Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-02-01

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 february I 2002
that heavy metal  rag
from   citr I 101. 9   fm
thr ee i n ch
r e ady ma
safet y sci s s
j u 1 ie
.d a vi d    a x el r
city pla nn e r s
b o c e
t i me flie s : dij
b e au t i f u 1 N^W cv aN«c| LP °«4
HOOEST OOP'S P.O. Bon 192027 San francisco. GO 94119 iuujm.lionestilQns.com     Ea£ features
time flies by mark fernandes p. 10
loscil and safety scissors by tobias p.
readymade by bleek p. 13
julie doiron by ben lai p. 14
bocephus king by val cormier p. 15
three inches of blood by lucifer Sc dm
david axelrod by robert robot p. 18
v planners by captain morgan p.
iful n
B by doretta
i p. 26
dear airhead p. 4
fucking bullshit p. 4
culture shock p. 5
kill your boyfriend p. S
panarticon p. 6
over my shoulder p. 6
7 ' p. 7
strut, fret, and Jlicker p. 7
radio free press p. 8
under review p. 20
dj profile p. 20
real live action p. 23
charts p. 27
on the dial p. 28
kick around (comic) p. 29
datebook p. 30
they taunted the pampered, University-educated
audience. I thought that was kind of funny. I lived
at Fraser St. once and it wasn't that different.
Daniel Siney took this picture and he also designed
this cover. Last minute tweaking by Lori K., the
peanut gallery, and myself. Hail Satan!
Steve DIP
Lori Kie
B editor:
v editor:
real live autit
Ann Con
;. Dai
a Mm
Mike Barter, Mark Bignell,
Scott Chalmers, Tess de
Hoog, Bryce Dunn, Mark
Fernandes, Doretta Lau,
Randal Mindell, Lucas
Keith Turkowski, Tobias Va
Veen, Chris Von H.
on the dial:
Brvce Dunn
Luke Meat
Ann Goncalves
© "DiSCORDER" 2002 by the Student Radio Society of the University of British Columbia.
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As always, English is preferred. Send e-mail to DiSCORDER at discorder@elub.ains.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fTVI as well
hrough 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
2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at
http://www.ams.ube.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd.,
icouver, BC, V6T 1Z1, CANADA.
printed in Canada
Events at a glance:
INSIDE Annual Review - PATRON PRIDE NIGHT w/ resident DJs DICKEY DOO &
10 warm up w/ Franc Logik. Doors 9pm / Cover $10
NEW DEAL Uive Records DC''
I Progressive Break!
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mt MAT STE-MARIE (BBCM, Stereo Bar - MTRL) @
eps back insi '
INSIDE The man who threw f
SUNDAY SESSIONS presented by Boomtown Records and Neurofui
Resident DJs SILENCE, WOOD, & UNK driving the best in drum'n'bass
Doors 8:30pm / Cover $5
SWITCH with Legendary Friday Res
Putting the F.U.N, back in FUNK! Stcx
'] The Ame '
~    rs 9pm / Advance tickets $14 @ Bassix, Boomtc
Hypnotik, Obstruction
VMASS w/ Soulfly, Soulsi:' '
1—I female talent Doors 9pm / Advance tickets $10 @ Ba
the world' CD release
'Jt'M. J.. J ,^! 'I"!'. ^'MMLTi* l.'ilw
s MR. SCRUFF (Ninja Tune / G
THURSDAY APR 4 - MARK RAE (Rae & Christian, Grand
3 discordcr learairhca
233-6138 SUB Blvd. Va
by Christa Min
Finally. —Christa Min
Dear Discorder Magazine,
I would like you to send me a
copy from February. I am sending a cheque for subscription. I
am looking forward to read it
Hi I was just wondering what
happened to that column
"Happiness" by Miyu. I thoroughly enjoyed it and I miss it
lots and I was wondering if the
author stopped altogether or if
you know of anywhere 1 would
still be able to find it.
We don't really know what happened to thai column. It ended
when Miyu stopped writing it. She
"realized that it was really
Top Ten liv
1. Tanva Tagaq Gill is
2. Geoff Berner
3. Jeff Tweedy
4. Scrap
5. The Weakerthans
6. Jerk with a Bomb
7. Rheostatics
8. Bitch and Animal
9. Rich Hope
10. Carmaig de Forest
Thank you!!
