that emotional motor crash from citr 101%9 fm
our fifth annual women's issue
featuring:
le tigre
ndidi cascade & matriarch qb
miss murgatroid |
peggy lee
and more* •.
March 2000
Free F.T.T.W.
"H20 fuses the early sound and power off NY hardcore
{the best in the world, come on, admit Itf)
with melodic sounding punk to
SBC H2H HlfP create inspiring and amazing music."
March 27 at
Hie Starfish Room
These guys deserve everything
they can get for not forgettin' their roots."
-UNDER THE VOLCANO
"Gratifying hardcore"
-SUBURBAN VOICE
album available everywhere
e
www.eDiaDh.cetii ■■ www.ft2ag8.com
Epitaph E^gSSSMS
iSUE 204 • March 2000 • That Magazine From CiTR 101 .9fM
Irregulars
Girls Rule?
Peggy Lee
/Matriarch QB & Ndidi Cascade
The feminists in your neighborhood
Miss Murgatroid
Le Tigre
9
10
11
13
14
Regulars
editrix:
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
tristan winch
art and design:
jenny, ken paul, tristan
photography and
illustrations:
jason da silva, ann
goncalves, colleen heslin,
diane kadota
proofreaders:
kerry bleek, nick bradley,
ciprian gligor, duncan
mchugh, christa min, cat
moore, gibby peach, katie
riecken, anthony schrag,
erin show, miriam
torchinsky
contributors:
barbara a, tania a, chris ?,
julie c, val c, jay d, jamaal
f, robin f, tamara g,
hancunt, oksana k, samuel
k, doretta I, godfrey I,
christa m, katrina m,
penelope m, sam m, gibby
p, anthony s, tobias v,
nat x
on the dial:
anna friz
charts:
julie colero
datebook:
barbara
distribution:
matt steffich
scum men's auxilliary:
gabriel peach
publisher:
linda scholten
Interview Hell
4
7"
5
Kill Yr Boyfriend
6
Louder Than A Bomb
6
Videophilter
7
Under Review
16
Real Live Action
21
CHARTS (warning! contains Lydia LunchI)
23
Good Tasty Comic
23
On The Dial
24
Datebook
26
Cover
Colleen Heslin took this gorgeous photo of local
accordionist ida nlelson (beans, radiogram) and we
liked it so much we put it on the cover. layout by our
brand new art director, jenny watson!
© "DiSCORDER" 2000 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
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CANADA.
printed in Canada Radio!
Inter!
view
Walter: I want Gene Simmons' bass.
Sanne: I want Mick Jagger's butt.
Lastly Cage, tell us...would you rather make jam or
The two are not necessarily incompatible.
Ask yourself a question and answer it.
Question: Can someone really accuse one of being a post-modern
feminist apologist wimp and expect it to be an insult?
Answer: Well yeah, someone did, and he was really angry. I almost
peed myself laughing while trying to sputter out, "Them's fightin'
DiSCORDER Who are you (names, instruments played,
favourite kind of monkey)?
Sanne: (Vocals/guitar) Homosapien.
Walter: (Bass) Baboon; I don't understand how they can have such
serious expressions while possessing such colourful bums.
Alex: (Drums) ???
Cage, we here at Radio Hell are honoured to have you
doing your FIRST IVER performance as Cage with the
lineup we see before usl That's exciting! You don't look
like you are new at this, though. From where has each
of you come, and how did you end up where you are?
Alex: We haven't come a hell of a long way.
Walter: Sonne's house
Sanne: Nanaimo Station, and how did we end up here? Jake's
Walter, were you, in a past life, a jazz bass man? If not,
do you wish that you maybe could have been? Do you
wish Alex would use a brush more often as he's beatin'
the skins?
Walter: Despite my best efforts, I cannot recall anything about my
past lives; as to being a jazzy bass man, it would probably be a
sight better than being the potato farmer I probably was. Alex using
brushes? That's just being cruel
Have you ever been caged? Or been cage dancers?
Vancouver
[Silence (consulting lawyers)]
If you could change one thing about the Vancouver
music scene, what would it be? Is it perfect just the way
it is?
Alex: I would change it to Seattle.
Walter: There is no scene and that's just perfect.
Sanne: Yeah.
Given an unlimited budget, what one piece of gear
would Cage blow it on?
Alex: Neil Peart's drum kit from 2112.
It's funny. There really are good
bands in Vancouver, but they
choose not to send me demo
tapes. The best local bands try
really hard to pretend that
they're not from here. They're
ashamed to be associated with
Vane
Drld-
music scene. Come on, everybody. Bryan Adams is from
our beautiful city. Aren't you
proud, damn it?
This month I have something
good to write about. P:ANO's
demo tape is impressive. Of
course, I had to hijack the tape
from someone else because the
band didn't send me a copy.
P:ano play model pop songs
with strings! The lead singer's
voice is comforting, and the
back up vocals blend in quite
nicely. It might make the band
very happy if I compared them
to Low. Yes, imagine Low as
teenagers and you might just
hear P:ano. Unfortunately, the
tape takes a turn for the worse
on the second side. P.ano turns
into a heap of bad samples and
loops. Sampling the same samples as The Beastie Boys is
7 ^^cAzDOO
never a good idea if you ask
me. Yeah, yeah. I know what
you're thinking. People say it to
me often. Who asked you?
<p_ano@hotmail.com>
I went through a ska phase.
It lasted for about 16 minutes. I
don't know where NOT FOR
THE CROWD is from, but they
taped over Joe Jackson's Look
Sharp. Some might say that's terribly wrong. Well, their tune
"Luciano" ain't half bad.
Danceable, at least, although a
little boring. And the horns are
meek. Yup. Ska music. (No
address)
If I said, DWAYNE DIB-
LEY AND HIS MAGICAL
HAIRY AIRY OLAS, what
would you think of? Garbage,
you say? Good thought. With
songs like "Morning Boner" and
"Pig Fucker" you know you have
a winner. Dwayne Dibley
sounds like a sixer of bad beer.
He likes to use metal fonts and
umlauts as well. Included in the
tape was a sticker of a pair of
breasts. Thanks, thanks a lot.
(PO Box 59, 1895 Commercial
Dr., Vancouver, BC, V5N 4A6)
Before putting this tape in, I
held it up in the air and said,
"Please be good, please be
good." I knew it wouldn't be horrid because I have heard
ROBERT IAN HERRE s music
before. Some of his songs are
well written, but I could do without the hippie rhythms and the
reverb on his guitar. His vocals
are much lower than I remember. Maybe it's not the same
guy. On the inner cover, Herre
printed "The Mocking Bird," a
Bukowski poem. I like Bukowski
too, but I'd never admit it. (2-
3318 Main St., Vancouver, BC,
V5V 3M7) •
http://www.passive-aggressive_records.com
<dxjake@altavista.com> •
Sanne
Lambert
F>,'f n
with Cage
^ W^l KILL ROCK ^ 4C^f
^ " ™ STARS "^ ^ '
Lois Maffeo & Brendan Canty
The Union Themes CD
Sleater-Kinney
'AIL HANDS ON THE BUD ONE' LP/CD
BANGS
•SWEET REVENGE' LP/CD
The Thrones
•SPERM WHALE' 12" EP
(CD has 'WHITE RABBIT
WHITE RhBBIT WHITE RaBBIT' EP)
for a catalog write ta
kSSS&i
lyww.killrackatarg.
PMB 418
120 STATE ST. NE
DLYMPIA,WA 98501
. dftatributea by Maraa*' 7
inch
SWF, 5'8", brown hair and
eyes, looking for some
cool people to listen to
records with. I enjoy listening to
pop, rock, and punk, as long as
they're done tastefully. Maybe
we could go to rock shows
together? Or maybe we could
even start a band! Okay, I know
that pleas for partners in crime
will get me nowhere in the stuck-
up world of indie-rock elitism. I
just thought I'd give it one sad
little try, hoping that there might
be a few of you i
jnd able to take
, the
ending onslaught of new
vinyl releases made available to
the masses. This month's column
is supposed to be short, so I'm
only going to tell you about the
best of the best of the something
or other, and then the really bad
THE MOVES are a really
tight three-piece queer-core
band on Mr. Lady. Sara
Cooper, Sara Shaw and Rachel
Cohen rock out like the big
movers and shakers of their
scene, sounding like Excuse
17 and Slant 6 and whoever
W0*
B-side h
gly <
else you'd like to compare them
with. The A-side, "Magneto
Single-Fire," is all fuzzy, and the
are alternately jan-
ock-solid. "T-Nee"
i of a Longstock-
ing tune, so you know that's in
my good books. The Moves
have a full-length out soon, but
the single is well worth scooping up. (Mr. Lady, PO Box 31 89
Durham, NC 27715)
Here's another hot tip for
you: get your hands on the new
MICROPHONES single,
"Moon Moon." I've never been
much of a fan, but the two
songs that appear on this 7" are
both wonderful. I'm especially
endeared to the b-side, "I Lost
My Wind," a sweet little pop
song full of pretty harmonies,
fuelled by a strong melody and
some clever lyrics. The a-side is
a very dynamic tune, slow and
intricate at times, frighteningly
loud and chaotic at others. The
band has quite nicely packaged
the song's lyrics within a musical framework that could tell the
tale of tides all by itself.
Charming. (K, PO Box 7154
Olympic, Washington 98057)
Offs, The l-4-5s, Spoon,
and Silver Scooter all joined
together in order to wear lots of
make-up, glitter wigs, and tight
pants. Oh yeah, and they play
glam rock, too. I know what
you're thinking —"Covers of
'Suffragette City' and '20th
Century Boy' on one album? I
just can't get enough!" Boy, are
you dumb. It's no
good. Neither is the
RL/BB split. Roar!
jnd a big old
The
s slopf
gui-
the vocals are just no
good. Dang. The
Beach Birds have a
horrid vocalist, and
with lyrii '
ie que
The;
I'll tell you about the disappointments of the month. Usually,
Peek-a-Boo Industries puts out
good records. I love Junior
Varsity, and I like The Kiss
Offs a whole lot. Silver
Scooter isn't half bad, either.
So what's up with the two new
releases I got, GOLDEN
MILLENNIUM and a ROAR!
LION/BEACH BIRDS split?
Ouch! These records both stink
like stinky stuff. Golden
Millennium is an "all-star" band
featuring members of The Kiss
just for the i
Primadoi
must have had a lot of
fun cutting and pasting
the lady-bits together for
the orange, pixelated
flesh in the world could
not distract me from the
fact that the Onya's
music is boring and unoriginal. Stupid boy
garage rockers! (Junk,
PO Box 1474 Cypress,
CA 90630)
"Black Forest No School
Violence meets Italian Metal
Scremo" — what d<
■an?
lis1
the
love songs stink!
They're so bad that
they're funny, but I
u to pick this up
/elty of it all. If you
care about The
las, then you'll
want this, as this is their new
name. No wonder I never bothered listening to that band.
(Peek-a-Boo, PO Box 49542
Austin, TX 78765)
One last dishonourable
mention - this one goes to the
single with the worst cover art.
THE ONYAS, a garage rock
band out of Australia, have
released a three-song piece of
crap, complete with raunchy
HEARTS-HIDE / COSTA'S
CAKE HOUSE split that this
quote claimed to describe, and
was not graced with any new
insight. This is crazy loud hardcore music, and I think it's pretty
cool, but what do I know? The
Germans scream loud, the
Italians scream louder, and
everyone plays really, really
fast. (Get Up And Go, C/O
Nanouk De Meijere, Marienstr.
2, 76137 Karlsruhe, Germany)
I think that I maybe don't
hate country music. JOE
PERNICE is a bit country-pokey,
and he's cool. On a split with
CHETICAMP, his song, "The
Two of You Sleep," tugs at all
the right heartstrings. I don't
really get what's happening to
the poor guy, but the song is
slow, sad, and very pretty.
Cheticamp's tune, "Little
Rebound," is a gentle pop song
that serves as a perfect, equally
pitiable b-side. Does everybody
have such a rough life, or only
blossoming country/pop stars?
(Poster Girl, 1 23 Queen St. W, ■
Box 1 46 Toronto, Ontario M5H
3M9)
Being brief is great. You
can either buy the good stuff to
enjoy, the bad stuff to mock, or
the foreign stuff for the joy of
collecting weird stamps. That's
more than enough to keep you
all very busy. •
SENSES© Kill Your
Boyfriend
rhe first I heard of Mary
Fleener was that her comic
Life of the Party, a collection of
stories from Fleener's various
that :
called Slutburger and appearances in
b guy had gotten his Comix and magazin
entire back tattooed with her art.
Talk about devotion. But she was
a "girl cartoonist," a rare phenomenon in her day and age.
So logic prevailed and I bought
s from Slutburger itself.
I was immediately grabbed
by her art Commonly referred
to as a "cubismo" artist, Fleener
s the
of c
^fu
iW
style is vibrant and chaotic —
your eyes can't stop travelling
the spectrum of her panels. With
her sorta messy ways, Mary
manages to slip odds and ends
into the panels. There's one story
about her friend's husband's foot
fetish: she depicts him climaxing
but the flow of her art turns one
of his legs into the leg he covets.
It's a small but great aesthetic
detail. Her art screams beauty.
Each panel is a rigid little box
with tons of life inside.
In her stories you are treated to brutal honesty, as you're
witness to every feeling Mary
has. They're kinetic, like strokes
of lightning. She also has a lot
of bizarre shading techniques;
geometrical art, pick a shape
you want to colour. Her lines are
confident, to the point that it's
almost a colouring book. I'm
glad her comics are black &
white. I don't think I could handle big doses of Mary colour.
I've heard that she has a kids'
Bongo Comics (home of The
Simpsons), called Fleener. I'm
not sure if it's still in print, but I
do know that it's in colour. I have
yet to see one.
I like the fact that her life
seems so casual; it's like there's
hope for me after all. Yeah, she
used drugs, but so what — so
did everyone else. She was a
hedonist who was smart enough
to stay alive and draw about it.
It's her honesty and lack of
regret that impress me. It's like
she learned from her mistakes
and now she's here to stay. Life
of the Party is an extensive work
and you learn a lot about Mary.
Stories about the guy who tattooed her art on his back and
some of her more flaky friends
provide you with the story of
Mary's life. Though Fleener's era
is a bit before my time, she has
an attitude that I can relate to.
When she was nine, she loved
blues, funk, rock, soul: "That
damn jungle music, it's too
loud," yells her father. Yeah, she
was pissing off her parents, but
she boogied the whole time. In
another story, Mary the bass
player is having trouble finding
a band to play with. In this story
she depicts sex with a wonderful lack of discretion. Her naked
boyfriend jumps on her, and the
reader gets to see everything
that Mary sees. Two panels
show a million things going on
at once. Unreal. She captures
; well with her scattered,
blocky art Startling and obvi-
I also love the fact that,
unlike some of her counterparts,
she doesn't feel the need to bludgeon us with her sex life. Nor
does she whine, preach, or overreact like the stereotypical
"female cartoonist." She has a
story to tell and some of the
experiences she has are bizarre.
Mary writes about her interests in her comic. Her book
Hoodoo is a highly educational
story about Zora Neale Hurston,
a researcher of American
Voodoo traditions. Hurston is
Mary's hero and it's easy to
understand why: she was intelligent, independent and full of
gumption. It's the same way I
see Mary. Hurston always man
aged to stay on top. Even when
she was expecting the cops to
bust her ass, she prevailed. She
was one hardcore WOMAN.
From appearing in such
anthologies as Tits & Ciits to
doing art for Dignifying Science,
a collection about women scientists, to the book about Zora
Hurston's work and life, Mary
Fleener supports us all with
class. She has attitude — attitude that makes complete sense
to me. She does what she wants,
she thinks for herself, and she
lets the reader figure out their
own path. These are just stories
from her life and that's all I want.
Life stories. I want reality with a
bit of humour, and that's Mary:
a kfck-ass lady, a great artist
who still plays bass and can
hold her own with any man.'
Louder Than
A Bomb
O
of the most exc
things to happen it
>st '
.nlhs
this February courtesy of
Vancouver Status of Women: Dr.
Angela Y Davis' lecture at the
Vogue Theatre. Her discussion
centred on "Gender,
Globalization and Punishment,"
essentially a dissection of the
interlocking features of racism,
sexism, capitalism, and the punishment system which together
form a relationship she terms the
"Prison-Industrial Complex." Her
lecture was timely as statistical
predictions warned that three
days after the lecture (Feb. 15th)
the number of people incarcerated in the United States alone
would reach the two million
mark (basically the entire population of the Lower Mainland!).
Dr. Davis made it clear that the
punishment industry is exactly
that: an industry. Following the
collapse of the Cold War which
essentially provided the military-
industrial complex with unlimited
support, the beneficiaries of this
funding were forced to look to
other similar sources of income
(i.e. unwinnable, self-perpetuating wars) and they found one:
the "war on crime." In order to
pursue this war it was necessary
to be able to galvanize public
opinion against a clear and present danger: a very real and visible "enemy." Whom better to
choose than those already marginalized in society? The fear of
crime is a deliberately constructed paranoia; despite the fact
that statistically crime rates in
North America have remained
relatively steady (except youth
violent offenses), FEAR of crime
is at an all lime high. The war on
poor (especially women and
men of colour). An essential element of this system is racializing
crime: the face of the enemy is
the young Black/Latino in the US
and First Nations (and now
increasingly Asian) in Canada.
Breed fear of these people and
their oppression and unjust incarceration will be condoned by
society.
Why is it that while said
groups comprise under 10% of
the total population in their
respective countries they comprise 70% to 80% of the prison
population? This is not just a
random injustice, this is an organized effort to provide and
maintain a cheap labour pool
while subsidizing the survivors
of the Cold War weapons &
technology industry. Davis
reminded us that not only do
prisoners provide a cheap
source of labour without the fear
of unions, benefits, workers
compensation or any sort of
employer responsibility, the war
on crime provides an essentially
unlimited rnarket for the military-
style technology used by "law-
enforcement." Furthermore, the
prison system becomes the generative element of the cycle of
violence: juveniles who go in
and out of prison become adults
who pass in and out of prison.
While they are in prison their
labour is exploited, and while
they are out of prison they justify for the need for massive
spending on high technology
"crime fighting" equipment,
ironically often produced in part
by convict labour. Davis highlighted the way in which the
labour conditions in "first world"
prisons (especially women's prisons) mirror the conditions in the
"third world" sweatshops that
horrify so many "good citizens."
