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 13,000. Subscriptions, payable in advance, to Canadian residents are $ 15 for one year, to residents of the USA are $ 15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER DEADLINES: Copy deadline for the April issue is March 15th. Ad space is available until March 22nd and can be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. Send e-mail to DiSCORDER at citrdiscorder@mail.ams.ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: citrradio@mail.ams.ubc.ca, visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, 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. • / ENDEARING MEW RELEASES RUMTBEI CHRISTINE FELLOWS DESTROYER WHtv.eiJear1ni.ciii WM.saliceis.com sal teens ©can aia.cint MiWIIiiiN'IAMiiiflgni Tie Brickyard preseits ENDEARING RECORDING ARTISTS the Salteens CD Release Party with. AO¥. TIX $7 AVAILABLE AT SCRATCH. ZULU, lOIZE, SIIGLES GOIIG STEADY $1 AT TIE lit! SIIWTME 9.31PM. ItttS 9.91PM 313 CAflfUtlL STREET GASTOWN 9*3 337» ; 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 Go get Knotty Boy - the most whoop-ass dread wax and shampoo your dreads could ever wish for! Vancouver: The Underground "f- Kits Hemp Co "f- Deja Vu Int'l Salon t Abantu Int'l Salon f> Circling _1 Dawn ?•• Heritage Hemp & Surf (White Rock) Vicrorla: Sacred Hero t> Ginger Group t- Off the Cuff &<: Electric Lettuce t- JJs Hemp Hollow t> Still Eagle £ Sisters in the Hood XearHe Vain Salon $■ TN www.knottyboy.com w^,. Inquires call 250 537 0o58 j 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! ADVERTISE WITH April Issue Deadlines Book: March 22 Art: March 28 Streets: March 31 dial maren @ 604.822.3017 x 3 DOOM, 1055 HOMER . 682-4171 Upcoming shows for March! Sunday. March 19th LOIS THE BIRTHDAY MACHINE Monday. March 27th H20 ANTI-FLAG SAVES THE DAY Thursday. March 30th LUNA 54 Respectable Joint" Visit Our Website www.bluntbros.com phone: (604) 68-BLUNT (604)682-5868 317 West Hastings Street, Vancouver, B.C. V6B 1H6 ••••• ••• ••• ••• •• ••••••••• ••• ••• •• ••• ••• ••• • ••• ••• ••• • ••• ••••••• ••• • fVg ••• ••••••• ••• • ••• ••• ••• •• •••••••• ••• ••- --- ••• • ••• • ••• • ••• • ••• ••• ••• < ••• ••• ••• i ••• ••• ••• ••••••• •••••••• ••• ••• ••••••• •••••••• ••• ••• ••• ••• ••• ••• ••• •— ••• ••• ••• ••• ••• ••• ••• • ••• ••• ••••••• ••• ••• ••••••• •• •t ••• ••••••• ••• ••• •••••• •• 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 SUN 12PM-6PM GARAGE, 0l!r SKA, HIP HOP, HARDCORE, EMO, ANARCHO-PUNK LPs • 45s • CDs New & Used COME VISIT VANCOUVER'S HEADQUARTERS FOR NEW VINYL TOPS PAID FOR PUNK VINYL SOMETIMES ITS ABOUT TECHNIQUE! We may not be an International Conglomerate, but we make 4<o- quality beer + wines just Q/ <^ the same and for a fraction <?®- of the price. 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. At sgar d»ns£avxnae Voy*<xrc\V*k [— vriVt> Cb.C- for \\\? Was cecorc\A +l°ifa 5) Awtt si i ^&\?l*r pvvvcavvon [§) tY\©. w*3uo r*N\VJSr\ 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 pong ping pong ping pong ping pong ping pong ping pong ping pong ping pong ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping Velma pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong Ping pong ping pong ping pong ping pong 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 HR6V2-lp/cd new record: 2*f Hour Roadside Resistance out 3/21/00 DIGG9R new record: ITlOnte CBflO hr641-lp/cd I out now Diccen "Digger offers hooky, up-tempo pop songs and sneering punk rock attitude." - Exclaim HOPELESS RECORDS PO Box 7495 Van Nuys, CA 91409 Mailorder Prices: cd-$10 lp-$7 „ see Mustard Plug on the Sno Jam March 20th-25th with Snapcase, Bigwig, Down By Law and Flashlight MAR 19 GUELPH-TRASHETERIA MMBj| WM MAR 20 LONDON-CALL THE OFFICE MAR 21 TORONTO-OPERA HOUSE MAR 22 OTTAWA-BARRYMORE'S MAR 23 MONTREAL-SPECTRUM MAR 24 QUEBEC-STONEHAM SKI RESORT HR638-lp/cd/cs HR620-lp/cd/cs order online at www.hopelessrecords.com on tour now »» ^2_ >» Lonely Kings >» BEEFCAKE BBS"* #^!t,^rV BEEFCAKE-BeJected co only £|^@2gg^ 13772 Goidenuiest St. #545 ~l^^^D Westminster, ca 92683 ^6w? uiuiui.f8ariessrecords.com K. _^ 1 »> dynamite boy ^g-y \y\/*v\\ mMfr 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/ P* , w*J f %M- M Lfi ^jjjH a picture is vnrth... 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 «!*%<«. -s-\%avVjvi\ a\ A.\\«\ THE HOMING AFTER SHOW against a(( odds SUBURBAN JUNGLE breakMsTwiTh The browns ■WORLD HF.&TT g^KssriT m ran sm TV <sATc^<DAy Reel Music are you serious? music Fool s Paradise 1FEE ©HEMUM SPIKES MUS/CAi PINS ANbNEEUES MucKHmrhditm %KA-r* %CtH»C BljVVSr BLUE MONDAY/ pop scene Tragic Ar>fwa( S+orier C/WAW/W LUHCH ttocker% 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 Mfwaoon hk ira 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 winrsc drsa^ssii shims l/nio Mt>u RAMO aLINIKATHIKO SYnOprTJC sonc*uic*» eilT&ttJALI THE JAZZ /HOW LA BOttfBA roiM <9A<sf s Live f row... 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 1 S3 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 MAR J i back PETERMURPHY U U U U MERCAN DE METHODS 2fMVYH3M ITOMMY LEE • TILOl STEPHEN PERKINSl I CHRIS CHANEY KAI I Flaming Lips with guests LOOPER * charlatans^ Stereophonies train SUN „ API I. 09 Jr 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'.
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-03-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2000-03-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2000_03 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | f15bb723-f86a-47e9-8a45-b8cccc7d89f8 |
DOI | 10.14288/1.0050804 |
AggregatedSourceRepository | CONTENTdm |
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