Michie Kuni,
>f 2001
Discorder looks a little hit different. Those strangely out-of-place
chemistry headers that have been
sitting on top of our columns for a
year or so have been officially consigned to the trash heap of history.
These new headers were designed
In/ jack Duckworth, who despite his
busy schedule of (paid) design
work, touring with Radio Berlin
and A Luna Red, and DJing all
over the place, was kind enough to
put in some unpaid labour for the
I am well near perfect. That's
a fact, just like it's true that I
have black hair. The only
difference is that I don't talk too
much about my black hair. Half
of the population has black hair.
There's nothing special about it.
It's pretty obvious what colour
my hair is, so I shouldn't really
music. I wrote out some lyrics
on a piece of paper in my beautiful cursive writing, which was
perfect, even back then, put it in
an envelope, skateboarded to
Rocky's house, and stuck the
envelope under the windshield
wiper of his tomato red I-ROC.
It was a horrible thing to do.
me that his father died when he
was 17. The first and only thing
I said was "That was a long time
TIME AGO. What the FUCK.
So I have this indent on tlie
right side of my forehead. It's
from punching myself in the
head. It's an ancient method
that 1 created a few days ago.
My beauty is UNPARALLELED.
spoiled jerks over here. If you want
to hire him to make YOUR publi-
out www.thewaxnuiseum.bc.ca.
enough time to customize them
each specific column, so the
id-written missives are a tempo-
have to mention it. I guess my
perfection is loud and clear too,
so I'll try not to say anything
about it again.
Okay, okay, I'm not perfect.
I have this allergy problem, so I
can't really breathe properly
and my skin is eternally itchy.
My ears, although they are very
cute, are different sizes.
I will admit that at one time
was my favourite band. I just
felt so connected to their meaningful lyrics. So much so that
when my friend Rocky's father
suddenly died, I decided that I
could heal Rocky's grief by
sharing with him the depths of
Maybe not as horrible as the
time when I poked my friend
Mike in the cheek with my
index finger because he looked
a little green. We were 13, and I
was trying to change the colour
of his complexion. I said,
"What's the matter? Are you
dying?" He died a few months
later from the big C. That stands
for Cancer, not me.
Cancer killed one of my
good mother's two sisters some
years ago. I remember it, but
when my good old woman said
that her sister was coming here
for Christmas, I said, "Which
one?" How about the time when
a 31-year-old gentleman told
The goal is to disturb the words
in my mind, shake them around
like dice so that they might fall
in the right order. That's my
only other physical defect, that
self-inflicted dent. Otherwise,
my beauty is UNPARALLELED. And all that stuff I said
about dead people, THAT WAS
A LONG TIME AGO. It'll never
happen again. I only decided to
share it with you, so you could
treat me like a normal person. I
was trying to relate to YOU.
Don't be fooled by outward
perfection. I'm just like you.
(Except I'm way better looking.
Oh, and what the fuck, 10 times
smarter.) •
ALSO AVAILABLE "Shakespeare My BMt" & "Hallucigenia1
Robson & Burrard
Get the new LIVE ALBUM featuring 17
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plus the 3 song bonus studio CD featuring
the single "New Westminster Taxi Squad"
4 february 2002 lit
culture Ahock
This is about the language
of loneliness. A semiotics
of ache. This is the language of a vicious winter.
I cannot write: my words
have all been stolen by the
lyrics of obsolete songs. 1 have
tried to use a body tongue, but
it too moves to a rhythm I cannot call my own. So instead I
turn the music up loud and let
I always thought I would
summon my lovers with song—
some overly poetic idea of fate
that would come to an unexpected crux in a shopping line,
or a dark movie hall, or at the
school darkroom, hunched over
a light-table examining the
scratched negatives of friends
now gone.