She also discussed the way in
which state violence against the
disenfranchised is directly linked
to social and personal violence
against women, against the
poor, against poor women. This
isn't just some idealistic academic talking: Davis knows the
conditions from experience. She
spent several years in prison on
bogus murder and kidnapping
charges; charges that were fabricated, ironically, because of
her work on prison reform and
prisoners rights... that's how
threats to the capitalist prison-
industrial complex are dealt with
in the "free" world. •
S u g g e s
R e a d i n
Angela Y. Davis: An Autobiography. New York: Random House,
1974.
Women, Race & Class (ed. Angela Davis). New York: Vintage,
1981.
If They Come in the Morning: Voices of Resistance (ed. Angela
Davis). New Jersey: Third World Press, 1971.
Women, Culture and Politics. New York: Random House, 1988.
Other Authors
Hermann Bianchi (ed). Abolitionism: A Non-Repressive Approach to
Crime. Amsterdam: Free University Press, 1991.
Michel Foucault. Discipline and Punish: The Birth of the Prison. New
York: Random House, 1979.
Joy James (ed.). Angela Y Davis Reader. Oxford: Blackwell, 1998.
Joy James. Resisting State Violence: Radicalism, Gender and Race in
US Culture. New York: Vintage, 1996.
Matthew Mancini. One Dies, Get Another: Convict Leasing in the
American South. Columbia, SC: University of South Carolina Press,
1996.
Exciting "job-
opportunities
at DiSCORDER:
Utterly unpaid
but highly
gratifying positions available
for writers,
proofreaders,
photographers,
layout maniacs,
masseurs,
typists and
Editrix at
822.3017 ex.3,
email
citrdisccrderf*
.« by tool.
#235-6138 SUB
Boulevard on
the UBC campus. Video Philter
I am strong, I am invincible, I
am woman? Helen Reddy was
trying to egg her gender
mates on to greatness in a time
when women were finally waking up to the fact that being
ovaried in Western society
sucked, but even she must have
cringed just a little at the boldfaced lie behind the sentiment I
can be strong (as my friends like
to add, smelling). I am at times
impervious. Rarely am I invincible (except at "Isaac Asimov's
Superquiz"). Sometimes I ques-
Yeah, I've got breasts and the
rest of the requisite equipment,
but I just don't feel the race
memory in my mammaries. I
don't gab with the gals. I don't
think men are idiots, inconsiderate slobs, or sports obsessed
dweebs. I've never said, "You
go, girl."
I knew that if I were to
search the annals of film history,
I would be able to find some
kind of answer to the question
which plaques my life every time
my mother suggests a luncheon
and shopping date: What is
Woman? Plugging the word into
the Videomatica database, a
barrage of definitions, or the
promise of such, came screaming back at me. A Woman's
Tale. The Truth about Women. A
Woman's World. The Women.
The estrogen high was making
me giddy. A little research, however, quickly dispelled my
humorous and touching tale, the
words, "Martha is a modern
spirited woman trapped in a
decrepit body," on the back of
A Woman's Tale (Australia,
1985) made me drop the box
quickly and walk away. (The
only word more unappealing
than "decrepit" is "douche.")
Though it promised a witty look
at British high society, The Truth
About Women (UK, 1950) was
going to have to wait until I didn't have a pathological fear of
upswept hairdos before it- was
revealed. The latter two femininity omnibuses, A Woman's
World (USA, 1958) and The
Women (UK, 1939), I must confess to having already imbibed.
The only thing I learned about
women from these standard studio pictures was how annoying
a "good" woman could be if
seen through the Vaseline-
smeared lens of classic
Hollywood. (If you hate June
Allyson in those adult diaper
ads, you'll really loathe her in A
Woman's World.) The only
redeeming part in either of these
films is that of the catty bitch,
played in The Women by Joan
Crawford and in A Woman's -
World by Clifton Webb. Meow.
Having a little of the pussy
and the dog present in my own
personality, I cannot refrain from
holding back on the trio of
"women's" films that I did view
this month. Staring off with what
I thought was a safe bet, I took
in The Women Who Made
Movies. A blatant misuse of 56
minutes proved my reward.
Purporting to be a look at the
forgotten women of the early
cinema, the documentary was
so badly organized that it was
difficult to understand where,
when, and who the narrator
was discussing at any given
teurisms, the thesis of the project
seemed to be the unintentionally
patronizing, "See, women did it
too!" The Women Who Made
Movies never revealed any of its
subjects as artists or people;
instead nauseatingly vague flat-
, thrc
freely as dung at a cow chip-
tossing contest. While I hate to
so harshly criticize a project
which probably had only the
best intentions, a film this poorly
executed does nothing to create
or sustain the legacies of the
women it's trying to celebrate.
A celebration of womanhood — of the double-D variety
— is the main thrust behind the
1956 Jayne Mansfield vehicle,
The Girl Can't Help It While
the film is an interesting study in
the correlation between director
Frank Tashlin's work as a cartoonist and his live-action career,
its moronic, painfully unironic
story-line makes it a chore to
watch. Edmund O'Brien [DOA,
White Heat) is a former gangster who wants to marry the
daughter of his business partner,
Mansfield. As he puts
who ain't
o he hires the nebbish
Tom Ewell (The Seven Year Itch),
a washed up agent, to make her
a singing star. The problem is,
she just wants to cook, clean
and pump out the puppies. (Teat
enough for all!) Contrary to reputation, Mansfield is the only
actor who shows any talent in
this mid-'50s mess. The plot is so
thin that about a third of the 90-
minute film is given (thankfully!)
over to lip-synched performances by the greatest rock V
rollers of the day. Unfortunately,
these musical segments are the
only statically staged action in
an otherwise garish, ridiculous
The last of my journeys into
celluloid womanhood also suffered from farcical ridiculousness. Thankfully it was
redeemed by a gratuitous use of
male nudity, drag queens, lesbians and the word "pussy."
Andy Warhol's Women in
Revolt was truly the grossest
diatribe on women's liberation
that I have ever had the pleasure/pain to witness. In a style
that could be termed Dogma
'71, the burnouts/artistes that
hung around Warhol's Factory
created a seemingly ad-libbed
statement on feminism in which
most, if not all, of the women
are played by drag queens, and
everyone is subjected to the
most blatant exploitation. It's
okay, though, because they're
exploiting themselves. Women
in Revolt champions everyone's
right to sit around in a bad wig
screaming at your hairy, naked
houseboy while pondering the
dilemma of whether to join a
feminist group or make out with
your lesbian friend. If you ever
have a hankering to see a
"women's picture" that out-trashes John Waters and out-slacks
Slacker, or you just want to see
what the girls in Lou Reed's
"Walk on the Wild Side" look
like, this is your picture.
At the end of this column
devoted to the truly worst in
women's movies, I must add that
there are some great pictures out
there by, for and about women
I don't want to be greedy and
say, "No pricks allowed," so I'll
let you discover them, as well as
your gender, by yourself. •
Happiness by Miyu
In the morning, you lie in
your bed trying to figure
out what yesterday me<mt
because if you could
understand, you would
know what lo do tomorrow txit today you have to
get up. and you wish tliat
you could fall asleep again
and again, but you can't.
BOOMTOUIN girls rule?
Young women are in. Girls
rule, spangly nail polish
and barrettes are fashion
accessories no girl with breasts
bursting forth from a baby tee
can do without, and the
Women's Movement has abandoned young women to our bad
music choices. All those women
from the '60s and '70s refuse to
let us enter the movement, don-
cha know. What the hell is that
about?
At the risk of sounding like
the Marxist I used to be, young
women must understand this
idea as a capitalist conspiracy,
meant to distract us away from
the fight for women's liberation
and lead us stampeding into the
malls instead.
Unfortunately, the women's
movement earnestly addresses
this supposed criticism as if
young women delivered it first
(The UN defines a youth as 14-
35 years old — no joke.) In the
States, Ms. magazine led the
way, publishing excerpts from
Listen UP! Voices From the Next
Feminist Generation. In Canada,
the National Action Committee
on the Status of Women worked
extremely hard to make room for
young women in recent years.
There are magazine articles, dis-
tions raised from the mic at
by tamara gorin
rallies. At her Vancouver appearance in February, Angela Davis
argued that the old guard must
make room for young comrades
Feminists c
youth, yet we
to accommodi
I the
ult of
fall o
sr ourselves
this current
This strikes me as odd. An
activist for about 1 2 years now,
motion and power within
women's groups and so does
ment, there is a large group of
women aged about 28-35 who
hold a lot of power and influence in the groups we volunteer
and do paid work for. The number of younger women coming
decreased: in my organization
alone at least half of the women
working are under 25.
"Older women" (read 36
and up [I'm sorry, sisters, but
those are the capitalist demographics]) are not hoarding
power. They spend a lot of time
training, teaching, listening,
putting up with temper tantrums,
encouraging, and learning from
younger women. All while continuing their other work and projects. I saw true joy on the faces
of my older women friends and
co-conspirators at Take Back the
Night the year Riot Grrls
emerged in Vancouver. The proliferation of events and strategies
led by young women is great —
Rock for Choice is only one
example - and older women
come out in force to support this
work, lending bodies, ideas,
money, and yes, sometimes criticism, towards their success.
This emphasis on the supposed gap between older femi-
girl !
plicated love relationships, fight
with government ministers,
protest in the streets, pay parking fines, deal with debt, was on
welfare, have opinions on world
1988, but instead I
womanhood and my
a fully autonomous
when corporations of
irts package their stuff,
how much living we've
done. They infantilize us
and refuse our agency
daily, unless our choice
is about the newest and
wettest lipstick to slick
wardrobes
) beha
of V
be ha.
Ihe
nists and their younger
and class oppression and their
away too. Women's oppression
is redefined into boxes devoid of
politics; one is now labeled
"young women's issues." Instead
of "the personal is political," the
personal has become primary.
Young is not just an age but an
inescapable state of being and,
it is argued, an oppression on
equal footing as that faced by
women of colour and poor
women. This simply isn't so.
I'm 30, on the edge of
"young." I gave birth and am
raising a child. I negotiate corn-
half o
wages o
One last
conspiracy in the spiri
of anti-APEC and anti
WTO: North Americar
ly and compliantly Spice
age work for 1 /8 o
jke the crap
pursuit of youth
and frivolity.
When those of us considered
young participate i
jckus,
older women, refuse our place
as adults in the world. They say
to us: "We have work to do, will
you join us?" Some of us relate
as if they just asked us to clean
up our rooms, as if they are our
mothers, people to rebel against.
It's women's oppression we must
rebel against, not other women.
All the style and wit we put into
liberation. Just think of the parties when the work is done.
To find out how to hook up to
local women's groups, call
Vancouver Rape Relief and
Women's Shelter @ 872-8212,
we'll send you a pamphlet or
sign you up for training. See you
at IWD, March 8th! (Supportive
men welcome.)
Tamara Gorin is a collective
member at Vancouver Rape
Relief and Women's Shelter, a
lesbian feminist, and a femme
dame whose favourite MAC lipstick colour is "Captive." •
Holding Ha
A Manifesto by
d s :
M i y u
It is wrong to hold hands and talk about politics at the same time.
If you hold the same views it's even worse because you'll be holding hands in ridiculous solidarity. You may as well be trying to
hold hands through the voting booth curtain. In fact, it is impossible
to have a serious conversation while holding hands. Better yet, it is
impossible to be taken seriously while holding hands. It is stupid to
hold hands in the winter. Your hand would be much warmer in your
pocket. It is disgusting to hold hands in the heat. If you have to
wipe your hand down the side of your pants afterward^-—
you shouldn't be touching that in the first place. It's a/
public disturbance to walk down the street while holdj
ing hands. Everyone must detour around you\
because you take up the whole sidewalk, and they\
can't damn well walk through you. And you're going\
to the same place after all. You're not going to lose]
each other. No one's going to get stolen for Christ's)
sake. It is silly to hold hands while watching a movie./
Why don't you read a book and hold hands while/
you're at it? Holding hands is a distraction. It is hard/
to keep a straight face while holding hands. It's/
not supposed to be funny, and it's not meant to/
be sad. You can't be thinking about death ori
your mother when you're holding hands\
because you can't walk around like that, with the\
wrong expression on your face. It is dangerous to\
hold hands because it just might mean something,!
especially the first time you do.it. But who knows if/
that's what you meant. Holding hands. It's nice if you/
can find the right time to do it. • /
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; a^joJL zQOO Peggy Lee
by Julie Colero
In one of my first steps towards becoming more musically aware, I took to listening to some of the
music coming out on Spool, a new Canadian label that supports a roster of classical, improvisation-
al, and new music artists. Peggy Lee, a local musician who works wonders with her cello in many of
Vancouver's finest ensembles, recently released an album on Spool of music she composed, performed with a group of talented collaborators.
Photos iiy Diane K\i>oia
DiSCORDER: I was told that you have had
some involvement with the Women In
View series at the Western Front.
Peggy Lee: I have in the past. I don't really know
what's happening with that series. A band developed out of that, which has continued, and we're
hoping to do a tour next year. We're planning to
play at the Front next fall. One year we worked with
an Indian woman singer and did her material. Other
years it's been open improvising.
What kind of training do you have?
Classical. I did my bachelor's degree in
Performance at the University of Toronto, and then I
went on to the Banff Centre and did a year there.
That was all strictly classical. At the centre, they also
had other things happening, like projects for your
spare time — working with artists and filmmakers. I
got interested in that, and started thinking that I
might not necessarily just want to audition for orchestras. I thought I might try doing a little more experimental work. That's why I moved to Vancouver.
Is there a better experimental scene here?
I wouldn't say that, it's just that if I went back to
Toronto, where I was known for a certain type of
music, I'd be expected to do the same type of thing.
If I moved to Vancouver, where nobody knew me, I
could decide what I wanted to do. I wasn't really
sure what I wanted to do, but I had a feeling that it
wasn't playing Les Miserables, which is probably
what I would have done if I'd gone back.
What were the first steps towards finding
something for yourself outside of the traditional classical scene?
Well, I played in a pop band for a few years, called
Memory Day, and it was good. I got used to playing
amplified, for one, and dealing with playing with
drums. I got used to playing without written music.
There wasn't really much improvising involved,
because we all had our parts to play the same every
time, and it became a little limiting. I was lucky,
because I met some dancers that were working out
of the Edam Studio at the Western Front, and I started to improvise with them. That was the first improvising that I did. It was over six years ago that I met
the musicians involved in the NOW Orchestra, and
they quickly invited me to play with them. At the
same time, Tony Wilson, a guitar player, asked me
to play with him. Also, Ron Samworth formed a
band called Talking Pictures, with Dylan Van Der
Schyff and Bill Clark. Suddenly, I was playing with
a lot of great improvisers, and they were also all
composers. I was submerged in a scene that was
very busy. We were playing at least once a week [at
the Glass Slipper]. I was lucky to discover a lot of
people here at a time when I was looking for exactly that. v
When you did your degree, were you
trained in composition?
No, not at all. That's the thing — I don't know if
other schools are more open that way, but the U of
T didn't even consider that someone in performance
would also want to compose. I had a friend that
wanted to, but they told him he couldn't, and so he
quit and became a psychiatrist. It wasn't really
expected. That's what I found interesting in the creative music scene out here, was that it wasn't a big
deal. Everybody wrote music.
With the Peggy Lee Band, did you compose
all the parts, or just your own?
I wrote all the music. Obviously, there's a lot of
improvising on that album, but I wrote all the music
for that. That was my first venture into composition.
I really thought about those musicians that I wanted
to play with, and how they would sound, and they
inspired the writing. They're amazing.
And that came together well?
It was a real treat. Right from the very beginning,
everything was working, which I realize isn't that
common. Even with Talking Pictures, it took a while,
because it was a new group, and I hadn't done
much improvising. I wasn't a bass player, but I was
fulfilling a bass function. That group took a little bit
of time, but now it feels so easy when we improvise.
We like to rehearse, but even when we don't, we
have a very easy c
How many groups are you working with
right now?
I don't want to forget anything... The main ones are
the Tony Wilson Sextet, Talking Pictures, The New
Orchestra Workshop (NOW), my band, and
Standing Wave. That's kind of a different thing; it's
composed music.
How does the group work with the composed pieces? Are there aspects to new
composition which are radically different
from other classical music?
If possible, we try to work with the composer, so that
if they have a language that is going to be something new, they can guide us through that. I don't
find, at least with the music on the CD... it's difficult
music, but it doesn't really break from the tradition of
written classical music.
Since you're working in so many different
areas, do you find there's a lot of mixing?
Do you take aspects from the one and add
them to the next?
Definitely. People sometimes think I'm playing jazz,
[but] I wouldn't really know what to do if someone
put a standard in front of me and told me to improvise on it. My improvising comes from my background, which is classical and new music. As much
as I appreciate all kinds of improvised music, that's
just my language. Everything complements each
other. The thing about a group like Standing Wave,
although it's generally written music, we do sometimes go into the world of improvisation. I think it
takes a little while for a whole group of classical
musicians to be comfortable with that.
Do you think that the musicians you're
working with are willing to take chances?
Yeah, that's the nice thing. The worlds are not as
separate as they used to be. There's an appreciation
for what an improviser can bring to a score, and
what an improvising musician can put in front of
you. Ron Samworth's piece was mainly graphic, not
really written notes, but just lines and dots and stuff.
And you managed to interpret that?
Yes, and it felt really good. I think that we're becoming quite cohesive. We're not just interpreters of written music, we can actually create sounds ourselves.
I think that the music on the Standing Wave CD is
very diverse, but it represents what we're trying to
do.
And as for your own band, are you continuing with new compositions?
[The Peggy Lee Band album] was recorded last June,
and since then I've really only written one piece for
the band. We haven't played much, so whenever
we play, it's nice to play the music on the CD. Tony
Wilson has brought a couple of compositions to our
repertoire, and I think that Chris Tarry, the bass player, is writing something for us. It's continually developing. It's difficult to get six people together, and
it's hard to find venues... It's good that we did some
shows with Veda [Hille]. She did two shows at the
Cultch, and I've played with her for a long time, so
she asked me to have my band open. Veda's audiences are very open-minded, and I think we reached
a new and appreciative crowd. Our music isn't like
hers, but they complemented each other.
Can I ask a couple of questions about
Spool, your record label? Is it a local label?
