Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-10-01

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  FEVER Presents
8-12pm. Free B4 9:30l$4 after
$15 ADV.
FLEX Presents
$10 ADV
© fiVG-O O yHGRANDE      (J) gMCSiia
Progressive house R&B, Reggae. Hip Hop Drum n'bass
© f=LEX    ®
Club: 683.6695
Office: 683.6527
Fax: 688.2552
Sound system by:
Visual styling by:
CLUB TELE.-669.0806 OfflCE AND BOOKING TELE. - 683.6527 FAX-688.2552 c
October 1997
b 177
Dodgy                                                                       9
Bis                                                                        10
Brave Combo                                                         12
cmj wrap-up                                                            13
20 questions with Sue P. Fox & Khaela Maricich        1 4
gp Columns
miko hoffman
art director
kenny paul
ad rep
kevin pendergraft
production manager
barb yamazaki
graphic design/layout
malcolm van deist,
kenny, mark pilon
cat, kiley fithen, andrea gin,
patrick gross, erin hodge,
malcolm, katrina mcgee, shane
van der meer, tristan winch
barb, jason da silva, chris eng,
siobhan mccracken, richard,
barbara a, daniel a, christy b,
Julie c, brady c, mike c, val c,
jason ds, chris e, greg e, sean e,
gth, noah g, christine g, patrick
g, pieter h, jono, namiko k,
chantelle m, siobhan mc, zia m,
nardwuar, ken p, kris r, bill s,
markus s, suki s <
programme guide *
namiko kunimoto *
siobhan, popcorn girls
matt steffich
us distribution
discorder on-line
ben lai
linaa scholten
Cowshead Chronicles
Diary of Jonnie Loaf Boy
Interview Hell
Printed Matters
Seven Inch
Under Review
Real Live Action
On the Dial
rOctober Datebook
That chart-toppin', pop-
poppin' band from the UK,
bis, tops our October issue.
Dance to 'em, sing with 'em, be
a little pink ... Duh-sign by
© "DiSCORDER" 1 997 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation 17, 500.
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be submitted on disc (Mac, preferably) or in type. As always,
English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office at 822-3017 ext. 0, or our news and
sports lines at 822-3017 ext. 2. Fax us at 822-9364, email us at:
citrradio@mail.ams.ubc.ca, visit our web site at http://
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write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T1Z1.
Printed In Canada*
4    :
w,   /Iln n h n   u rwW:
Your Host and DJ
 _r,« %
EVERY SUNDAY  (8pm-.2 am)4^J
<■ ^h^ ad    chr <_>n i) c
his eyes could hardly focus anymore, the sun had been blinding him
head-on all day as he drove across the plains towards the mountains,
his sunglasses were tucked somewhere beneath all of his bags in the
back, he had thought, several times, of pulling over and looking for
them but it seemed with every mile that the sun would soon be gone
and it would all be for not. now with his eyes red and raw he pulled
over to the side of the road and, for the first time, he thought of her.
he could practically smell her —her perfume, the smell she carried
with her, covered by the clothes she would wear, her sandals were
still in the back-seat next to her backpack and for a moment he won
dered if he'd ever find anyone who wore the same size as her. some
one he could give all her things to. a hitchhiker or someone at a rest
stop who looked like they could use a little help, as they had driven
along she'd thrown her used cigarette packages onto the floor in front
of her. it was now littered with what seemed like a month's worth of
packs even though it had only been a week since they had left home
and a day or so since she had left him. food wrappers and pop cups
from fast food joints along the way were strewn about the back of the
car. he thought about throwing them out at the next gas station and
getting a fresh start on things, holding out, eating right, trying to
hold off on the smokes until things got a little better, although he
didn't know what better was right now. was it someone or something?
something maybe he'd had before, he'd know when it came, she had
decided to head back home late one night and he felt he couldn't
stop her. watching her walk away he knew by morning she'd be riding with someone else and be more than half way to wherever it was
she wanted to be. the highway was empty in both directions from
him and he knew he should get going again and try and make a little
time before it got too late, even though he had no agenda or real time
to keep, he thought of her and all the "hers" before her once again as
he started the car and pulled back onto the highway, one more Winston
would get him a few more miles down the road, then maybe he'd
know where the hell it was he was going, just one more smoke should
do it.
from   the   diary   of   jonnie   loaf   boy
The editors would like to apologize for yet another addition in the constant media barrage on Princess Di. However, since
the diary of Jonnie Loaf Boy is a record of the life of Jonnie Loaf Boy, we have no choice but to print this crap.
* SPe_n< "   He •« r0,hef Sh0na^e a baby since
^°rdWUO and has been ***«* * y^,
PrinCeSS?2_ news. He canno  stop to
he heard ^e ne ^ w,m _*
Cobain lo** - *° ?ave been (be »£ „ „t
,,. imposs^e - ,manMto\d
and comply U     $he ever otter^.      ^ onl
gl.e interest thing ^ and m q{
about it.
September 3rd
Nardwuar is convinced that the royals had
Lady Di bumped off.
"No one believes the single drunk driver
story. No one! The royals lost it when she
ran off with a brown man. They lost it! Can
you imagine the Queen Mum having to read
the tabloids every morning over scotch and
crumpets? She couldn't put up with that sort
of hanky panky. Not with a brown man! If
Di had been screwing one of the horses in
the royal stables, it would have been less
of an embarrassment. Yes, you can be sure
that the royals had Di killed. Probably made
a couple of calls to the Mafia. You know
how that worksl Ordered a couple of motorcycles and black Fiats to do the dirty
work, and smash! Had her knocked off in
the same way they offed Princess Grace.
Those royals! They are so unimaginative.
You would think they could come up with
more exciting ways to kill their in-laws.
What ever happened to the old days of
pillow smothering or a good ol' beheading?"
I told Nardwuar to calm down, but once
he gets going on a conspiracy theory, he
can't be held back. I was just thankful he
didn't try to weave the CIA and the British
secret service into his fiction.
;       :
,SeP'e/r)ber AU.
Well if,*6*
S>>e sure       ° to confUse fhJUPer*arketcLkTP *eing
L°°°r ^ito„s tn      °Wn florolri-   ?° Wo"ld thZY?U k^w
PerhopSn:t0rel^nchhi^nJohntooktl,   c
4 October 1997 Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
/<ht DISCORDER staff would Ilk* t<
thank our wunnorful production mi
afler, barb yamazaki, for more than a
year*! worth of totally amazing,
Indispenslble workl flood luck, barb,
and have a blast In torontol (of course,
we wouldn't mind If you have a horrible time and come back home soon ...)
^.we'U. m*6_. <jtt-,_W**'_
produced byi
darla/kranky recording artists from detroit
the electrosonics
Saturday, October 15    The Brickyard
tickets $7 at the door 315 Carrall Street
Music, Danoe, Thaatra, In tha Atrium at"
-Pa.C_L£_LC       Ceiltre       f-tp. 1 \ [Dunsmuir  Entrance]
(call 606-6_25]r»to„__:.\,S££„„u
[19  and under]
TEL   cellular ameer *C*_*|i*__i_i__||«_h       fRms^fFNTRF
.        ' Mobility Centre   »*■ cllgiaH        UtttW^Ltn lilt
I ™hSLrer! BC hydro K <^±!adi6?^  TAISNOT
ff«l   Mflfofto V Who ar« you (names, ages, instruments
All: We are Emulsified You will be assimilated!
How do you describe yourself to relatives
who have no idea about what you play?
Would you mention to them that
Emulsifier contains members of
Marmalade, Squeeky, more socks and The
Matthew Good Band?
Selena: I only have five relatives, four of whom
are over 50. So, I guess I wouldn't say anything
James Well obviously, the first thing I would mention is that I was in The Matthew Good Band
because everything after that pales in comparison
... well, except for Marmalade.
Chuck  'You'll hate this too, mum.'
What is the antithesis of your band?
Selena   The Moist Lady Stone Temple Earth
Mother Peace Jam Party
Chuck: What she said
James: Yeah.
Have any of you ever gone into a large
department store with the intention of
purchasing an item but after realizing you
didn't have enough money, took it anyways?
Selena: Oh no, I knew I was gonna take it [a
blush-brush] I didn't stand there thinking, 'I don't
have enough money What should I do?' I was on
the ragged ass road long before Tom Cochrane.
James: I once stole an Iron Maiden tape.
Chuck Which one?
Is auto-erotic asphyxiation a bad idea?
James: Only if you die from it!
Chuck: [makes choking noises, wriggles violently]
Funny you should ask I know of a pretty sad case
who, having been pulled back from the brink of
death in similar circumstances several times previously, finally washed up on the river's edge, bloated and blue at last. I think his terminal attire (a strait
jacket and a double-ended noose linking his neck
to the base of his 'thinking organ') proves pretty
conclusively that, no, auto-erotic asphyxiation is, in
fact, a fantastic idea.
Selena: I think a better sexual high would be to
get some xxxxxx & xxxxxx xxxx xxxxx and attach
it to the xxx xxxx xxxx. But only do this if you have
xxxxxxxx experience with xxxx xxx
xxx xxxxxx and xxxxxxxxxx
6 October 1997
James: Double Live, I think.
Chuck: All I ever stole from a big store was a
minuscule box of After Eights, when I was
about ten. I got lost on the way out and had to
ask for directions from a security guard or
something. It was like instant karma. I NEVER
Tell us about the first 'local' gig ya went
to, okay? You know, of the non-commercial variety. Please?
Selena: The Jackson Five Victory Tour. Only
Michael Jackson was in the commercial.
James: It would be the Merry Pranksters at a graduation party in '87.
Chuck I guess Ride was the first show I didn't
have to pay to get into, if that's what you mean by
Tapes or CDs?
Chuck  Tapes rock. CD's suck  Records are pretty
But CDs are sooo compact
Chuck Not so compact that you can fit them in your
pocket      or anywhere else for that matter, except
for a CD player or swanky tower rack from Ikea
Selena Momma talkq to me try to tell me how to
Chuck  Damn straight ...
Yeah, tapes ... [imitates tape hiss, poor-
How about a sampling from your own
personal reading lists?
Selena I enjoy reading nonfiction, literature, poetry, biographies and books on psychic phenomena.
James: John Irving's A Prayer for Owen Meany,
Cider House Rules, Alain-Fournier's ie Grand
Maulnes,  and     Remarque's All Quiet on  the
Western Front
Chuck  Timothy Findley's Headhunter, Salvador
Dali's Hidden Faces, somebody de Lillo's While
Noise, and Dostoyevsky's Crime and Punishment,
until some fucker at work stole it, that is. You know
who you are
Anything else to add?
Selena:  I writez tha rhymez that bustz tha
Chuck: I gotz tha skillz ta pay tha billz ...
James: I blastz tha skinz til they'z bashed inz ...
3 song demo available only through shameless
grovelling directed to: chunks@direct ca.
Forthcoming album-type thing soon ...»
Who are you (names, ages, instruments
We are Wisecrack (not to be confused with the
"Dare" crackers found on the shelves of your local
grocery store.) However, we're working on a deal
as we speak, to some of their people. They want us
to write a song for them to use in a commercial
aimed at the punk youth of today. You know, lots of
cool looking skateboarder types, and a BMX guy.
Maybe a snowboarder too. Yeah! No, but really
we're just three kids addicted to catchy high speed
melodic hardcore. Kyle's 24, plays bass and sings,
and feels 42. Gavin's 21, plays guitar and sings,
and his due date is after this weekend's two-four.
Kris plays drums and thinks he's 17.
Kyle, why did you start Spawner
Records? Was anyone else documenting
the Langley/Surrey scene?
Well, I started Spawner to fill my ego. I mean, I
love having control over four bands. I talk, they listen, yeah! I love itl Actually, I just wanted to help
out our band and some other good local punk
bands. It's not just my label. All the bands work
together. Right now we're working on a four-band
split CD with the Retreads, $torebought, the Cretins
and us. It'll be out late October, hopefully. Another
great label is Positive/Landspeed Records, which of
course has gob and Another Joe on it ... I don't
know many other labels, but there's definitely tons
of good bands across Canada like the Malchiks,
Tim from Victoria, 3 on 1 from Saskatchewan,
Belvedere from Calgary, Reset from Montreal.
There's too many good Canadian punk bands to
mention all of them.
Kris, what's it like to be a 'punk rock' electrician? Are you really an electrician? Any
'shocking' stories to relate to the readers?
It's pretty rod. Actually, I was asked by L.A. Guns to
be their tour electrician last year, or was it Skid
Row? Can't remember, but I declined the offer
because of prior commitments to play in Wisecrack
and be part of the one punk rock band that really
is going to change the world as we know it today.
No, but really, about being an electrician, I felt like
an outcast for a while, then I found out Fletcher
from Pennywise is an electrician too, so I'm not the
And Gavin, tell us about yourself. Have
you ever slashed a BC Transit bus seat?
Describe a typical day with 'Gavin, the
guitar thumper' from Wisecrack?
I'm a regular 21 year old guy by day and a 33
year old Drag Queen by night that does nothing
but drink beer. Just kidding, it doesn't matter who I
am. I've never slashed a bus seat before but there's
always o first time for everything, right? A typical
day with me would be wake up, eat, work, skate,
band practice, have a beer, then pet my poor dog
Spike's statue before I go to bed.
Wisecrack, please state your favourite
conspiracy theory, OK?
THEY'RE HERE. Need we say more?
Ask yourself TWO questions and c
Do we think that Vancouver needs a good all ages
venue in the downtown area?
Yeah, they need to open the New York Theatre
again or something as good. There really does
need to be a venue downtown. North Van is cool
and all, but we think a lot of kids don't go there for
local shows because it's all the way in North Van.
We need to get the all ages scene tighter between
downtown and the suburbs.
Are we looking to add a lead guitarist who can
sing backup vocals too?
Yes, in fact we are at the moment. So if you have a
good attitude and can do amazing Kirk Hammet
solos then give us a call.
Anything else to add?
Pingu is the best clay animation show we have ever
seen and it's all in French. Look for the comeback of
a legend. Also, we're going on our first tour in
October all the way to Manitoba and back. So that
should be pretty cool, battling all the snow in the
prairies and stuff.
four-song self-titled demo tape, nine-song self-titled
demo tape, 12-song Jinxed CD (Spawner), 24-song
Homeless   in   BC  four-band   compilation   CD
Contact name and address:
19705 Fraser Highway, Box 93046, Langley, BC,
Canada, V3A 8H2/. Kris: 604.534.6038/ Kyle:
c-JLc-j \&a**nr *a**j*r\ U*sL*z
On Tour With:
Pacific Coliseum
k    [On Sale Friday, Sept 26th|    d
available on Virgin Records
October 27 • PNE Forum
ALL AGES SHOW!     mssm
. .an eveniiuiih
Queen Elizabeth Theatre, Tuesday Oec.Z
•Thursday October 23
$tarf_$h. Tloom.
1 General Motors Place
I On Sale Saturday!
n Talk about Thalr
Llvaa (New Zealand. 90 min.) The
ultra-low budget surprise ol the year
Is Harry Sinclair's veracious, urban
comedy about a group ol 20-
somelhings and their confusion over
centre is Liz (a towering
performance by the pregnant
Danielle Cormack) who wakes up
one morning and realizes she's
missed an appointment lor an
abortion-leading to Ihe lunniesl
real-hie birth ever filmed Fri, Oct 03.
7:00 0 Ridge I Sun, Oct OS. Noon 0
Drive, She Said (Canada. 95 mm)
Mina Shum's follow-up lo Double
Happiness is this stylish romantic
comedy-oum-road-movie, that teas the
tale ol an ordinary person in an
extraordinary situation. Small town
bank teller Nadine Ship (Moira Kelly)
finds herself at the centre of a hostage-
taking in a dramatic bank heist gone
wrong While on the lam, her abductor
asks her to help him by becoming his
willing hostage lor a lew days. Nadine's
answer leads her down a very different
path than the one she was comfortably
on.. Fri Oct 03. 9:30 0 Ridge I Mon. Oct
06. 12:15 pm 0 Robson Sqr
Onlbl: Tha Fire Within (Japan, 101
mm.) More or less Ihe same storyline
as Mochizuki Rokuro's earlier
Another Lonely Hitman, but
something else in tone and style
Kunihiro (career-best performance
from Harada Yoshio) is released
from jail into an Osaka he doesn't
much like. He tries lo go straight, but
eventually joins a yakuza gang, first
as a driver, then as a debt collector.
Sex, violence and lacerating moral
complications ensue. Probably the
best Japanese film of the year. Fri,
Oct 03, 930 0 Ven Centre I Sun, Oct OS,
2:00 0 Van Centre
A Gun for Jennifer (USA, 91 min.)
Turning action-movie conventions
on their heads, A Gun For Jennifer
puts the firearms in the hands of a
gang ol female vigilantes fed up with
a world where male sex offenders
get off wilh a slap on the wrist It's a
classic B-movie-with plenty of blood
and guts-capturing the spirit of Taxi
Driver crossed with Faster Pussycat!
Kill! Kill! Fri, Oct 03, Midnight 0
Caprice/Sun. Oct OS, 9:30 0 Ridge
Hana-BI (Japan, 103 min.) Kilano
"Beat* Takeshi's new film is his best
since Sonatina. He stars as a
taciturn cop forced lo resign afler
vengefully killing the criminal who
had just shot two olher cops He
robs a bank to pay his debts and
give   his   dying   wife   one   last
colleagues lo catch him. An elegiac
meditation on life, art and death, it
makes extensive visual use of
Kitano's own paintings, as exhibited
in Vancouver last year. Sat, Oct 04
7:00 0 Ridge I Sat. Oct 11, 4:00 0
Six Waya to Sunday (USA, 95 min.)