I always thought I would
sing a line from a song and my
future lover would be the one
who completed the next line. It
hasn't yet happened, nor do I
think it ever will. But this does
not stop me from speaking out
a line or two in the most inappropriate places. Like swallowing a swarm of bees, the sounds
come out of my mouth with
both a sense of frustrated des-
bv Anthonv Mondav
peration and sharpness. And, as
if a million moth wings were
left on the tongues of beautiful
men, no one responds with any-
are too strong in the eddies and
These dreams are like the leaves
that whip  up  in  the  winter
look back at us, and when the
bus departs, it drags a trail of
orange leaves and the vicious
wind. When we walk home, we
are cold. Our houses look gray,
darker than we remember
My house is dark. This is
not some poetic thought hidden
inside the belly of a frank statement. No. It is merely fact.
Whenever I get home, even
when there is a sort of sun, I
have to turn on lights just to see
the cold and rain merely compounds the secret stockpiles of
loneliness we all keep in the
basements of our chests. We
keep them hidden up like
hoarded food, or something rotting, forgotten in a damp cellar.
The cold only makes the stench
ranker. This is not to say I have
a smelly house. No; it is dark,
true, but the smells are nothing
out of the ordinary.
I climbed out onto the roof
of my house to see if the dark-
ft     *f Cr-fs.    Jafk-v £*Wi*r
thing more than a rasping grunt
or dusty sigh. Even on the bus,
stranger's eye, play the secret
games, and have the urge to
mutter some line or another,
and he would, of course, turn to
me and quote the finishing
key—it would mean we were
meant to be. We all dream this,
you can't say this is not true:
Hollywood, London, Paris,
Rome, and New York visions
wind. They are unexpected and
beautiful, and like the leaves,
are only meant to decay in a
reality of loneliness. The leaves
kick up, and blow about us
with a cold blast of air that
chills us down to the bone.
And so we step off the bus,
and though the weight of backpacks and briefcases pull on
one shoulder, and though we
look back at the attractive
stranger on the bus, he does not
where to put down the accul
lated stuff of my day. And e
when the lights are on, there
strange  shadows  that  ne
what is growing in the corn
what strange and lonely thi
are festering in such a glooi
do not blame the darknesi
the s,
er, darkness was here.
The winter is a terrible time
be alone—all the gray and
>ething to dc
some hill or t
■ ring the sm
on the old I
shingles, naked except for a pair
of old shorts and obligatory
cowboy hat. There was moss
near the eaves and old leaves
forming some sort of new ecology, but no looming trees or
light-blocking hill. I calculated
that the sun should shine directly into my living room, shine in
and light up the photographs of
friends and lovers. But, as I
climbed back inside, careful not
to disrupt the damp green moss
with my knee, it was just as
dark inside as before.
I have been noticing it gets
darker earlier than I remember.
Granted, I have been living in a
desert for more than half of the
past 365 days. The white-hot
glare of the desert is still a
recent memory, and I perhaps
continue to expect that sort of
light. I still look for my sunglasses when leaving the
house... some habits are not
easy to break.
Habits are like loneliness. A
repeated motion that is easier to
practice, especially in the dark
of winter and our empty houses. A habit so comforting in its
familiarity, we perhaps would
rather the demon we know,
than the handsome stranger we
don't, even if he did not know
all the endings to every song
you tested him with. In the end,
these misquoted and mis-heard
lyrics mean nothing, nothing
next to the bright house where
you lie next to a man with soft
iiair and deep ocean iceberg
eyes. The house that glows,
warm and comforting.
What I mean is this: misquoted lyrics are to be forgiven
Otherwise, the house stays dark
and the bed stays cold and
empty, covered with a winter's
chill and a thin layer of cold
dead leaves. •
Li 11 your bo
I'm in Jove. No, really.
There's this guy and when I
see his art my heart starts to
beat faster. My legs go all wobbly and my stomach rolls
around. His name is Ashley
Wood. This guy, he's everywhere. His art is sneaky. And
he's done a lot of it over the
years. These days you can find
his scribble-scrabble on the
pages of Hellspawn. Ignore it
because his own offerings are
diverse, and soon to be plentiful.
Firstly, I recommend UNO
FANTA It's his art book. You'll
get a feel for the man and see
some things that he doesn't
draw often enough: robots, cats
and babes. Using simple line
work, he expresses bombastic
pleasure. It is explosive. Sepia
tones allude to orange crush
and root beer watercolour.