Vern is here in Vancouver, and his business partner
Daniel is in Ontario. [They] had talked for a while
about starting a label. When [Dylan and I] recorded
an album, These Are Our Shoes, we sent it to Verge,
hoping that they would distribute it, and they were
very enthusiastic about it. It worked out that our
release and Sponge became the first albums out on
Spool. The label is small, but very dedicated. It's
nice lo have people that really believe in the scene
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9 E^gSBgpLTV Uancity's Premiere Phemcees:
Ndidi Cascade
& Matriarch QB
Vancouver it notorious for its active hip-hop
scene, and who better to talk to than the two
lyrically gifted and spirited emcees Ndidi
Cascade and Matriarch QB? I was fortunate enough
to catch both performers doing what they do best on
Saturday, February 19th at Sonar. I picked up a
strong sense of versatility within their musical ability,
and that certainly didn't go unnoticed on the dance-
floor. QB set the fire with a mixture of deep, soulful
vocals and skalty rhymes, while Dana D and Bulldog
dropped down some fine hip hop and drum 'n' bass.
Though hip-hop is their forte, Ndidi was feeling it
enough to give the junglist vibe a try for the first time
and let her rhythmic voice be heard, sending the
now tightly packed room off the hook. On the hip-
hop circuit for the past five years, Ndidi Cascade
jaka Cassandra Onyejikwe) has spread the word at
numerous events and has earned the title of best hip-
hop emcee at the DJ Soundwar in 1998. QB (aka
Kaytea Shakaun) has been dynamically speaking
her mind in Vancity since she relocated from the
East Coast two and a half years ago. Though fairly new to the West Coast scene, this talented
woman is currently hard at work in the studio, producing a I O-track album. I recently welcomed these
two highly driven artists into my home to discuss a
broad range of issues, including their
experiences of being women in the music industry.
Roots
MC QB: Hip-hop culture I suppose that it's always
been in my blood. Hip-hop has always been
an evolving music since I can remember, so I hung
in for the game. I first got into R&B as a kid, and
was really into old dance jams like Mr. Lee's
"Get Busy." There was the whole '93 Heiro
explosion. Bad Boy dropped with Biggie, and then
all that Wu stuff came out.
Ndidi Cascade: I wrote my first little rhyme in
grade 6 and I liked poetry too, so I would just put
words together. Then one day I just grabbed the
mic. It was a natural thing, a fire that came out from
within my chest. I could just flow off of that. Some
of my most inspirational characters in the hip-hop
world from then until now are Michael Jackson,
old Salt N' Pepa, Maestro, early Wu material,
Black Moon, Hieroglyphics crew, Bahamadia,
Lauryn Hill. As far as what I'm listening to now,
Common, Mathematik, The End, Talib Kweli,
Mos Def, and my crew Astral Majesty consisting
of Eternia, Pro Found, Nextraterrestrials,
Mindbender, and Conspiracy, and a lot of
Is reggae to keep balanced.
Process
NC: I'll be watching a program on The Learning
Channel and I'm going to write a rhyme about
this... or I'll be going through my journal and I'll discover some lyrics. Once I went through my journal
and made everything rhyme. I don't know if I want
to give my secret out, but that's what I do. [laughs]
QB I write about struggle. There's been a lot of
really interesting things that have happened in my
life that I feel have led me to being who I am. I do
a lot of reflecting on my own life and that pushes
me to ask: what do I want to say? What have
I learned as a person? What do I feel that I want
to learn from writing this piece of music? Music,
especially hip-hop, is a real learning experience
for me and I always feel that if it's not moving me,
it's not going to move anybody else. If I'm not
writing about something that I feel strongly about,
then people aren't going to feel strongly about it.
If you don't take yourself seriously, then you just
won't be taken seriously. Not that that's my main
priority, 'cause I make music for me and I'll get that
straight. I really think that it comes from inside of
you. You are always going to be a part of what
yoo ore saying and obviously if you don't feel right
about it, you shouldn't be doing it.
NC: Ifs really interesting with me cause I don't really
deal with one producer right now. Usually it's a unit:
emcee, dj, producer together. With me, I'm solo, by
myself. When I write rhymes, usually I'll hook up with
a producer and somebody will lay a beat down and
I'll twist my rhymes to fit that beat. There comes a time
when I feel like I need someone to unify it.
QB: I get someone to drop me a beat, but I do a lot
of four-track work to what I do is formulate my
raps, put them to beats that I've got at the time.
Bounce it on that beat. I think it's best if you
produce a beat first... the beat gives you the
feeling. The beat will move you in some way.
Sometimes that doesn't work, 'cause maybe you've
got these gangsta lyrics and you're running into
some DJ Premiere beat and you know if-s just not
gonna work out. I feel you have to get the beat first.
More Than Jul Booty
NC: I will dress as I feel, that's the bottom line. If I
dress up "feminine," I find that sometimes I'll get
these dodo heads coming up to me in the club saying, "Oh, I thought you were an emcee. It didn't
seem like you were." If I go up on the stage like
that, people who've seen me before will say
"What's up with her, I thought she was all hard."
QB: Going into the club carrying billies and
sluggies... [laughs]
NC: At the same time, people who see me for the
first time might think, "Oh, she on that Foxy Brown
tip, yeah, she look goood," you know what I'm saying? I had that when I got off stage.
Guys would say, "You know, you're so beautiful."
They're not saying that those lyrics were beautiful!
QB: If I wanted to dress up, I should be able to wear
stillettos and a mini skirt with my ass hanging out.
It shouldn't make a difference about my emcee status.
That's it: next show, it's coming out... g-string, titties
out, stilletto heels, wigs, fake eyelashes, Lee Press-on
Nails, that's it! Seriously, though, seeing you perform
is enough to show that you [Ndidi] aren't like those
other girls. Vancouver has a scene that's split, divided.
There are these chickenheads who only go out on the
weekends for the men. The majority of them dress like
that because they feel that they have nothing talented
to offer, so they offer themselves up as, basically,
a steak. So even though we have talent, we feel like
we can't present ourselves in a "feminine" way,
because we are portrayed negatively. I find that a lot
of times when I do dress that way, I feel like I have to
pull people aside and talk to them, really try and put
out who I am as a person. I dress how I want to dress.
It's about self-confidence, straight up. This is me,
this is what I do. I'm really happy with what I do,
I feel proud about myself. It doesn't matter what
anyone else thinks.
NC: I don't like to be too extreme. I like to keep a
balance. That's what I'm all about. My whole point
of existence right now is to achieve a sense of
balance. I'll dress "feminine," I'll dress "masculine,"
you know what I'm saying? And that's just me, a
reflection of who I am. I'm half and half everything:
racially, socially, everything. The only advice I give
to women who feel like they have nothing else to
show of themselves other than their body is sure,
you look nice, but appreciate yourself for who you
are and not just how you look.
QB: That's right, try to work some other angles in,
you know. You can still look nice.
NC: You can still dress like that, but it's your
disposition. Just don't utilize it to spread negativity
or to please other people.
QB: But you know what, though? I think tits and ass
are a good thing, cause for me it is femininity. I'm
not a size 10 or anything, but I've got some nice
titties and my ass is alright, you know, [laughs]
Work what you got! I look at it this way: if I can feel
sexy on my own because of who I am, then I
shouldn't feel wrong about feeling sexy as an
individual. It's different for everybody.
NC: It's just the context in which you find it. There's
nothing wrong with being nude, the beauty of
being nude. It's pure, natural, earth, root, you know
what I'm saying? Some people say that porn is
good, everyone should look at it. I'm like no, look
at the context. The way that they're spread, the
make-up they're wearing. Look at Foxy Brown and
Li'l Kim. They're like, "I'm a woman and I can dress
like this." That's cool, they seem confident. But it's
the make-up, the fabrication of their bodies, the
fake boobs. And that's where it all goes wrong. If
they just came out naturally...
QB: See, I'm not really down with that either.
DiSCORDER We need to look at who
defines what is considered attractive.
QB: Exactly. I'm a fat girl and I'm proud of who
I am. It's not like I'm trying to go out and be a size
10, I don't care about that. I'm out for the music
and not anything else.
NC: Some women choose to come out like that.
But a lot of women want to come another way, but
then the record label says, "No, you gotta do this
and that, because we gotta make money."
That's straight up wrong!
NC: Bottom line: it's all about the skills.
QB: One of the things that bothers me about
being a "femalp emcee" is that I find that we're
automatically put on a lower level. For instance,
when I'd like to do something on stage, I find that
there's more of a hassle for me to get on the mic,
than for a male emcee who may have half as much
lyrical skill than me. I don't feel that women should
get a head start because we're women. I know for
a fact that I fight just as hard as a man does, and
sometimes I feel I fight harder. And it's not like I'm
asking anyone to feel sorry, 'cause I'm actually
thankful that you make me do that because it makes
it all that more satisfactory for me! Being a woman
in this game, some men automatically think that
you're easy to push around, or that you're
not going to represent as hard. I've always been
eye-to-eye with men my whole life. I've never
played any games and I'm not about to start at 23.
Come on boys, let's get it together! This is about
music. This is something that doesn't have a sex.
This is something that is for the masses, not for
a particular genre of genitalia.
So what can we do about it?
NC: Write about it, talk about it with people.
Mind you, it's a gradual process. You can't preach
about it, you can't be so extreme about it and say,
"Whatever, no more men at our shows," you know
what I'm saying? You can't say that. Go out and
support women in the hip-hop scene and let's have
an all-female show, that would be cool. Just don't
be as extreme as to say that men aren't allowed
in the show or that all men are wack when they're
on stage. They're not going to listen to you after
that, it'll just get worse. That's what we're going
to do about it. We're going to be natural to cure
the insanity.
Words of Wisdom
QB: Don't sell out. Don't give out.
NC: Be strong and know who you are. Don't be
afraid to discover your different sides. Don't let
anyone push you into any position that you don't
want to be in. That's it.
Keep your ear to the ground for their next appearance: contact <cascade@axion.net> or check out
http://astralmajesty.fly.to.*
io snu^mo ( THESE ARE THE FEMINISTS IN YOUR NEIGHBOURHOOD
by Gloria Steincunt
This is basically just a
chance for people to take
a brief glimpse into the
psyches of a few passionate
people who not only challenge
society, but carve a beautiful
life outside of it, by simultaneously creating and surviving
their reality through activism
and art.
Deborah Bell
Deborah is the Coordinator of The Women of Our
People Native Women's Sexual Assault Center.
A phenomenal mother, social worker and advocate
for Aboriginal women, she still finds the time to
be kind and patient with me while sharing her
invaluable knowledge and experience.
Deborah Bell: The Women of Our People w
started by Aboriginal women for Aborigir
women. Right now we don't have the gov?
funding that we used to get to run the sexual
assault program. And it's because we didn't have
the ability to administratively run it with one staff
person, and we don't use volunteers. The ministry
wants us to use volunteers. They would like us to
use funds to pay staff to train volunteers to work
could do that, because of the smallness of our
community, and we never wanted to breach the
confidentiality of the victims that utilize our ser-
DiSCORDER: So the government couldn't
understand that an Aboriginal Women's
Sexual Assault Center couldn't work
the same way as the government-run
Centers?
From their point of view, they tried their best to
accommodate us and in part I think they did, but
we have some unique needs and one of them is
that we need to have funding for more than one
staff person. I just burnt out, really. I talked to our
board, and they were quite shocked that our
contract to provide family support to Aboriginal
women was severed without any notice. But
despite the fact that we've had no funding, the
board's feeling is that we started the organization
and it's continuing on as it's own entity and we
have to organize and find other strategies to service our community. We will continue.
Would you define yourself as a feminist?
What is your own definition of feminism?
It's such a controversial thing, especially in the
Aboriginal community, because our leaders, who
are all men, hate feminists. Everybody gets into
this lingo, but I totally support the emancipation
I would describe myself as a feminist,
yeah. In our culture our whole history is defined
by men but it's women who actually make a
difference. I talk about my grandmothers rather
than my grandfathers. But the men talk at the Big
House and make all the speeches at funerals, and
the women aren't allowed to say anything.
But it's women who have to cope and do
everything. Women are having their voices muffled and silenced. That's why I like working for
the Women of Our People.
The Women of Our People's main focus
is to support Aboriginal women who are sexual
iault and i
aling.
in thei
|ourney tc
whatever route they take. Whether
)urt system, or whether that's healing
just sharing on a one to one basis.
Cunt
For the sake of brevity, I am depicting the individual
responses of the musical group Cunt in true feminist
fashion: collectively.
I saw Cunt at the Purple Onion for the
Sugarbushmagazine.com launch party. The ladies
improvised most of their set with expressive,
impressive results. My favorite song was
"Don't Mess With a Mennonite Man at Night."
What about the music you make
together?
"It's all improvised. We have kind of loose song
ideas, but they're not really structured in any kind
of way. We might play one or two of those and
just improve the rest of the night. The thing with
this band is that pretty much anything goes.
Whatever anyone wants to try they can do. It's
our one rule so far. Except there always has to be
a slide whistle song."
Do you think it's useful or relevant to
define yourself as a feminist?
"Yep, I think it is."
"I don't, I'm just a person and I wouldn't call
myself anything other than just me."
"But I do think that things that are meant to be
used negatively against women, if you turn it
around and say, 'Yeah, I'm a Cunt and I'm proud
of it.' That makes me feel good."
"I think it's just an adjective, it's like saying you're
tall or you're short; I don't think it should have
negative connotations."
What are Cunt's plans for future
domination?
"Cunt's plans for the future consist of sitting out
on the front porch when we're 80, whittling and
singing tunes. Still singing."
Naomi North
Naomi is the Program Coordinator at Vancouver
Status of Women. Combining her dramatic background with her quiet, grounded strength, she is
the closest thing to activist perfection that I have
photo by c
Why did you call yourselves Cunt?
Cunt: "Cunt started way back. I just wanted
a punk band called Cunt, and it turned out that
this wasn't a punk band. Cunt was basically just
a whole bunch of girls getting together and
interpretive dancing, smoking up..."
"I don't think it's very deep, it's just an idea.
It wasn't any political thing, we just thought it
would be funny..."
"I like the word Cunt because I like the fact that
a lot of people recoil in terror when you say it,
and I just think it's really fun to make people
recoil in terror, especially when there's no
good reason for it."
"It's like the worst swearword or the worst name
that you can call someone. The great thing about
it is that all these people know who we are
already just because of the name..."
What is your own personal definition of
feminism?
Naomi North: Feminism for me is acknowledging the fact that every single human being should
have the right to self-determination — which
means far more than equality — and addresses
issues of equal access at the same time.
How do you practice feminism in your
everyday life?
Urn, that's a damn fine question. Am I a feminist
at all? I practice feminism by working really hard
to be as aware of my many roles in my life that
I play. In all my relationships I try to have an
awareness of power imbalances whether it's a
situation of privilege or a situation of oppression
for me. I'm always thinking of the ablist mistakes
that I make. I look at my own internalized poverty-bashing shit, having grown up on welfare and
living low-income most of my life. I'm also look
ing at my relationship to people who are homeless. Inter-racial and ethnicity issues. Trying to
stretch myself to think about how I perpetuate
oppression.
Tell me about the work you do at
Vancouver Status of Women.
My fundamental belief is that every woman
should be able to self-determine and reach her
maximum potential, and be given all the support
she needs to accomplish that. In the work that I
do I endeavor to provide whatever support I can
to make that happen or contribute to a woman's
ability.
What do you wish men would do to
contribute to the feminist movement?
I wish that men would stop men's violence.
I think they have a lot to learn from how women
have mobilized in the last thirty years. I think men
have a huge role in ending violence. Like, get on
with it. I think the key role is to challenge them-
Lama Mugabo
Lama is an educator, facilitator, and video-maker
involved in a variety of projects promoting
grassroots action and global change. In addition
to speaking 7 different languages, he is wonderfully funny, sincere, brilliant, handsome, and a blast
to party with.
How do you define feminism?
Lama Mugabo: I think that the word feminism
is still a threat to people that are less progressive,
it's like communism or something, because
they don't know the meaning, or they haven't
really taken the time to understand, to adjust,
so it's very threatening. The way I see it, we need
to right history's wrongs, and [feminism]
How do you think men can practice
feminism?
To people who are sold to the idea it's a non-
issue, but men who are not in touch with their sexuality, feelings and beings have issues with it
because they see it as a threat. For me, someone
who is misogynist or homophobic or so on is not
a friend. I tend to look at feminism along the lines
of racism and homophobia, because I think it's
difficult to separate them. You cannot separate
them; it's all oppression. I don't think that I can
fight a woman's fight. I can help them, I can be an
ally, but I can't fight for them. •
11 m WHOOP! WHOOP!
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ss fuckers would c
"ke fun of one of the biggest
«rld?" - Sammg Hagar
ip/Cd Houu To Meet Girls
honest don's • po box 192027 • san francisco, ca 94119-2027 / ■
ttft\\W&^ ^LMiss Murgarloid wears crazy fuckin' glasses, looks like a schoo
MWV marm, and plays the accordion like Malmsteen rocks the geeeeetar
M^mShe does the metal sign on the cover of her album Myocycloni<
Melodies, and even calls her accordion her "axe." Most importantly, her rea
initials are A. Rose. She is more rock than you.
DiSCORDER Yo! I just got back
from Paradise City [Portland]
and, while there, I made some
casual observations. Among
them were: all the kool kidz
say "y'all" constantly.
Everyone has a garden. They
all play Patsy Cline when you
are at their house. And everyone loves their cat. Can you
explain any of these phenomena?
Miss Murgatroid: Well, as far as
the cool kids speaking with a drawly
southern slur — that's probably due
to the overdose of caffeine they
absorb. I hear the state government
is pumping caffeine into the atmosphere. And you know what happens
on a caffeine diet, don't ya? Southern
Accents! Now, I have no idea what is
going on with the Patsy Cline thing.
Perhaps these "friends" of yours are
actually the lengthy arm of some disturbing country music lovin' sinister
cult. It is the year 2 grand after all,
so don't be shocked if you find them
all dead with curlers in their hair,
Keds on their feet, and a red bandanna covering their faces when the
bell tolls. Perhaps they will ascend to
Patsy Cline's own personal heaven or
hell — who knows. And, oh yeah, I
love my cats. Others should love my
cats. They are the best cats. If we all
felt like this, the world would be a better place.
When you play in P-town do
lots of young'uns come out, or
are there a bunch of old
geezers looking to hear "The
Beer Barrel Polka"?