Rising stars Norman Reedus (Mimic)
and Adnen Brody join a great casl
featuring    Deborah    Harry,    Elina
stylish, pulp fiction tale about a
fledgling 18-year-old hitman whose
life just won't stop getting more
complicated. Set amidst the Jewish
crime family scene of small-town
Ohio, it has gol enough edge to recall
Tarantino, a tone worthy of early
Lynch and Oedipal complications
rarely seen since Bertoluccl's
heyday. Sat. Oct 4, 9:30 0 Caprice I
Wed, Oct 8, 2:30 0 Caprice
Happy Together (Hong Kong, 92 min.)
Two lovers Irom HK break up soon after
their arrival in Argentina One (Leslie
Cheung) beoomes a rent-boy looking for
good times. The other (Tony Leong)
tnes to pu" himself together emotionally
and earn enough to go home-a process
aided by his encounter with a kid from
Taiwan (Chang Chen) Metaphors for
HKin 1997 abound in a story of reunion,
starting over and irreconcilable
differences. Best Director prize for Wong
Kar-Wai (Chungking Express) in
Cannes. Thu, Oct 02, 9:30 0 Ridge I
Sun, Oct OS, 4:00 0 Ridge
Clubbed to Death (France, 90 min )
A kind of contemporary Alice in
Wonderland. Yolande Zauberman's
latest recreates the continental rave
scene with electrifying immediacy and
dreamlike sensuality While the film is
essentially a love story about Lola, a
20-year-old who (alls asleep on a bus
and ends up at  huge nightclub,  it
atmosphere created by superb handheld camera work and a knockout
soundtrack featuring Massive Attack,
Robdy and other trip-hop and techno
artists Tue, Oct 07. 2:30 0 Van Centre/
Thu, Oct 09, 9:30 0 Caprice
An Ambiguous Report About the
End of the World (Czech Republic,
157 min.) Veteran director Juraj
Jakubisko gives us a wildly visual
and densely layered apocalyptic
village in Central Europe. From the
opening scene - wolves descend on
a village wedding and slaughter
most of the inhabitants - we are
of the community's ups and downs,
replete with set pieces and images
to leave you gaping Sat, Oct 4, 2:30
0  Caprice I Mon,  Oct 6,  8:45  0
Nenette et Boni (France, 1996) Aided by
the atmospheric soundtrack of England's
beloved The Tindersticks, Claire Denis
(Chocolate. I Cant Sleep) gives us her
richest work to date A Marseille pizza
worker with a rich mastuibalory fantasy
Be, finds his 15-year-old sister on his
doorstep, pregnant Proving Denis is one
of the most talented auteurs of her
generation, the film reveals not only her
trademaik sensual, tactile Hmmaking, but
also daring experimentation Golden
Leopaid for Best Film, 1996 Locarno Fdm
Festival Tue. Oct 07. 9:30 0 Van Centre/
Thu, Oct 09, 4:00 0 Van Centre
Fame Whore (USA, 73 min.) Mr-fright
fave Jon Moritsugu (Mod Fuck Explosion,
VIFF 1994) is back with anolher trashy
ftri-sort of Wlaitiol meets Kids in the Hafr
-wtiich intercuts three stories to examine
the pursuit of fame: Jody George is the
world's top-ranked tennis player whose
world unravels when armors circulate that
he's gay: Sophie is an artist who wants
adulation at any oast, except through her
own efforts; and George, a dog-pound
worker, is tenified of being notioed and
loosing his imaginary companion.
Warning: Ukely to offend.. Mon, Oct 06,
10:00 0 Van Centre/Sat. Oct 11, Midnight
Parallel Worlds: Animated Shorts
(Various Countries, 86 min.) A wide
variety ol styles and techniques are
represented in this collection ol
animated shorts taking up diverse
themes. Irom ecological crises to the
British obsession with trainspotting.
Includes Richard Reeves'
cameraless animated journey into the
sublime, Linear Dreams (Canada, 3
mm), and Flatland (Great Britain, 30
mm.), a conceptual tour-de-force that
imagines a world collapsed into the
dimensions of television Sun, Oct OS,
3:00 0 Cinematheque/ Wed, Oct 08, 9:30
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This interview was done in two parts: the first part consisted oi a rushed 10 minutes
with Matt Priest, Dodgy drummer, backstage at the Starfish Room just before they
were to go on stage. The second part took place after their set. In all the chaos
following their gig, I had to sneak backstage since no one recognized me as a legitimate
representative of the press (I suppose I couldn't blame them) When I tracked down Matt
again I was feeling a bit shy and was prepared to let him off the hook if necessary, but he
insisted on finishing the interview. Here are some of this "Dodgy" character's views on
everything from their latest album Free Peace Sweet to fashion-conscious journalists.
Playing Edgefest
"It was greal cause it was only 35 minutes that
we had to play. It's good 'cause [we] can go
on and just do [our] hits, because not a lot of
people know who we are I think we were the
token British band [on the bill]. There were a lot
of girls in the audience, all of them were really
into rock, they were all doing this [demonstrates
with arms up in the air] you know, crowdsurfing.
It was very bizarre."
The other (mostly Canadian) bands on the
Edgefest roster
"I didn't see any of them, lo tell you the truth. We
didn't get a chance to see any of them, but we
will in Calgary. I Mother Earth, ihey seemed like
nice enough guys ... their music's sort of progressive. They're all very rock, aren't they, all the bands
on the bills All these people in the audience [were]
slamdancing, which I fucking despise. North
America's responsible for a lot of bad grunge
music — apart from Nirvana and the odd other
band, it's all bollocks. This band The Tea Parly
sound like that as well, but they seem like they've
got Eastern tuning and sound a bit like the Doors,
which is a good start I haven't heard them yet,
though, so I can't sbg them off."
Fame and having hits in the UM
"We've had about 12 hits in the UK and five of
them in the Top 20. Charting isn't that important,
but when you first start off, it is important to get
known by charting. When you gel in the charts,
magazines and television programmes lend to take
notice But the chart business doesn't bother me all
that much, because the actual charts get rigged
anyway. It's gigs like tonight's that really matter."
Getting dropped by US label just prior to Free
Peace Sweet's release
"They [A&M Records] haven't released our records
[in the US] for about three albums basically, which
pissed us off completely. They had this A&R man
from the American part of our label who was really
xenophobic and into homegrown American
grunge music and wouldn't have anything to do
with British bands at all. It was all political and we
got caught up in it and as a result we couldn't get
released in the US And we signed to A&M for
America! I think we got off A&M in America now
finally, which means we can sign to whoever we
like We've been told [the labels] have been
queuing around the block in America, so we've
|ust got to pick Ihe right one, really.
Rooming with The Bluetones
"We lived in a house with them in West London,
but ihey weren't called The Bluetones then. Later
on they called themselves The Bluetones but they
still weren't signed [to a label]. In the meantime
Dodgy were signed, but we weren't that successful Bul as we grew, they grew We moved
out eventually bul they stayed on. They're really
good mates of ours. It was amazing 'cause we'd
have ihese parties and get off our heads together and me and Mark [Bluetones' vocalist] would
dream about being in the Top 5 and then two
years later we're both in the Top 5! It was incredible really, best of luck to them — they're a good
bunch of lads!"
Sounding like Chicago and The Who
"Chicago?! Absolutely fucking not! We've never
listened to Chicago in our fucking lives! We listen
to Stax soul and funk which is where our trumpet
I photos by Quentin
sound comes from The Who are a massive influence, they're one of the greatest rock and roll
bands ever In [our] early days, The Who and The
Beatles were the biggest influence on us, but we've
sort of moved on a little bil since then, getting into
The Beach Boys and stuff like that."
Bad hair days
"Journalists used to go on aboul Nigel's hair
[Dodgy's bassist] and Andy's hair [lead guitarist],
Andy's hair was quite outrageous at one point and
Nigel's hair was just long and curly. Journalists like
to have iheir rock bonds looking a certain way,
but we were quite eclectic and we didn't sort of fit
together, but we always dressed better than any
journalists. Journalists would come up to us and
say, 'You dress funny and your hair's long' and
we'd say, 'What the fuck do you look like in your
Dr Marten's and bbck jeans?!'
If ihey wrote aboul our music and said we've
written a bad song or a good song, we'd think
maybe they've picked up on it But since we don't
really write any substandard material all they can
think to write about is our hair or our clothes which
obviously really doesn't fucking matter, because
we've slill managed to get fans and we've still
managed to come this far, so fuck 'em."«
9   ®^guI©__B Lor  hero
Julie   Colero
The first time I saw bis, you were on Top Of The Pops. I was
really impressed because you were the only band who
played live. How many times did you play on TOTP?
Sci-Fi Steven   We've been on twice with the
same song ["Kandy Pop"], which is kind of strange
Everybody was there to see Take That ...
So you're on the same level as Take That?
Yeah, we were, for about a week We['ve] had
our spurts of fame. Al the time, we were quite popular; over the summer [of 1996] we were infamous
This year we haven't really been in Britain at all, so
[our popularity] has been more in America and in
Japan We're not doing as well in Britain as we
were before ...
... but you're branching out.
Exactly We've done really well in Japan, actually.
It's focused our attention there more than anywhere
else. We've sold obout 100 000 albums there It's
quite ridiculous, about 20 times what we've sold
anywhere else. It's nice to be big somewhere. It
makes it all worthwhile to see people so enthusias-
You haven't put much effort into Canada
yet, have you?
It's slightly beyond our control The problem with
the record in Canada is that Grand Royal doesn't
have a proper distributor We played one show in
Toronto, where fhe record is hardly available, and
yet 500 people came to see us We weren't really
expecting anything like that It's been like that
across America as well We're doing quite well on
radio, and people are coming to the shows, but
we've yet to sell extraordinary amounts of records.
Our Seattle shows have been really good. We had
a bit of an argument, a bit of a disaster night [when
they played a licensed show] Il always happens
that on al least one night of each tour we'll have a
show which'll be for over 21 s only. That time, it was
a bit of a comedy, as they wouldn't let John and
Amanda into the venue We sneaked as many people as we could in, people we knew were underage we're used to doing that at home, too, as af
most of the places you have to be over 18. It's a
shame for people who can't get in, but with a little
bit of effort... I've been sneaked into tons of gigs ...
When I wrote to your fan club, you sent
me candy. You guys have a great organization going ...
Yeah, we try to make ours better than other peo
ple's We've had years of being fans and writing
away and never getting any replies, and it's like,
these are the people that buy our records, so it's
our obligation — and it keeps us happy as well. If
we're not doing well, selling records or playing live
or whatever, we've always got the loyal fans that
Are you becoming Americanized?
Slowly, yeah We're Irying desperately not to, bul
it's a lot of little things ... occasionally someone will
say 'tom-ay-to' instead of 'tom-ah-to,' and we all
go, 'WHAT?' You have to adopt a certain amount
of Americana when you come over here for so
long If I go into a Denny's and I want a takeaway,
they won't know what I'm meaning unless I ask for
a meal 'to go.' I feel really horrible saying it, it's so
foreign to what I would normally say. I do get service quicker, though You have to spell everything
out, and it kind of drives me mad. Hopefully once
I'm home I won't do that anymore If I do, my girlfriend will kill me ...
Is bis all finished with school?
Yeah, we've been doing music full-time since [the
spring of 1996]. We don't really have time to go to
school right now, any university-type stuff.
I see similarities between bis and Huggy
Bear. Are they one of your influences?
Probably, yeah They're one of the few bands from
Britain that I actually got inlo, and I suppose they
inspirational lhan influential. I like a lot
of their records, but I think it was more the attitude
that we took from them, really. They actually spoke
to all of us. I really liked Bikini Kill and Bratmobile
at that time, but these were Riot Grrrl bands which
were very much for girls. Being a boy, being really into Riot Grrrl bands, I felt a certain sort of out-
siderness until Huggy Bear came along; there were
two guys in the band, and it was a Riot Grrrl band
with boys in. That kind of mode it okay for us to be,
well, I wouldn't say we're essentially a Riot Grrrl
band, but it's definitely pari of what we do. Huggy
Bear made it okay for John and I to be in a Riot
Grrrl band. The earlier stuff we did, some of the
singles, are more Riot Grrrl than what we do now
We're no! moving away from that, just embracing
it from a larger perspective. Riot Grrrl was a big
influence on Amanda and I,'* though I think John's
always been stuck with his disco fever ...
Who's the one who's into ska?
That's John os well. John pretty much doesn't like
anything that has existed in this decade or the one
previous. He's Seventies-Man. I'm the '80s fan — I
don't know why, really, I like the records that were
around when I was a child. I always go back to
Adam and the Ants and New Order, stuff I grew up
with The '80s sound just appeals to me.
10 October 1997 I haven't heard your Smiths cover yet
[from The Smiths Is D»ad\, but I liked your
version of 'We Are So Fragile' on the Gary
Numan tribute CD.
That one's funny, yeah. The Smiths one's a bit more
deconstructive, really. I quite like the Smiths, but I really don't like 'The Boy With The Thorn In His Side,'
the song we did We didn't pick it, it was thrust upon
us Everyone else [who] had done the album picked
their songs, but, because it was a cover version of the
whole album [The Queen ts Dead], we got left wifh
the song that nobody wanted. I'm the only one out of
fhe band that vaguely likes the Smiths, so we kinda
destroyed the song. It doesn't really bear much resemblance to the original.
Ocean Colour Scene, who do the most appalling
retro stuff. They have these pretences of being
grandiose and important, and that's what makes
them really horrible. I like certain bands that pull rock-
star poses, like the Jon Spencer Blues Explosion,
because they can pull it off But when you're a British
band pretending to be the Grateful Dead, that's quite
a nasty thing to do [Crispin Mills] is a complete
prick. His perception of things is so fucked up,
because he comes from a public school background.
Because his mom was so rich and famous, he was
pampered and spoiled. He has no perception of
what life is. He comes out wilh these big statements,
like that he loves the swastika, which he can fuck off
completely for saying
Are you happy to be signed to Grand
Oh, definitely. I don't think we could do any better
The support that the label gives us is phenc
mfortable e
have taken the easy way out and signed to a small
independent here, and we would have done
alright, but we decided to go for a slightly bigger
setup. We're signed to Wiija in Britain, which is run
by one person. It's the same with Grand Royal,
which is run by a band [the Beastie Boys] We just
want to deal wifh people who are more in touch
with how we feel about stuff.
The fact that you're ultimately affiliated
with Polygram seems to go against earlier band ethics.
People misinterpret what that was all about. We
talked about 'Fake DIY' and we fight against it all
the time, but we've never ever said that we hate
major labels. Over here, there's a much bigger
divide between independent and major labels, in
Britain, there's so little difference.
What's with the Teen Vampire fixation? Is
it all good clean fun where you're from?
My vampire obsession comes from British horror
films. British horror movies are the tackiest horror
movies that you can think of, which I find are brilliantly made. There's so much that I love about
them — that's where it all started for me. I'm really not interested in the gothic aspect of it at all;
I'm interested in the cinematic version of vampires. Christopher Lee is this actor who has
played Dracula in 30 or 40 films. He's the British
equivalent of Bela Lugosi, but much better looking. Since I was very young, I've been obsessed
with Christopher Lee and his horror films. I wouldn't really encourage the Marilyn Manson goth-
ihing. I wouldn't want them coming to our shows,
thinking that we're some sort of vampire cult.
What is your take on the Brit-Pop scene
at present. Who do you like?
I have problems with most British bands. I suppose
that the only British band that I really respect and
deeply love is Blur. Everyone else I have the occasional problem with. I don't have too many problems
with Oasis, except that I think they make dull records
and say a lot of stupid stuff. The real people I have
problems with are bands like Kula Shaker and
What kind of an  upbringing did you
John and I have moved a lot aboul Scotland.
We've lived in Dunoon, where there's an
American naval base, so we grew up with a lot of
American kids. I guess we've been slightly
Americanized from the start. We moved to the
Glasgow area about ten years ago, and we lived
in a really dodgy part for a few years. Now we
live in an OK part. Our parents have always
been really supportive of our making music,
which I suppose is the main thing. Although we
may not have had immense amounts of money to
go out and buy as many instruments as we wanted, we got by with what we had. We were
always interested in writing songs. Amanda doesn't come from as musical a background as we
do; our mom was a music teacher, so she really
helped us out a lot. Our parents didn't really think
that the band could be taken seriously until we
made it onto Top Of The Pops. I'm glad we didn't have stuck-up parents that wanted us to get
proper jobs. If bis were to fall apart tomorrow, I
could still go back and do what I want, go to college or whatever. If we [hadn't've made it big]
we'd still be playing around Glasgow, waiting
for our big chance.
How did you get discovered?
We did it in a very punk-rock, DIY way. We just
decided to turn up at gigs and play. We never sent
out any demo tapes to any labels. We waited until
we put records out ourselves. We made people
come to us. Essentially, we discovered ourselves.
When we were on Top Of The Pops, we were on
there without a record deal, which was the first
time that had ever happened. We are actually in
the Guinness Book of World Records now, I think.
We got recognition through our fanzines, making
contacts rather than hoping that a record label
would find us. We did it ourselves.
Does your name mean anything?
Yeah, in certain languages. It means 'Encore' in
Spanish and Latin. At classical concerts, in whatever century, people would shout 'Bis!' if they wanted the orchestra to play more.
So it's not some catchy little word then.
Well, it is in English ... so it does have some meaning, but nothing particularly dramatic.*'
Quintessential Fanclub...
...but with more everything...
more delerious harmonies
more sincerely articulated emotions
more heartbreaking melodies
more mature artistry
more amazing fan loyalty
more deployment of exotic
remaindered '70's keyboard technology
Songs From
Northern Britain
re-emphasizes why Teenage Fanclub
are at least three times better than most bands -
three adept, distinctive and complimentary songwriters.
Most bands are lucky to have one.