Glossy, big, and hardcovered,
Uno Fanta is a luxury item, a
gorgeous, beautiful book that
will give you shivers. On one
page is a mass of scribbles that
slowly morph into a picture of
a man with a gun. There's fury
in these strokes. At the same
time, some of his pictures are
barely a whisper, a suggestion,
or a shocking contrast: pure
whites on dirty blacks and
greys. Much variety, too. There
is so much to look at: portraits,
sexy things, UFOs, robots and
people, people, people. Some of
the people are characters of his
own creation. How I long to see
these characters with their own
comics. With brief blurbs about
their background Wood has
whet my appetite for more.
Influenced by Dave McKean
and Bill Sienkiewicz, but still
with a voice all his own, Wood
and his art are here to stay.
But that's not all. Recently,
I found a two page story in the
book. So sparse and grey.
Simple and to the point, it was
realistic and harsh. 1 suppose
that's why we see Wood busting hump on Sam & Twitch and
by Robin
other such comics. He thrives in
the darkness of real life, and
still manages to be a little
dreamy too. The panel placement is hard to ignore and he
challenges you with his line
work. It's almost Zen.
Currently, he is working on
some of the X-Men comics. He
just did the Uncanny X-Men
annual, and it was marvelous. I
kept looking at it, wondering
what hardcore readers thought
of it. I was smitten. Even his
superhero comics make me
drool. I pored over those pages
so much that the reading
became secondary to the art.
Don't get me wrong: Joe Casey
writes an interesting story
about designer mutant drugs,
but it is Wood's art that makes
the comic difficult to put down.
It's disgusting, I know, but
Marvel just amazes me these
days.  Sigh... it has to be love.
I know I'm committing a
mega sin (or at least I feel that
way) promoting Marvel—like
they even need promotion—but
some of the work they're doing
these days is just great. Like
how I loved that comic. The
writer, Jeph Loeb, is probably
one of the most gifted talents in
comics today. His writing is
sharp, concise, and to the point.
In his previous work there is a
major theme distracting from
the meat of the writing, but
Daredevil: Yellow is pure, amazing character development. It's
a very human comic. Every
issue blew me away. Loeb
writes beautiful things without
being as flowery, sappy, or
corny as a superhero. It's the
origin story of Daredevil—
which I guess a lot of you have
read, but I hadn't and Loeb's
take was perfect. 1 also like the
way that it takes place before all
that Elektra stuff. Now the art-
man, the art could not complement the writing more. Tim Sale
and Jeph Loeb have worked
together on about four other
projects (most notably Batman:
Long Halloween), and they're
probably the best team doing
comics today. Sale's artwork is
fine, delicate and sophisticated.
Reminiscent, stylistically, of
Batman: The Animated Series,
Sale's work is also expressive
and big. Kind of makes one
think of Norman Rockwell. One
of my favourite panels is of
Daredevil catching the Owl. It
spans over two pages—splash
after splash of red, ensnaring an
obviously startled and already
caught Owl. The art makes it an
exciting, action-packed read.
Each time I read an issue of that
five issue mini-series, I shake
my head and sigh—out loud:
"Wow." I'm not kidding.
Back to Ashley Wood: he
has his own series coming out
called POPBOT. It's apparently
an experiment in absurdism,
which at some point will be
written by Sam Keith, the creator of Maxx. I think it's an
appropriate pairing—though it
would be more fun if they were
both illustrating it. So keep your
eyes peeled for Wood and some
of the stuff Marvel is doing. You
may be pleasantly surprised. •
5 discorder over mv Aiioulder
innocent people have suffered
or are suffering," and the majority of people would agree with
me. There are powerful visuals
to back my statement and the
violent action had immediate
consequences. If I point to
Premier Gordon Campbell's
reverse Robin Hood tactics
(stealing from the poor to give
to the rich) and say "this is on
people have suffered, are suffering or will suffer," I may
encounter opposition. For every
person, like myself, who critiques the current political climate with the language of
apocalyptic metaphor (i.e.