It's always a combo. When I play all-
ages shows I get a much more
diverse crowd. I love tormenting new
sets of ears. Whenever I play in LA,
though, my 88-year old grandma
comes out to see me — but she
knows not to expect polka. I have
taught her well.
Why no tour for your new
album [Miss Murgatroid
recently released a collaborative effort with violinist Petra
Haden called Bella Neurox]?
We did a sort of "satellite" tour. Also,
I have a day job, so I don't really
have the time to devote to a regular 3
or 4 week van-across-America tour.
We do have a booking agent,
though, and she has kicked open
new areas for us. I would be really
into opening for a fancy band for a
week or so. We'll see.
Now, you are the president of
Nail Distribution so, obviously,
you know a little about record
distribution. Right? Right. Why
then, after looking all over
Canada did I have such a hard
time finding both Myoclyonic
Melodies and Bella Neurox?
'Cause we do such a sucky job —
just kiddingl No, usually it's easy to
find stuff when it's a new release, but
once it becomes a part of the catalogue, things start to disappear.
Everybody out there has more power
than they think about this matter,
though. You can torment your local
store to carry something so that they,
in turn, torment thei
by G. Peach
>, ther
. We sell to
Scratch, FAB, and Sonic Unyon ii
Canada. They all have c
records. If you start a phone campaign, I'll give you an original work
of art by my cat Charlotte (she is the
title of one of our songs, after all).
You grew up in LA. You just
turned 30. It seems like you
were in the City of Angels at a
pretty exciting time (musically). How did the LA "scene"
affect your music?
Well, the fact that my "real" last
name is Rose and my dad's name
begins with the letter A caused a lot
of exciting mayhem when it came to
mistaken calls. I think I started doing
impressions of Axl when this began.
My parents didn't know what was
going on. It was quite funny. The LA
music scene in the '80s was actually
pretty lame. I wasn't quite hip enough
to be in the punk scene, so I skirted
on the edges of goth and pop. I was
id the
I also hur
a lot with
bunnymen.
the band The 3 O'Clock. They were
friends with my pal Noelle, so I spent
many nights at Canters in Fairfax talking about them. I did have a huge
crush on their guitar player Jason,
who is now some sort of major label
artist. All I know is that he actually
Ml** MUR«ATROIfr
came to my 1 8th birthday party.
What a dream! I see pix of him occasionally in mags and I still swoon.
With all the millennial
mumbo-jumbo over and done
with, people seem to have forgotten that the year 0 was
skipped and the baby Jesus
will be 2000 at the end of this
year. So, really, the world will
end when the clock strikes
2001! Do you have any plans
for accordion world domination when the apocalypse
comes?
I suppose I would have better
things to do than stand on a
bridge with my accordion if the
apocalypse was impending.
Besides, I would rather spend
my last moments with my best
friends, my favourite snax, the
man of my dreams (yet to be discovered) and my two lovely cats
(Jasper and Charlotte). So there! •
M0N-SAT11AM-7PM
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1250 Granville St ©Davie It's a sound that native English speakers can't really make.
The press release sent out by Mr. Lady Records suggests that we
should try saying "lay tee-gruh." Those as insufferably pedantic
as myself will find this unacceptable. It's hard for me, because Le
Tigre is a band that I want to talk about to everyone. For the first little
while, I stubbornly huffed out barely voiced velar implosives until I
nearly choked on my own uvula. However, I quickly discovered that
no one understood me.
"What?"
"Luh tiiiigr."
"Who?"
"Luh... Kathleen Hanna's new band."
It's a convenient little gloss on reality, one I prefer not to use. After
all, Kathleen is only one third of Le Tigre. Film-maker Sadie Benning
(director of Flat Is Beautiful, The Judy Spots, and other Pixelvision
works) makes up another third, and writer and artist Johanna Fateman
completes the lineup. But everyone knows this.
The players and their other projects are not the most interesting
part of Le Tigre. Their debut album excites me — musically, intellectually, aesthetically. It's bright, positive, loud, funny, and well put
together. When they get the mixture of punk energy, girl-group
melodies, and experimental creativity right, as on "My My
Metrocard," it's gratifyingly danceable. Le Tigre's music is also smart
— in a way that seems to evade some of their critics. "Hot Topic"
name-drops Ut, Urvashi Void, and Gertrude Stein, for Christ's sake. Le
Tigre's feminism is both unapologetically clever and accessible.
DiSCORDER: How and when did the three of you come
together and decide to create Le Tigre?
Le Tigre: We met at some point in the early '90s when there were a
lot of incredible things happening in the world of underground/punk
feminism. There were a lot of really incredible girl bands forming and
touring, new fanzines starting, intense penpal alliances were forged.
Kathleen was touring with Bikini Kill, Sadie was touring with her
videos, and Johanna was writing fanzines. Our paths inevitably
crossed. We started working together after Kathleen's Julie Ruin record
came out. Since it was made as a recording project, the idea was to
re-work the songs so that we could play them live and go on tour.
Johanna would help with performing the music, and Sadie would
make visuals — slides or video projections. But when we started working together we realized we really wanted to write new material and
have a collaborative relationship with more fluid roles. We ended up
If yn<^cA 2D00
as Le Tigre (although we plan to play a couple of Julie Ruin songs in
our set too).
Is the line-up of Le Tigre flexible, do you swap instruments/roles? Who plays what on the album?
Le Tigre: We all sing and play guitar on different songs. Kathleen
does most of the singing. Sadie and Johanna do the programming
(beats and sequencing). Johanna plays keyboards, and Sadie punches in some samples live. Sadie did the turntable stuff on the record.
Since we use recording processes and programming to experiment
with ideas, sounds, and structures, the way we play the music live
doesn't necessarily reflect who made up which part. We all collect
samples, make tapes, write down ideas to talk about when we get
together. The process is also sort of strange because Sadie lives in
Chicago while Kathleen and Johanna are in New York City.
Why did you decide to release your album on Mr. Lady?
Kathleen Hanna: Mr. Lady was started by one of the best artists in
the world, Tammy Rae Carland, and her girlfriend Kaia Wilson.
Tammy and I have been friends for years and years and I not only trust
her implicitly but also really like the videos she makes and puts out
through the label. At a time when so many people were forced to be
ashamed of their ideals, Mr. Lady sprung on the scene calling themselves a lesbian feminist business, and further [claimed] that their feminism is a part of a larger anti-racist, capitalist-hating program bent on
changing the world. What they were doing inspired me to not give
up, so it only made sense to collaborate with them, business-wise.
Mr. Lady seems to me to be a proud descendent of the
lesbian separatist movement. Do you feel that separatism
is still a valid and useful thing?
Kathleen: Of course lesbian separatism is still valid and useful! As
long as straight white men own and control the majority of every
imaginable resource — including physical and psychological space
— separatism will always be important. I am sick and tired of people
always wanting to pick various forms of separatism apart (and, you
know, claiming it's "reverse discrimination") rather than analyzing the
akes separatism both needed and incredi-
urishing people who are so often derailed.
;e Mr. Lady as a lesbian-owned business
committed to supporting art informed by radical values — I'm not
sure if I would locate them within a separatist history. Personally, I
feel that any politics of exclusion is problematic by virtue of its underlying reliance on notions of stable categories or identities. At the same
time, I believe that it is better to participate in something problematic
sexist, racist bullshit that r
bly important in terms of n
Johanna Fateman I : (imperfect, provisional, and experimental) than to allow unresolved
questions [to] exclude us from political mobilization. I'm really proud
that our band is involved with Mr. Lady.
Your song "My My Metrocard" briefly mentions New
York Mayor Giuliani's attacks on sex workers. Could you
explain what is going on (for the benefit of readers here
in Vancouver who probably haven't heard of this)?
Johanna: In the interest of "cleaning up" New York, Giuliani has re-
zoned areas previously associated with adult entertainment and
pornography. This has put a lot of people out of business — including
sex industry workers. He's a fucking asshole in a lot of ways...
Kathleen: He has also been publicly abusive to the family members
of people killed by the cops and supported police violence against
People of Color. I could go on and on.
There are a few lyrical and non-lyrical moments on your
album that hint toward a discussion of academia and
academic life (or, more simply, knowledge and the
hunger for it). Do you feel that academia is an inherently repressive and classist institution, or are there ways in
which it can (and should) be changed to better benefit
people?
I think that many colleges, universities, etc. employ teachers who perpetuate the status quo, thus alienating any student who
isn't white, straight, young, middle class. However, it would be impossible to categorize the multitude of academic experiences people
have into a blanket statement containing words like "classist and
repressive." I personally met my share of sexist, dehumanizing, anti-
radical experiences in college (my art was censored, I was sexually
harassed by my first professor, etc.) BUT I still feel incredibly lucky
and happy that I went. I learned so much in school — a lot of what I
learned I used to analyze the way oppression functions in my life,
both in terms of my own privilege and beyond. I am wary of the idea
that school is inherently classist, as I feel [this idea] discourages people who are working-class, working poor and/or on welfare from discovering or continuing to discover some of the amazing things college
has to offer. This idea also erases all the people who have worked ten
times harder than the trust-funded kids and are currently working
towards making the college experience safer and better for every-
Johanna, can you tell us about your zines?
Johanna: I did a fanzine called Snarla for three or four years with
my closest friend from high-school. I think we did about six issues. It
circulated mainly through girls in the west coast punk scene. In terms
of content, it would probably be grouped into a confessional genre of
zine associated with Riot Grrrl Press in the early/mid-'90s, although
we tended to deal with stuff in a slightly more aloof and abstract way.
When I moved to New York to go to art school the terms of my
work shifted away from the identity-politic issues of a punk scene to
more theory-driven projects — I was fascinated by the sexual politics
of conceptual art's recent history and the social structure of art school
and the gallery system. The Opposite, Part I was "a fanzine about
art," my first attempt to deal with disparate areas of culture (for example, modernist painting and feminist underground punk music) with the
same language. ArtaudMania!!! the Diary of a Fan was along the
same lines, but a more specific project: I chose a figure (Antonin
Artaud) that punks and academics shared an interest [in] so that a collision of their discourses made sense. My Need to Speak on the
Subject of Jackson Pollock is actually the transcript (in zine form) of a
semi-facetious lecture I gave to accompany two paintings I made. It
was my final semester of art school, and in a lot of ways the lecture
was a final "fuck you." It was intended to ridicule the retrogressive values of a couple of the teachers in the painting program I was in, and
continued valorization of Abstract Expressionist art and ideology
among fellow students.
I am working on a new fanzine that will hopefully be done before
Le Tigre starts touring extensively.
Who is your favourite feminist theorist, writer, or activist?
Johanna: It's really hard to choose just one. Right now I am really
into Donna Haraway's ideas about feminism and technology and The
Need's new record.
Kathleen: I like Sarah Lucia Hoaglund.
Is "Dude Yr. So Crazy" about a real person or a "type"?
Le Tigre: Both.
Kathleen has said that Julie Ruin was a character that
she "invented." Are the members of Le Tigre also "performing" roles in this band?
Johanna: I don't have a character worked out yet. But I do have a
ritual eyeliner routine I do especially for Le Tigre shows.
"Hot Topic" names a number of avant-garde women
artists. Do you find that assumptions about women in the
avant-garde are different from the assumptions about
women making rock music? Are they the same? I'm
thinking specifically of Yoko Ono — she was a very
avant-garde artist, yet she tends to be perceived as a talentless groupie.
Johanna: Who perceives Yoko Ono as a talentless groupie? Sexist
jerks are sexist jerks whether they are judging conceptual artists or
pop stars, you know?
Kathleen, what is your involvement with Atari Teenage
Riot? I read a review of one of their shows which claimed
you were singing with Add N to (X).
Kathleen: I sang a few lines on an ATR song called "No Success"
but I don't even know who Add N to (X) is, though if someone wants
to send me a tape I'd love to receive it!
Johanna: Add N to (X) played before an ATR at a show we were at,
but we missed most of their set! I've seen them before. I think they
are really interesting.
What are your touring plans? Will you be playing any
shows with The Need?
Le Tigre: We will be touring the east coast with The Need from April
7th to April 28th 2000. Please check for exact dates on the tour page
of the Mr. Lady website at www.mrlady.com. • Under
Review
ALIEN RADIO STATION
Magnetic Trajectory
Concern
(Sweet Tooth)
It has bass-lines to rumble the
floors, and funky drums to make
it all better, and yes, it's
Canadian It's not hard to see
the influences of dub and jungle
throughout the album. Alien
Radio Station goes for the
minimal approach, and prefers
to keep the bass as the anchor
to most of the tracks. The seductive shuffle of "The Pyramids
Didn't Walk Here" makes it one
of my favourite tracks. I fear saying something like "dark" or
"mysterious" because it seems
like everything I've reviewed
lately seems to be that way, so
please insert your favourite word
with the same effect here. Who
needs self-hypnosis when you
can get Magnetic Trajectory
Concern?
Samuel Kim
BLACKALICIOUS
Nia
{Mo' Wax)
RAMASUTRA
The East Infection
(Tox)
Start running, Whitey... there's
a brown music brigade and it's
taking up arms against ya!
White folks, over the past, oh,
few centuries or so, have displayed their own unique ineptitude in a number of fields.
Consider, for example: white TV
[Friends, Dharma and Greg),
white sport (golf, polo), white
food (hamburgers, hamburger
helper, tuna helper, tuna
casseroles). I mean I could go on
but the examples I've given are
pathetic enough. I may as well
write the white obituary while
I'm at it It's in the white music
arena, however, that one comes
across the truly disturbing, flea-
ridden underbelly of Western
Civilization. We have, recently,
been bombarded with such noxious examples as Korn,
Britney Spears, N'Sync...
like I said before, I could go on
forever. But, why bother? Our
darker brethren are pumping out
some quality shit that proves
white people are the watered-
down, piss-filled Coors Lite of the
socio-cultural breakdown.
Even though I thought it
would suck when I snagged it,
Ramasutra's East Infection is
the kind of album that will
embarrass most whiteys. The
ones familiar with Ramachandra
Borcar (a slick Montreal-based
/6'^v*-a^£ zDoo
DJ and the brain behind this
album) might whine that there's
too much Indian stuff on it and
not enough Chemical
Brothers pap But fuck them all
the way back to Europe. Sure
there are a few weak moments
on The East Infection but, hell, if
>ake
luddite like rr
through over 60 minutes of computer-generated music then you
know it's gotta be pretty damn
good. As for Blackalicious'
Nia... after listening, I called
each of my parents and gave
'em hell for marrying white and
burdening me with chalk-
coloured skin that will never,
ever wash off. Nia is my most-lis-
tened-to album of the month.
Here's some advice for any
individuals of similar mind to
myself (brown, red, white, yellow, whatever you may be): arm
yourself with Blackalicious and
Ramasutra so you can fight the
white parasite before it ravages
any more of our glorious earth.
And John Tesh... you've been
warned.
gibby peach
BOWS
Blush
(Too Pure)
Bows is the new project from
Luke Sutherland, ex of idiosyncratic Scottish lo-fi act Long Fin
Kiltie The lucky few who heard
anything of that band's queasy
dream pop will find much to relish here, and more besides.
Sometime Mogwai collaborator Sutherland has previously
been responsible for music characterized by a winning combination of sparse-but-eclectic
instrumentation and quirky-but-
touching lyrics. His new project
is a self-consciously contemporary development of this style,
providing a lush, electronically
enhanced backing to LFK-style
tales of awkward outsider love.
This approach has its
strengths and weaknesses. Many
of the songs on Blush are marred
(like so many records nowdays)
by the lazy deployment of dated
drum'n'bass and trip hop cliches. For the most part, though,
Sutherland makes good use of
the new tools at his command.
The beats are rugged but intricate, the samples otherwordly
but strangely familiar.
At a time when many musicians wrongly assume that
access to high-tech gear will
open a gateway to strange,
at a premium. Blush has just
enough of these qualities to mark
it out from the crowd.
Sam Macklin
BUGSKULL
Distracted Snowflake
Volume Two
(Scratch)
Bugskull Sean B is just one of
a great many lo-fi space rock
obscurists committed to documenting the intergalactic travels
of their narcotized minds. B is
clearly committed to boldly
going where Stars of the Lid,
Windy & Carl, et al have
already been. But, seeing as this
is B's fifth LP and all, it seems
unnecessarily glib to write the
'Skull off as generic and indulgent.
What marks this Portland-
based act out from the competition is an other-worldly variant
on that most treasured of qualities, namely soul. This, in turn,
may stem from a disconcerting
mix of sparse, non-humanistic
live playing and organically gritty electronics. Either that or it
comes from the B's laconic
vocals which evoke the stoned
mumble of Spacemen
Three/Spectrum/EAR main-
man Sonic Boom (who must be
something of a godfather figure
to acts of this ilk). It is indeed
rather flaky stuff at times, with
some tracks descending into the
realms of truly shambolic
noodling. Nevertheless, as a
whole, it's surprisingly accomplished and, often, really very
lovely.
Sam Macklin
CHOKE
Foreword
(Smallman)
What is to be said? The ritual
search of the Review Bin produces many punk bands of the
Fat Wreck Chords type or something sickeningly similar. What
has become of the state of punk
music today? It is utterly boring
and routine. Well you know
what? I think we have something
here. The headlines were
wrong: punk isn't dead. It just
moved. To Winnipeg? This is an
excellent melodic punk album:
upbeat, fun and sincere.
Admittedly this isn't musically
groundbreaking, but that doesn't mean it can't be an enjoyable listen; it's quite fun,
actually. So go get in/on your
transportation of choice and buy
this CD.
jayd
COWBOY JUNKIES
Rarities, B-Sides, and Sad
Slow Waltzes
(Latent)
The Junkies released this collection of orphaned songs on
their own Latent Recordings
imprint, which they used to
release their first, and in my
opinion best, record, Whites of
Earth Now. A big fan of both
that record and the subsequent
Trinity Sessions, I sort of kicked
the habit when the Junkie's third
release, The Caution Horses,
saw them veer away from druggy blues and into the Adult
Contemperary market. So I was
enthused by the possiblities that
this record had in store. Hit and
miss, hit and miss. The opening
track, about being horny, is dominated by fabulous feedback and
epitomizes the country blues
raunch that a stoner like myself
can relate to. After that there's
some great mellow moody shit,
and other tracks are a bit too
folky for me, but hey, if you're a
fan of the Cowboy Junkies or the
idiom in which they play then
you've got yerself a goodtimes
Cunt of Ages
DESTROYER
Thief
(Cave Canem)
Thank God for local freaky
dudes. I'm a sucker for hard
sells. Since Dan Destroyer (I
heard this term from "Brave New
Waves'" Patty Schmidt) has
crazy songwriting skills and
lyrics I will never be able to decipher, Vancouver will once again
limp past another potential
national treasure. Dan tells you,
"Hey! Give it more than one full
listen! My songs are like the
movie Airplane. You'll pick up
things you didn't hear the first
time." This is gold medal pop:
melodies that lift and lower you
someplace nicer, and a voice
with great emotional force. It's
been a while since I've been
rocked by a CD, but Destroyer is
easily a gem for all to cherish.
