
april 21: guest dj to be announced
april 28: stephane novak (pilgrims of the mind) — brings the
month to a close with atmospheric sounds from his own
9 to midnight
every friday
with DJ Noah
&&&&£&&& Datebook
to have your event listed, fax all the relevant
info (who, where, when) to 822.9364,
attention "datebook." deadline for the may
WHAT'S HAPPENING IN APRIL     Issue is April 24th!
FRI    MAR    31     Arthur    Ellis    2000,    Trenchent,    Sex    In
Sweden@Brickyard; Neko Case@Richard's, Tammy Weis Quartet,
Gord Grdina Trio@Jazz Cellar; Trent Harris' Plan 10 From Outer
Space@Blinding Light!!
SAT    APRIL     1     Sense    Field,    By    A    Thread,    All-State
Champio"n@Brickyard;     Backstabbers@Pic;     Cheryl     Hodge
Quartet@Jazz Cellar; Buttless Chaps, Huge@Marine Club; Trent
Harris' Plan 10 From Outer Space@Blinding Light!!
SUN 2 Forty-Fives, Saddle Sores@Brickyard; Lazy Cowgirls, Hell
Caminos,  Nasty On@Pic; Open Jazz Jam Session with Noel
Bennett Trio@Jazz Cellar; Superdogme (SFU Film Processing Bloc
Festival)@Blinding Light!!
MON 3 LTJ Bukem@Sonar; Hard Rock Miners Singalong@Railway
Club; Open Mic Night@Jazz Cellar
TUE   4  Rocketfins,   Big John   Bates@Railway  Club;   Splitting
Adam@Purple Onion; Civil,  The Pie's The Limit & Luna@Blinding
WED 5 Capozzi Park, saul duck, Secret Three@Brickyard; 945,
Rube, Electric Kooland@Roilway Club; Parlour Steps concept show
"Water"@Sugar Refinery; Threat From Outer Space@Jazz Cellar;
Trichy Sankaran@UBC Recital Hall (12:30 pm); Civil, The Pie's The
Limit & tuna@Blinding Light!!
THU    6   Train,   Stir,   Wood@Commodore;   Gluecifer,   Gaza
Strippers@Brickyard;   Butch   Murphy,   Lowbrows@Pic;   Young
Offender, John Wood@Railway Club; Jenny Gait, John Roper
TrioOJazz Cellar; LBS@Marine Club; Workshop in South Indian
Rhythm@UBC Recital Hall (1 1:30 am); We Are Traffic: A History of
Critical Mass@Blinding Light!!
FRI 7 Murder City Devils, Danko Jones, Catheters@Brickyard;
Manscouts of America, JP5, Surrounded by ldiots@Pic; Method
Man, Redman, OutsidazOCommodore; Allan Dobb, The John
Gogo Band@Railway Club; Bob Murphy Trio, Bunco & Single Malt
Quartet@Jazz Cellar; Ray Condo and His Ricochets@Marine Club;
UBC Gamelan Ensemble with I Dewa Putu Berata and I Nyoman
Wenten@UBC Recital Hall (12:30 pm); We Are Traffic: A History of
Critical Mass@Blinding Light!!
SAT 8 Nebula, Zen Guerilla, Spitfires@Brickyard; Bob Wiseman,
Selina Martin, Submission Hold, Ivan Drury (benefit for Poverty
Action Network)@Langley Civic Centre; Clumsy Lovers@Railway
Club; Springer Ducommun Group@Jazz Cellar; :Beluga@Marine
Club; Migs@Sonar; Showdown in Seatf/e@Blinding Light!!
Amsterdam Cafe  302 W. Cordova St. (Gastown) 683 7200
Anza Club  3 W. 8th Ave.   (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Astoria Hotel 769 E. Hastings St. 254 3636
Bassix  217 W. Hastings St. (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Dog Video 3451 Cambie St. 873 6958
Black Sheep Books 2742 W. 4th Ave.  (at MacDonald) 732 5087
Blinding Light 36 Powell St. 878 3366
Boomtown  #102-1252 Burrard (at Davie) 893 8696
The Brickyard  315 Carroll St. 685 3978
Cafe Deux Soleils 2096 Commercial  (the Drive) 254 1 195
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities   1022 Davie St. (at Burrard) 689 3180
Cellar Jazz Cafe  361 1 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC) 822-3017
Club Vesuvius 1 176 Granville St. (downtown) 688 8701
CN Imax Theatre  999 Canada Place 682 4629
Columbia Hotel  303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville St.   (Granville Mall) 681  1531
CNB Skate and Snow 3712 Robson St. 682 5345
Cordova Cafe 307 Cordova St. (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial Dr. (at 17th) 879 0154
Crosstown Music 518 W. Pender St. 683 8774
Denman Place Cinema   1030 Denman St.   (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St. 662 3207
DV8  515 Davie St.  (downtown) 682 4388
Fifth Avenue Cinemas 21 10 Burrard   (at 5th) 734 7469
Firehall Arts Centre 80 E. Cordova   (at Main) 689 0926
F.W.U.H.  Beatty 552 Beatty St. (downtown) 687 7464
SUN 9 Ferron@Norman Rothstein Theatre; Bob Wisen
Snider@Sugar Refinery; Drum Heat 2000 (feat. Sal Ferreras, Fana
Soro, Pepe Danza, Trichy Sankaran)@VCC (3:00 pm); Showdown
in Seafrle@Blinding Light!!