Add this to your pop/alternative collection. BRAVE COMBO is one of those genre-bending bands that breathes new life into the
overused adjective "eclectic." Since
1979 when they first surfaced in Denton,
Texas (a college town near Dallas) as a
"nuclear polka band," BC has broken
stylistic barriers like no one else. The ethnic sources of Brave Combo's style span
the globe and include polkas, mambos,
two-steps, salsa, merengue, ska, zyde-
co, the twist, acid rock, bubblegum, and
even Muzak. They were quite possibly
the ultimate "World Beat" band long
before the term was coined.
by Val Cormier
erave Combo's musical collaborations are
equally as diverse as their compositions and
include contributions to the soundtrack of
David Byrne's film True Stories, writing music for
the 1994 Olympic performance of US ice
dancers Elizabeth Punsalan and Jerod Swallow
and a 1996 release, Girl, recorded with Tiny Tim.
Their performing career has taken them to venues
as diverse as rock clubs, state fairs, polka festi
vals, parades (including Macy's Thanksgiving
Day Parade, marching underneath Woody
Woodpecker), mental institutions (their first tour)
and weddings (including David Byrne s).
DiSCORDER spoke with Carl Finch [guitar,
vocals, keyboards], Cenobio Xavier (Bubba)
Hernandez [bass, tuba], Jeffrey Barnes [clarinet,
saxophone, harmonica, didgeridoo, etc.],
Danny O'Brien [trumpet], Joe Cripps [percussion]
and Greg Beck [drums] before a recent San
Francisco-area show. There's a good chance
they'll be in our area again this year (sans Tiny,
of course).
How would you describe your music to
someone who's never heard it before?
Carl: Well, you're in a better position than I am ...
But how would you describe what you
Carl: That's really hard, because you can't sum it
up in a sentence. Part of what we're about is
dealing with short attention spans, and we all
have short attention spans. One of the main reasons we jump around a lot is that we're a band in
the '90s, and there are certain aspects of that you
have to accept. Even the slowest people live a
fast lifestyle in the '90s; you can t really go
against that.
12 October 1997
In terms of musical influences, what did
you all listen to growing up?
Danny: A lot of older rock V roll. I got my sister's records, and then when I started playing
trumpet I listened to mainly jazz music. I didn't
hear polkas until I got into Brave Combo.
Bubba: I was fortunate that my parents had very
international ears. My mom would, you know,
turn me on to a lot of musicals and a lot of international music and Dad pretty much had the
Mexican radio on all the time. My older sisters
actually saw Elvis shows and my big brother was
kind of on the tail end of acid hippiedom, so I
got all the Cream and Jimi Hendrix. My grandfather wrote a bunch of polkas and waltzes and
stuff, so a lot of the music that Brave Combo was
playing was, you know, being played in my living room.
So you were born in the tradition, but you
didn't think white guys were doing it?
Bubba: Well, I heard them doing it at one point,
but I didn't realize, you know, that they were sincere, and that they really had the heart. I just
never thought about playing this kind of music in
front of people with the aesthetic that it's being
played with, and also for the audience that it
plays for. I mean, I've played plenty of rancheros
and cumbias and polkas in front of Mexican
folks, or in more traditional settings, but never
necessarily thought about playing in a rock club.
But the fortunate thing about the whole Mexican-
American thing is that it recycles real easy.
So ... whereabouts did you grow up,
and what were you listening to as a
young tyke?
Carl: I grew up in Texarkana, which is right on
the Texas-Arkansas border; straddles it. And I listened to a lot of hymns for a long time, I was in
the church ...
Was that by choice?
Carl: No, it was, you know, you're in Texarkana
and you grow up in the '50s — you don't question it as much as people do now, but a lot of it
wasn't sinking in quite right. But the music was
great, the hymns were great, and I can see the
influence that the well-structured hymns had on
my listening preference. It's funny that hymns
kinda led me to polkas. Someday I might talk to
some preachers about that...
Was it a little bit like coming back to
your roots in  some ways  when you
started listening to polkas?
Carl: Oh ... why the polkas?
Yeah, the polkas ... because you made
the connection initially between polkas
and hymns.
Carl: I think that just the tonality of that makes
sense to me; the sense of where chords will go
and a chord progression, and the sense of
how melody works in a most stable way when
you don't mess with it a whole lot. You let it
follow a very believable, predictable flow. That
I see a real connection in. But the reason I got
into polkas was the result of trying to ... um,
change myself and how I viewed things —my
perception of things. And realizing that to
embrace polka music was to take on the most
maligned form of music and try to find if in fact
there was something that was so beautiful
about it, because it was so deeply buried artd
under all this prejudice. And it just came back
at me like a flood.
You guys have a really interesting fan
discussion list [on the internet] which
I've followed for awhile. It's my understanding that Danny and Joe keep a
close eye on the comings and goings
there and keep the rest of the group
informed. How about those of you
who aren't 'Internet-enabled?' Any
general impressions on this whole fan
list thing?
Jeff: It's very interesting what they're doing. I
kinda enjoy reading it occasionally, it's like ...
you know, my little non-cybernetic way of lurking,
I guess. Somebody gives it to me and I read it, so
I can't say anything back. But usually I don't want
to, anyway [laughs], you know? But I'm going to
get a computer some time and then maybe I'll talk
to somebody.
What do you think about the community
that's out there? Do you think they're
pretty much like the ones you've met on
the road?...
Carl. In a way, this is just another way for fans to
get close to us, and we appreciate that a lot, you
know. It's a cliche, but without the fan support,
we wouldn't be existing, at least the way we are.
We wouldn't be a band that's able to get out and
play, you know. Uh ... but we've dealt with odd,
uh [smiles], fans, and odd collections of fans, and
I mean that in an affectionate way. 'Cause there
have been pretty amazing, surprising things over
the years that we've dealt with and have seen,
and have experienced. This is interesting more to
me in the bigger picture, because it seems ... I
don't know, you don't really want to get me talking too much ...
It's been really interesting watching this
community   evolve   on-line.   I   mean,
you've got your people that like to take
up a lot of airtime, you have the ones
that are really shy, you've got the ones
that are real smart-asses ...
Jeff: Who? [laughs]
Are we gonna name names?
Joe: You obviously know who we're talking
Carl: For us, that can reach a scarier level, you
know? When you think about it, we are up in the
lights, elevated ... The internet doesn't keep out
crazy people ...
Joe: That's the other thing ... the person that's
causing problems: everyone else that's interacting with him or her on the list is probably not
going to go to that person's town and be in a situation where they could be confronted or whatever. Whereas we're looking at the itinerary and
goin': wow, a week and a half from now we're
there, and this person could come out and do
Carl: Some of that you have to accept, because
your job, you know, depends on a certain popularity for you to be able to do it. But we have had
to deal with our own fair share of crazy people.
Danny: Not because of the internet, I mean that
would happen even without it. It connects people
in parts of the country that would not normally
connect, but it's just another way to get fan mail,
or to get people talking about the band.
Joe: It's giving people a reason to travel to a
show, some of these people that would normally
not fly across the country just to go see Brave
Combo. If they know that, well, I'm not just
gonna see Brave Combo, I'm also gonna see
these friends of mine who are in that part of the
country, and we're all gonna go see Brave
Combo, and do whatever else in the process ...
we've got some of the biggest corporations in
the country, really, using their resources to promote Brave Combo.
Danny: We got a printout once of all the people
who've been lurking ... people who hit the page
without actually writing in, and there's a pretty
good portion of government workers.
Your tax dollars at work!
Jeff: [coughs] Uh, yeah, they're watching us,
yeah ... [sinister laughter]*
[Brave Combo's website is located at
http://brave.com/bo] CMlMusicFest @
_.        **by Siobhan Twin Stars, CiTR Music Director
7he College Music Journal
(CMJ) Music Marathon/
MusicFest/FilmFest is an opportunity for a few thousand industry people to gel together and
try to force their views, record labels, bands etc. on you. If you're
dumb (like me) you go to CMJ
headquarters Lincoln Center on
the first day and wait in line for
hours to pick up your pass You
also get a huge bag full
of crappy CDs and
magazines which all end
up in the garbage. But
hey, the conference is
held in the best place to
spend your time and
money: New York City.
And there are some
pretty cool shows in spite
of the plethora of industry types and the just
plain annoying people
CiTR President Ryan and
I skipped the first week
of school for six days of
rock V roll, shopping
and schmoozing.
Tuesday, September 2
Armed with 5000 business cards, Ryan and I
arrive at JFK airport just
before 9pm. I forgot to
order the vegetarian
meal and consequently
received something that
was supposed to be
chicken. Oppressive, hot, and
muggy air greets us outside. I am
really worried that I'll be sweating profusely the whole trip.
I am very worried that our
sleeping arrangements will not
work out. This whole trip depends
on the fact that I can free-ride with
Jeff from Virgin. Apparently, there
will be six of us staying at the
Paramount. The only thing I've
heard about this hotel is that it
has really, really small rooms.
The bus driver drops us off
one block from our hotel, right in
the middle of Times Square. We
walk down the block until we are
magically ushered into the "funkiest" and nicest looking hotel
lobby I have seen in a very long
time. The staff are dressed in
black and the men have this '90s
Miami Vice thing going [i.e. blazers wifh t-shirts). I feel like I'm
doing something wrong and am
about to gel in big trouble
Jeff finally arrives in the lobby
with the good news that there are
only to be four of us in the room,
which is small and completely
ently the show is all about
breakin' barriers. It consists of
four Pentecostal percussion
preachers (The Gelcaps), soul
clapping, jumping and hanging
from the ceiling. The keyboardist
has very nice James Brown
moves. Everyone's favourite,
Blonde Redhead, are up next.
One drunk audience member
yells out,   "Psychedelic Fuck
white. The bell boy forces me to
tip, despite the fact my one bag
has wheels on it and he accidentally crushed me with the room
door. I wait for him to leave, he
waits for me to tip. He ends up
Wednesday, September 3
I get my pass after a couple of
hours and eagerly organize the
whole trip — hence I become
known as the planner. Ryan's
niche turns out to be navigation.
We go to the best record store in
the world (picture Vancouver's
Scratch Records for a city of 20
million), where I spend an obscene amount of money. I feel as
if my mission here
see features Unwound, Blonde
Redhead, The
Delta 71 and
Modest Mouse
at Tramps. It
feels like I've seen
Modest Mouse a
hundred times in
the past month.
Their set goes like
then it s
■ms like
hit the
rd but-
, then the
wind button and
then it all stops.
The Delta 72
come on and heat
things up. Appar-
Rockl" I couldn't have said it better myself. The twin brothers
weird me out and the singer/guitarist stands kinda weird but is
very endearing. We leave before
Star sightings: Chloe Sevigny
Roseland is a really big,
ugly place. Before entering the
"biggest live electronic showcase
to ever hit New York City," I notice the disclaimer signs, i.e. if
you are killed or hurt that's no
one's problem but your own. It's
really bright inside and there are
some people dancing in that
dumb rave/aerobics way. I understand why Ecstasy is necessary. Death in Vegas play and
suck in every way possible. Water is $3 and Aphex Twin is
not on until 2am I go back to the
hotel to rest. During Aphex Twin
two big, fuzzy, orange and green
bears come on stage to dance.
I'm not sure if they are trying to
fuck or kill each other. I overhear
someone saying that Aphex Twin
was really weird — a promising
sign. Yes, electronic music can
suck just as bad as rock V roll,
but Aphex Twin impressed me.
Star sightings: Kathleen Rajsp
from MuchMusic's Fax.'
We walk home and fall
asleep to a party next door and
wake up to the maid and early
morning drilling.
Thursday, September 4
I decide to walk around NY in
my platform sandals — bad idea.
I go to some panels and get
bored fast. Most panellists seem
pompous and egocentric I vow
to not play the music industry
We go to Brownies to see
the Danielson Family They
come on stage wearing white
scrubs and nurses uniforms They
blow me away — the girls have
coordinated moves for all the
songs and one smiles really big
all the time. Everyone is sweating and having a lot of fun. We
head back to Tramps for the Drag
City showcase. I love Drag City
but this girl wants to rock, not fall
asleep Neil Hamburger is the
MC I'm not sure if he's actually
here or if it's pretaped He interviews the audience between sets and people
tell him he sucks and to
fuck off. I can't remember Aerial Man or
Appendix Out ex
cept that they lacked
stage presence and
sounded indie rock in
the worst possible way.
Masaki Batoh (of
Ghost) does a solo
acoustic performance.
He has really long hair,
baggy pants and no
shoes. His performance
is immaculate but I keep
wishing that something
— anything — would
happen ... it didn't.
Chestnut Station is
Rian Murphy's
project. He really looks
like a Rian Murphy: red
shaggy hair, stocky
build, and a slight beer
belly. One word sums
up this performance:
goofy. He dances around with a
tambourine. Elements of Voice
Culture, aka Cynthia Dall,
makes the evening more enjoyable. She comes out dressed like
a stable boy. All but one song is
new. Edith Frost follows wifh an
equally short but sweet set. She
is quiet without being boring, a
definite trap that some Drag City
bands seem to be trapped in.
Gastr del Sol (aka David
Grubbs, no Jim O'Rourke)
comes on and is so fucking boring I nearly go insane. Just lots
of plucking on his acoustic guitar. He has on this tight, brown
turtleneck that looks skin-coloured
under the lights. I keep noticing
how weird the shirt makes his
body look. You can really see his
nipples and it makes him look like
he has breasts. Up comes King
Kong, another exercise in
goofiness. Next, please.
We leave to catch the
Danielson Family (see above)
and return to catch the tail end
of Royal Trux. Jennifer
Herrema looks like a heavy metal
amazon cowboy and there is a
small Asian guy on lead guitar. I
have no idea what is going on.
A Silver Joos (sic) tribute ends
with a very special appearance
by the elusive Dave Berman; I
guess I'm supposed to feel privileged or something. And then
(yes there's even more!) Smog
comes on and makes everyone
look like amateurs. The Drag City
house band translates the rich
songs from Red Apple Falls well.
Friday, September 5
The Flaming
Lips Experiment is the highlight of the conference. Wayne
Coyne and company gives out
100 boom boxes to each of the
participants They then hand out
a series of numbered tapes to test
their concept Wayne Coyne dictates from a megaphone and everyone has to turn on their stereo
at the exact same time. Then each
of the hundred stereos go off in
sequence listing the numbers in
order. Minutes of silence ends
with the announcement: "The Test
is now complete," upon which
each stereo chimes in until the
room fills up with a hundred robotic voices. And that's just the
fest! The real experiment consists
of a story that begins on the drummer's stereo, "We have three
dogs lhat love to chew stuff up
..." Different stereos in different
parts of the room then complete
the sentence. At different times
various background noises kick
in (i.e. choir, backyard noises)
until things get really fucked up and
there're jusf weird noises. Everything
ends in a big crescendo of noise. It
is very exciting. My tape is labelled
Big Ol' Bug. The Flaming Lips will
be releasing a fourCD set and
all the CDs have to be played at
fhe same time — so get your
friends together.
An insane cab ride takes us
through rush hour traffic. No cabs
pay any attention to lanes or pedestrians. At one point it seems
like we are going way too fast
through traffic so I peek at the
speedometre and much to my
horror (and delight) we are going 70 miles/hour. It kinda feels
like being in a videogame.
We go to an open bar industry party where the High Llamas play. Everyone talks about
themselves. Thai dinner with a
label rep is ditched after about
20 others decide to come too. I
really want Thai food, but not with
a college rep from every state in
America. Instead I spend the big
$5 on a stirfry (records come
before food).
The Cooler hosts the legendary Silver Apples. Simeon
looks like an old hippy (which I
guess he is) and he has that Neil
Young bandana look going. His
setup is insane and his vocals are
still really annoying.
The line-up outside the Up and
Kill Rock Stars showcase lasts for
ever. Of course, there is plenty
of room inside. I manage to catch
Elliot Smith. He looks really
rough and rock 'n' roll, but a
sound problem causes him to
hide his head in hands all the
while proclaiming, "You're making me fuck up!" He appears
quite vulnerable, or is that some
indie rock boy schtick?
Star sightings: Pavement boy
(you know, the one with the really round head who looks stoned
and dirty all the time).
Saturday, S
The Cooler, despite its rv
way too hot. Unless you're standing right up front it is kind of hard
to get a good view of whot is
going on on stage. Comet Gain
are an English band that trade
off female and male vocals a la
Huggy Bear. Actually, they are
kinda like Huggy Bear without the
fuck you attitude and well, they
weren't as good. The Great
Unraveling and the Rock A
Teens play and are uninteresting. All I can remember is that
they are kind of garage. I move
up to the front for Cold Cold
Hearts (where I stumble upon
none other than The Smuggler's Grant Lawrence). They are
good but not as fun as they were
at Yoyo A Go Go. I couldn't get
the full effect of Alison Wolfe's
stage aerobics because there is
a European punk rock couple
blocking my view. Miranda
July is the surprise guest of the
evening. She adopts the persona
of #42 ond the audience becomes the band Auction 85.
Communication from #42 and
Auction 85 is carried out via
walkie talkie. Miranda July is
spooky and in a sense confrontational without treading on
Lydia Lunch territory. I like
Miranda July because she doesn't
turn herself into a comedian (i.e.
Henry Rollins) nor is her work
an exercise in self-indulgence or
self-absorption. Oh, the
Peechees come on and rock hard.
During most of the CMJ Music
Marathon, I couldn't remember
what I did the nighl before (hence
I left a lot of stuff out), I got very
little sleep and I don't remember
eating much either. But it was fun
*3 mgrnsti Sue P. Fox. Musician, spoken-
word performer, comic-book
artist. Modern renaissance
woman? Nah. Just a woman
who likes what she does: living in Olympia, performing
with the band Refect Refect, trying to get
the offices of Kill Rock Stars into order, sitting around and hanging out Saturday, July
19 (day five of Yoyo A Go Go 1997), Sue
and I sat down and hung out roadside while
the Lakefair parade went by, and in
between the cheerleader columns and
dancing bears and singing woodchucks I
managed to get twenty questions out of
her. It wasn't hard. She's quite personable,
really. Just sit down and talk to her.
Sue P. Fox.
I guess, guitar.