Chris-a-riffic
DJRAP
Learning Curve
(Sony)
Well, I thought this would be
rather interesting to review, particularly after last month's interview with Andrea Parker
(who happens to be one of my
favourites within the electronic
scene). For those who don't
remember, Parker mentions DJ
Rap in her discussion of her frus-
vith hov
the
arket it
prone to focus on the idea of a
"female DJ" rather than the
music. As Parker mentioned, DJ
Rap does happen to be a beautiful woman, but it would be a
shame to just leave it at that. DJ
Rap is no newcomer to the scene
either, and although this may
mark her Sony debut, she's been
around since the early '90s producing and remixing.
solid dance album with pop sensibilities. When I say pop, however, don't start thinking you'll
see this album crashing the top
40 charts in North America anytime soon. It's probably still more
comfortable in a club setting, but
the melodies are strong, the
arrangements are smart, and the
lyrics... well, I guess they'll do. I
was expecting to have more
drum V bass involved, but only
with the last track do you see
that come through. If you like,
you can import the UK version,
which has a couple of more
tracks in that genre.
Undoubtedly, many will label this
album, or as some British magazines promised, DJ Rap would
become the new ambassador of
club music to the uneducated.
Well, I don't think either exactly
happened, but this is a smart
piece of production, and hopefully, it's a sign of things to come.
Samuel Kim
DUB NARCOTIC SOUND
SYSTEM MEETS THE JON
SPENCER BLUES
EXPLOSION
Sideways Soul
(K)
I have always been a big fan of
both of these bands, but this
album is much more interesting
than anything either of them has
previously released. The Dub
Narcotic version of "Soul
Typecast" on the Blues
Explosion Experimental
Remixes album was proof that
these two bands were meant to
be together. Something about
the mixture just seems to work.
This Dub Narcotic Sound
System/Blues Explosion jam session is a fresh take on all that
seemed to be getting old with
both these bands. Here Jon
Spencer, Judah Bauer, and
wicked 4/4 beat, replacing
Larry on the bells. Calvin lays out
the classic monotone vocals
while Jon Spencer adds in the
odd "damn," "yeah, hey Judah,"
or "do it." You won't find any of
the classic Dub Narcotic beats
here, just good old Blues
Explosion Rock V Roll drumming.
If you have ever been a fan
of either of these bands, give this
record an honest listen. I have to
confess that I had stopped buying Blues Explosion albums
because they were all starting to
sound the same to me.
Moreover, I can't say Dub
Narcotic's most recent album,
Out Of Your Mind, did much for
me either. This record has definitely rekindled my interest in
both of these bands.
Mike Davis
THE HIGH LLAMAS
Snowbug
(V2)
You may have heard of The
High Llamas, with reference to
the name Sean O'Hagan (the
song writer) and Microdisney
(a related side project). I saw
them the last time they came to
the Starfish Room, and well, they
didn't impress me much. This
album is fortunately not nearly as
boring: it's poppy, fun, and light-
hearted Jim O'Rourke
helped record the record at
Abbey Road. This is a good
album to listen to while eating
oranges in the sun.
Lop Loog
HOLLOWPHONIC
Hollowphonic
(Sweet Tooth)
Be apprehensive when an album
has a "Dream Sequence I and
II." This is music you take for
insomnia on the plane. These
are six minute-plus soundscapes
with vocals that are reverbed up
the ass. It's still kind of cool, with
long keyboard and guitar tunes
and ridiculously slow programmed beats. Still, it wears. It
does remind me, however, of
My Bloody Valentine, but
with an even more laid-back
atmosphere.
Chris A23
KID DYNAMITE
Shorter, Faster, Louder
(Jade Tree)
If I'm the one to break the news,
I'm hating it. Kid Dynamite
has just broken up in the wake
of their new record's release.
The record, however, is more
optimistic, hearkening back to
the days when post-hardcore
bands were just called hardcore.
They're not really hardcore in the
Snapcase sense, though; they
sound more like Rancid when
Lars sings than anything else.
Nonetheless, this is a refreshingly energetic record and I hope a
few of their more anemic-sounding Jade Tree label-mates pick
up a thing or two from it.
godfrey leung
THE KISSING BOOK
Lines & Color
(Magic Marker)
Looking for something to listen to
during family games of
Monopoly? Well, here is the
solution The Kissing Book
weaves eleven infectious pop
gems filled with heartbreak and
hand-holding. Some comparison
could be made to Belle &
Sebastian, but this is not simply derivative. They definitely
did their homework on '60s
pop, even in the artwork department. This album would fit right
in with your parents old LPs. I
have to say that on a sunny day
there is nothing quite as fitting as
a sugary sweet pop album. That
said, today is sunny, so The Kissing Book has found its way
into my stereo. There is nothing
left to do but enjoy the sun and
smile.
jayd
LUNAR DRIVE
All Together Here
(Beggars Banquet)
Hmm, I think my editor is out to
get me. [/ am! — Ed] She keeps
enticing me with those groups
that blend "traditional," "ethnic"
sounds with modern technology
And what am I reviewing now?
Another CD that blends traditional music with technology.
And I normally love it. Talvin
Singh, Joi, The Covenant —
all awesome musics that go that
route. But Lunar Drive irks me.
I think it's because this one,
to me, lacks a certain authenticity. [Aha! My trap worked! You
have discovered the problematic nature of the "ethnic" marketing gambit! — Ed] I could be
totally wrong, but it really seems
like a bunch of white guys have
gone down to Navajo country
and picked them up some
sounds of them crazy ethnic peoples, 'cause it'd be a good marketing move. Deep Forest all
over again, but this time on an
independent label. I mean, I
could be wrong. I don't know
about the label, and I don't
know the people involved, and
I'd be the last to intentionally
offend someone, but with songs
like "I'm in love with a Navajo
Boy" and "Way Hey Hey" and
"Trees Wave Bye" it all comes
across as a little formulaic, a little
watered down. A little too safe.
A little too white.
That's not to say it's not interesting in its own right. It is — it's
got some good drum V bass,
some nice trancey stuff, some
dancey stuff all mixed well with
"traditional sounds" and if
you're looking for something like
that, Lunar Drive is for you.
I'll stick with something else.
Anthony Monday
MADDER ROSE
Hello June Fool
(Cooking Vinyl)
Hello June Fool contains what
we expect from Madder Rose
with Mary Lorson's fine vocals
and acoustic guitars scattered
about. Fortunately, they save us
from the unplugged coffeeshop
approach by occasionally throwing in some slow and funky drum
loops and samples. It works and
the melodies remain distinct and
memorable which is one of the
great things I like about this
album. You'll have no problem
humming along, but maybe it's
this very accessibility that hurts it
somewhat. The tempo remains
generally the same throughout
the entire album, so it's difficult
to not wish for a track that would
stir things up. Yes, it's a good listen, but I can't imagine running
back into a burning house to
retrieve this CD.
Samuel Kim
MORPHINE
Night
(Dreamworks)
"It's all about simplicity, and
playing with dynamics. It's about
subtraction more than production." — Mark Sandman, 1952-
1999.
Night has fallen, ripe with
metaphor, and it's bittersweet-
ened by my knowledge of
Morphine frontman Mark
Sandman's death. The music on
Morphine's sixth release is sensual, luxurious, and way too
sexy — as usual. The ultimate
noir band will from now only
exist in recorded form, and
thankfully Night, like all their
other releases, is a stellar record.
Hancunt
THE MOVES
The Moves
(Mr. Lady)
It's very hard for me to articulate
what it is about this album that I
like. This Massachusetts trio partakes quite earnestly of the kind
of pop-rock that I seldom if ever
like, yet it works. In a cryptic,
inexplicable way, of course. At
times The Moves sound like a
softer Excuse 17 (call-and-
response vocals, alternately
choppy and strung-out guitar).
Mostly they sound like themselves. I feel bad about it, but I
really have nothing else to say.
Pluvoise Demain
THE NEED
The Need Is Dead
(Chainsaw)
I've already stated many times
that The Need is "the best
band in the universe" and that it
is my mission in life to spread
their Good Word, so it's no sur-
e that I
>uld n
anyone other than myself write
this review.
The Need is about biology
confronting technology.
Characters have body parts
removed, strap on replacement
limbs, couple in "unnatural"
ways. The Need is a rock band
deconstructing our assumptions
about the body and its relationship to gender. Their eponymous
debut CD dealt with these matters more explicitly, but The
Need Is Dead takes the themes
to a more abstract and sophisticated level. "O Sally How's It
Feel With A Fake Hand?" is a
song title that says pretty much
everything. The Need creates a
lyrical universe where dyke sex
is the unquestioned norm.
Musically, The Need Is Dead
is subtle and sophisticated, full of
artifice but hardly phony. "Dear
Diary" makes me think of Kate
Bush hallucinating on her
deathbed, backward masking
and all. On other songs, King
Crimson (I can't get rid of this
nant of seeing guitarist Radio
Tragedy trapse around Yoyo A
Gogo wearing a Kedt-shirt) and
Essential Logic battle for control of The Need's musical ancestry. "Blew Candy," "Eva
Carriere," and "Mono Tinsley"
are quiet and dreamy while
retaining their creepy edge. The
deciding blow for this album's
supremacy comes with the epic
"Dark Sally" and "Hellfire,"
heavy metal masterpieces that
belong in every suburban rec
I've proposed to Radio in
DiSCORDER before. I'm doing it
again. Radio, please. I'm the
one in the front row begging for
NEKO CASE AND HER
BOYFRIENDS
Furnace Room Lullaby
(Mint)
I can remember being 1 1 and
heading back to Alberta for a
family reunion. (We're the outcasts of the extended family
because we live in the city.)
Anyway, on these trips my dad
would take great pleasure in torturing us with Alberta radio stations. I swore then that I'd never
like country.
That was a half-life ago and
since then I've discovered some
pretty hep country 'bums.
Namely: Neko Case 'bums.
Now I loved her and Her
Boyfriends' previous release,
The Virginian, but this new one,
Furnace Room Lullaby, has sent
me a swoonin'. "Twist the Knife,"
for example, moves me to tears:
"Tenderly, Tenderly, please take
my breath from me/You be my
guest, and I'll let you stay/Leave
me the cheque/I'll pay with the
rest of my life."
This stuff, urban as it may be
n't such a modern girl with modern problems. All I want is a
porch-swing and an uninterrupted horizon. But who am I kidding? Neko and her BFs are
modern folks too. Just call me old
fashioned when I say, "Neko
Case and all your boyfriends,
will you marry me?" Aw, shucks
PLONE
For Beginner Piano
(Matador)
I've got an oxymoron for you:
likeable keyboard band. Really,
who knew that all those piano
lessons as a kid could equal
electronic coolness later on in
life? Billy Bainbridge, Mark
Cancellara and Mike Johnstone
are Plone, three English lads
with a gigantic keyboard collection and spooky sound effects
They have an ear for making
tunes that could pass for space-
//ith dru
HK-hin,
age n
sne to go with
each track. There's a simplicity
about the music that's refreshing;
no pretension happening here. I
guess if you think Dr. Seuss in a
band with the Teletubbies (if you
hate the Teletubbies, you might
find Plone a wee bit annoying)
being produced by a happy
electronic act like Mouse On
Mars (on a downtempo day),
after everyone has been watching many episodes of Scooby-
Doo (pre-Scrappy-Doo), you
have the idea. You can't dance
to it, but in a fix, you could happily write essays to it. I think I'm
going to dust off my piano and
see if neat space-age sounds
Doretta Lau
POP STAR KIDS
This Is:
(Play Ground)
Supposedly the '80s are back
and this is the evidence!
These New Wave-y tunes
are backed
and synthesizers.
The Pop Star Kids are
two punk kids named Anthony
and Andee who were kids in the
early '80s, but are definitely not
kids now. Their songs about sex,
drugs and rock V roll are all
pretty cliche, and go well with
the cover art and the display of
their photos along with the likes
of The Cure, Madonna, Jimi
Hendrix, and Siouxsie and
the Banshees As a whole, the
package is pretty fun. I suppose
it's best not to fight it, but rather
to embrace the cheesiness of the
'80s.
Lop Loog
SATURNINE
American Kestral
(Motorcoat)
It is so hard to write a sad pop
song in the era of Ron
Sexsmith and Stephin
Merritt triple albums.
Saturnine can write good,
albums have that 1 1 song disease, where the last 10 songs
serve to back up the first one. I
dig the dude's laid-back,
Robert Pollard-like voice and
lines like "I hope your wings are
dry, this world is made of fire."
The guy knows how to cry, but it
falls on deaf ears. I was the guy
that wondered why my poetry
class wrote about death when I
wrote about puppies with superpowers.
Chris A23
SUPERSUCKERS
The Evil Powers of Rock n'
Roll
(Koch)
This one's pretty self-explanatory, kids: "The Evil Powers Of
more reviews on
page 19, jerk.
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num^mm. FRIDAY MARCH 31 - RICHARD'S ON RICHARDS Rock 'n' Roll," "Fisticuffs," "I
Want Drugs," "My Kick-Ass
Life," etc. If, after ten years, you
haven't decided if you like the
Supersuckers or not, forget
about it. Perhaps you lack the
mental capacity. If you have
decided that you like the
Supersuckers, you will not be disappointed with this album. God
love 'em, they're the
Supersuckers. They say "Fuck!"
and I say "Yeah!"
SUPREME BEINGS OF
LEISURE
Supreme Beings of Leisure
(Palm Pictures)
Fuckin' A The Supreme
Beings of Leisure have
released a fabulous debut firmly
entrenched in trip-hop and house
traditions whilst working their
own thing. You could get critical
and say that the Supreme Beings
borrow a lot from Portishead,
but what's the point? Good
music influences and begets
more good music. The Supreme
Beings offer some perfect deep
house tracks which ought to kick
your ass onto the dance floor,
whilst the Portishead-y steamy
tracks are perfect for prancing
around and looking seductive.
The important thing is the sincerity of the sound, and the
Supreme Beings have penned
1 1 groovy, interesting and
diverse tunes. Vocalist Geri
Soriano's jazz-influenced vocal
stylings make her a diva with
dimension, and I am always
ecstatic to stumble upon dance
music with intelligent lyrics.
We're not talking Leonard
Cohen or anything, but some
good stuff. I love the part about
wearing your heart "like a red
stain." Sexyfunkyfuckboogie!
Hancunf
TAKAKO MINEKAWA
Fun 9
(Emperor Norton)
This new record features the
beautiful songs of the very talented Takako Minekawa,
someone who is known to be a
recluse obsessed with the colour
white.
The songs are much like
those on her previous releases
[Cloudy Cloud Calculator, and
her remix album, Ximer), looped,
mixed and sampled along with
both Japanese and English
lyrics. She is similar to
Pizzicato Five in her bubbly
execution of poppy tunes. The
instruments used even include a
clavinet (a very nice addition).
Fun9 also features Cornelius,
another member of the Japanese
popstar hall of fame.
Lop Loog
TURF#3
State of the Union 1999
(Bonnie Day Press)
In the past, Turf's editors have
error-ridden zines. But if you had
to typeset each page by hand,
you'd probably make the same
) stop your complain-
nthe
ing and
tent. In this issue of Turf, the
international playgirls at Bonnie
Day press went tech-age (read:
they used computers for layout),
so all "intentional" mistakes are
inventoried on a separate errata
page. The zine, which is the size
of a CD, is designed by art
directress Lisa Chen-Wing to
look like semaphore flags; the
semaphore alphabet is included
in the illustrations for all of us not
in the know. In essence, the eyecatching cover of the zine is a
tool of communication.
Impressive, eh?
But there's more. Each hand-
stitched, limited-edition copy contains the 1999 State of the
Union address, which is a manifesto by editor Andrea Gin.
Everything from irony to bus rid
ing is covered. In between, you
can learn about the "Turf
Information Network" and discover that "The Age of
Earnestness" is upon us. Quite
simply, the address is a call to
take action. It's written in an
upbeat, humorous style. With a
huge vocabulary of never-heard-
before slang words and definitions, Turf-speak puts Douglas
Coupland's Gen-X dialogue to
shame. If you're still not sold, the
motto of Bonnie Day Press is
"bringing the writers of tomorrow to the readers of today."
Didn't you always want to see
into the future as a kid? Here's
your chance. Check out
www turfzine.com to get your
quick Turf fix.
Doretta Lau
VARIOUS ARTISTS
vl.O
(Mediacore)
Been waiting for this. Those of
you who have been into the
noise/industrial/hardcore scene
in Vancouver have probably
heard of Mediacore's projects:
usually intense and weird nights
attended by noise freaks, few in
number but dedicated in spirit.
Recently they seemed to have
consolidated in an effort to
purge the world of music
through noise. Here's part of
their effort.
I plug in and await synaptic
responses. First: industrial ambient openings. Second, syncopated, experimental dnb that
makes eyelids flutter. All very
bleepy by Error 404. Third,
reorganised feedback in some
sort of drum loop. I think. At this
point, I wax and oil my new
weapon. Fifth installment reinserts the organised d'n'b. Tech-
step, really. The sixth completely
reinverts me — "Tower of
Dfunct." "Now you are threatening legal action," the CD tells
me. Oh. Whoops. IDM inserts
ID LADIES FASHION >5S2 BEATTY ST (NEXT TO STADIUM STATION) >ph HMB7.74H fx IiU4.IiII7.IHIi4
(53 @ S uj*~*- o^p EsE RP55 Afc^
we also carry a large selection of records, cds, tapes, videos, mags, graft supplies ai
my orifice. I like it. The seventh
seal — which I gather is
"Fukkered" - is the most distorted piece of distortion ever.
Neat, aggressive. But I've heard
that one before. Still makes me
load bullets, though. I pull out
the Unabomber manifesto.
What follows is 500BPM Love.