MON 10 Percussion Masterclass (w/Evelyn Glennie)@UBC Old
Auditorium (11 am)
TUE    1 1    Type   O   Negative,   Coal   Chamber@Commodore;
Beachwood       SparksOStarfish       Room;       Society      of      the
Spectoc/e@Blinding Light!!
WED   12 Cunt@Railway Club; Los HabanerosOJazz Cellar;
Society of the Spectac/e@Blinding Light
GIT@FUNKY PLANET; Radiogram (CD Release Party)@Railway
Club; Zen, Merlyn's Engine@Marine Club; Ivana Santilli@Sonar;
Eye of Newt Collective, Judith of Bemu//a@Blinding Light!!
FRI   14  Bobby Conn,   Destroyer, July 4th Toilet@Brickyard;
Libeatos@Jazz Cellar; Waltz Darling, Wasabi Shooter@Marine
Club; Miranda July's Nest of fens@Blinding Light!!
SAT  15 Orchid Highway, Run Chico Run@Railway Club; Hard
Rubber Orchestra's The Ice Age@Kerrisdale Arena; Buzzards,
Rockin    Daddys@Marine    Club;    Miranda    July's    Nest    of
TensOBlinding Light!!; Pilgrims of the Mind@Neptune Soundbar
SUN 16 Miranda July's Nest of 7ens@Blinding Light!!
MON 17
TUE 18 Animal Charm@Blinding Light!!
WED    19   All-State   Champion,   Holden@Brickyard;   Animal
Charm@Blinding Light!!
THU 20 Shiner, Radio Berlin, Red Light StingOBrickyard; Robert
Wilson Trio, Basso Solo@Railway Club; Stone Escher@Marine
Club; The Flicker Tour with Norwood Cheek in Person@Blinding
FRI 21SNFU@Commodore; Beekeepers@Railway Club; Brad
Turner Quartet@Jazz Cellar; George Kuchar's Chiggar Country
and 7Vnse/town@Blinding Light!!
SAT 22 Supersuckers@Brickyard; Patti Smith@Commodore; Jack
Tripper@Railway Club; Reverberators, Metalunas@Marine Club;
George Kuchar's  Chiggar Country and   T7nse/fown@Blinding
Light®!!; Hanson Brothers@Graceland (Seattle)
SUN      23      Deadly     EmbraceOBIinding     Light!!;     Shelby
MON 24 Giant Sand, Radiogram@Sfarfish Room
TUE 25 Superstan@Blinding Light!!
WED 26 Headstones@Commodore; Orientals, Blackouts@Brickyard;
SuperstarOBlinding Light!!
THU 27 Fleshtones,        BeekeepersOPic;        Wafflehed,
Uberband@Railway Club; Raft of Medusa, Dismisal, Vuggi, 454
Super Sport@Marine Club; Just Say No@Blinding Light!!
FRI 28 I Braineater Cabaret@Brickyard; Roswells, Minimalist Jug
Band@Railway Club; Alita Dupray Quartet@Jazz Cellar; Evil Roy
SladeOMarine Club
More Vinyl Than Anyone Needs
Miranda July's NEST OF TENS
Ice   skating   and   New   Music,
together    at     last
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings St.   (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main St.   (Mt. Pleasant)
Hollywood Theatre  3123 W. Broadway (Kitsilano)
Hot Jazz Society  2120 Main St.   (Mt. Pleasant)
Hush Records 221 Abbott St.