Campbell's government is the
plague that is causing BC citizens to drop dead in the
streets), there is someone thanking Campbell for his crack
down on the province's poor.
Every day I wake up feel
ing like a high school drama
queen; every political decision
the BC government delivers has
tragic overtones. Each cutback
results in more hungry children,
bility of' homelessness. I've
regressed to thinking about the
by Doretta
equation. Being prudent about
expenditures is a responsible
measure, but being prudent
about expenditures at the
expense of single mothers on
welfare, senior citizens with
limited funds, and civil servants
who have devoted their careers
to public service, is—in polite
issues in abstract terms: good
versus evil, right versus wrong.
I don't have any answers or any
constructive plans to put into
action, but I'm worried about
the effect drastic political decisions made today have on the
future of those at or below the
poverty line. I admit to having
a leftist bias, but I don't think
that this bias nullifies the validity of my opinion. At the heart
of my problem with the cutbacks and the government's
desire to stimulate the economy
through tax breaks for big corporations is that the BC Liberals
are failing to see the human factor in their budget balancing
terms-an oversight. The gov-
ernment's decision to replace
our social safety net with social
Darwinism lacks compassion.
Did Campbell and the other 7b
Liberals miss the day of kindergarten where the lesson was
about sharing? I'm about to
descend into a full scale rant, so
I'll move onto the discussion of
Bogman's Music
(Anvil Press)
studying both the theory and
practice of literature, I can pinpoint the single thing—quality
of language aside—that determines the fundamental difference between a good poem and
a bad poem. A good poem is
rich in specific detail and a bad
poem is full of abstractions.
By this simple criteria, I'm
happy to report that Tammy
Armstrong's debut book of
poetry is excellent. Her poems
trolled in form; each line of her
book sings because there are no
with deft word choice, and
underlying presence of alcohol
create potent portraits documenting the climate of declining personal fortunes. This use
of landscape as metaphor for
interpersonal breakdown due
to problems of communication
is best exemplified by the closing lines of Armstrong's poem
"Asleep in Palm Desert":
"Splinter fingers raised—they
waited beyond the porch light
to pinion our/tongues—
the heart of our crumbling
(Arsenal Pulp Press)
Judy MacDonald's follow
up  to  her  novel jane is
called Grey and subtitled
extraneous words holding back
the flow of each poem. Many of
the poems have a first person
narrator, evoking an immediate
intimacy. The recurring motifs
of troubled family relationships,
shifting landscapes described
r Grov
n/ is a number of the-
matically connected short
stories that build from
childhood (the first story
memory, and the second
story is about breast-feeding), high school life, first
love, to retirement and old
age. All the stories contain
a character who experi-
ation, whether it be a
disconnection to one's parents,
the inability to communicate
with a significant other, orlone-
liness felt at the loss of a life
partner. Some of the stories are
short, some are long. All are
sparse and skilfully crafted. The
shorter stories initially frustrated me because, as MacDonald
writes in the last line of "Target
Equals Blank": "Their story
really starts once they get in the
door." Many of the shorter stories end with a character just
entering what 1 thought was the
meat of the situation. I was so
caught up in the world of the
stories that some endings
seemed abrupt.
In the larger scope of the work,
Grey delivers thematic punch;
the smaller stories do connect
together lo ignite the collection.
At the conclusion of the collection, I reached an understanding of the shorter pieces and my
frustration dissipated, "boygirl-
happy" is a beautiful story
where the characters get past
alienation and find the answers
within themselves and each
other. In the story "Award
Winning," there is a perfect sentence that encapsulates what
many of MacDonald's characters feel: "Drunk on humilia-
Out of desolation and misunderstanding, Grey exudes a
quiet hopefulness. I'm going to
meditate on this positive quality and try to make sense of my
Judy MacDonald reads with Ashok
Mathur (The Short, Happy Life
of Harry Kumar) on Wednesday
February 20, 7-9pm, at the Sugar
Refinery, 1115 Granville Street.