Speedcore that echoes in and
out with high-pitched sounds. I
manically spray the neighbourhood with bullets. Spent ammo
is left down the street. "God
Loves" is next, by Bad Feng
Shui, the same artist that did
"Tower...". I like this. Well done.
The CD ends with more industrial ambient, a la Clone who
also did the opening track. I go
home and drink my corporate
Coke. Remember kids, don't do
this at home! For the rest of us,
keep the noise coming. My
mouth is open.
Tobias
VARIOUS ARTISTS
New Disorder Sampler
(New Disorder)
It's got d.b.s. on it, so how can
it be anything but incredible?
Add to that the fact that you get
thirteen songs for US$2.50 ppd
and you have a must buy on
your hands. Included on this
sampler are punk rockers the
likes of The Criminals,
TheGodsHateKansas, and
The Jocks, who are almost as
endearing as Tales from the
Cr/tera d.b.s. Surprisingly, the
d.b.s. song is one of only two
not off the new CD not written
by Andy, so it's not really an
accurate indication of how they
sound these days. But that doesn't really matter — with great
songs, great value, and d.b.s.,
how can you resist?
godfrey leung
VELMA
Cyclique
(Emperor
The love child of audio art and intended for bedi
pop. With a CD-ROM. at medium to me
French, to boot. umes."
They have one song that ju:
goes "ping pong ping poni
ping pong." For seven minutes
It's
Ping pong ping pong ping
pong ping pong ping pong ping
pong ping pong ping pong ping
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Anthony Monday
YUME BITSU
Yume Bitsu
(Ba Da Bing)
Wow. Wow wow wow. Talk
about awesome. Flipping
through the booklet before I lis-
long shots of clouds and blurred
landscapes, and I found only
one sentence: "This recording is
Pretentious, I thought.
Thankfully I was really really
really wrong. These musicians
are the perfect blend of slow
and fast, the greatest joining of
gentle and hard. It's what would
happen if Red House
Painters and Slowdive and
Mojave 3 and East River
Pipe and The Stone Roses
all got together in a big crazy
lubed-up orgy and, in a gigantic
climax, spurted forth Yume
Bitsu
(Yes, I know those bands
are predominately men. Let's all
pause a while to enjoy the
image. Mmm, lubed-up Brit-pop
boys.)
Anyways, back to the
Yume Bitsu, seriously, is a
must have for any shoe-gazing
fan. The kind of music you want
to put on and not speak to anyone, the kind of music that completely takes you away,
somewhere, and when you get
back, you feel awesome. The
kind of music that's good for
bedroom listening, alone or oth-
Besides, any album that has
a twenty minute song called
"The Frigid Frigid Frigid Body of
Dr TJ Eckleberg" is A-OK in my
Anthony Monday
what we
listened
to
yume bitsu • american
music c
ub •
tied + tickled t
-io • pi
u m t ree
» the
moves • dj me
dj you • class •
ammer einheit
haage
• penis
geek
chrestomat hy •
domin
c radio
com-
pilation • gastr
del so
1 • cata
onia
• rah digga • metalwood • v/a
van-
couver special
• gold
water «
the
need • nothing. Against All Authority
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DYNAMITE BOY-FInders Keepers
CD only Real Live
Action
JOHN REISCHMAN & THE
JAYBIRDS
LUCKY PENNY
Monday, January 17
W.I.S.E. Hall
Bluegrass — it's not just for
breakfast anymore! What with
high-profile releases last year by
the likes of Steve Earle and
Dolly Parton, we could be
looking at a goshdarn begin-
ning-of-millennium bluegrass
revival. And who better to lead
the charge than one of North
America's finest mandolin players, who just happens to reside
here?
John Reischman has put
together a fine group of local
musicians on guitar, banjo, fiddle and standup bass, and
despite his prowess on mandolin
he was happy to stand back and
shine. The stage setup was
unplugged with two old-style
mics to pick up the music and
vocals. There was enough of a
mix of instrumentals and songs
(with great harmonies), originals
and old standards to keep everyone happy. No slouches here,
but worthy of special note was
bass player Trish Gagnon, also
of Tumbleweed, whose high,
lilting harmonies were a stand-
Opening the evening was
Lucky Penny, a local blue-
grass band doing one of their
first live gigs together. They're
young and rough around the
edges, but their energy and
playfulness helped make up for
the lack of polish.
Great people-watching in a
crowd that included a mix of
Gram V Gramps Valley types,
alt.country hipsters, and plain
ole folks. The fact that this hall
was packed on a Monday
evening is a testament to local
bluegrass and this allegedly
poor live music scene we keep
reading about elsewhere.
Val Cormier
DJ ROLANDO
MIKE GRANT
Wednesday, February 2
Commodore
It is rare that certain types of
good music hit Vancouver.
Although we have been inundated with our fair share of the
British super Liber-pop trance-djs,
it is rare we get some true djs
with skills who are not of the hip-
hop or house variety. February 2
was indeed a date for such djs,
when promoter Hamish
McArthur teamed up with the
Canadian Federation of Students
to bring two djs from Detroit,
spinning Detroit techno. Detroit
techno is not rave music. Its roots
go back to the birth of Chicago
house and hip-hop, Kraftwerk
and Afrika Bambaata, and a
Roland 909 drum machine in the
early mid-'80s. Inspired by Alvin
Toffler's The Third Wave, Detroit
techno has a futuristic sound and
philosophy, with a heart of funk
and soul reflecting Detroit's
Motown roots. It is complex,
involving and intelligent music,
and, as we heard from
Rolando and Grant, sometimes hard, fast, dark and angry.
Mike Grant played a pounding
set on the Commodore's augmented sound system, producing
long and smooth mixes, dropping Surgeon's "Learning" and
Richie Hawtin's "Spastik."
Mike Grant is a regular resident
at Tresor in Berlin, and the
German style of non-stop,
pounding beats from this Detroit
native was evident in his velvet
mixing. DJ Rolando came on
after Grant had pummelled the
sweaty and oppressed dance-
floor, and although starting with
his infamous track "Jaguar"
from the Underground
Resistance Knights of the
Jaguar EP, moved from the funkier side of Detroit into the hard
pounding minimalism of Jay
Denham, Jeff Mills, and Rob
Hood. Using doubles and hip-
hop tricks, Rolando impressed
the crowd with his beat-juggling
tricks, throwing records in and
off the beat, in the mix, without
cueing — this is something you
expect from hip-hop djs, but in
the commercialized pop-dom of
semi-rave dj stardom, it is something rare indeed. Rolando has
skills. And not just dj skills — his
production work as a member of
the anti-corporate, anti-major
label, independent Underground
Resistance has been incredibly
successful. His title track of last
summer, "Jaguar," was so successful with technoheads that it
was stolen by two German pop-
trance producers and sold to
Sony and then to BMG for a CD
compilation and twelve-inch, all
without permission, copying the
original tone-by-tone and turning
it into a horrible, cheesy blow-
yer-whistle trance remix. This is
why the CFS and McArthur
booked these two djs, especially
Rolando, as their official after-
party to the Day of Action
protest; UR has taken up the fight
against BMG and Sony with the
support of the underground techno community. Although Sony
Germany, after increased pressure from djs and producers and
listeners from around the world,
gave up plans for the illegal
remix, BMG has now gone
ahead with the plans.
Information on resistance can be
found at www.submerge.com.
Voice your opinions and let the
majors know this kind of action
about its allegiance to the distinctive Hot Club de Paris sound
and, while it's a pleasant one,
two sets of it (no opening band)
was pushing it a tad. Even with
the rhythm guitar strumming and
tempos started to sound samey
Very nice licks pulled off in guitar and bass solos, but nothing
to get up and dance about.
Great sitting-on-the-left Bank,
latte-in-hand type music; a lovely
and sane way to pass a damp
Sunday evening.
Val Cormier
JUSTINA MAJ
Sunday, February 6
Vancouver Academy of
Music
When I was a kid, I hated prac-
Brendel, that's for sure. What
was she going to do with all
those flowers anyway?
I sat there, with my arms
crossed, my forehead wrinkled,
and left before the encore. No,
I'm not bitter. I just went home
and put my face on the cold
piano keys, slammed the lid on
my head, and cried like the stupid kid that I used to be.
HOLY BODY TATTOO: Circa
Wednesday, February 16
Vancouver East Cultural
Centre
If you could commission the
soundtrack to your dreams and
visions, who would you call? The
names on your hit list would provide a huge clue to the flavours
Tango ran through the show as
a metaphor for human relationships — hardly a novel idea —
but by setting it in a much larger
landscape, Gagnon and
Gingras turned it into a tantalizing image of life. Right from the
top, as they danced methodically around the stage to the Lilies'
Martin Jacques singing "Send in
the Clowns" in tango rhythm,
you knew that this would be a
nice tilted ride. Jacques' end-of-
pier drag queen voice does the
same glorious things for his covers of old nuggets as Tom
Waits' warm growl does for
"There's A Place for Us."
A whiplash inducing
sequence followed, in which the
dancers sat in chairs and proceeded to abuse their upper tor-
' r/
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seam @ the starfish room, photo by am goncalves
Tobias
PEARL DJANGO
Sunday, February 6
W.I.S.E. Hall
This Seattle group performs
gypsy swing in the Django
Reinhardt/Stephan Grap-
pelli mode, so I was surprised
to see the hall set up with a large
dance floor, as though the swing
kids were gonna break out at
any time — wishful thinking for
this mellow but surprisingly large
Sunday night crowd.
ticing the piano. I hated taking
lessons, I hated theory, and
most of all I hated playing in
front of people. Like every stupid kid, I begged my parents to
i qui
After
It's
;es thre
of ther
guitars on stage,
beautifully crafted by rhythm guitarist (and token Canuck) Shelley
Park. The violin-playing
remained the focus, even though
it was, sadly, low in the sound
mix. This group makes no bones
play my last recital (if you could
call it that), my mom shook her
head and agreed that I should
quit forever. Ever since then
(don't tell my parents) I've
regretted it.
Justina Maj practices for
over eight hours a day. She is
considered to be one of the
best, perhaps the best, young
pianist in Canada. She played
three hours of Chopin in front
of 300 people. I wasn't
impressed. Sonata 3 in B
Minor? Big deal. Sure, she's
quick and accurate, sure people in the audience leapt up
and shouted "Bravo." She's no
in your psyche. Noam Gagnon
and Dana Gingras are the
choreographer/dancers who
make up The Holy Body
Tattoo and when they scooped
last year's Alcan Performing Arts
Award, the resulting coin
($50,000) allowed them to
bring in The Tiger Lilies, The
Dirty Three's Warren Ellis and
the production talents of ex-
Banshee Steven Severin as
well c
y of film
ind lighting designers.
Only nominally a Vancouver
dance company, HBT has spent
much of the time since its birth in
1993 touring Europe, where its
work has been both appreciated
and nourished. This shows in the
wonderfully wilted sophistication
that dripped through most of the
vignettes making up Circa.
The erotic push-pull of the
flinging. This and a few other
segments reminded us of what
the pair had been up to in previous works. She on the floor in
doggie position, for example,
was so violently shaken by Him
that I thought her eyeballs might
plop out and roll across the
stage. That sort of thing.
Although staggeringly watch-
able, these sections felt somewhat cut off from the atmosphere
of the whole — like side-trips inro
postmodern danceville. More
successful in this vein was an
arm and head ballet, frantically
turn to page 22
for more real live
z] nM&Simm synchronized to the rollicking
tee-hee of "I'm Crucifying Jesus"
(Jacques again). Gagnon and
Gingras have chosen strong collaborators and things always
worked best when they stayed
cosied up to them.
Now and again a blood-red
curtain would be raised to reveal
William Morrison's film footage
of Euro cityscapes, street scenes,
tango studios and clips of the
dancers in rehearsal would seep
into us to the fractured tango
score of Ellis' violin. The graveyard scenes were particularly
beautiful, reminding me of the
really old bits of Highgate
Cemetery. One recurring clip
that continues to titillate and
haunt me was of Gingras dragging a chair across the floor
while sitting in it — head flung
back, arms gripping the sides as
if tied, feet in three-storey high
heels. It came across like a combination of de Sade and old
Surrealist film. (I tried this later,
at home, and had to use some
very interesting muscles to make
any progress.)
If all this sounds fragmented,
it's because it was, but in a way
that felt closer to the truth than
narrative flow ever can. It was
as if the performers were
unrolling a map of desire and
the end result was a constellation
full of gaps and log-jams.
At the show's close, the
dots were slyly joined up as the
two stood in a shaft of glitter
that rained onto the stage.
Poignant like the shabby glitz
of an old vaudeville curtain,
reminding us what a sad circus
life is, it was the set design
equivalent of sending in the
clowns. No wonder the
Penelope Mulligan
LYDIA LUNCH
30 HELENS
Sunday, February 20
Richard's On Richards
The longevity of Lydia Lunch's
career may be seen as proof that
every cultural movement, no matter how obscure, begets at least
one or two legendary figures.
Anyone remember the late-
'70s/early-'80s NYC-centred
explosion of Brian Eno-spon-
sored free jazz rock noise
known as No Wave? Not many,
most likely, but its aftershocks did
throw up the avant-Latin stylings
of Arto Lindsay and the magnificent poison-pen rants of La
Lunch.
Most of those who made it
to Richard's for the Vancouver
installment of Lydia's Dirty Little
Secrets tour seemed to have
NO notion of her checkered
history Most of them had
apparently come to lend moral
support to spirited local comedy troupe 30 Helens. (As if in
acknowledgement of this, Lydia
performed first, like she was
the support act.) These were
clearly not, by and large, people who had followed Lydia's
ascent from guitarist with
Teenage Jesus and the
Jerks, through collaborations
with Sonic Youth and
Michael Gira, to her current
status as feminihilist demagogue extraordinaire.
The fact that Lydia is still
working and receiving critical
acclaim is almost certainly a
product of her own inexorable
will to survive (not just artistically but psychologically and
even physically). Her progress
seems to come from a shark-like
need to keep moving, writing,
testifying.
An unflattering appraisal,
perhaps, but so what? Lydia
Lunch hardly portrays herself as
the baa-lamb petting type. Like
many truly creative people, she
derives strength from being in
touch with her evil side.
Indeed, if the excerpts from her
autobiography Paradoxia that
made up the first half of her
spoken word set are to be
believed, she's more in touch
with her evil than most. Her stories are non-judgemental
(amoral even), bitterly hilarious
tales of scamming and tricking
around the back alleys and
squats of punk-era Manhattan.
The few spectators who
greeted Lydia's recounted victories over adversity by bellowing "you go sister"-type
platitudes were missing the
point somewhat. The true
importance of her autobiographical tales is not that they
provide a role model for young
women but that they comprise
an object lesson in hip aesthet
ics. It's the style, not the content
of this work that is truly invigorating. Her prose pacing is
dizzying, her charisma (in person and in print) captivating,
her William Burroughs-
meets-Bill Hicks delivery utterly captivating.
The second half of the set,
which involved Lydia reading
"air-percussion," a strange muscle-man conga line was started,
a stage-crew guy was recruited
to drive an imaginary car for
the tune "Honk My Horn," and
crowd members helped use a
gigantic homemade slingshot to
fire a giant puffy ball off the
stage to Nardwuar on the
< advi
column Tough Love was less
impressive. The impact of this
section was more reliant on Dr.
Lunch being right rather than
just being impressive. Still, she
managed to take her readers'
ludicrous missives (mostly made
up, apparently) and have her
wicked way with them. She
used them for what they had
and moved on. And that just
about sums up the (black)
magic of Lydia Lunch.
Sam Macklin
SMUGGLERS
DONNAS
CHIXDIGGIT
BLACK HALOS
THEE GOBLINS
Friday, February 25
Commodore
As it says in The Smugglers'
hit song "Vancouver, BC," "The
sun don't shine and the rain
g dowi
' Thus
was fitting that on the night of
the big CD release party for
The Smugglers' new album,
Rosie, it poured and poured.
And poured.
This in no way stopped the
crazed masses from packing
the Commodt
capacity for a night of
control rock 'n' roll shi
gans. It was a bit shocking to
see the Commodore so full, but
then it made sense cons
the bill. The swank bt
was abuzz with anticipation:
mod rockers, punk kids, alter-
na-fucks, CBC radio whiz-kids
and Betacam-carrying videog-
raphers all eagerly
Thee Goblins took to the
stage at 8:45 pm sharp in their
signature cheerlead<
and white bedsheet outfits.
Zealous fans rushed to the front
of the stage to take part in this
interactive extravaganza.
Audience members were pulled
on stage to help Nard>
April Issue Deadlines:
Copy: March 15th
Ad Booking: March 22nd
Artwork: March 28th
Streets: March 31st
2 fb.
ding
highlight was when Thee Dis„
blins took the stage with gold
capes and super-hero outfits,
then played disco-influenced
rock!! I
The Black Halos were
up next, led by the strange and
wild Billy Hopeless. With their
all-black outfits, rock-star hair,
tattoos and AC/DC-ish bass-
player, The Black Halos were a
fireball of non-stop rock energy
from the first to the last note.
Billy Hopeless teased (or should
I say scared?) the audience by
slowly removing articles of his
clothing. Losing first his studded
dog-collar, then his vest, shirt
and belt, he undid his tight
vinyl pants to reveal his skimpy
black underwear. From there
he pulled at his underwear to
ble, stuck his hand down his
pants and then licked it, and
finally stuck his microphone
down there too. Oh yeah, his
on-stage hijinx also included a
precarious perch on top of the
speaker stacks!
After spending a cold,
lonely winter in Calgary,
Chixdiggit played their first
live show in 3 months for the
throngs of rawkin' fans in front
of them. With singer KJ standing in his low-down, spread-leg
stance, Chixdiggit tore through
crowd favourites such as "Hip
Hip Hooray" and "I Drove The
Coquihalla." The boys seemed
to be having a grand old time,
and KJ led numerous crowd
cheers for the Ballroom, the
other bands, and the band of
honour — The Smugglers. KJ
dedicated their closing song, "I
Wanna Hump You," to The
Smugglers' front man Grant
Lawrence and roused the
crowd into a cheer of "Grant!"
"Lawrence!"
After much anticipation
and a closed curtain between
sets, California's queens of R-
O-C-K The Donnas took to
the stage. After a brief glitch
due to Donna R blowing her
sub, this furious foursome blew
into a lengthy set of material
from all three of their releases.
Once again they proved they
are truly a rock V roll
machine.