I lived here from the time I was eight years
old and I moved from eastern Washington,
from White Salmon. Hicksville, USA. A very,
very, very small town. Everything was really
small. My mom taught at the school. We
had this woman who was our taxi driver,
[she] was just a local woman who actually
just had a station wagon. But then my P.E.
teacher was also my first grade teacher, my
gymnastics instructor and my swim instructor during the summer.
Science. Science. I don't feel good about
making money off of art. I don't know if I'll
ever reconcile that. Research, or something.
Just going out there and doing something
really tedious, like collecting fish gills or
something, but get paid 20 bucks an hour.
No! Just cake. No candy.
Oh! What was that word I just said? It's
'concurrent.' Makes me sound intellectual.
You know, I don't tend to think of people in
terms of that, so it's really hard. I get
inspired by weird things, but... I mean there
was one guy that I worked with who was a
chef who inspired me more than anyone,
because he always stood up for everything
that he totally believed in. Also, he was the
first person I ever saw who was really, really good with the Mexicans and went out of
his way to learn their language, and we
were in a place where you didn't have to
learn the language. I just thought that was
really amazing. So, he inspired me in that
way, because it proves that being a really
good person, oblivious of what goes on
around you, totally stands out. A woman
who inspires me would be someone like
Nikki McClure.
I guess about seven years. Not very long.
And I started because [laughs], I should tell
this. My friend who wanted me to play in a
band — it was the only way to maintain our
friendship, because we hated each other so
much, that we thought the best way to deal
with our friendship was to be in a band so
we'd have structured events to do together
but we'd never have to deal with the other.
Isn't that good?!
Spaghetti and any form of hot sauce and
vegetables. Not just the noodles. Like noodles, and all sorts of hot sauce. I crave hot
sauce. I'll put jalapenos mixed with garlic
and hot sauce on top of each other, with
another kind of hot sauce — like Tabasco
— on top with red peppers. I'm insane
about it.
The Invisible Man, by Ralph Ellison and The
Passion, by Jeanette Winterson.
There'd have to be a writing utensil, then
there'd have to be something to write on.
Okay, pen and paper. A walkman with an
unlimited supply of batteries, so I could get
all the news broadcasts around the world. I
would be totally happy, because I could think
and do whatever I wanted and solve the
world's problems and nobody would ever
know that they were solved. My last one
would be, um, maybe, um, a McDonald's,
[laughs] So every day, at the end of the day,
when I'm starving and feeling sad — a free
McDonald's. I don't know. I would die if it
was Burrito Heaven, or something.
Two things: working at the office — that
could be a choice, but my most involving
is my long term one of wanting to do
comic books. That's how I want to start
doing my spoken word pieces is turning
them into comics.
Yeah, I do. It hasn't happened to me, and I
honestly don't know anyone that it's happened to, but I believe it could be possible.
Why or why not? Everything's possible.
Why not?
I listen to my walkman too much. It's a true
confession. I listen to my walkman and
imagine how great my life's gonna be so
much that I don't get much done in my life
because I'm so busy imagining how great
it's gonna be, so ...
Do I like Lakefair? The older I get, the more
I like it. Actually, you get such a better attitude that it makes even stuff like this tolerable. That was a really horrible feeling,
walking through life and hating everything
around you. I definitely have done that one
enough times.
Why do I have to move back to Olympia
and open my front door and live only a
block and a half from the actual capitol
building. That's the most epitomized thing
in Olympia. How can I live that close to it?
That's what I want to know. Why?
Who? Miranda July, who!
Where is the Kill Rock Stars office? I guess
that's a big question that everyone wants to
How is it that I'm not witty enough to come
up with something?
I don't know if this is advice or not, but they
outta learn to be a little nicer, because, for
example, at the show there was this girl
wearing that hat — she was wearing a bear
hat, and I like her and she's nice but the thing
was that Dead Moon was there, and they're
legends! They are above and beyond anyone
else in this town, in this state, in the country
— I mean, they're legends. And they look a
little crazy. If you didn't know who they were,
you'd be like, 'Oh my God,' and they came
up and they were going, 'Nice hat,' and she
didn't [figure out] who it was, so she was
kind of mean — not mean, but really indifferent, like, 'Don't talk to me,' and backing
off, and I was just like, 'If you only knew,'
because she'd probably talk to him if she
knew. It doesn't matter who people are,
sometimes you don't always know. I guess
that was pointless, [laughs] If they look weird
they could be famous, so therefore you
should only talk to famous people so it could
be profitable to be nice back. So my advice
sucks, but that's what it is. You figure it out.*
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Khaela Maricich is an amazing
woman. She is a powerhouse of
cool, a live conduit of fun. She
makes art, co-runs an investigation
agency and has a B.A. in puppetry. In
addition, she plays the ukelele and sings
more beautifully than anyone I've
heard in years. After I'd seen her play
Yoyo A Go Go and she made me swoon
with her song about the Most
Dangerous Boy In Olympia, I asked her
if she would play Twenty Questions
with me and she agreed. On that sunny
Saturday afternoon, we met in the
shady grove next to K Records, chatted
and just generally enjoyed life. There
was really nothing else to be done.
My name is Mikhaela Yvonne Maricich, but
usually I go by Khaela Maricich.
My instrument of choice? Lyrics are my
favourite instrument, as far as music goes.
I grew up in Seattle, on Queen Anne, and I
really don't like Seattle any more, because
it's really fakey-phoney. I moved here to go
to Evergreen [College]. So, I've lived here
four years. And between that I was an
exchange student in Denmark.
Omigod, since I graduated, I think about it
a lot. Well, I really like to sell drawings that
I make — I mean, that would be nice,
'cause they're nice and I like them and people will like them on their walls, right? And
I'm actually starting to make lamps and sell
them. I'm going to have a lamp show in
October at the Art Walk. So I'd like to make
money off making lamps. Nobody makes
money off of selling paintings so I don't
really care about that. Making lamps, selling drawings, and having commissions or
grants to make drawings. Yeah. And to
make children's books. I'd like that, and
puppet shows.
I like that natural kind of cake, with the
whole wheat flour. Candy? Nah. Sure.
Well, there's obviously not just one. Today
I'll dedicate to Nikki [McClure] and Tae
[Won Yu]. I think Tae is really inspiring,
because he goes to concerts and draws pictures while he's there. Like, just sits around
and draws, you know? And his performances are really ... I like his energy. It's
really exciting to be a part of, and he makes
money off his visual art, and does visual art
and musical [art], and the same with Nikki.
Nikki really is inspiring, because she makes
money off her art. She does it and she's very
polite and very diplomatic and very nice.
I've been making music for three years, but
before that I thought about it, like, after I
graduated from high school. This little boy I
was babysitting — he was two — he was a
really funny kid, and he had this stick and
he said it was his Hot Horn. And I was like,
'I'm going to have a band and I'm going to
name it Hot Horn!' And then I asked my
friends if they wanted to be in a band with
me and name it Hot Horn and they were
like, 'Yeah, sure,' but I didn't know how to
play anything or do anything, but the idea
kinda stuck with me, like, 'Oh, I could probably write songs,' and I've always played
with words, so that's [the] core of it, making
lyrics. Then my friend had a talent show and
I wanted to do something that I'd never
done before, so I decided to get a ukelele
and write a song with it and I wrote a song
and I liked it.
I usually cook some potatoes. I boil them.
Then I make a little bit of salad, and I make
salad dressing with olive oil and balsalmic
vinegar. It's very predictable. And then I
put some walnuts on. Kale and potatoes,
Kenny's Window by Maurice Sendak.
It's kind of not a children's book. It's in
the children's book section, but it's kind
of dark.
I would take my Keeper — my reusable
menstrual cup — because then I would be
free from the scourge of having to buy
tampons and pads, because there wouldn't be any available on the island. God,
anything you'd bring would run out, that's
the thing. I'd bring a cast-iron pan and a
flint. Maybe I'd bring pen and paper: a
book, a huge book. Empty. I'd take back
the cast-iron pan and I'd say a huge empty
book and a pen, if those count as one.
Course, it would probably get ruined on
the way back, when I had to swim — when
I had to float back.
I think it's just trying to find a place to live and
figure out how to do it and how to afford it.
The project of making all my projects work at
once, you know? How to make money, that's
a really big question, 'cause my parents were
supporting me all through college and I'm
just out. The project of coordinating everything, so that it all works at once.
That's a really hairy question. The reason it's
a hairy question is I'm not really sure how I
feel about love right now. I have too much
confusion, anxiety about it, about different
people. But one person, the first time I saw
their bedroom, I knew I loved them and
that I would love them a long time. So, that
was love at first bedroom sight. Maybe it's
because I knew — I could see — how this
person lived by their bedroom. I could see
something about what they made around
them. They weren't there when I saw it, and
then I kind of knew, 'This person makes a
world that I want to live in, too.' A world
that matches mine.
I'm chewing my nails.
I try. Yeah. I feel best that way.
Because we like you.
I don't know. I don't think there is a one.
I live in Olympia.
As organically as possible. With as much
love in what you're doing as possible. With
as little plans for the future about it, and as
much investment in the moment of it.
I don't know. I imagined myself being a kid
when I was in high school, and I guess I'm a
kid now too. I don't have any advice for
anyone my age. When I think of advice, I
think of high school — what I wish I knew.
Listen to Jason Traeger. Listen to his songs
and see him in person if you can. He gave
lots of advice and I dug it.«
I have a problem. I am trying to deal with the idea of
faith. I do not believe in god. I don't know if I ever really
have, although I was raised Anglican — I have spent my Hme
snoozing in the pews, thank you. At times I have pangs of fear,
of pure dread, regarding my mortality, but not unreasonably so.
And these fleering thoughts hardly qualify as faith in god; they
are usually context specific: "that guy is going to kill me" kind of
stuff. I never just fear life itself. In this sense, I am not afraid to die,
but this is not to say I am in a hurry to stop living (now that I am
far enough out of my teens, that is). And so, faith has become a
question to me, a big question. How can it be that we have
faith? And why the leap from faith to just god? Yes, that leap, but
not in the predictable direction here. Rather, the leap into faith. Is
it a leap away from the world, a sufficient lie, or a world in itself?
Faith in meaninglessness, or whatever.
My concern here is to try and justify a foundation for moral
conduct, not for faith in god. That could be your business, if you
wish. For me, this will be a philosophical task. God in this respect becomes a symbolic or rhetorical notion, an allusion to a
consistent outside point from which our actions can be determined. So much mythology. But it is such a heavy word and
concept — too simple for many, not complex enough for others.
I could just as easily say Nirvana, or void — that always strikes
a chord, but it doesn't get me any closer to understanding. Understanding may be the problem with
faith, actually. As such, even philoso
phy may not be of much assistance
here; particularly my armchair brand,
formed from numerous 3/4 read
books and many conversations. The
failure to reconcile the reference for
faith — my failh — is exactly what is
challenging me. The precious briet
ness of the human act is challenging
me. My ethics are challenging me.
The "you" and the "them" I imagine
are challenging me. I feel faith move
around like a memory. No metaphysical deadends or abstract theoretical
diversions, just a falling into faith, it is
always waiting. A rumour of truth. A
skipping record — each time to something different, although familiar.
Every newspaper headline informs faith. So does every dim window, every tower of gbss, every doorway. All the sidewalks and roads. But
to speak about it is to recognize the
failure of words to capture something
fluid. Language does what it does.
Or, otherwise in reverse, in order to
make up suspicion, always to be confirmed, by placing it against a mirror: faith-loop. The same non-place,
that is, utopia, is to be (not) found.
But I can still walk past faith at a bus
stop, seen without looking, of course, right in front of my eyes. A
faith in every open book that is only equalled by a faith in every
cbsed book. Are we forever falling in and out of faith? Faith in
shadows? Can I trust myself? To know is always a moment too
late, a passing into something ancillary to faith. The imminent
moment is impossible to recognize, yet common in the past tense,
while also completely average to every gesture in the time-being. I recognize faith in the contingent and feel it floating in the
general. But each definition, from whichever perspective, reduces
it to a mere example, generalizable — either theoretical or aesthetic. Do we really live and lead by example? Is faith an accumulation? Or a fever pitch?
Faith comes in tiny movements and big demonstrations. It is
concrete and particular, and spectral and without body. It is in
your cupboards — right now, ten minutes ago, and ten minutes
from now. It is not jusf a net or network. And it is always more
16 October 1997
than a bundle of words. And also less than any affective whimsy.
But without the words, or the affective sense of them, would I still
have my faith? Would it be the same? Is faith whatever is demanded of the situation? The micropolitics of faith, the faith of
everydayness. Right again.
Faith is at every rest-stop along the TransCanada highway. It
is also in every overcoat; but faith in the overcoat itself is a temp
tation for unpleasantness, a solitary beating, or so I've read.
Fate vs. faith, both in the same comer. Faith unto death, you bet.
I am spelling out f-a-i+h, although it is not faith — this is not faith.
Finding change in your dirty pants. A punch in the arm. Last
night's leftovers reheated to become this night's main dish. People screaming in the streets, "Fuck you, I'll kill you, I have a gun,
you're dead, fuck you!" The retelling of someone else's story.
The lust for life. Forgetting everyone's name. A bee-sting. My
crazy neighbour. Being suspicious of history books, but somehow proud of history. Playing with dogs. Building a great snow
fort. Warm soup. Accidentally ignoring your best friend. Dancing in private. More than sex. A slow day spent dozing. Breaking a teacup. Showing up late or on time for whatever. Falling
asleep at a movie theatre. A typewriter. A flower pot. A fresh cut.
Be-ing. Etc. I know that I cannot clearly know faith in these examples, because it is (not) there, in as much as I have faith. Faith in
mechanical reproduction, even.
My dictionary — the
tionary      says  thi:
n.  1 .  reliance  or
founded  on  authority,
put one's    in, believ
Concise Oxford Die-
about  faith:  Faith
trust  in;  belief
(pin  one's     on,
implicitly).  2 .
(Theol) belief in religious doctrines,
esp. such as affects character and conduct, spiritual apprehension of divine
truth apart from proof; system of religious belief (the Christian, Jewish,
faith; Defender of the Faith; the ~, the
true religion); things (to be) believed;
(arch) in ~, by my ~, etc. (in asseveration). 3. promise, engagement, (give,
keep, one's faith; break faith with);
(observance of) duty to fulfill trust,
promise, etc., (good ~, honesty of intention; bad ~, intent to deceive; Punic ~, treachery). 4 . ~-cure, -curer, -
healing,  -healer,  (acting  by  prayer  ,
etc.).  CME,  f.  AF  fed,  f.  OF
fath)  f.  L  fides:.
not  drugs
f e i d  (pr .
Faith: trust. Reliance. Belief. Engagement. Observance. Intention. Acting. I have taken these words — that I like for faith,
that I liken to faith — from the dictionary entry, but not as a final
authority. For what about doubt and change and flux and interaction and so on? Faith is and/also, not either/or; but onfy
because it is, if we want it to be or not, yet not in spite of us,
rather, for us. So is my faith different than your faith? What
would result if we met and discussed the issue? What if my faith
made your faith while your faith made my faith? That is, do our
faiths determine oneanother at the moment of meeting? Is faith
in dialogue? Does faith exist onfy for the moment, or does it exist
around whatever moment? Is it faith in, or faith of, or faith is? Like
bumper-stickers. Is having faith also recognizing not having faith,
or allowing both conditions to blur? Is there more than one kind
of faith? Does faith emanate from nothing or from everywhere?
It is substantive — expressing existence. Is it a fiction, the
absolute fiction? What is the function of failh? Answer
all these questions yourself.
I want to avoid the spiritual side to all this. Faith is more a
matter of my good friend's chronically bad back, than it is some
airy, misty, floaty, kind of affair. I can't stand a faith that says
"that's it" without regarding anything but faith as universal, never
outside itself. This is like denial. And even here it doesn't bother
to say, "I have faith because I have conditional faith;" indeed it
can't — this is how it is faith in spite of itself. Contrary to the
dictionary, I think faith is all about proof, even if it is of a fleeting,
amorphous yet contingent happenstance. Not specific nor relative, but with a foot in both camps, just the same. In between.
This is the commonplace, miraculous side of faith. It is real in the
sense that I am real, and thus false in the sense that I am false. It
is material and ideational. Faith is an endless, nameless kind of
thing that is very intimate and particular. It is paradoxical because it is human, all too human. Spiritual explanations are functional, but I don't find them particularly responsible. They are
more like a crutch than a bdder. At some friends' recent wedding, the attending priest described ritualized rites of passage -
- such as weddings — as being like a liminal space, a place
where inside and outside distinctions are momentarily suspended,
in that they reveal themselves to one another through the tapping mediation of meaning. But belief in his god ensured/secured his faith in the three-sided scenario he described, which was, for
him, separated by a flapping divine
curtain (Father, Son, Holy Ghost).
From my perspective, however, all
that interests me is the flapping ofthe
curtains — indeed, the curtain itself
is a question; not as a scientist, however, as a fool. Would I place faith
in meaning-making, in the curtain
that flaps to show that it is carefully woven?