►Quart icon
■will to be against really needs a
body that is completely incapable of
submitting to command. It needs a
body that is incapable of adapting
to family life, to Union/ disi ipline,
to the regulations of a traditional
sex life.—Michael Hardt and
Antonio Negri, Empire
Always Against Herr
Campbell & the Pasty Liberals
Discussing the recent death cuts
with a businessman makes it all
sound so rosy—it's just the belts
tightening. Alberta had to do it,
so did Ontario: rape the poor,
mend, and when you try to
argue on humane grounds
against these murderous policies—well that's "politics" and
not "fiscal reality." But what
the businessman fails to tell you
is that the policies come from
the Fraser Institute, and that
there is a far more HUMAN
model    from    the   Canadian
6 february 2002
Centre for Policy Alternatives.
What the businessman blatantly
ignores is the death, the despair,
and the depression these cutbacks will bring. The mess is
incomparable, and the Liberal's
response is, "Well, that's -what
we need to </o."Like hell. And
how long will that take? Five
years? Ten? Fifty? The capital
machine will fight this tooth
and nail until the end, providing years of unemployment,
aright starva-
Empire F
lobal feu-
fuck it, why not go all the way,
Herr Campbell? Let's get the
hell out of this lame nation
called Canada and join the
States, where we can whip out
the  Drug  War—hell, a   DEA
and set up "work camps" for
the newly unemployed (with
showers), axe all EI, Worker's
Comp, and Medicare. Then we
can sell BC's Best Export back to
the newly revamped East End
ghettos and arrest the users, setting up our own prison-industrial system... Fuck—Why Not?
by Tobias
Vancouver's Black Crack
The vinyl addiction is the
sweetest of them all. There is a
perverse desire in stroking the
smooth grooves of a fresh disc,
and Vancouver is no stranger to
the wax festishism, with several
new labels launching their first
releases. Witness Vernon's
Deepen label, which is now on
its second release of tech-house
by Jay Tripwire. Taking its cue
from the sounds of the UK and
snatching a sample of DJ
Leanne belting out "Just
Wanna," Tripwire embraces a
smoothly percussive and vocal-
filtered tech-house sound. The
first release shows promise with
flashes of beauty from Elan
Beneroch, whose "One Time
Staggered" tips the hat to
Gavin Froome and
Vancouver's deep house heritage, with a deep acid groove
from Tripwire and a jacking
techno track from Primordial
Nature, aka Noah Bouddit, to
boot. Continuing to make the
biggest waves, and for a damn
good reason, is Spencer's
Victoria label itiswhatitis,
which has pressed brilliant
releases from Matt Johnson and
Steb Sly (with an upcoming
track from Ben Nevile). These
folks—unlike Deepen—are not
so much influenced by tech-
house as they are by the sounds
of Germany, San Francisco, and
Detroit—with a healthy dose of
minimalism, dub, and jazz.
Itiswhatitis regularly releases
tracks from Canada's Eastern
artists such as Mike Shannon
and Bodensee as part of its
"East Meets West" series with
remixes from John Tejada and
Ricardo Villalobos (word is
that Perlon's Zip also wants to
get in on the action). Not to
mention the DrumKomputer
releases which are a collaboration between Dietrich
Schoenemann and experimental nut Taylor Deupree of 12k
fame. That's some serious musical movement. Speaking of
Dietrich: Quietly pushing its
own tradition of addiction is
Sinusoidal, aka Si. This label is
usually overlooked due to its
experimental urges and underground stature, but it has hands
down put out some of the best
Vancouver material, including
Un Jin's Rainjacket album.
Haitch Cee of Sinusoidal (and
of Plutonian Nights, Thursdays
on CiTR) has just had a track
picked up for repressing and remixing by the UK's John
Selway on his and Dietrich
Schoenemann's CSM label. It's
a small world...There are several other labels to keep an eye on
that will be covered next
month, including Jay Tripwire's
Northern Lights imprint; a new
label by Boomtown Records
stalwart Kris Palesch; a Leaf
Recordings offshoot called
Totem, run by one of
Vancouver's original and most
brilliant house DJs, Little-T, in
conjunction with Graham; and
Nancy Kyd's label Twisted
Roots Recordings.