Jericho Arts Centre   1 600 Discovery  (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott St.  (Gastown)
Luv-A-Fair   1 275 Seymour St.   (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville St. (Richmond)
Moon Base Gallery 231 Carroll St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre  Smithe & Seymour  (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards (downtown)
Paradise 27 Church  (New Westminster)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre  3440 Cambie   (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge   1 22 1 Granville   (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir St.   (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
Richard's on Richards   1036 Richards St.  (downtown) 687 6794
Ride On 2255 W.Broadway; 2-712 Robson St. (upstairs) 738-7734
Ridge Cinema 3131 Arbutus St.  (at 16th) 738 631 1
Scrape Records 17 W. Broadway (near Main) 877 1676
Scratch Records 726 Richards St. 687 0499
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864
Singles Going Steady 3296 Main St.   (at 17th) 876 9233
Sonar 66 Water St.   (Gastown) 683 6695
Starfish Room   1055 Homer St.  (downtown) 682 4171
Starlight Cinema 935 Denman St.   (West End) 689 0096
Station Street Arts Centre 930 Station  (off Main) 688 3312
Sugar Refinery   1 1 15 Granville St.   (downtown) 683 2004
Theatre E  254 E. Hastings (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Tribeca 536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
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/Futuristic Flavours 1020 Granville (downtown) 872 2999
Video In Studios   1965 Main  (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326
Vogue Theatre  918 Granville  (Granville Mall) 331 7909
Waterfront Theatre   1405 Anderson  (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wett Bar 1320 Richards  (downtown) 230 6278
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 41 28
Yale Blues Pub  1300 Granville (downtown) 6819253
Zulu Records 1869 W. 4th  (Kitsilano) 738 3232
U   «^jv£?£00  DONGS OF
Having penned one of last
year's top enigmatic loner
pop records, Knock Knock. Bill
Callahan returns with another evocative collection of
oddball social commentary. Like a vocational school for
misfits offering courses in relationship skills, Dongs of
Sevotion embraces the dysfunctional nature of today's
modern experiences and stretches them across a star-
crossed canvas where primal emotions — love, doubt,
hatred and carefree ambition — litter a near-perfect
palate. A remedial songwriter, SMOG'S healing powers
work their audio-pathic wonders as "Dress Sexy At My
Funeral" is the new St. John's Wort!
CD 16.98    2LP 20.98
Packaged with simple pen and
ink line drawings, PEDRO THE LION know full well the
value of stark images and unadorned compositions.
Their work features pared down arrangements of voice,
guitar, bass and drums, and economical structures that
work towards a casually plaintive mix of self-reflective
confessionals and poetic lo-fi folk rock. Somewhere
between the indie ethos of Modest Mouse, the melodic
pathos of Bailt To Spill, and the sad introspection of
Sebadoh, PEDRO THE LION are about to make good on
their own Winners Never Quit promise. Recommended!
CD 16.98   LP 14.98
At last new material from these sonorous Icelandic
bliss-rockers! Laden with 'hammer of the gods'
bowed feedback, spooky Cocteau Twins-esque vocals,
and dynamics like UK counterparts Mogwai, SIGUR ROS
seem set to expand beyond their old world Northern
continental success! Many have pegged these guys for
high international recognition. So far what we've heard
we've enjoyed.
CDEP 14.98    12" 14.98
Much anticipated and long
overdue new recording from ■
former Slint front member Brian M. This dark subdued somewhat blues influenced recording is kind of
like a mildly-yet-distinctly American trip hop without
the 'trip' or the 'hop'. For some reason Massive
Attack comes to mind before any humdrum post-rock
knock-off. Of course this comparison has more to do
with backgrounds than surfaces. In any case, the
result is striking and evocative. This is highly
CD 16.98    LP 16.98
Finally a comprehensive compilation exploring the burgeoning local sonic architecture!
Released through Mint Records, Vancouver Special
rekindles the spirit and musical magic of Sean Raggett's
Good Jacket hootenannies, showcasing many local luminaries performing in support Of A Loving Spoonful. With
all proceeds going to this valuable cause, why not check
into your own Vancouver Special? Featuring: Destroyer,
Vancouver Nights, Pepper Sands, Radio, Riff Randells,
Bossanova, Battles, Capozzi Park, Jerk With A Bomb
New Pornographers & Neko Case, Radio Berlin, Evan
Symons The Secret Three, Clover Honey, Goblins, Pipe
Dream, and many more. Wow! Available April 4th.