I once had a dream that I was in
the back of a large truck that
was spinning out of control. And
all this stuff in the back of the
truck was falling on me. It was
intense. In the dream, I was me,
seeing the world from my perspective, while I could also see
myself inside the truck from outside and, then, I could also see
the entire truck from above —
the third party position. But I
never saw the driver. I was very
young at the time and was
sleeping in the same room as
my older sister. So while I was
envisioning myself in the back
of this truck, in the real world I
was sifting up in bed looking out
of a window, murmuring something or another that I now can't remember. This scared
the shit out of my sister, who got up in a hurry, and dragged
me, and her mattress — yes, at the same time — into our
mother's room down the hall. Once woken up I was bewildered, and so was our mom. Twenty years later, it's kind of
funny, in a family-only sort of way. From the same window
that I looked out of in a dream state, I later, and completely
consciously, watched some ambulance attendants take our
next door neighbour's body from her house; she had hung
herself in the basement. I remember that she had a picture of
the devil sitting on a toilet hanging on her kitchen wall, the
famous one of Beelzebub. I used to see it, looking in from her
back door, which she always left open in the summertime,
when I walked to and from home. I have faith in my sister,
but I never knew our neighbour. More to come, hang on.»
mr. kitty poulin NELSON ALGREN
The Man with the Golden
Arm (Seven Stories)
The Book of Evidence and
Athena (Minerva)
Amnesia (Random House)
The Unconsoled (Vintage)
The Football Factory (Vintage)
The Temple of Dawn (Vintage)
Obsession a feeling of
powerlessness, derived
from many possible
sources, translated into desire for
control that can never be truly
attained. Addiction is a prevalent
form and has been well-documented in twentieth century fiction, most notably by the late
William S. Burroughs and the
comparatively recent Irvine
Welsh. Infatuation, fhe most
common type, has been a part
of world culture since its beginning and is something with
which we are all familiar. Spiritual obsession, from reli-
for a dog and other demands or
placate her with dreams of his
joining a big band like Gene
Krupa and renouncing his hoodlum habits. Young Molly, long-
suffering despite her short time
on earth, creeps into every non-
junk-related thought. She alone
can save him from morphine,
guilt and himself. But the weight
of the obsessions of others conspires against them creating an
overwhelming atmosphere of
hopeless misery. One is certain
none will escape their desires.
The characters are alternately
despicable and caring, but are
always human. Though lovers
of Hemingway might find it
too   ver- bose    and
those of
find    it
and disturbing work of frank
brutality. (There is the occasional hard-won laugh.) One
proviso: a knowledge of English slang wouldn't hurt.
Infatuation, the desire to
possess that which cannot
be possessed, affects us all
at some time. In the loosely
linked The Book of Evidence and Athena, John
Banville explores two
modes of this destructive
desire. In the first novel,
Freddie Montgomery relates how a painting,
Portrait of a Woman
with Gloves, invokes him to
steal it from his old comrade's
house, during the execution of
which he murders a maid.
d  e  -
the first National Book Award (in
John King's The Football
Factory examines machismo
across the Pond. An episodic
novel  reminiscent of
both       The
Man with the
Golden Arm
ecstasy to
epiphany, is less common in
modern society as it does not
require the basest of human
considerations; self-obsession,
however, encompasses both
low and high desires. It is an
ancient human characteristic,
from Narcissus and his watery
reflection to modern literary
confession, that will never die
Addiction has been part of
The extensive and frequently
careless use of morphine as a
pain-killer generalised opiate
abuse in western society. Nelson Algren's book The Man
with the Golden Arm presents
the result of this medical mismanagement: Frankie Machine
— Chicagoan, veteran, small—
time hustler, card dealer, and
addict. He despises his addiction — the product of a severe
chest wound — but needs morphine to dull the pain and the
guilt endlessly induced by his
psychosomatically paralysed
wife, Sophie. He has but two
recourses from these ailments:
drumming and Molly Novotny.
Drumming can, for a short
while, squelch Sophie's pleas
it wanders into
fhe society of
football hooligans during the
1980s and
early 1990s revealing their
esprit de corps, sense of tradition, and peculiar racism. Tom
— the chief narrator, a Chelsea-
loving lager lou — is ready for
a fight or a fuck whenever possible. Even so, he lives by a
code of honour, pummelling fel-
ind  other
assholes, okay, but women and
families never. In some expository paragraphs, he displays
wisdom in understanding his life
and society, admittedly in a
skewed fashion. Other characters are similarly well-developed. One chapter in particular deserves note: Never Never
Land (pp. 70-78) tells how a
young working-class boy views
English society, of his inability
to understand the contradictions
and inconsistencies in his parents' teachings as well as the
behaviour of fellow children.
Neither knowledge of English
soccer nor of English right-wing
organisations (such as the National Front and the British
Movements) are necessary as
they merely form the scenery in
this well-crafted, captivating,
pie detective
_ Aft
all, Montgomery
fessing from his prison cell. Instead, Banville's lyrical writing
spurs his reader along the thin
ridge between sanity and folly
until one can understand — almost condone — Montgomery's
cruel deeds. Athena finds
Montgomery again, released
and under the name of Morrow.
Still, criminality and art surround his life — he is asked to
identify and value a number of
paintings for a shifty stranger -
- but prison has cured him of
painting-induced obsession. Instead a woman, whom he calls
A., charges his life. His occasional sexual escapades with
her announce his damnation to
her rule. In both books, Banville
displays a prose gracefully
verging on the poetic, but he is
also completely unafraid of
stumping his readers with obscure, but precise, words.
Another novel concerned
with infatuation also explores
the subject of spirituality-induced obsession. Yukio
Mishima's The Temple of
Dawn, the third part of The Sea
of Fertility tetralogy, is the tale
of a civil lawyer, Honda, researching into fhe principles
and problems of reincarnation.
During a trip to Thailand shortly
before World War II, he allows
himself to be convinced by a
young Thai princess that she is
the reincarnation of a Japanese
poet via a Japanese counterrevolutionary. He returns fo Japan, soon engulfed in the War,
but never forgets the girl. Finally
in the 1950s she comes to Japan but refuses to remember
anything of her childhood beliefs. Obsessed both by his spir-
beauly of the princess — now
n her late teens — Honda seeks
s the r*
carnation of his friend and his
mentor, in which case he cannot seduce her, or that she was
merely a confused child, so he
might. His wife, enduring a le-
gitimate ailment (unlike
Algren's Sophie), unaware of
and uninterested in her husband's beliefs, merely thinks he
desires the young princess.
Honda, from his hidden panel,
spies all varieties of deception
and "immoral behaviour" within
n guest
so important, why he is in this
strangely familiar place, and
who truly is important to him.
The ensuing comedy of errors
is Kafkaesque dreamlike, savagely amusing, and fearfully
disturbing Observing his ac-
afar,  he commits gaucheries
self,  involves
himself in the
most glaring
contempt for
protocol   and
proper behaviour, and exemplifies a horrifying disinterest beyond his current desires. Ryder
Sometimes, however, self-
obsession can destroy everything. Douglas Cooper's Amnesia travels the serpentine
paths of the human mind dis-
ring all the horrid corrup-
man, Izzy Darlow,
of his obsession with himself,
and his infatuation wifh a young
woman, Katie. Izzy doesn't
spare his audience from discomfort, freely unburdening
himself of the
room of his
country cottage. The conclusion,
unexpected but well-crafted, is
entirely as it ought to be: poetic, beautiful, but potentially
infuriating. It is deservedly a
classic of world literature.
Self-obsession is more likely
to destroy others than oneself.
In The Unconsoled, Kazuo
Ishiguro introduces Ryder, a
world-renowned pianist, to people and a city he cannot remember but who know him well. He
struggles to discover why he is
dreams clash with
studied apathy, but
all die when confronted by Ryder's obsession to go beyond
everything and everyone. When he becomes aware
of his exceptional power over
the citizenry, he abuses it merely
to test its limits. In the end he
manages to offend everyone
who might have aided him, as
any self-obsessed bastard does.
Ishiguro's disarmingly simple
conversational style conveys
much in few words and permits
the reader to feel some sympathy for his arrogant, pretentious
,  of
acts that destroy his family, his
girlfriends —everyone — for
the sake of prestige. Katie,
a young psychiatric patient, presents Izzy with a
beautiful world into which
he intrudes. A new cycle of
despair forms. Cooper,
however, manages to maintain Izzy's sympathetic
character despite his
bastardry through powerful
portrayals. Verging occasionally on the fantastic.
Amnesia guides the reader
directly into Izzy's fall from
every decent emotion  into
17. >mimmm'' CATCH   REAL  LIVE  SPORTS
_2   BIG  SCREENS AND  <6  TVs!
n#\L.I»Vr W wLm ■—■Ml    1   ^^.1-t. I
18 October 1997
by dj noah (djnoah@cyberstore.ca)
Do you play Invaders and Donkey
Kong on your Atari? Or do you sit
down at your Commodore 64 and
jman? Even Bill Gates once said,
"No one will ever need more than 640k
of memory on their computer." Since
those simpler days, many changes and
advances have been made in the field
of computers. Nowadays, most hard
discs have 1,000MB (l gig) of space.
Computers are now used to make movies, solve crimes, create 3-D graphics,
and even make music.
Another incredible feature of computers is
their ability to link anyone on the planet with anyone else. Someone in Vancouver can now communicate with another human being thousands of
miles away without long distance phone bills. You
don't even need to know who you are talking to -
ehat rooms allow the user to talk to complete strangers about any topic under the sun. The internet
has also made it possible for more people to advertise and express interests and opinions through
their own websites. The following are just a few
sites that I think are worth checking out. Each one
has some relevance to techno music.
This is the home page of KK Records North America, with bands such as FRONT
In the last couple of years, KK has expanded to include several sub-labels which
each are home to different types of music. Nova Zembla is for drum 'n bass and
experimental trance, while Radikal Ambient explores the depths of ambient music.
From the home page, you can navigate through the various pages for the artists,
as well as visit the news, catalogue, touring info, and ordering pages.
Oxygen Music Works is a New York-based record label that puts out
some stellar hip-hop and trip-hop releases, including the recent KURTI5
MANTRONIK single "Music for the Dusted." This site contains a full
label history, list of releases and the opportunity to give them on-line
This sub-label of BMG has had a big impact on the "Sonic Empire" single
(by MEMBERS OF MAYDAY] not only on Logic, but on Save The Vinyl
(a pure trance sub-label) as well, having kept this east coast label in the
forefront. The big plus for their site is the "Free Goodies" page where you
can win CDs, t-shirts, slipmats, and more.
San Francisco is the home to this independent label
that regularly pumps out killer drum 'n bass, heavy
trip-hop, and jacked-up jazz. Check out the sound
bites here!
Asphodel Records is considered to be the home of the
"illbient" sound. From the
streets of New York comes this
interesting mix of dark ambient, jungle, and techno. A
simple layout with,striking
Hydrogen Dukebox is the name, breaking the rules is their
game   JAMES   HARDWAY,  SLAB,  GLOBO,  and
NOSTRAMUS are the mainstays of this UK label. You'll find
touring info, label history, and an ordering page ... that is, if
you can read the white on white text!!
Founded by Robert Shea, this local label has experienced
great success with releases from PILGRIMS OF THE MIND,
DREAMLOGIC, MC2, and ERRA, as well as its debut compilation Welcome To Lotus Land. Very well designed site with
interesting features. Be sure to sign the guest book.
Another record label site, this one stands out from all the others.
They have a theory page where you can leave mail on your
theories about music, or anything else fof that matter. Don't enter this page unless you are either well-learned or insanely
insighful. Oh yeah, better brush up on your German, toot
These are just a few interesting sites you
may want to visit. There are obviously thou-
inds of site
you'll just ha*
within the Techno scene but
* to find most of them on your
own. If you do come across a site that
you think people should be made aware
of, Just send me an e-mail and I'll get the
word out.* E_T__i_
by barbara andersen
Its been a busy couple of
weeks. Between moving out
of my family's house and
starting university (which entails, I have learned, a lot of
standing in line and dealing
with unpleasanl members of
the banking community), it's a
wonder I found any time at all
to listen to records, much less
write about them. Well, I did
manage — let us earnestly
hope neither my health nor my
grades suffer as a result.
You say you want to hear
laryngitic punk boys screaming
over heavy distortion? That can
be arranged BUNNY FOOT
CHARM is the first of several
hoarse bands scheduled in for
today. "Friendly Sex Monster"
grinds on and on in an authentically hardcore manner: the
drums on "Pain Tease" nearly
made me pass out. A decent
attempt. (Punk In My Vitamins,
PO Box 2283 Olympia, WA,
"Do we want this flower to
bloom?/ Try the intention: removing this poisonous bloom."
caught my ear and heart with
the aforementioned couplet
from "Chicago Riots" so much
so that I decided to review both
of CiTR's C.o.L singles. Stuffed
with as many zine inserts as
mellow H/C sentiments, these
two records display that rare
combination of power and elo-
quence that distinguishes the
more adept practitioners of
heavy music. I use words like
"mellow" and "eloquent" to
describe Cedar of Lebanon's
sound because the band has
managed to employ all the traditional devices of hardcore —
- speed, volume, intensity and
emotion — without seeming
like a battering ram of
unfocused aggression. The
aggression is there, all right -
- witness the wordless ten-second spasm of "Seth Bastard" -
- but it is largely an intelligent
and productive aggression.
The four-song Sore Loser EP is
on Grimm Lake; the Kingdom
7", which includes the great
line "let's destroy this boring
life" is released jointly by Act
Your Age and Dosei Jidai.
(Grimm Lake, PO Box 1 888,
Clute, TX, 77531-1888/Act
Your Age, 3244 Locke Ln, Houston, TX, 77019/Dosei Jidai,
5719 Viking, Houston, TX,
On the far-left of the punk
spectrum live militant Nanaimo
screamers THIRD WORLD
PLANET They, backed by the
similarly atonal REPUBLIC OF
recorded an unbelievably DIY
flexidisc side entitled Old
White Men. Third World Planet's vocalist is so shrill that it is
impossible to understand any
of the anarcho-luddite lyrics
without consulting the insert.
Nevertheless, I enjoyed their
six songs and appreciated the
anti-industry, anti-city sentiments behind "Blood & Cement" and "Clearcut MacBlo."
Unfortunately, the Republic Of
Freedom Fighters didn't impress me as much. They seem
to have rejected limiting notions of "the song" to the point
that their entire side of the flexi
is nought but an endless,
formless spiel. (Break Even,
2185 Amity Drive, Sidney,
BC, V8L 1B2/ Diminutive,
2290 Bradford Avenue,
Sidney, BC, V8L2E1)
The exultant crash of cymbals introduces Love's evidence
as left by the Kiss Offs, five
songs of strutting no-fi treble,
and that energy reverberates
until the end of
the record. I
have to say
that the
OFFS re _.
minds me ««
of a less
(and less
lately coiffed)
Make Up, but their sound
stands up even without the comparison. "Gavin Scott Can Do
No Wrong," with its girlie
screams and hyperactive
drums, is my favourite swinging track. (Peek-A-Boo Industries)
Rife with the stylistic twists
and turns of morse code rock,
JETTISON CHARLIE s "Legions of the Unjazzed" manoeuvres with true adroitness
between slow and fast, hard
and gentle. "I Love You, You
Bastard" rankles and bounces,
sputters and thrills. The whole
is an angular, edgy experience
not to be missed. Do I sound
like a PR copy writer yet? (Peas
Kor, PO Box 81116, Pittsburgh, PA, 15217-0616)
Dumb indie nerds THE
toasted up a couple of lovely,
upbeat pop crumbs for public
consumption. A mucus-laden
throat betrays frontnerd Jason
Roos' excessive milk-drinking
habit. Clogged with goo,
Jason sings "The Dumbest
Thing I Ever Said" and "The
Water Song" over better-than-
average indie pop. (First Alert
Doppier, PO Box 12133,
Seattle, WA, 98102)
Despite the testimonials
above, shredded voiceboxes
are not a prerequisite for punk.
A strong and simple voice carrying impressive lyrics can
hold more power than a whole
roomful of phlegmatic wails.
Example: the awe-inspiring utterances of Mo, singer for
Plainfaced, nightmarishly quiet
guitar and drums underlie
"Snow," making a perfect tab
leau for Mo's song. "Distorted"
tosses back and forth like a
seasick sailor before ending
abruptly. (Villa VillaKula, PO
Box 1929, Boston, MA,
Two unconventional rock
have joined together on Godspeed Records' Double Feature 7", each doing a differ-
nt version of the
same song. Both
versions are equally
beautiful and grat-
Williamson of Mrs.
Torrance hits some
high  notes seldom
heard  outside  the
realm of gothic-ethe-
real. Slick and professional without sounding    manufactured.
(Godspeed, Suite 380-916 W
Broadway, Vancouver,  BC,
V5Z 1 K7)
Sweeping themes and instrumentation are standard artillery for ITCH. The My Jerusalem single is no exception,
combining myth, religion and
reality to the tune of Mark
Critchley's manic, orchestral
keyboard manipulations. The
whole is perplexing, but it
made me smile. (Wrong, PO
Box 3243, Vancouver, BC,
V6B 3Y4)»
Harvey Switched
Studio Pimps EP
featuring single "Supervise"
Box #2 402-814 Richards Streel Vancouver, B.C. V6B 3A7 a
Contact: 604.608.0973 atomos@pldneteer.com AUDIOWEB
A first time listener to this
Audioweb CD will be plogued
by a deep philosphical question:
are they block, or are ihey white?
This leads to an even deeper,
more philosophical question is
the lead singer black, or is he
white? Their music has elements
of both cultures Confusion starts
to sel in when one culture dominates and leads you to believe
you have the answer Al this point
the music will inevitably change
cultures and make you rethink
your original assessment.
The bond is scored like a traditional rock quartet: guitar,
drums, vocals and boss. However, ihe music is not traditional
rock and roll. This band is heavy
on electronic effects and Jamai-
carvslyle rap interludes, giving it
a heavy dance quality without
becoming electronica.
Track eight, "Bonkrobber," is
the most interesting of the ten
tracks offered. It revolves around
a charming melody, "My daddy
wos a bonkrobber ...,* which
both lyrically and melodically
sounds like a traditionol Jamaican folk melody Faithful to the
element of cultural surprise, this
track was written by Jo*
Shimmer, Mick Jones and
Half Pint
Daniel Ar,
BUNK 182
Dude Ranch
I managed lo see this bond for a
lew minutes vhen they played the
Warped Tour this summer. The
In'ds were hopping and the band
was on fire. Dude Ranch consists
or 15 tasl, melodic punk songs
averaging about two minutes in
length each. Most of the lyrics
deal with following girls home,
being a pathetic loser and get-
ling the crap kicked out of you
There is a fair bil of humour
throughout this album, in the artwork, pictures, and liner notes.
This trio also rides the plonk with
four wheels.