Avatars and Art
Net-art has always been a nebulous thing—a real trip-out of
some sort, encompassing either
Joshua Davis Flash beauty or
Jodi.org malfunction madness—but what about galleries
on the Net? Or hosting a gallery
exhibition primarily on the Net?
The standard for a permanent
"gallery" of net-art has been set
by Rhizome.org, whose
"Artbase"—funded by the
Whitney in NYC—is a meticulous curation of the best in net-
art, cross-referencing all works
by keywords and attempting to
deal with the evolution of technology by maintaining the
work in a form that net-users 30
years from now will be able to
view and hear. This is no small
feat and  poses unique chal-
how does one make art
viewable that was created using
obsolete versions of software
and hardware? In any case, turn
to Rhizome.org. On an entirely
different plane, the Grunt
Gallery and the 536 Arts Society
are hosting an "Avatar" Talent
Show on April 4. Avatars are
completely immersive (and
usually 3D) online community
environments where users can
create their own characters,
build houses, cities, shopping
malls, art galleries, and whatever and talk in real time to other
avatars. Why pay for long distance telephone calls when you
can meet your Finnish friend
and talk real-time in his online
castle? 536 and the Grunt will
be using the avatar software
"OnLive Traveller" to experience the avatar talents. And any
quick scan of online art would
be out of place if the CBC's
under-promoted 120Seconds.
com did not get due mention.
This venerable sideshow of
CBC Freaks (quite possibly the
only place where the majority
of the staff are under 30) are
pushing all sorts of boundaries
by curating freelance net-journalism and net-art experiments,
from interactive Afghanistan
coverage to videopoems and
tactical media on September 11,
These kids should be given a
bigger budget—along with the
rest of the "Radio 3" branch
they are a part of, including
newmusiccanada. com and just-
concerts.com, which feature
Canadian artists and live performances, respectively. Thirty
years ago Hunter S. Thompson
said that the future of New
Journalism would be in video
and tapes: this has now come to
be in the online world, and it is
time to support these outlets for
free expression. In the n
check out Sutekh and Safety
Scissors at the Video-In on Feb.
9. Info at wivw.shrumtribe.com.
Until The End Of Empire I • 7 inch
that's small labels for ya—can't
always guarantee speedy delivery. But what it does deliver is
some damn fine garage grooves
of Atlanta, GA), with the surefire hit "My Kind Of Girl," a
by Bryce Dunn
s renditi
A hi*..
Febmary. Shortest
month of the year, but
range reason it takes friggin' forever to
get through. So to make the
days pretend to move faster,
I've decided to declare myself
mayor of Purge City. Out with
the old, in with the new, as
they say. Thank goodness for
this Norte
recorded in
shack, one i
i Records 45
Rock And
Choo Rock")
ike they were
ome dilapidated
lie hanging fro
with the
d ciga-
the roof, the aii
smell of moonshine an
rettes—crude but effec
demonstrating what rhythm
and blues meant to rock in
1955! One in a series of five
jukebox jewels, collect 'em all.
(Norton Records, PO Box 646,
Cooper Station, New York, NY
10276-0646 USA)
wards. (Gearhead Records, PO
Box 421219, San Francisco, CA
94142 USA)
Pick of Ihe litter this go-
round is a split release that has
actually been out for almost
two years, but only somehow
managed to hit the shelves
until a few weeks ago. I guess
address given.)
A different kind of single
(both figuratively and literally)
from THE PUT-ONS offers a
ul Man." The othei
"No Justice, No Peace," a gritty, snarling, politically charged
number that pulls no punches.
Riot music for riot people.
(Insurgence Records, 2 Bloor
St. W. 0100-184, Toronto, ON
M4W 3E2)
numbers of which the Garden
City crew would have been all
too proud. (Unity Squad
Records, PO Box 1235
Huntington Beach, CA 92647
i had
new tuneage, and a surprisingly good batch at that. Ironically
tho', we begin with a nod to
the roots, "keeping it real, like
Rita MacNeil" as the kids
would say.