Vancouver's own Canadian
Ambassadors of Rock 'n' Roll,
The Smugglers, appeared in
matching white sport-coats and
their signature rubber boots.
Fueled up and ready to roll,
their frenetic energy never
waned for a moment as they
ripped through a marathon set
of all the crowd's favourites.
Old tunes such as "Your Mom's
The Devil," "Especially You,"
"She Ain't No Egyptian" and
"Melee In Madrid," as well as
brand new ones such as "Rock
Thy Neighbour," "Booze Can,"
"She's Another Thing," "Kings
Of The Party" and "Danko
Jones' Pants." Of course, no
Smugglers show would be complete without the dance contest,
and this time the lucky winner
walked away with a smokin'
hot bowling lamp! During their
new album's title track, "Rosie,"
Rose Melberg of The
Softies joined singer Grant
Lawrence for a duet and the
two of them threw roses to the
crowd. During their totally
unpredictable encore, Billy
Hopeless stumbled on stage
and sang a duet with Grant
Lawrence, and Donna R battled
Nick Smuggler and Dave
Carswell in a guitar-lick contest
which she easily won. They
ended off the night with yet
another one of their sizzling
hits, "Rock with The Smugglers
Tonight!" and bid adieu to their
adoring fans. It was a classic
Smugglers show complete with
their trademark choreographed
dance moves and singer Grant
Lawrence's horribly cheesy, yet
somehow still kinda cool, stage-
talk. It was a truly great rock V
roll party that no one should
Rob Brownridge
, ' Krj ijtUr---r_\
TiTR
LI 1 r\
The monthly charts are comp
lea basedon the number of times a CD/LP ("lone
/~U
l|§
vinyl"), 7"
"short vinyl"), or
demo tape fine
ie home jobs") on CiTR's playlist
Ch
arts
was played by our djs during
the previous month (ie, "March" charts reflect air-
V- 1 1
\A 1 L-J
play over F
ebruary). Weekly
o@unixg.ubc.ca"
nny\
charts can be received via e-mail. Send mail to
with the command: "subscribe citr-charts"*
march indie home jobs
march long vinyl
march short \
1 kid koala
carpal tunnel syndrome
ninja tune
1 readymade
the block alone
endearing
1 p:ano
all of november, most of October
2 neko case
furnace room lullaby
mint
2 destroyer
the temple
endearing
2riffrandells
sweet sixteen
3 smugglers
rosie
mint
3dja-trak
enter rolph wiggum stones' throw
3 the nasty on
lester bangs
4 beekeepers
the world won't...
independent
4 spitfires
slick black cat
junk
4 the birthday machine the torch
Svedahille
you do not live...
independent
5RC5
in the bottle
my fat ass
5themetic
je ne sais pas
6danko Jones
my love is bold ep
soundking
6pedro the lion
helicopter
homemade
6newhedron
heap wonder
7 destroyer
thief cave canem
/triple crown
7 tremolo falls
s/t
faint
7 the radio
crystal blue
8 le tigre
s/t
mr lady
8 huevos rancheros
wild turkey surprise! mintall
8 full sketch
soundtrack
9 buck
buck in black
sftri
9girl summer fun band
s/t
magic marker
9 swank o'hara
no one has a clue but you
lOsquarepusher
selection sixteen
interscope
lOkepler
s/t
spectra sonic sound
lOkidkordene
karosooshka
1 1 songs: ohia
the lioness secretlycanadian
1 geoff farina
steely dan
southern
11 kiltlifters
gold digger
12 loud
taikoelectric
independent
12 starlet
diary & herself
parasol
12 hot hot heat
tourist in your own town
13 various artists
silence descends
western front
3 subway thugs
s/t
oink!
13hughphukovsky
jesus loves me
14 kids of widney high
let's get busy
ipecac
14midnight evils
powerhead
dart
14 coupon
in their sleep
15 hell caminos
s/t
independent
15 busy signals
s/t
sugar-free
15 mark
don't make me sorry
16stompin' torn Connors
move along w/...
emi
16 microphones
moon moon
k
16 new electric riot
teenage blues
17b'ehl
bright eyes
endearing
17 dump/lambchop
split
third gear
1 7 sparrow orange
the orange peeler
18 sonic youth
goodbye 20th century
syr
18 going stagg
sink and dream
kittridge
18 dwayne dibley
i wanna see u die
19 joe keithley
beat trash
sudden death
I9kaia/sarah dougher
split
mr lady
19david lester
the light changed before i could blink
20 modest mouse
building nothing...
up
20 smash up derby
blow all the hell!
saxxon virile action
20 sex in Sweden
bridge and tunnel
21 rheostatics
story of harmelodia
neutron lullaby
universal
drive-in
22 electrosonics
TOP TEN FAVORI
TE SEX TOYS
hand, may have to be for
ed into it. Women usu-
8 Butterfly knives, Switchblades, Hatchets,
23 supersuckers
evil powers of...
by LYDIA LUNCH |««d«i,.i,
ally have no problem pleasing their female part
Machetes, surgical stainless steel scalpels; in a
24takako minekawa
fun9 emperor norton
1 Electric Vibrator: Every ga
needs at least one. To
ners... whatever it takes, they'll usually give.
4Medical Tubing: The best bondage available.
pinch, razor blades: Add the delicate essence of
enough fear to pump the adrenal overload neces
25 bob log III
trike
fat possum
ways make the puss
Cheap, sterile, reusable.
3nd cuts off enough of
sary to give me a proper hard-on.
sing is totally unfair and a
ecipe for disappoint-
'mini-me" hand held
the circulation to poun
the pumpinq blood
9.My self: Only 1 know truly what 1 need to ta e
26arling and cameron
music for... en
peror norton
ment. A Wahl or Sunbeam
straight to the nugget. Looks hot and is a refreshing
change from standard clothesline rope, black
nylon or sticky gaffer tape.
5.Flat Tipped Tongs: Great for squeezing those
me over the edge and into the valley of no return.
27panamerican
28deadbolt
360business/360...
voodoo trucker
kranky
headhunter
plug in, or for extra horse
Wand...which is like using c
Dower & only for the
jack hammer to melt
10.Another human being who is advanced
enough to realize that whatever happens in the
bedroom is confidential (that is, unless 1 work it
29 zen guerrila
trance states in tongues
sub pop
butter.
2.The Chili Pepper": A slee
, tapered 10 inch red
places you'd rather not touch...just yet.
6.Chopsticks: Yes, chopsticks. Wonderful for
into one of my sordid tales of psychosexuality, n
urgent need of making some sublimely ridiculo s
point) and that ANYTHING that CAN happen
between consenting adults should be experienced
at least once, and the weirder the better, becau e
their is nothing more irksome than straight van 1-
30 rothko
31 french paddleboat
32 sally timms
truth burns ep
cowboy sally's twilight
bloodshot
hot replica, not of the male member, but more akin
to a huge jalapeno pepper. Sexy, cool, face it:
there's enough pricks walking around...our sex
toys do not need to replicate them.
3 Black Double Headed Dildo: Insert one end in,
tongue-tying that blabbermouth that just won't
leave the bullshit out of the bedroom. Pull out
tongue (use tongs), place a chopstick over and
under tongue, clamp them together with black
electrical tape. Clever change from standard ball
33 swollen members
balance
battle axe
and force your partner to fellate the other. Works
7°Nun's Habit and Priest'
la sex, which as we all know is fine when the
especially well when trying
from the boys — boys will u
to separate the men
Vestments: Nothing is
imagination is exhausted and the flesh is weak,
34 morphine
the night
dreamworks
ually accept the invi-
hornier than blasphemy, e
xcept the proper equip-
but should be forever verboten if you have any
35 dj vadim
life from the other side
ninja
tation no questions asked.
"Men," on the other
ment to actually crucify someone with.
desire to keep the Cunti Fresh.*
kf jJaAwt jba Si/aa On The Dial
DN-AIR GUIDE TO CiTR 101.9fM
SUNDAYS
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM All of
This show presents the most
the world. Ears open
THE ROCKERS SHOW
12:00-3:00PM Reggae
inna all styles and fashion
BLOOD ON THE SADDLE
3:00-5:00PM Reakowshit-
caught-in-yer-boots country.
CHIPS WITH EVERYTHING
alt. 5:00-6:00PM British
pop music from all decades.
SAINT TROPEZ alt. 5:00-
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc ), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER FM 6:00-8:00PM
Dedicated to the gay, lesbian,
munities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
great music from musicians of
all sexual preferences and gender identities.
HELLO INDIA 8:00-9:00PM
GEETANJALI 9:00-10:00PM
Geetanjali features a wide
range of music from India,
including classical mu
Hindustani and Carnc
ular music from India
from the 1930s to the 1 <
semi-classical music sue
Ghazals and Bhajans,
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
THE CHILL-OUT ROOM
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'l Stay up late and
VIBE 2:00-6:30AM
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.
BLUE MONDAY alt.
11:00AM-1:00PM
Vancouver's only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted by
7:30PM
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,
alt. 7:30-
:, both
:, pop-
6:00-
MONDAYS
SALARIO MINIMO
8:00AM
BREAKFAST WITH THE
BROWNS 8:00-11:00AM
POP SCENE
1:00PM
SOUPE DU JOUR 1:00-
3:00PM Feeling a little
French-impaired? Francophone
music from around the globe,
sans Celine Dion.
A WALKABOUT THE WORLD
3:00-4:00PM
EVIL VS. GOOD 4:00-
5:00PM Who will triumph?
Hardcore/punk from beyond
the grave.
BIRDWATCHERS 5:00-
6:00PM Join the sports
department for their eye on the
T-Birds.
FILIBUSTER alt. 6:00-
EEP-.OP-ORP
9:00PM
THE JAZZ SHOW 9:00PM-
12:00AM Vancouver's
11:00- longest running prime time
jazz program. Hosted by the
Walker.
Featur
it 11
March 6: Young New York
ist/composer Mike
Ledor
ind his
* albun
Then and Now.
March 13: Dinah Washington's
The Queen of the Blues 1945.
March 20: Baritone saxophonist Serge Chaloff's Blue Serge.
March 27: Live at the Newport
Jazz Festival: Cannonball
Adderly Quintet, Gerry
Mulligan Concert Jazz Band,
Oscar Peterson Trio and Dizzy
Gillespie Quintet.
VENGEANCE IS MINE
1 2:00-3:00AM Hosted by
Trevor. It's punk rock, baby!
Gone from the charts but not
from our hearts—thank fucking
Christ
PSYCHEDELIC AIRWAVES
3:00-6:00AM
TUESDAYS
THE MORNING SPORTS
SHOW 6:00-8:00AM
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM
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. Kill-
TRAGIC ANIMAL STORIES
11:30AM-1:00PM Tales of
puppy love gone awry, all
backed up by a sad soundtrack of indie-r
beer please
THE SELFISH SHOW 1:00-
2:00PM Poetry, piano and
BELT OUT THE BLUES 2:00-
3:30PM Music for families
and little people.
*€■
9
10
11
|12**
1
2
3
4
5
6
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
(e££ae Vnkup
3ALA31® JSnUJSS
MORHIHG SPORTS SHOW
The fl-Freahs
n^ttV—urad «!*%<«.
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THE
HOMING AFTER SHOW
against a(( odds
SUBURBAN JUNGLE
breakMsTwiTh
The browns
■WORLD HF.&TT
g^KssriT m ran sm
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Reel Music
are you
serious?
music
Fool s Paradise
1FEE ©HEMUM
SPIKES MUS/CAi PINS
ANbNEEUES
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BljVVSr
BLUE MONDAY/
pop scene
Tragic Ar>fwa(
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C/WAW/W LUHCH
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STAND AND BE
CUNTED
THESE ARE THE
BREAKS
SAPAGAWA
SWPESW
The seLF,sh show
+/>e shake
StjEVE&MtKE
^©WERCHORO
KIT OUT THE HUES
Win j coMj
THf ONOMATOPOEIA SHOW
High on Grass
3L©®BSB7!3SJi3>i>!3
»*»*#B«s*™»
MKgfiffllSEIMIElW
RHYMES & REASONS
I&SKT M&&F51
©AB^AUM
EVIL VS. tJOOD
BLACK NOIZ
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J^KtmNfm^M
IffleUVfy
Tropez ^mumn^
Queer FM
FILIBUSTER/
AUDIO VISUAL
FLEX YOU*
HEAD
rochels
song
<W FOR KICKS
F«rE*stSide Sounds
/ArW'CAH
«WVTHVi%
RADIO FREE
AMERICA
vxfw-%tff-arp
AW0 SOMETIMES WHY/
BY THE WAY/
REPUCA REJECT
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RAMO aLINIKATHIKO
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THE
JAZZ
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THUHt>ERBIRt> HELL
homeboee
The Show
VENUS FLYTRAP/
WiTcHOOcTbi^HiqHBALL
«jO0i.f^fc%:|
pipcrir come
sirBA.iGii.Tr Oinnr*
JAi^iJUrilAB
HICHBRED VOICES/
TnoodY.groQVes and
explorations
VENGEANCE
iSrttWE!
Aural
Tentacles
HAWS KtOSS'
MISERY HOUB
SHtTWX
CHILL-OUT ROOM
TABLETURNZ
/EARWAX
vibE
psychedelic
airwaves
WEST COAST POPPIN'
Trtrs.% Worn
THE
M0RA///V6 AFTER
SHOW
WrGGATc L»t»*-vJ*
6"* I
7
8
9
10 '
11
1
2
3
4
5
6 HIPS TITS LIPS POWER
3:30-4:30PM Featuring That
Feminist Collective from CiTR.
BETWEEN THE LINES 4:30-
5:00PM
10,000 VOICES 5:00-
5:30PM Poetry, spoken
word, etc.
RADIO ACTIVE 5:30-
6:00PM Activism, issues and
fucking up the corporate
powers that be.
FLEX YOUR HEAD 6:00-
8:00PM Hardcore and punk
rock since 1989.
RADIO ELLINIKATHIKO
8:00-9:00PM Greek radio
LA BOMBA 9:00-10:00PM
Spanish language music and
talk.
WITCHDOCTOR HIGHBALL
alt. 10:00PM-12:00AM
Noise, ambient, electronic,
hip hop, free jazz, etc.
VENUS FLYTRAP'S LOVE
DEN alt. 10:00PM-
12:00AM Back in the saddle
again, loveden@hotmail.com
AURAL TENTACLES 12:00-
3:00AM Ambient, ethnic,
funk, pop, dance, punk, elec-
WEST COAST POPPIN'
3:00-6:00AM 100% West
Coast rap. Huge giveaways,
with your'host like no other
Shawn Powers.
WEDNESDAYS
THE A-FREAKS 6:00-
7:00AM
THE SUBURBAN JUNGLE
7:00-9:00AM A perfect
blend of the sublime and
absurd, with your refined and
exotic hosts Jack Velvet and
Carmen Ghia.
FOOL'S PARADISE 9:00-
10:00AM Japanese music
SPIKE'S MUSICAL PINS AND
NEEDLES 10:00AM-
12:00PM Spike spins
Canadian tunes accompanied
by spotlights on local artists.
STAND AND BE CUNTED
12:00-1:00PM DJ Hancunt
urges women to get down with
their cunts while listening to
soul, world beat, disco and
THE SHAKE 1:00-2:00PM
DJ IN A COMA 2:00-
3:00PM
MOTORDADDY 3:00-
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
RACHEL'S SONG 5:00-
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.
AND SOMETIMES WHY alt.
7:30-9:00PM sleater-kinney,
low, sushi ... these are a few
of our faveoh-writ things.
REPLICA REJECT alt. 7:30-
9:00PM Independent and
innovative music and noise
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-
grass-polka-alt.country-cajun-
conjunto show that dares call
itself folk. And singer-songwrit-
STRAIGHT OUTTA JALLUND-
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HANS KLOSS' MISERY
HOUR 12:00-3:00AM
Mix of most depressing,
unheard and unlistenable
FIRST FLOOR SOUND SYSTEM 3:00-6:30AM
THURSDAYS
AGAINST ALL ODDS 6:30-
8:30AM
REEL MUSIC 8:30-10:00AM
Soundtracks and classical.
THE ETHER TABLE 10:00-
11:30AM
CANADIAN LUNCH
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).
THE ONOMATOPOEIA
SHOW 2:00-3:00PM
Comix comix comix oh yeah
and some music with Robin.
RHYMES AND REASONS
3:00-5:00PM
CULTURE CAVITY SEARCH
5:00-5:30PM
REELS TO REEL 5:30-
6:00PM Movie reviews and
criticism.
OUT FOR KICKS 6:00-
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
ON AIR WITH GREASED
HAIR 7:30-9:00PM Roots
of rock V roll.
LIVE FROM THUNDERBIRD
RADIO HELL 9:00-
11:00PM Local muzak from
9. Live bandz from 10-11.
HIGHBRED VOICES alt.
11:00PM-1:00AM
MOODS, GROOVES AND
EXPLORATIONS alt.
11:00PM-1:00AM
PLUTONIAN NIGHTS 1:00-
6:00AM Loops, layers and
oddities. Naked phone staff.
Resident haitchc with guest DJs
http://sine.ranch.org/pluto
FRIDAYS
SHADOW AT DAWN 6:00-
8:00AM With DJ Goulash.
CAUGHT IN THE RED 8:00-
10:00AM Trawling the trash
heap of over 50 years worth
of real rock V roll debris.
SKA-T'S SCENE-IK DRIVEI
10:00AM-12:00PM Email
requests to djska_t@hotmail.com.
THESE ARE THE BREAKS
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. Versatile at
any style.
HIGH ON GRASS 2:00-
3:30PM Join your hosts for a
skillet-lickin' good olde tyme.
The best in bluegrass and
down-home groove.
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
3:30-4:00PM Have a good
lunch! Back on the air once
again!
BLACK NOIZ 4:00-5:00PM
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-
6:00PM
FAR EAST SIDE SOUNDS alt.
6:00-9:00PM
AFRICAN RHYTHMS alt.
6:00-9:00PM David Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa & African music
from around the world.
HOMEBASS 9:00PM-
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
SATURDAYS
THE MORNING AFTER
SHOW 3:00-8:00AM
THE SATURDAY EDGE
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.8-9AM: African/World
roots. 9AM-12PM: Celtic
music and performances.
SAREGAMA 12:00-1:00PM
POWERCHORD 1:00-
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
LUCKY SCRATCH 3:00-
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Anna,
Jim and Paul.