If I wasn't such an old fart, I
would probably enjoy Blink
182 a lot more However, I've
already been through (I hope) the
stage but hey, almost every
song on this CD is catchy.
The Unifying Themes of
Sex, Death, and Religion
This CD contains both of the
Botch 7"s: 1995's Faction and
1996's The John Birch Conspiracy Theory, plus a song from
the / rant live without if compila-
20 October 1*97
lion Wilh the demise of Strain,
Botch toke the crown as Northwest hardcore kings.
Allhough their sound is noisy,
it is a controlled noise, doing
damage like a rusty scalpel Their
songs are innovative and interesting, wilh furious groove-riffing
escalating into explosive climaxes
of vocal agony and instrumental
melt-down. Powerful bursts and
lulls, unexpectedly ond savagely
attacking your stereo.
Music aside, what I love the
most aboul Botch is their stance
against religious right-wing politics and thai they continue to invade the hardcore scene almost
unchallenged This is a landmark
in the evolution of hardcore.
No Special Rider
(Blue Streak/Festival)
Considering No Special Rider
was recorded in just one evening,
the planets must have been well-
aligned. A collaboration between
Bill Bourne, Andreas Schuld
and Hans Stamer, this disc displays a fine sense of i
blues history and r
With the help of vintage microphones BSS respond with a sel
that is mainly traditional country
blues Splitting vocal chores,
Stamer and Bourne both have
well equipped whiskey-stained
pipes for the material In particular, the reworking of Skip James'
"Special Rider Blues" benefits
from Bourne's grainy voice.
Sfamer's take on
Leadbelly's "Bollweevil" reinforces the enduring qualify of one
of the blues' legends. It still
sounds fresh today
The playing is tight and expressive throughout the 15 tracks.
Other than a rather calculated
version of "The Midnight Special," No Special Rider blends the
traditional blues genre with a
modern touch. All ocoustic, BSS's
debut relies on the three guitarists faking turns stepping to the
forefront. Schuld and Stamer also
add tasteful dobro while the trio
provides knee-slaps and foot tambourine instead of incorporating
a standard rhythm section. The
danger of being minus boss and
drums never comes to mind. Going back to the roots of American music on the pseudo living
room setting, No Special Rider
is a great audio-pictorial of what
the blues can convey
Pieter Hofmann
Bruiser Queen
The good news is this album
doesn't break the 34-minute
mark. The bad news is that when
I went to play my favourite UT
song afterwards as a far superior example of an awkwardly
charming femole approach to
rock, I discovered said record to
be unlistenably warped.
I hate to compare girl bands,
or any variation on the white
male norm, to eoch other on principle, but sometimes I'm forced
to call them like I see them. Example: I'm left with little choice
but to describe Cake Like as
resembling fhe Breeders' Pod
olbum with the vocals set on
cringe (yes, as bad — perhaps
worse — than That Dog's debut
,., there I go again) and lyrics
best left unmenfioned, not printed
for all to see
I have no idea whose little pet
project label this is, although I'm
certain with more executive decisions like this one, a job will be
opening on the horizon.
Sean Elliott
The Circus in Flames
(Independent: Box 74532,
2803 W 4th Ave, Vancouver, BC, V6K 4P4)
A strong argument for local indie
release of the year may be The
Circus in Flames' debut The
sextet could be best described as
Hank Williams, Sr. meets
Tom Waits meets Jimmy
Rodgers at an impromtu jam
during the recording of The Base-
Led by Doug Andrew, whose
tales revolve around common
folk: mill workers, flyer delivery
boys and beer-slingers, The Cir-
liquored-up group of players that
cross paths at a party and decide
to set the wheels on fire
Any expectation of stellar
playing would draw the wrong
conclusion. The album is based
on the simple joy of playing music for the sake of the music, promotion departments be damned
mandolin, accordion, banjo,
bass and drums, the band is a
refreshing change from mega-
budget recordings and proves
that character can be a far better investment than mere dollars
and cents.
Pieter Hofmann
/ Am Telephoning a Star
Admittedly, my previous exposure
to Crawling with Tarts has
been limited. I've heard a few
things here and there, know they
have many releases in a variety
of styles (their 'opera' works garnering the most praise), and
found their story of "running
away" to live and make music
together when they realized they
were in love to be quite touching
Still, I'm waiting for something to
intrigue me Despite the albums
I've been reviewing here, I have
had plenty of exposure to outside/non-rock related recordings,
and, yes, elitist hipsters, the shit
can be just as bad or mediocre
as any other, even if it doesn't
necessarily fit inlo an easy genre
Is this particularly terrible or
annoying? No In.fact I could
probably listen fo it daily while
in the midst of things and not
complain, which, if you know me,
is no small feat (quit laughing) Is
it a failure if it doesn't interest me?
Yup, especially if I'm writing the
review I jusl don't have enough
time in the day any more, if I ever
did. This CD, with its creating and
manipulating of music, voice, and
sound is nice, looks belter, has a
decent title (a rarity) and leaves
me completely unmoved.
Sean Elliott
(Chemical Underground)
As if being on the same label as
the inconceivably hyped bis
doesn't set the warning lights off
already, it's surely bold coming
from the land of Del Amitri and
calling your band Del-anything.
Mining a less watered-down/sug-
ared-up version of Huggy Bear
than the aforementioned batch of
cutsey poohs is one way to view
The Delgados   This is mostly
I  the
ioI  r
shouted sloganeering; however,
their alternately energetic, upbeat
fuzz and gentle strum boy/gid
pop appears to be more hook-
oriented than revolutionary.
Never fear, those of you who
need your hand held, the titles
would suggest there are messages to be found, only not so
overtly stated. I'm equally reminded of a less ragged, adventurous and interesting Beatnik
Filmstars, whose singe, mini-
album and two full-lengths released this year alone I would
endorse over this disc. A safer
Butterglory also springs to
mind. Sure, this is okay — with
repeated listenings uncovering
further charm — but a true sign
of worthiness would be to transcend the genre from which it
sprang, and this is not the case.
Sean Elliott
Beverley Atonade
There tends to be two trends in
music today: baroque &
minimalism. This Brooklyn group
falls gracefully, intently, into the
second category. Taking the
Luna approach to the Velvet
Underground chord (or is it
code?) book yet following a technological route rather than the
Wareham quartet's amiable simplicity, The Ladybug Transistor creates sparse sound structures embossed with calm melodious voices. Every note is powerful and purposeful but not pretentious Altogether aware of their
art while seeming indifferent to
all else, these New Yorkers
present then withdraw with lasting effect, impregnating the lis
tener with seeds of appreciation
and fulfilment They exude potential and confidence Buf this
record is not a fair-weother lover
being ably equipped with brolic
maintenance in your collection
Admittedly, Beverley Atonate
doesn't evine their Warloilian
predecessors gift for the absurd,
but it's well worth investigation
Brandon Pierce
Pup Tent
New York's Luna is arguably
one of underground pop-rock's
best kept secrets Whether this is
due to Dean Wareham's eclectic
history with Galaxie 500 or
simply because Luna is too simple and too lyrically obscure for
mainstream music is irrelevant, especially considering Luna's diehard cult following. Luna is easily one of the most listenable acts
around, carefully crafting songs
which seem simple but are actually very complex, pleasant, and
non-abrasive to the ear.
While Pup Tent differs from
previous Luna albums by using
heavily effects-laden guitars (especially on the opening track,
"IHOP"), it still contains
Wareham's whispery vocals and
obscure lyrical poetry. Jazzy
progressions and flowing bass
lines also appear out of the blue,
but this reinvention of Luna's
sound is a change for the belter,
perhaps jusf the right combination to lead Luna out of the underground and into the masses.
Al any rate, Pup Tent is by far my
favourite Luna album.
Patrick Gross
Kitty Finger
(Kill Rock Stars)
For those among you who are
interested in where everything
came from, please take note of
this Matrimony CD: it was one
of fhe major musical influences
on Bikini Kill when they were
starting out. You can tell, too. Not
in a bad way, just in a way that
says that they comfortably shared
musical styles and ideas A little
raw and primitive (although they
seemed to be proud of that), this
eight year-old album, recently
rereleased at Kathleen Hanna's
urging, slill fits in with the bevy
of current records
A litHe bit of early Bikini Kill,
a little bit of Lung Leg, a lot of
their own pioneering style.
Whether you are an archivist or
someone who just enjoys strong
woman-fronted punk rock, this
CD should make you happy. I
know if does me.
Mr. Chris
Have a Ball
(Fat Wreck Chords)
Lately, my bowling game has
sucked and, needing some pointers, I was excited by this CD by
Me First and the Gimme
Gimmes which states "Me First
and the Gimme Gimmes have a
ball while giving you tips on how
to improve your bowling." So I
popped the CD into the player
ond drooled oil over the bowling
action pictures on the sleeve. To
my surprise, there are no bowling tips, just a bunch of music.
Loud, fast, with some guy yelling "Yeahl" thrown in for good
measure. Every song is a cover
butchered to bits and I love every
track The Gimmes slaughter
Paul Simon's "Me & Julio Down
by the Schoolyard," Billy Joel's
"Uptown Girl," and Terry
Jack's "Seasons in the Sun," to
name a few There are nine other
tracks which will make you bug-
out in your underwear. The only
name I recognize in the band
lineup is Fat Mike from NOFX
and there are a few guys from
The Gutter Punks bowling team.
Don't be fooled by the bastards — it's all music and my
bowling game still sucks, but this
CD has improved my singing
when I'm by myself.
Thanks a Million
Jazz pianist Steve Million's follow-up to his 1995 debut Million
to One will probably create the
same excitement in jazz circles
as his first release, which is a
shame considering the silence
which followed from the jazz
press. While certainly not
groundbreaking, Thanks a Million deserves more than a passing glance. Tasteful playing,
strong compositions and a solid
duo back Million's tunes. Bassist
Michael Moore and drummer
Ron Vincent (Gerry
Mulligan/Helen Merrill) provide a sturdy rhythm section for
Million's touch. Michael
Brecker (flugelhorn/trumpel)
and saxophonist Chris Potter
(Red Rodney/Mingus Big
Band) joins the trio on a handful of tracks and help flesh
things out.
Influenced by Afro-Latin jazz,
Million pursues those rhythms in
unique meter. On "7AM" the pianist constructs a seven-four time,
making the arrangement quite
fresh. Following in thot tradition,
"My Explanation" swings to a
nine-to-the-bar and allows Million
to stretch out.
Penning all of the compositions other than, oddly enough,
the title track, Million continues
to impress with only a pair of albums to his credit. No sophomore
Pieter Hofmann
Sweeping floods of metallic
riffing, drowning the weak with
no mercy! Florida's Morning
Again spew forth a rage of bitter vocal nastiness and earthshak-
ing power. In the world of
midtempo, metal-fused hardcore,
Morning Again sits on the forefront of the American ranks. Melodic guitar and spoken lyrics situated beside snarling vocal aggression ond powerful guitar create true heaviness.
Their aural attack is controlled, focused, heavy and intricate. Martyr consists of cycles of escalating tension followed by a calculated, furious release   Laser-
guided destruction!
(Homestead/Dutch East India Trading)
Boston guitarist Joe Morris is
accompanied by members of
saxophonist David S. Ware's
group on this disc. The music
throughout is wholly abstract,
harkening bock to the early days
of free jazz in the '60s, days
when players like Cecil Taylor
left behind the old notions of
jazz as something which would
have lo swing. This kind of
borderless playing has since
been replaced by a more eclectic approach, a willingness to
synthesize the lessons of free
form music with those of older
jazz idioms. And ultimately, this
has lead to somelhing more fulfilling. An all-encompassing
artform that has grown up and
even grown a little more accessible, despite the exaggerated
split between uptown and downtown styles that muckrakers have
been talking about for the past
15 years or so.
Few musicians now — the
ferocious Charles Gayle be
ing an obvious exception — are
playing "out there" all the time.
After all, these regions have
pretty much been mapped out
by now. This doesn't seem to be
stopping Morris. Although his
bebop than to the Arto
Lindsay school of skronk, his
actual compositions freely move
about with little grounding, not
begging too much of the listener's attention along the way.
In short, this is the problem
with the album. Despite the title,
the players are not really taking
the music anywhere il has not
gone for three decades. There
are moments, especially towards
the end of the album, where
things get more dramatic, and
pianist Matthew Shipp even
gets to throw in some of his Bud
I influence But it just does
not generate the same kind of fire
as other works by these players, especially the material with
To put if bluntly, Elsewhere is
really nowhere we haven't been
Michael Chouinard
Listening to Rezz is an experience of bone-shattering ambient
techno The computer-generated
sounds by Peter Giokanis produce a morbid element. In my
mind, it conjures up visions of a
futuristic worid similar to George
Orwell's 1984. Like other
techno, Rezz varies from the extremely aggressive to the deceptively mellow, producing a wide
band for emotional release
Ambient techno is a heartless
form of music, which is easily
molded into what one wonts it to
be Rezz is built around a fairly
simple beat, lacking a rich texture. In this way the album misses
a greater depth that could otherwise be reached. Most songs
stand on a single beat altered by
screaming echos Overall, Rezz
is in some regards plain weird
Markus Schmid
Rule 62
This album wos just freshly
cleaned of birthwoler on July 29,
following Rule 62's tour of the
west coast and Canada where
they opened for bands such as
Everclear, Filler and No
Doubt And in case there are
people out there who don't know
Rule 62 yet, they were formed
from The Cadillac Tramps, an
indie rock group from Orange
County This partly explains the
unique punk-influenced rock
crossed wifh pop sounds that
emerge from this CD.
There are some really catchy
tracks to be heard thanks to Brian
Coakley's fantastic, strong voice
and some very grounded guitar
riffs. These include the second
track, "Drown," and the II th
track, "Believed," which is as
acoustic as this band gets. Rule
62 is definitely not short of energy and explosive music, and
thankfully is short of cliched lyrics Instead if delivers lines worth
mulling over: "Garbage winds
from your mind like a tainted
vine," "She sells self-destruction,
always up inside her head
Turn up your car stereo volume a couple of notches and play
this as you head oul of town for
the weekend
Cristy Baker
Shizuo Vs. Shizor
(DHR/Grand Royal)
Idealistic sociopolitical agendas
and music don't usually equal
entertainment. At this early hour
I'm at a loss of positive examples
beyond Crass, Red Krayola,
Public Enemy, Gang of Four,
Phil Ochs, Team Dresch and
Stereolab Don't even get me
started on the negative Digital
Hardcore schtick with its high-
energy appropiation of genres
hardcore/punk, lo-fi, metal,
noise, etc ...) and bold, wide-
eyed anarchist stance It is also
becoming — especially in the
case of label founder Alec Empire's Atari Teenage Riot —
quite popular Grumpy old men
and kids agree. These Germans
are on to something.
Now Grand Royal has made
widely available the debut album of the one man Shizuo,
whose "Sweat," which reappears here, was the pick of the
DHR singles released by the
Mike D.-run label last year. As
opposed to Atari Teenage Riot
and EC80R (the young male/
female duo, who're more raw
and chaotic than ATR and better for it), Shizuo is nof often
vocally/lyrically politically in
your face. Generally the beats
mixed with sounds, both unusual
and pop culture kitsch, are the
focus, making this perhaps the
most accessible and fun group
of the stable. Evidence being the
Flying Lizards-esque take on
The Cramps on "New Kick "
Even ihough this may well be
the DHR album most likely to be
played at a party where fighting isn't involved, its position is
implied rather than shrieked.
Also, this album appears to be
the same as its German counterparts — none of the studio
tracks from the High On Emotion MLP show up again here.
Needless to say, this is some
good stuff and in a world where
overrated, big budget, supposedly shocking groups such as
Nine Inch Nails, Marilyn
Manson, recent Ministry,
Kom, etc. are popular, Shizuo
and his compatriots are a more
than worthwhile, pardon the
term, alternative. Let's hope they
don't burn out, or as will doubtlessly happen to endless lesser
copyists, get swallowed up loo
Sean Elliott
Bird Fish or Inbetween
The most intriguing component
of the Swedish band Souls'
major label debut CD are the
lyrics of lead singer Cecilia
Nordlund. Nordlund writes au-
tobiographically; her stories reveal a tragically pathetic character. Good characters, particularly female, are few and far between. Somehow, Nordlund
seems to evoke more sympathy
and fascination than both Madonna and Courtney Love
Her words create an aura of
mystery: in "Cello," she peaks
our curiosity when she sings,
"I've done some grim things/
I've done some really bad
things." On the next track "Expensive," she elaborates on her
we must hurry up/ and make
love before/ our mother shows
up/ she'll get nuts with us
Not only is she whoring herself, but she is doing if to her
sibling — prostitution and incest
within the same act. Nordlund
is one "fucked up" woman with
one "fucked up" past However,
there is something about her
darkness that attracted both
Gavin Rossdale (frontman for
Bush) and producer Steve
Albini to this project Albini produced the opening two tracks
and Rossdale discovered the
band while attending their live
show in Sweden.
There is a dark, poetic element to her words. Her dark
sense of humour is simultaneously comical and disturbing.
Alone, the individual lines are
charming and comical. When
they are strung together their
meanings and implications are
let's tango let's dangle/ and
let them sleep/ let's get lost let's
defrost/come play with mel
The next time you find yourself sitting on you IKEA sofa, or
driving your mommy's Volvo station wagon, and you feel like listening fo some Swedish
funeage, skip on the ABBA and
go for the Souls. Apparently, not
all Swedes are blondes. Some
have black hair.