CD 12.98
These are the kids you went to school with. You
know — the one's who's Science Fair projects
always blew-up in the gymnasium. Pop stars with a
penchant for experimentation. Beck, Sonic Youth,
Pavement, Air, Buffalo Daughter, Money Mark, Will
Oldham, John Mclntire and Sean Lennon, all rewire
their gadgetry for a little tomfoolery on the Roland
Groovebox! Like a 1000-in-1 electronics kit, the
Groovebox has the tools necessary to connect the dots
between all those magic numbers, 303, 808, 909, and
sequence an integrated dance music module of your
dreams. Celebrate the machine! Celebrate the sound!
Celebrate machine-sound!
CD 16.98   LP 16.98
Decay: the decomposition of sounds. Repetition: the
eternal return. Crackling voices over the static airwaves through dark weathered cement empires. The
break-up of orchestrated melodies drifting into the
ephemeral light like lonely neo romantic urban memoirs.
While forwarding some of our country's most evocative
music, Montreal based Constellation Records have quietly carved out their niche in the international avant-rock
edifice. Only the ninth release in the Constellation catalogue, A SILVER MOUNT ZION presents a focused, emotionally charged and melodically subdued set of enigmatic compositions. Features core members of Godspeed
You Black Emperor. Vinyl Available mid-April!
CD 12.98    LP 12.98
Ken Beatty's free-folk rock crew
get cohesive again on this new
smart full length, resonating with
complex multi-instrumentation and
intelligent arrangements of distilled songs full of inebriating
emotions. RADIOGRAM unpacks the mothballed memories of
our collective consciousness, animating the dusty roads that
stretch far beyond the picture frame, to find a new landscape
of post-Wilco/Giant Sand beauty. Join Radiogram for their
record release show April 13th at the Railway, or even better
yet, opening for Giant Sand April 24th at the Starfish Room!
CD 12.98
More adventurous electronic work from the increasingly
recognised label Sonig. Featuring such key acts as
Mouse on Mars, Lithops Microstoma. Vert, Wang inc. F.X.
Randomiz, Scratch Pet Land, Du, C-Schuttz and Hajsch
Eclectic experimentansm is the guiding theme for these digital deconstructions. Virtual machine music for modern actor-
CD 16.98   LP 16.98
Combine the ugly-sexy electro bounce of Aphex Twin's
Windowlicker, the dense sound columns of Autechre,
and Seefeel's sonic interpretations of the night sky, and you'll
arrive at this surprising new listen courtesy of Warp Records!
Under the alter-ego MIRA CALIX, Chantal Passamonte's 16
track debut fits nicely into the emerging pocketbook electroni-
ca scene, dragging jumbled beats, looped power-goo tones,
distorted bass, and sparse angelic voices across the desktop!
Pencil in CALIX s One on One meeting!
CD 16.98
When I was fifteen t took a
summer job washing dishes at Elmo's I
The pay was good, I fit in with my Gram Parsons waterfall hair and embroidered cotton shirts. My dune buggy
needed new tires and the plan was to drive it, when I
got legal, to LA to see one of the legendary Beach Boys
outdoor gigs. All the Byrds would be there, the Burrtto
Brothers too.... It was the West Coast scene, and I wanted my dimes' worth too. My friend silk-screened shirts
with Mozart's face and the words 'Baroque Pop' in Van
Dyke Parks script across the top. We could sell these
for gasoline money — if we were even planning to
come back.
CD 16.98
Canada: "...the ill-conceived,
daunting, spirit-crushing,
engine-destroying, sprawl of
cruelty...". So says CAROLYN MARK, in the liner notes
to her debut solo CD on Mint, and she should know.
1999 saw Ms. MARK travel across the country, her
mission to record a song in every major Canadian city.
What she wound up with is the musical Polaroid collection that the Georgia Straight calls "Her wonderfully
rootsy, wickedly twangy debut." Hop on!
CD 14.98
APRIL 30'", 2000
ALVA NOTO Prototypes CD The electronic art of the error.
ASS PONYS Some Stupid With A Flare
Gun CD New portraits of torpor, neglect
and stupidity from these pop-rock paint
DELTA 72 000 CD/LP Let's boogie down
with some garage soul production.
horror soundtracks from this beat-ninja!
MOLES Untune the Sky CD Richard
Davies 1992 debut. An original West Coast
MONKEYWRENCH Electric Children
CD/LP Mark Arm still has the best hair
in rock!
your appetites with this 4 song player!
the Facts and We Are Voting Yes! CD
The Northwest buzz.
FOEHN Hidden Cinema Soundtrack
LAIKA Good Looking Blues CD-EP
Cyclops CD-EP
various CHICAGO 2018: IT'S
SALTEENS Short Term Memories CD
a Night in a Box CD


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