RADIO FREE AMERICA
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-
1:00AM
TABLETURNZ alt. 1:00-
4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out. —Guy
Smiley
REGGAE LINKUP 4:30-
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
***to X- ■
-Mitt** ' W
thuridergrrrl radio
better than the boob tube
on lOl.OfM and cable 102
FIGHT RACISM
CiTR
101.9 fM
A special day of
programming:
March 21 2000
5pm to midnight
programming by CiTR and other
zs Datebook
SUBMISSIONS TO DATEBOOK ARE FREE!
to 822.9364,
WED 29 Pied Pumpkin@Commodore;
THU 30 Broken Record Chamber@Western Front; Luna@Starfish; 30
ens@Richard's; Electrolush@Lavalounge; Sahara Macdonald
Band@Jazz Cellar; Full Clit (Vancouver Women In Hip-Hop
Showcase)@Chameleon
FRI 31 Charlatans UK, Stereophonics@Commodore; Radio Berlin,
Battles, Sinoia Caves@Marine Club; Structural Damage@Western
Front; Robert Minden Duo@St. Mark's Trinity Church; Neko Case &
r Boyfriends@Richard's; Flygirl 2000@Denman Station; Gord
iina Trio, Tammy Weis Quartet@Jazz Cellar
FRI 3 Ming & FS@Sonar; Anna Lumiere Quartet@Jazz Cellar;
Knoxville Girls, Jerk With A Bomb@Brickyard; No Use For A
Name, Mad Caddies, Consumed@Masonic (ahhhh!) Building (all-
ages!); Kim Mitchell@Commodore; Metalwood@Capilano College
Performing Arts Theatre
SAT 4 Choke, Retreads, Layaway Plan, Frontline@Java Joint; Not
So Strictly Ballroom@Let's Dance Studio; James Forrest with Bob
Murphy@Jazz Cellar; Arthur Funkarelli, DJ Skinny@Brickyard
SUN 5 Peter Murphy@Commodore, Figure 4, Erase, BLeeding
from the Forehead@Java Joint; Another Joe, Choke, Layaway
Plan@Boot Pub (Whistler); Scott Fields, Peggy Lee, Dylan van der
Schyff@Western Front; Fred Eaglesmith & The Flying
Squirrels@Richard's; Open Jazz Jam Session@Jazz Cellar
MON 6 Open Mic Night@Jazz Cellar
TUE 7 Ricardo Lemvo@Richard's; UBC Humanist Society Abortion
Debate@Norm Theatre (noon)
WED 8 Mike Weterings Band@Jazz Cellar, The Female
Gaze@Blinding Light
THU 9 Guster, Owsley@Richard's; Electrolush@Lavalounge;
Sahara Macdonald Band@Jazz Cellar; Talking Pictures@Western
Front; Johnny Legend Psychotronic Film Festival (feat. My Breakfast
With B/assie)@Blinding Light
FRI 10 In Reach, Seed, Afterthought, Part of their Plan,
September@Java Joint, Sector 9@Brickyard; Roots Literary
Magazine Reading@UBC Bookstore (12:30 pm); Pepper Sands,
Riff Randells, Thee Goblins@Marine Club; Lowry Olafson@White
Rock Playhouse; Flygirl 2000@Denman Station; Bill Coon Trio,
Bunco & Single Malt Quartet@Jazz Cellar
SAT 11 Women & Resistance 2000 (feat. Submission Hold, Tegan
& Sara, Che:Chapter 1 27, Loud, Cease Wyss)@Vancouver East
Cultural Centre; Robin Holcomb@Western Front; Joel R.L. Phelps,
Kinski, FCS North@Brickyard; Stewart Goodyear@Vancouver
Academy of Music; Bossanova, Clover Honey, Vancouver
Nights@Marine Club; Mike Henry & The Big Dawg Band, Christine
Duncan@Pitt Meadows Rec Hall; Dollhouse@23 W.Cordova; Alvin
-Cornista Quartet, Noel Bennet Trio@Jazz Cellar;
Stretch@Chameleon
SUN 12 DJ Craze@Sonar; Eric ldle@Orpheum; Loud Taikoelectric
Release Party@Western Front; The T.A.M.I. S/iow@Blinding Light
MON 13 Open Mic Night@Jazz Cellar; Kardinal Offishal,
Monolith, Checkmate, DJ Mastermind@Sonar
TUE 14 2000 Maniacs, Young Hot and Nasty: Teenage
Cru/sers@Blinding Light
WED 15 Power Clown, Charlie Drown@Brickyard, Anson
Funderburgh & The Rockets@Yale; Selassie I Power@Jazz Cellar
THU 16 Methods of Mayhem, Crazylown@Commodore;
Electrolush@Lavalounge; Julius Papp Maxi Records CD Release
Party@Sonar
FRI 17 upRooted@Black Sheep Books; Capozzi Park, Evan's New
Band, July 4th Toilet@Marine Club; Celtic Connection St. Patrick's
Celebration@Croatian Cultural Centre; The Tiller's Folly@Fort
Langley Community Hall; Flygirl 2000@Denman Station; Catherin
O'McLellan Band@Jazz Cellar; New Town Animals, New Electric
Riot, Nasty On@Ms. T's Cabaret
SAT 18 CiTR PRESENTS King Apparatus, Easy Big
Fella@Commodore, Salteens, Run Chico Run, Young and Sexy,
Fiesty@Brickyard; Canned Hamm, Full Sketch, Demon
Skull@Marine Club; Dollhouse@23 W.Cordova; Bunco & Single
Malt Quartet, Leanne Averbach & Ross Barrett Band@Jazz Cellar;
Full Moon Fling (feat. Jack Assassin, Wow!)@Chameleon
SUN 19 Fiona Apple, Jurassic 5@Orpheum; Lois, The Birthday
Machine@Starfish
MON 20 Open Mic Night@Jazz Cellar
TUE 21 King Anderson's More Art Than You Ever Thought
Poss;b/e@Blinding Light
WED 22 Saddlesores, Cartels@Brickyard; BY08@Blinding Light
THU 23 Veal, Hawksley Workman@Railway Club;
Electrolush@Lavalounge; Ev/o'ence@Blinding Light
FRI 24 Veal, Hawksley Workman@Railway Club; Destroyer, Secret
Three, Pipedream@Marine Club; Flygirl 2000@Denman Station;
Alita Dupray Quartet, Midnight Special@Jazz Cellar; Better Dead
Than Red: Paranoid Propaganda Classics@Blinding Light
SAT 25 CiTR PRESENTS: FLAMING LIPS,
LOOPER@COMMODORE; Montana, Notes From
Underground@Brickyard; Susan Aglukark@Vogue; Jerk With A
Bomb, The Radio, Tremolo Falls@Marine Club; Dollhouse@23
W.Cordova; Junction, Noel Bennett Trio@Jazz Cellar
SUN 26 Steve Lacy, Roswell Rudd Quartet@Performance Works
MON 27 H20, Anti-Flag, Saves the Day@Starfish
TUE 28 Wild Goose Yourse//@Blinding Light
IMMfcHtHHIMaHl
an:m»».)kw«i:mi
Amsterdam Cafe 302 W. Cordova St. (Gastown) 683 7200
Anza Club 3 W. 8th Ave. (Mount Pleasant) 876 71 28
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 #102-1 252 Burrard (at Davie) 893 8696
The Brickyard 315 Carroll St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
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 371 2 Robson St. 682 5345
Cordova Cafe 307 Cordova St. (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial Dr. (at 17th) 879 01 54
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 2110 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
^ yy^u^J, WOO
3nd)
stown)
Frederic Wood Theatre (UBC)
Garage Pub 2889 E. Hastings St. (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 41 24 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 1600 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 1275 Seymour St. (downtown)
Medialuna 1926 W. Broadway
Minoru Pavillion 7191 Granville St. (Rich.
Moon Base Gallery 231 Carroll St. (Gast
Naam Restaurant 2724 W. 4th Ave. (Ki
Neptoon Records 5750 Fraser St.
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinematheque 1131 Howe (downtown)
Palladium 1 250 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 1 5 Water St. (Gastown)
Queen Elizabeth Theatre Hamilton & Georgia
Raffels Lounge 1 221. 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 6311
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 1895Venables (at Victoria) 254 9578
Vancouver Little Theatre 3102 Main (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th (Point Grey) 222 2235
Vert/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
Weft Bar 1320 Richards (downtown) 230 6278
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall 1882 Adanac (the Drive) 254 5858
Women In Print 3566 W. 4th (Kitsilano) 732 41 28
Yale Blues Pub 1300 Granville (downtown) 6819253
Zulu Records 1 869 W. 4th (Kitsilano) 738 3232 h
1
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QOOOGSQBOGG CONCERTS'
hob.com
th« home of Ive music on the uiternet.
HHER
+ special guests OVv SLEY
| RICHARD'S ON RICHARDS |l
THURS. MARCH 23 I
FRIDAY MARCH 241
HAWKSLEY
WORKMAN
mEffiEsa
lFRIDAY MARCH Til
NEKOCASE
(ommoDiM
1 DISCOTOWN STRUTTERS
starring DJ CHICLET and MC VELVET K *.
SAT
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PETERMURPHY
U U U U MERCAN DE
METHODS
2fMVYH3M
ITOMMY LEE • TILOl
STEPHEN PERKINSl
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Flaming Lips
with guests LOOPER *
charlatans^
Stereophonies
train
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fAL Diablo
WITH 0*£X£\<la&r J^ *SBftHS H ^r^A^aj f=| ffi
& HER BOYFRIENDS
I TUESDAYS DISCO TRONIC ' " w WED. MAR. 29 PIEO PUMHIN
[RICHARD'S ON RICHARDS III Thursdays z 95.3 nights sat. mar. 11 coronation ball fri. mar. 1? dj oerricr carter sat. apr. 01 too short
FRI. MAR. 03 RIM MITCHELL SUN. MAR. 12 DAL RICHARDS FRI. MAR. 24
EDWIN FRI. APR. U BEENIE \ new circuitry at zulu
make the right connection with these sound components!
f?"«
DIRTY THREE
WHATEVER YOU
LOVE, YOU ARE cd/ip
Unfolding dew drop petals otthe
night sky. Enchanted Charmed
Increasingly pitch black Without
words, they are instrumentalists Swaggering, boozed up.
the violin has really drunk a cup-full tonight. Low E string a
steady, brooding caterwaul of resin brushed hairs The bow
dances alongside a fury of sullen reverb-drunk twangy guitar
and vexed jazzy drumming Think back to the intoxicating
moments you shared with the DIRTY THREE, and now
remember Whatever You Love, You Are
CD 16.98 LP 16.98
TIED + TRICKLE TRIO
EA1EA2 co/ip
Thesis Topic: "The hybridisation of modern
music." This German trio's latest dissertation
hits the mark as jazz, dub, post-rock and electronica, hypnotically combine into the sonic vernacular of today's musical
eclecticism. A dense, yet highly listenable record, EA1 EA2's
reference tones are sure to please. One can pick up on the
Davis/Hancock electric and acoustic horns and follow them
through Krattwerks processed low-end prog filters to the
precise alloys of Tortoise's more up-tempo swells. This is one
thesis defence you might want to sit in on.
CD/IP 16.98
NEKO CASE &
HER BOYFRIENDS
FURNACE ROOM
LULLABY CD
You gotta love the internet. How
else would you be able to listen in on BBC's "The J
Peel Show" live (or pretty darn close to it) on a daily basis'
Because were it not for the wonders of Real Audio, you probably would not have been able to hear him (kind of) praising
NEKO CASE'S brand new album recently: "Now is that a great
voice or what? Not a great name but a great record." Yes,
Neko s sophomore album is finally here, after more than
eighteen months of spit and polish — the end result is a
gleaming gem of twelve songs, once again involving contributions by another collection of hand-picked musical talents
such as Ron Sexsmith Bob Egan Brian Connelly. Carl
Newman Kevin Kane, Linda Mcflae and Evan Johns Neko
performs at Richard's On Richards on March 31st.
CD 14.98
DO MAKE
SAY THINK
GOODBYE ENEMY
AIRSHIP THE LANDLORD IS DEAD CD
Along the lines of Vancouver's ow
Constellation's other better-know troupe God Speed You
Black Emperor DO MAKE SAY THINK s fantastic second
album is full of adroit, surging, dynamic and epic instrumental
songs. While not as dark and brooding as Godspeed or as
burlesque as the Beans, DO MAKE SAY THINK tastefully syn-
thesise the best elements of prog and post rock experimentation. With a six person membership of multi-instrumentalists,
including two drummers — god bless them, DO MAKE SAY
THINK are able to fully develop their themes and ideas,
remaining consistently provocative and smart, never becoming too heavy or indulgent. Once again Constellation wisely
reminds us to listen to our own. Highly recommended.
CD 16.98
GIANT SAND
CHORE OF
ENCHANTMENT CD/ap
Modestly musing about his latest
desert rock oeuvre, GIANT
SAND s Howe Gelb remarks: "The
overall sound could be summed up as a mix of slow burning
hot buttery Memphis moistness with the crispy quiet crackle
of Tucson thirsty-ness." Released on Thrill Jockey records,
Gelb's inventive vision and varied song-writing skill has found
a new porch to rock, and from it, Chore ot Enchantment
extends a beautiful welcome mat to all! Assembled guests
include Juliana Hatfield. Jim Dickerson (Big Star) Paula
Brown, and Evan Dando. Praise the fruits of the desert!
CD/2LP 16.98
SAVATH + SAVALAS
FOLK SONGS FOR
TRAINS, TREES
AND HONEY CD
Take Chicago. An original six city
that burns with tradition. In the past it was recognised
mainly for its blues tradition. Today, Chicago is synonymous
with a new breed of great bands and even greater record
labels: Drag City, Thrill Jockey, Bloodshot, etc. Update your
palm pilots with this stunning debut from Chicago's latest
upstart record label Hefty Records! Having brought you the
slick beat collages of Euphone and the spare post rock efficiency of lllium Hefty gets into some digital funk destruction
with this oddly titled and stylishly designed "soundkids" platter. Cut ups, digital dumps, glitch-rock, beats and bleeps.
Their time is now!
CD 16.98 Avail. March 7th
BOWERY
ELECTRIC
LUSHLIFEcd
Long time Zulu faves, BOWERY
ELECTRIC return with a new album [
of smooth atmospheric anthems. With
higher fidelity production, a concerted nod to dreamy upfront vocals and wide bandwidth sounds, Lushlife is a celebration of exuberance, grandiose melodies and beats, and
soaring Spiritualized-like audio cathartic beauty! 10 songs,
including the sublime Freedom Fighter, to lift you out of
slumber and into the city of night. Catch the fever. Stay a
little longer in the floating world.
CD 16.98
WILL OLDHAM
GUARAPERO-
LOST BLUES cd/ip
two tracks from the infamous nevi
released "Guarapero" sessions —which featured members
of Gastr Del Sol and the Dirty Three — this WILL OLDHAM
sampler represents the entire gamut of this enigmatic songwriter: the desolate spirit spurred by love lost; the roaming
poet who traverses mountains and valleys singing in the
American idiom; the ghostly apparition that haunts the post-
copulation blues bedroom... We'll leave you to discover his
other characters. Recommended.
CD/LP 16.98
KID KOALA
CARPAL TUNNEL
SYNDROME cd/lp
Ninja Tune starts the year of
with a new high watermark in
DJ turntabiism. Having held court
with the likes of Money Mark and the
Montreal's Eric San, a.k.a Kid Koala, sets out to drop his
own Technics 1200 science. Beautifully packaged with
Koala's comics and loose graphics, this full-length debut
has lots of playful bounce, samples galore and an occasional heavy Shadow-esque beat. Those who've witnessed
his set know of his deck wizardry. Those who haven't
should cross your fingers and hope he tours again! This
gives new meaning to the term wax poetic! Chop Chop!
CD/LP 16.98
SPITFIRES
IN TOO DEEP
AGAIN cd/ip
These hard working local rock
I and rollers probably don't want
to be blindly lumped into any kind
of simple surge of media interest. And they don't need to
be. Nope, they get by just fine using the tried and true
basics of plain good old solid rock and roll — loud, fast,
hard and with attitude. All dues have been paid. By the
way, this is the best way to maintain a respect for the tradition. Everything else is candy. The SPITFIRES know this
and live it. Rock on brothers and sisters, rock on.
CD 16.98/LP 12.98
MARY TIMONY
MOUNTAINS cd/ip
A s the principle songwriter for indie-rock avatars Helium,
/aMARY TIMONY earned mystic status within the tough
East Coast rock underground. Quixotically dissonant songs
loaded with imagery and an outspoken verve made 1997's
The Magic City that year's stylish ode to alienation.
Mountains, her first proper solo outing, picks up on this
bold existentialist stance. TIMONY flexes her considerable
compositional muscle to pen this nice set of serene ballads.
Just wait for the reviewers to compare her to Nico
CU/LP 16.98 Avail. March 7Bi
OTHER NEW RELEASES:
DWARVES- Come Clean CD/LP Loud fast punk from those that can't be named.
ETIENNE CHARRY- 36 Erreurs CD French pop with experimental verve, tres
chic!
AROVANE- Atol Scrap CD Electronics a la Funkstorung and Autechre.
ISAN- Digitalis CD Soft haunting beats from the Aphex Twin school.
JAPANCAKES- Down the Elements CD/LP Epic instrumental Elephant 6 pop.
Clicks & Cuts CD/LP The new MILLE PLATEAU sampler is in!
LIVERS- Blood & Mood CD Acoustic soap box punk. Cool.
PERSONALS- Driver Driver CD Spencer Davis meets Sweet.
HOT SNAKES- Automatic Midnight CD/LP Powerful turbulence a la Rocket
From the Crypt.
RED CRAYOLA- Malefactor Ade CD An archival recording from this seminal
group.
DYLAN GROUP- Ur Klang Search CD Their dubby new platter
MEKONS- Journey to the End of the Night CD A wild ride into the rootsy
dancehall.
TOWN AND COUNTRY- Decoration Day CD-EP Thrill Jockey's new compositional heros.
APPLES IN STEREO- Look Away CD-EP New school west coast pop
THE VUE- s/t CD/LP For Radio Berlin fans....
PRICES IN EFFECT UNTL
MARCH 31", 2000
P.S... CHECK OUT OUR OLD LOCATION AT 1869 WEST 4th AVE FOR ADDITIONAL CD & VINYL BARGAINS'.
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) Mar 1, 2000
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