Daniel Ariatantnam
Ladies and Gentlemen We
Are Floating in Space
Having been a fairly enthusiastic Spacemen 3 fan, I purchased Spiritualized's debut
single upon its release, enjoyed
their Troggs cover and then lost
interest until their visit to Vancouver a couple years back. I found
them to be a surprisingly formidable rock unit, despite a lack
of volume for them and intoxicants for me. Still, not amazing,
but solid. I've since found their
first album thin and weak, unlike almost every one of their
fans I've encountered
mistaking this is a Spiritualized
record ... every song is about
drugs, love and loss, the big
sound, strings, horns, keys, gospel chorus, repetition, the setting
of mood, Pierce's soothing
voice, etc. What pushes this album beyond iheir previous ones
and into the unforeseen-by-me
territory of deserving regulor listening is not just the expanded
musical palefte, nor fhe welcomed infusion of rock, but the
all-round higher level of
Regardless of the style or feel
of the track, each not only furthers the album as a whole but
stands alone instead of leaving
me to pick out the few I'd choose
to listen. I was stunned fo hear
how well this album stands up
against The Spacemen's apex,
The Perfect Prescription even.
Perhaps most remarkable is that,
despite the expectation that
Pierce would merely be a drooling mess or dead at this point,
his vision appears stronger than
ever. I guess for that we can
thank his expert handlers.
Sean Elliott
October Rust
At first this album makes you
wonder why you would listen to
the whole thing, but il sort of
evolves into something that is
relatively lislenable. Songs like
"Be My Druidess" and "My Girlfriend's Girlfriend" are unique
songs in an album which feels
like one continuous song. Almost
all of the lyrics are about "her"
e that is
; about the dec
October Rust c
shabby rendition of Neil
Young's "Cinnamon Girl;" it
just doesn't sound quite right
wifh Peter doing the vocals. The
n id-age
e and co have
my surprise,
up with the genuine article.
They've allegedly stripped their
standard accoutrements away
with this release but there is no
mlike o
ig, very Gothic.
Ihis album has a certain similitude lo Bloody Kisses, so if you
have a taste for 1993's Type
O Negative, you may want to
buy this release
Big Cheese
**f'mm%&'* realhveaction
The Folk Implosion
@ fhe Starfish Roo*i
photo  by  TZichcTird
Monday, August 4
Starfish Room
This concert was so amazing that,
come last month's publication
date, I had completely forgotten
that I'd seen if It wasn't until I
stumbled upon a Saturnhead
CD, and my brain was trying to
figure why I knew they were so
very bad, that I remembered I'd
seen good old Lou and John in •
The show was an utter disappointment. Saturnhead were a
poor opening band to a poor
headlining act The Folk Implosion couldn't even play their
hits right. Lou seemed permanently distracted by the fact that
it was his wife's birthday and
couldn't seem to focus on the task
at hand, that of making music for
the mosses. This is not a band to
see live, I think. It was a sad night
for me, as I'd been anticipating
the excitement for months in advance. Oh well, better luck next
indie rock god.
Julie Colero
Saturday, August 23
Despite the fact that my friend
proclaims Mansun the second
worst band she's ever heard,
they've been very successful in
22 October 1997
their native England Their most
recent CD, Attack of the Grey
Lantern, even topped the British
album charts for at least a week
On this evening they posed on
the stage like big, dirgey, throbbing rock stars I wasn't expecting such a straight-ahead rock
band, complete with bare-
chesfed bass player Stove King
and lead singer Paul Draper playing his guitar against the mic
stand. I hope they were being
sarcastic but there's no way to be
sure The lyrics were incomprehensible and the music mostly
borrowed and unoriginal. The
best song was their alternative hit,
"Wide Open Space," during
which I could understand the
words and picked out some interesting arrangements Drummer
Andie Rathbone was the most
entertaining member of the band,
making happy grimaces and
singing along without a mic
A friend of mine who saw
The Seahorses show in Chicago said the crowd got ugly
when singer Chris Helme tried fo
sing his solo acoustic guitar
number. He was well received in
Vancouver though, and for almost
the first time at the Rage, the
sound was good enough to be
able to decipher lyrics The big
attraction, of course, was John
Squire, legendary guitarist for the
Stone Roses The most entertaining part was the motley col
lection of characters around me
who yelled inspiring phrases at
John Squire
"John!" one yelled after every
song One unworthy fan bowed
in front of him. "Manchester!"
yowled a confused fan behind
me. "Drugs!" A lot of people have
been sceptical about the cast of
Squire   gathered
ind  hin
>  fo.
band. Helme was "discovered"
by Squire while busking outside
a Woolworths in York, but he is
on asset to the band with his
beautiful voice. Bassist Stuart
Fletcher was content to stand inconspicuously at the back of the
stage and Andy Watts safely
banged away on his drums at the
back of the stage Everyone was
pleased fo see the legend play
and he sounded as good as ever.
As a whole, the band is cute
and their music pleasing — nothing special but fun to listen to.
Such was the concert: it was no
amazing experience, but it was
a bit of a laugh.
kris rothstein
Monday, September 1
Seattle    Opera     House
Last year a Seattle jazz publication asked local players whom
they would like to see play in
Seattle.  Keyboardist Wayne
[ had the good taste to
pick the venerable Art Ensemble of Chicago, arguably the
most important jazz group of fhe
past 30 years
Lo and behold, a year later
fhe free jazz institution not only
comes to the Emerald City to play
Bumbershoot, bul Horvitz has the
honour of playing the opening set
in the cavernous Opera House
He did nof blow his opportunity.
His Four and One Ensemble
is the opposite end of the spectrum from the steaming funk of
Zony Mash, another current
It's more in the chamber jazz
vein of pal and colleague Bill
Frisell's current Quartet (By the
way, the guitar genius himself
looking for a seat ) The band features violin, trombone, lots of keyboards ond processed electronics At various points, samples of
the musicians would subsequently
provide the structure for the
works, and despite how contemplative and controlled the pieces
were, they delved into deep blues
and free jazz.
Horvitz is an incredibly diverse musician and composer —
the unsung hero from Naked
City — and he did treat the audience fo some extraordinary DX-
7 work. He has a way of wrenching out harsh fuzzbox sounds
from his synths that no one else
can even approach Although his
set was brief, it was flawless, almost dreamy, and it helped cast
the spell for what was to come.
A big, red curtain closed for the
set change and after almost half
an hour, the drums began to roll,
and the curtain opened. But
something seemed wrong. The
whole Art Ensemble of Chicago
was not there.
I knew that saxophonist and
percussionist Joseph Jarman
had left the group recently to pursue solo projects, but group
founder and fellow saxophonist
Roscoe Mitchell was not on the
stage as he should have been; it
turns out he was having surgery
and is supposedly recovering
nicely Bassist Malachi Favors
Maghostut and tireless drummer Famoudou Don Moye
were there to provide the
polyrhythms, however, in traditional African costumes and face
makeup and Lester Bowie,
wearing a white lab coat as always, had to pull a double shift
to provide most of the leads. As
well, the group did not bring all
fhe gongs, vibes and other percussion instruments thai they've
used in the past. Maghostut did
have his usual table of rickety
noisemakers, sirens and whistles,
but Don Moye just brought a set
of congas along with his drum
With fewer percussive toys,
no saxophone parts and an enormous theatre to fill, the show
seemed a bit stripped down from
what I had expected I confess
my heart was starting to break
for the first ten minutes or so. But
then the trio, who took barely only
noticeable   breaks   between
pieces, began hypnotizing me
and most of the audience — or
at least those who stayed The
band effortlessly bounced between its theatrical urban
bushmen percussion sections, its
bluesy traditional influences and
its free-for-all free jazz leanings
Maghostut, a wonderfully melodic, African-influenced player,
held the cenlre while Don Moye
kepi things pulsing at a rapid
pace The man's arms just do not
stop moving, whether he's playing with sticks, brushes or his
Best of all, though, was
Bowie. I generally avoid using superlatives when talking about musicians, but for three decades this
man has been light years ahead
of any other jazz trumpeter. His
speed and technique are
equalled by his taste and, most
importantly, his imagination. One
minute he's a torch singer, barely
breathing through his instrument,
the next he's a carnival barker,
voice blasting over the entire midway. He can be funny, tragic,
deranged, blissful, all in the
space of a few bars Bowie also
has this amazing ability to mute
his trumpet simply with a blowing technique
The three men played a set
that lasted just over an hour, end-
ing with Roscoe Mitchell's
"Odwalla" theme and they were
justifiably given an unrestrained,
hand-bruising standing ovation
by the crowd after both the main
set and each of the encores.
The fact that the Art Ensemble of Chicago can put on a show
this mesmerizing while playing
short-handed is a measure of how
good they can be. All right, I'll
use the word once more — superlative
Michael Chouinard
Thursday, September 4
Starfish Room
Itwas a night of n
dance — and dance proved
self to be the pretentious, unbearable older sister of the art family
Conceptually speaking, the
evening began with its highlight:
the unseen Unclean Weiner
Two guys, one on bass and one
on drums, played loudly and
spouted gibberish as life-sized
Lego men slowly built a wall of
giant Lego blocks in front of them.
That had pleasing Vestal Virgin
overtones to it but The Wall actually became a projection screen
for q short, bloody film. With all
the action, who could tell if they
were good or not? Their set
ended with — what else — the
destroying of The Wall with their
feet. For visual imagery, it gets
an A!
Mark Szabo was up next
for a solo acoustic set of quiet,
mournful tunes Worth hearing -
- if you actually could over the
babble of indie rock kids meeting and greeting.
The Beans have been much
hyped of late and their aural pas
tiche of samples, random noise,
organic drums and Iwo guitars
melded into an ear-pleasing experience I got a feeling that
Gastr del Sol is on heavy rotation in their respective homes,
among other prog rock foves The
Beans, loo, included visual entertainment: two dancers, male and
female, cleared the floor and
earnestly set about "interpreting"
the music through movement. It
was too painfully self-conscious
to be believed — I was forced to
avert my eyes. I'd buy a Beans
record — if it specifically said:
"Dancers Not Included "
Most of the dancing during
Destroyer was the happy bobbing of heads Seeing Destroyer
as a full band is always a treat
This time it added a slick, pop
feel to the songs lhat uplifted the
vocals Sweet, '70s sounds
(matched by lead Destroyer
Dan's turtleneck!) tinkled through
the air and reinforced my view
that Destroyer is one of the few
Vancouver bands worth leaving
your home for
In fact, all of the bands on this
evening's roster were more lhan
worth supporting — no mean feat
in a "scene" marked mostly by
Kyla Sweet
Sunday, September 7
The night started with the enigmatically named Ms. E, who reminded me of a less histrionic 4
Non-Blondes and a substandard PJ Harvey. Her set consisted of bland, boring and eventually irritating songs about womanly pain, break-up pain and
pain from anger, made interesting only by the occasional passionate moan and frenetic guitar
work Anyhow, by the third breakup song, I was thinking of my
amassed collection of 21
Jumpstreet episodes ond how I'd
rather be watching them. By the
song after that, I was suppressing yawns, despite the adrenaline rush I had gotten earlier, eluding the menacing crack dealers
who were milling around outside.
After Ms. E's soporific set, the
Wooden Stars came on to play
four or five songs of jazz-infused
rock, which is more of a convenient than accurate term when
describing their music: it encompasses way more than jazz and
rock. Because I don't know what
to compare them to, I'll just say it
was good, interesting, and very
skilled. They'll be coming back
in October with the Inbreds, so
if you're left unsatisfied by my inferior brand of music journalism
can catch them then.
Finally and most importantly,
the engaging and enchanting
Julie Doiron. I don't want to
trivialize her by describing the set
as "awesome" but that adjective,
When she strode onto the stage,
the night took on a different feeling. She started off sparse and
solo, with a couple of songs from her debut self-titled album (then
called Broken GiH), and was
then joined by a backup band
(consisting of Wooden Stars
members) for songs from her new
CD, Loneliest in the Morning.
Many have bemoaned Julie's progression into full band-om but
their nit-picking is irrelevant. Her
sound has remained essentially
heartwrenchingly beautiful as
ever, her lyrics still painfully honest Unlike the detached distance
from which I watched Ms. E, I
was totally immersed in her simple and understated songs about
motherhood, sadness and love -
- all of which were leagues more
poignant and affecting than Ms
E's pointed angst.
Despite her obvious shyness
and diminutive stature, not to
mention the distraction of technical troubles and audience people
who wouldn't shut up, she was riveting. After polite and nonstop
applause, the band returned and
the night culminated with "Love to
Annoy." I was a tad disappointed
because I had wanted to hear "Le
Soleil" but complaining would be
lame since her performance was,
in its entirety, satisfying and unmatched in its beauty.
Saturday, September 13
Queen Elizabeth Theatre
The African Queen met a small
bul enthusiastic audience — so
riled up was this group of mostly
middle aged patrons that I
thought their pre-performance
claps and shouts would soon escalate into chants of "Heyl Ho!
Let's Go!"
The enthusiasm was well-deserved Miriam Makeba and
her entourage played a diverse
and passionate set, filled with
unique huffing, puffing, beating
flute solos, folk songs, ballads
and "witchdoctor" songs. Her
pride, sorrow ond respect shone
through in every song. Perhaps
it would have been an even more
overwhelming show if Miriam
herself spent more time on stage,
but considering her comments on
the difficulties of "keeping up
with the youngsters" at age 65,
we appreciate what we can get
It was an enriching, unique two
and a half hours that left me dancing in the stuffy seats.
Friday, September 19
Starfish Room
It would have been unheard of
in Australia. Powderfinger
performed to a crowd of several hundred in downtown Vancouver, whereas back home
they enjoy the privilege of pulling audiences of at least a thousand. The Starfish Room appearance marked
Powderfinger's final concert in
Canada, after three weeks of
touring Toronto and Montreal in
promotion of their second album Double Allergic. And what
a culmination ...
The venue was cosy — packed
full of Canadians with good taste
in music and Australians basking
in the feeling of such close proximity to Powderfinger. And the
anticipation of the crowd seemed
almost tangible during the performances of the two supporting
bands, Blisterene and Jack
Tripper (Blisterene is a three-
piece that comes across as overly
keen on two-part vocals and repetitive lyrics, while Jack Tripper
is a four-piece capable of great
musical variety). When
Powderfinger finally emerged,
everyone was psyched and, courtesy of the Australians in the audience, a healthy looking mosh
pit had formed.
With high energy,
Powderfinger ripped through a
mixture of new songs and songs
off of Double Allergic , including "Pick You Up," "Oipic,"
"jc" and my own personal favourite, "d.a.f." Their musical-
ity was impressive and their
stage presence memorable,
serving as confirmation of the
reputation this band has built up
for their live shows.
Unfortunately for Canada,
if you want to experience the
fantasm that is Powderfinger
live, you'll have to wait for their
next tour of Canada. In the
meantime, Powderfinger is re
turning to Australia for the Livid
Festival and some much
needed sun and surf. I wish
them all the best.
Cristy Baker
mm mm® mmm
Naked 4 Jesus
Punch Drunk
& Removed
23 ^m^smm online, dial
101.9 fm
All of time is measured by its art This
show presents ihe most recent new music
from around (lie world Ears open
Reggoe inno all styles and fashion
Real cowshil caught in yer boots country
WIRElf SS 3:005:00PM ok.
The best of Spanish music, news ond
interviews lor the Spanish and English
speaking communities
QUEER EM 6:0O8:00PM Dedicated lo
the gay, lesbian, bisexual, and
transsexuol communities of Voncouver
and listened lo by everyone Lois of
human interest features, background
on current issues ond great music
preferences and gender identities
GEETANJAU 9:00-10:00PM Geetan|ali
features a wide range of music from
India, including classical music,
both Hindustani and Carnalic,
popular music from Indian movies
from the 1930s lo the 1990s, Semi-
classical music such as Ghazals ond
Bhajans, and also Quawwalis, folk
Songs, etc
THE SHOW 10:0012:00AM Strictly Hip
Hop - Strictly Undergound - Strictly
Vinyl With your hosts Mr Checka, flip
Oul & J Swing on the 1 & 2's
4:00AM Drop yer geor and stay up late
Naked rodio for naked people Gel bent
Love Dave Eclectic musk.
11:00AM Your favourite brown sters,
James and Peter, offer o savoury blend
of the familiar and exotic in a blend of
aural delights1 Tune in and enjoy each
weekly brown plate special, Instrumental,
Ironce, lounge and ambience
PM Playing a spectrum of music from
Garage Band to Big Band acoustic to
Mismatched flop rock, a quick ride
downtown Don't miss the Snow White
Float I love the Snow White Float
4:00PM I endeavour to feature deod air,
verbal flatulence (onfy when I speak), a
work of music by a twentieth century
composer — can you say minimalist2 —
and whatever else oppeals to me Fog
and dyke positive Mail in your requests,
because I am not a human answering
machine Goto quarter then call someone
who cares.
EVR VS. GOOD 4:005.00PM Whow-I
triumph? Hardcore / ponk rrocn beyond
BIRDWATCHERS 5:30 6:00PM Join the
Sports department lor their eye on ihe T
Mix ol most depressing, unheard and
unlistenable melodies, tunes ond voices
Join library queens Helen G ond Kim on
their info quests sset to only ihe best
music Oct 13 The history of Cider Oct
27: The life and works of Elisabeth Smart
Listen for al Ccnoici*., mpsly independent
longest running prime lime jazz program
Hosled by he ow sum* Gavin Walter.
Features ci 11
Od 6: Guitarist Grant Green with "Oleo"
Ocl 13: A celebration of piorisl genius Art
latum Oct. 20. Multi instrumentalist and
educator Ken Mdntyre (unissued Iracks)
Oct 27: Trumpeter / composer Donald
Vancouver's only drum V bass show
Futunshc urban breakbeat af 160bpm
you contact wi*h *he unknown sonar
world of Australia os well os uncovering
sme hidden local gems Come find your
future favourite bonds before they
become huge distant stars Hosted by
Darnel Abrahams
Torrid trash rock, sleazy surf and
pulsatin' punk provide ihe perfect scissor
kick to your head every Tuesday mom
There's no second chance when Kung-
Fu is used for evil with drunken fist Bryce
"Hove a rock n' roll McDonald's for
lunch today!"
A combination platter of feminist issues,
lesbionic rock, radio drama ond
everything else. Unogi maki for girls and
dedicated newsteom bnngs you the best
news oboul student life, community
organizations, festivals, arts events, youlh
culture, and soaal / political issues Real
voices bringing you news you won't
hear anywhere else.
Meat the unherd where the unheard
and the hordes of hardly herd ore
heard, courtesy of host and demo
director Dale Sawyer. Herd up! New
music, independent bands
RITMO LATINO 9:0010:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, ond Paulo os they shake il and
wiggle il to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites Latin music so hoi
it'll give you a tan! jjRADIO
NAKED RADIO ak. 100012:00AM From
Thelonious Monk ta MeridHh Monk
we I play il. Genre busting, cutting edge
jazz and olher expenmentol sounds,
plus informative label/artisi features Join
Mike and Sean.
12:00AM Noise, ambient, electronic,
hip hop, free *azz, chnsfion belter living
Ip's, the occasiond amateur rodio ploy,
Warning: This show is moody ond unpredictable II encouroges insomnia ond
may prove to be hazardous to your
health Listener discretion is odvised.
Ambienl ethnic, funk, pop, dance, punk,
electronic, synlh, blues, and unusual rock.
10:00AM GiH music of all shapes and
■12:00PM electron*
LOVE SUCKS 12OO2.O0PMMusicatwoH(
(Cul up mixed genres - eclectic, electric
included but not mandatory).
MOTORDADDY 3:005:00PM Never r*de
a motorcycle without wearing an
approved safety helmet! Motorcycle
garoge rock
Community / campus news and views
and environmental issues
ESOTERIK 6:007:30PM alt. Ambient/
experimental music (or those of us who
know obout the illithids.
SOLID STATE olt. 6:007:30PM Featuring
the latest in techno, trance, acid ond
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosted by iMPath.
AND SOMETIMES WHY 7:309:00PM future
bible heroes, ida, miranda jury... hese
are a few of our fcrve-oh-wnt things, b b la!
FOLK OASIS 9:00-10:00PM Acoustic/roots/
folk music in the middle of your week.
Focus on local and Canadian singer-
songwriters, regular features on other
regions with in-bouse visits.
12:00AM Let DJs Jindwa and Bindwa
immerse you in radioactive Bhungro1
'Chakkh de phutay.' Listen lo all our
favourite Punjabi tunes — remixes and
originals. Brroooah!
THE LAST DESK 8:30-10:00AM L.sten
carefully as Johnny B brings you CiTR's
classical  music  show.  Featuring
Canadian composers, amateur hour
more. Rodio con fuoco, for the masses.
FILIBUSTER alt. 10:00-11:30AM From
occordian to the backwoods via swingin1
lounge sounds... this show is a genre
free zone.
MUSIC FOR ROBOTS alt. 10:00-11:30AM
Viva    La    Robotica    Revolution.
Electronica... noiz...new wove, no wove.
Tofino to Gander, Baffin Island lo Portage
La   Prairie.   The   all-Canadian
soundtrack for your midday
STEVE 4 MIKE 1 OO2:00PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby.
JUSTIN'S TIME 2:003:00PM Serving up
your weekly dose of Shirley Horn and
other jazz-filled confections.
FLEX YOUR HEAD 3:0O5:00PM Hardcore
and Punk rock since 1989. http://
TARTS ON ARTS 5:306:00PM alt. Tune in
for a lively update on the arts community.
Movie reviews and criticism.
OUT FOR KICKS   6:00-7:30PM   No
Birkenstocks, nothing politically correct.
We don'l gel paid so you're damn right
we have fun wilh it. Hosted by Chris B.
Roots of rock & roll.
9:0011:00PM   Local muzak from 9.
Live bandz from 10-11.
SLIPPERY SLOT 11:00-1:00AM Farm
animals, plush toys and Napalm Death.
These are a few of my favourite things.
It's alt about shootin' the shit and rock n'
roll, baby.
10:00AM Join Greg in the love den for
a cocktail. We'll heor retro stuff, groovy
jazz, and thicker stuff too See you here
... and bring some ice. XOXX
Tune in for another fun-filled hour of ska
with hosts Julie aid Sica-T.
LICORICE AUSORTS 12:002*00 All kinds
of music spoken word, interviews Phone
in for comments or requests Tune in ond
expose yourself to new music and ideas
Underground, experimental, indie and
women Jacuzzi space rock at it's finest.
NOIZ 4:005:00PM self-tilled
RADIO ACTIVE 5:3O6:00PM Social justice
issues, Amnesty International updates,
activism and fucking up the evil corporate
powers lhat be!!!
Sounds of the transpacific underground,
from west Java lo east Detroit. Sound
system operator, Don Chow.
AFRICAN RHYTHMS alt.6:0O9:00PM Dav,d
"Love" Jones brings you the best new and
old Jazz, soul, latin, somba, bosso &
African Music around the wodd.
HOMEBASS 9:00* 12:00AM The original
live mixed dance program in
Vancouver Hosled by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
LIMP SINK 12:0O2:30AM Hosted by the
G42 players. "The show lhat doesn't hate
you." with your friendly pals Friar Fritter
Abfockeln ond Postman Pat
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus WorldCup Report
all 1:30 AM. 8*9 AM: African/World
roots. 9-12 noon: Celtic music and performances.
Vancouver's only true metal show, local
demo tapes, imports and other rarities.
Gerald Ratllehead and Metal Ron do the
LUCKY SCRATCH 3:0O5:00PM Blues and
blues roots with your hosts Anna and Andy.
hosl Dave Emory and colleague Nip Tuck
for some extraordinary political research
guaranteed to make you think twice.
Bring your tape deck and two C*90s.
Originally broadcast on KFJC (Los Altos,
'Live! — shows and bands — admission
$6.00 — Performers are subject lo
change." Maximum Soul.
FUPOUT 10:0012:00AM hip hop
REBEL JAZZ lO00O12:00AM Join Girish
for some - rebel jozz.
EARWAX ak. 1:00AM- DAWN "Utile bit of
drum, bil of bass and a whole lot of
noize". Late-night radio sounddash
destined to fist you hard. Zine features,
phat experimental chunes, and the
occasional turntable symphony. "Money,
we'll rock you on 'til the break of dawn."
- G. Smiley
("i 112 needs   yc
We arc alWB <
creative persons to
join, train an J
become to
...i • i-
iNo    experience
DJs, a Japanese
snow, an African
sliovv, and a First
Nations show.
Come If}'6TI2 in
room 255 of the
UBC ftudent
Union or Call
folifcp aid talk
to Xamiko.
101.9 fM
Friendly Competition • Jokes-For-Beor • Amazing Prizes
&?7&*/tl>/. rtf&l>**ftSWM^
with MC
9:30 PM
greenlK9fse productions
05 odober '97 LONG VINYL October '97 SHORT VINYL October '97 INDIE HOME JOBS
1 various artists
2 shizuo
3 the tonics
4 cub
5 neko case & ...
7 pee chees
8 the delta 72
9 iniraiula July
10 calexico
11 lake of dracula
12 broadcast
13 barbara manning
14 white hassle
15 cresent
1G the drags
mouse on mars
18 the klezmatics
19 8 eyed spy
:i the high llamas
IS nothing painted blue
3 bluedot
24 arto lindsay
25 geraldine fibbers
'6 us maple
27 bs 2000
friends of dean m.
29 r.l. burnside
30 microstoria
31 superchunk
32 the crabs
33 the sonora pine
34 man or astro-man?
35 blue veil
what's up matador matador
shizuo vs. shizor grand royal
looking for the ... lance rock
mauler! augogo
the Virginian mint
all of us can l>e rich grand royal
games ]>eople play  kill rock stars
the soul of a ... touch & go
10 million hours ...   kill rock stars
spoke quarterstick
lake of dracula skin graft
work and non work drag city
white hassle
electronic sound ...
stop rock and roll
cache coeur naif
the mollusk
emotional discipline
magical power mako
mundo civil izado
sang phat editor
bs 2000
indoor living
thrill jockey
green linnet
bar none
skin graft
grand royal
sub pop
fat possum
thrill jockey
what were flames now smolder
II touch & go
made from technetium    touch & go
blue veil arson
1 jale
true what you say ready to break
1 the wingnuts
hate my job
2 murder city devils
s/t                                     em*>ty
2 plumtree
in the sink
3 von zippers
hot rod monkey screaming apple
3 touch & gos
campus radio lx>y
4 stock, hsuisen, and ...
stripper                                eerie
4 quonset
desert blade
5 the mants
mant from u.n.c.l.e   lance rock
5 bug
going nowhere
6 the need
jacky o'lantern              outpunk
6 blisterene
michael hunt
7 helldorado
jesco way                         empty
7 mk naomi
8  discount
wonder pulled rae under liquid meat
8 oh susanna
9 thrush hermit
s/t                                lx>ng load
9 mizmo
tarantino cringe
10 wingnuts
quick brown fox ...            olam8
10 jp5
fuzzyhead pills
11 run on
as good as new            matador
11 more socks
shut up i'm sinking
12 peatmos
earl grey tea               sonorama
12 Ixma-fly
13 pansy division
manada                               mint
13 gaze
preppy villain
14 orans
paper                                harriet
14 euphonix
let's get out of these ...
15 celestial magenta
clivedon                  independent
15 plump
cold feet
16 tokidoki
news days                         harriet
16 the colorifics
747 (now i see heaven)
17 tullycraft/rizzo
split                                   harriet
17 manifold
rails, flotation, aerodynamics
18 ativin
modern gang reader         ativin
18 tickertape parade
audience with the pope
19 lake of dracula
untitled                        skin graft
19 kreviss
20 no knife
communist china      time bomb
20 k-stars
drugs & gurus
Ma  CiTR
what we listened to during this
sad    month    of    goodbyes    ...
, broadcast • dj spooky • jiih o'rourtx • unrest • bis • ida • bedhead • stereolab • slcatcr-
Icinno • tullycraft • ihadder rose • wedding
present • Matte pascal • geraldine fibbers •
h'ne • julie doiron • inrs. torrance • flashlight
pizzicato 'ive • cornershop • crabs »_j
With a jewelry purchase
you receive a free piercing by
' Canada's most experienced piercers
PH: 688-6225
SUN - WED 11-7
THURS & FRI 1 1  - 8
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$f\ \. COUPON IN
2-3F.O*> FOR 20%
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V good used pop
culture clothingr;
nnmmnr- o Qsm&fzap*
Bfisra DOstoires   .: ;;.; ,,:■: ^£^TZ>r
ma&mS ___<__E' US-Spaa pose*®: i.s=s@@g
26 October 1997 roctober
FRI 26 Guitarevolution@Western Front... Artificial Joy
Club@Richard's on Richards... The Pursuit of Happiness,
Monoxides@Starfish Room... International Film Festival@various
venues(through 'til Oct 1 2)
SAT 27 Terje Rypdal, Hemispheres, Wolfgang Fuchs@Web
Cafe... Down By Law, 10 Days Late@Starfish Room... The Pursuit of Happiness, Monoxides@Studebakers... Allen Ginsberg
Memorial Tribute@Vogue Theatre...
SUN 28 Guitarevolution@Western Front... Wolfgang
Fuchs@Squish'd Knish...
MON 29 Jim Black@Naam... Grrrls with Guitars: Katherine
Wahamaa, Beverley Elliott, Georgina Taylor@Railway Club...
Catherine Wheel@Richard's on Richards...
TUE 30 CiTR presents Shindig!: Tree-crusher, Solution
to the Problem, Karen Foster@Railway Club...Jazz
Fish@Naam...  Mrs.  Torrance, Chad Richardson@Gate...
Catherine Wheel@Richard's on Richards...
OCT WED 1 Sing Sing Dead Man, Dead Model Shoot, South
of Main@Starfish Room... Damian Azriel@Naam...
THU 2 Morrissey@Orpheum ... The Malchiks, Loud Mouth
Mason@Starfish Room...
FRI 3 Headstones, superGARAGE@Graceland... The Need,
Mocket@Crocodile Cafe ... Tonic@Rage ... Herald Nix@Railway
SAT 4 Herald Nix, Greg Garing@Railway Club ... The Selecter,
Duotang, The Friggs@Starfish Room... ICE ©Pacific Centre Mall
(through 'til 25)..
SUN 5 Andrew Davis Duo@Naam...
MON 6 Kinnie Starr, Oh Susanna, Veda Hille@Richard's on
TUE 7 CiTR presents Shindigl: Bless the Pod, Perilous
From the Other Side, Willi waw@Rail way Club
WED 8 Pretty Human, Wayside, Forget Your Face@Starfish
Room... Dave Young Trio@Web Cafe ... Wheatchiefs@Railway
THU 9 Hard Rubber Orchestra@Starfish Room...
FRI 10 Bafochi: Ballet Folklorico de Chile@Massey Theatre...
Faith No More, Limp Bizkit@Rage...
SAT 11 Mkie Watt, Mr. Wrong, The Primrods@Starfish Room...
Jamie Clark@Naam...
SUN 12 Naomi Wolf@Chan Centre...
MON 13JazzFest@Naam...
TUE  14 CiTR presents Shindig!: Knockin' Dog, Saul
Duck, John Ford@Railway Club ... Southern Culture on the
Skids@Richard's    on    Richards     ...     Cinnamon,    The
Minstrels@Brickyard   ...   Ondekoza:   Japanese   Demon
Drummers@Orpheum ...
WED    15   Charlatans   UK,    Dandy   Warhols@Rage...
Superchunk@Starfish Room... Oliver Stone@Orpheum...
THU 16 Guided by Voices, Superconductor@Starfish Room...
James Taylor Quartet@Sonar...
FRI   17 Thrush   Hermit@Picadilly  Pub  ...   DJ  Spooky,
SAT18  Brad Mehldau TrioOVECC  ...  Inbreds, Wooden
Stars@Starfish Room ...
SUN  19 To Have and Have Not,  Dark Passage@Pacific
TUE   21   CiTR   presents   Shindigl:   Hounds   of
Buskerville, Surfin' Cowboys The Spitfires@Railway
WED 22 the emptys@Railway Club... Writers and Readers
Festival@various venues(through 'til 26)
THU 23 The Honeydogs@Starfish Room...
FRI 24 Weeping Tile@Starfish Room ... The Cramps, Guitar
Wolf, Demolition Dollrods@Graceland ...
SAT  25   Windy & Carl,   The  Electrosonics,   Citroen,
Pipedream@Brickyard  ...  Don Byron's Bug Music@Starfish
SUN   26   Casablanca,   The   Treasure  of the   Si
Mac/re@Pacific Cinematheque...
MON 27 Grrrls with Guitars: Melanie Dekker, Evani Goll,
Linda Kidder, Robin Toma with Wendy Jane Bollard@Railway
TUE 28 CiTR presents Shindig!@Railway Club
WED 29 Show Business Giants@Railway Club...
THU 30 Man or Astroman?, Delta 72@Starfish Room... Dunhill
Alley Cats Hell'oween Scramble@Nootka Studios...
FRI 31 Happy Hallowe'en!
everythjgjg,, nM,^ tn ^^
eveiywhery»" ™*^c'
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
The Brickyard 315 Carrall St. 685-3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)      873 1331
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel  303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Denman Place Cinema   1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Mora 6 Powell  (Gastown) 689 0649
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
Graceland   1250 Richards (downtown) 688 2648
Greg's Place 45844 Yale Rd.  (Chilliwack) 7 95 3334
The Grind Gallery 4124 Main  (Mt. Pleasant) 322 6057
Hemp B.C.  324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery  (Pt. Grey) 224 8007
LaQuena  1111 Commercial (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub   1176 Granville  (downlown) 688 8701
Niagara Hotel Pub 435 W. Pender (downtown) 688 7574
Medialuna   1926 W. Broadway
Noam Restaurant 2724 W 4th Ave (kitsilano) 7387151
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre Smithe & Seymour  (downtown) 665 3050
Pacific Cinematheque  1131 Howe (downtown) 688 3456
Paradise 27 Church (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre  3440 Cambie  (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 6816740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Raffels Lounge   1221 Granville  (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards   1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records   109 W. Cordova  (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room   1055 Homer  (downtown)
Starlight Cinema 935 Denman  (West End)
Station Street Arts Centre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret   1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
The Tower 339 W. Hastings (downtown)
Twilight Zone 7 Alexander  (Gastown)
UBC Grad Centre Gate 4 (UBC)
Vancouver E. Cultural Centre   1895Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club  2215 Granville  (S.Granville)
Varsity Theatre 4375 W 10th  (Point Grey)
Vert/Washout   1020 Granville  (dowtown)
Video In Studios   1965 Main  (Mt. Pleasant)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave  (at Main)
WI.S.E. Hall   1882Adanac (the Drive)
Women In Print 3566 W. 4th  (Kitsilano)
Yale Blues Pub   1300 Granville  (downtown)
Zulu Records 1869 W. 4th  (Kitsilano)
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
681 8915
988 2473
682 8550
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232
Zl.ismgjmm Deal Me in, Zulu!
• ■ ___________
1869 W 4th Ave.
Vancouver. BC
tel 738.3232
Thurs and Fri 10:30-9:
Sat 9:30-6:30
Sun 12:00-6:00
Diddley Squat CD
Lovesongs for
Underdogs CD
" rricane No. 1 CD, IP
DUBSTAR Goodbye cd
for the 7th Ti
Butch CD
Busy, Curious, Thirsty
Heaw Duty Rock Action
I This Montn
From West
14th Ave.
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I   COPYRIGHT ore (onti    BW>^^^
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I   S'Ve TieXsespect.Unfairly Undef-reco,n*xed.
1   attention. Good dw»'rock.
1  CD 16.98 ftvoiloMeSei*1*
POIVO toke  rock
on. In doing this,
POIVO ore in no _.,   ^^^^^^^^^^
Qui^Loppositve far cou,d be unders,oaci
os performing songs tno* of
- on insider s outsioe    ^       _ ^ ^^ whfl,
use a gong. Reody your lighter
CD 16.98   IF12.*»


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