about as old skool as they come
with both songs represented on
impact on rock and roll (or vice
versa depending upon which
side of the fence you sit), and
homage to two of its unsung
heroes on their latest waxing. A
punked-up romp through
Nathaniel Mayer's "Leave Me
Alone" (also the genius behind
the oft-covered "Village Of
Love"), sees the three-piece
tear up the dance floor, reminiscent of The Oblivians' best
stuff, and the flip, a tearjerker
from Solomon Burke has some
fuzz-filled guitar strut to help
you catch your breath after-
girlfriend yanked this
from outta the bins, and a
both stared at the folks oi
. San Diego, it might as
And finally, ladies and gentlemen, I give vou SLAUGHTER AND THE DOGS. Now
these guvs have aged well, i
long I
song   ,
"Pom r
i, but
n Girls,
Too Young" are
chock full of sprightly vocals,
handclaps and snazzy band
outfits! (Flapping Jet Records,
3639 Midway Drive #271, San
Diego, CA 92110 USA)
Got to give credit to THE
able to punk up a hippie protest
song ("One Tin Soldier"), but
the better song is the original
night carousing on "Saturday
Night 'Til Sunday Morning."
The B-side is just all right, an
average run through The
Kasenetz-Katz Super Circus'
(gotta love that band name!)
"Quick Joey Small," but small
potatoes, my dear readers. As
they say in the Valley, "I'm
/strut, fret,
and flicker
by Penelope Mulligan
as they slithered toward the sea
mate and accomplished piece of
Amey Kazmerchyk's Finding
the Truth in Difficult Times kept
resonating long at
ing w<
November 25, 2001
The Blinding Light!!
November feels like a while back,
I know, but with DiSCORDER's
annual hiatus and all, there were
some worthy events from late
autumn that didn't get covered.
So for the first column of the
new year, I'm reaching into the
bleeding, knackered corpse of
2001 to fish one of them out.
Some fairly savvy curation
went into programming the vast
number of short films and
videos on offer at this past fest.
Not counting those screenings
devoted to a single filmmaker,
there were no fewer than 39
works that came in at 10 minutes
or under. These were grouped
into clusters whose screenings
bore names obliquely referring
to the territory that the films
seemed to share.
This night in particular, felt
like a kind of themed cinematic
cabaret, in which each little film
had the chance to stand as a
fully realized piece of screen art.
Perhaps it was my hangover
from the LIVE biennial which
was raging to a close at the time,
but a strong performance art
flavour come through in many
of the works collected under the
thing was strangely exhilarating.
Equally physical, but in a very
different way, was Erika Lincoln's
The Cannery. It both fascinated
pie fucking On a
an, however, was
ape scene playing
iion. The brutality of
e sex on the telly was in ]<irring
mtrast to the gentle, consensu-
coupling happening in front
and like a "foreign" tongue, had
to be subtitled.
The latter two films occurred
early in the programme and were
hard acts to follow, but karaoke
man Rob Dayton can be quite
the palate cleanser. In Jacob
Gleeson's Showdown, he belted
bed. The w
rivetted by
ite quality. The other
mance documentary v
and indie video scenes and their
collaboration on Because I'm
Fascinating was the biggest giggle and shriek of the evening. As
we watched their upside down
heads engaged in one of those
silly but crucial relationship con-
i was knocked akimbo. Oddly
ugh, this made what they
e saving come through all
fresh and clear.
A few of the films, while
dmirably executed and inter-
sting as ideas, didn't really
queeze me. Chris McCaroll's
•ndlessly repeated sequence of a
One of the standouts was
Emma W. Howes' Kitchen
Dances, in which a woman
moved cJaustrophobically beneath
a kitchen counter. As her
manoeuvres became more overtly skilled, her restless frustration
seemed all the more perverse.
The strong, velvety blues song
on the soundtrack was in perfect
counterpoint and felt like it
could have been coming from a
radio just out of shot. The whole
and repelled. A woman's body,
all flattened and smeared inside
a tight suit of transparent plastic
seemed to leak body fluids as
the suit filled and overflowed
Nature provided the set
design in Clancy Dennehy's Path,
as two Kokoro dancers crawled
naked toward each other like
lizards about to fight or mate.
The final, unexpected shot of
them leaving tracks in the sand
tainted it. The rape scene look
like it was a clip from Boys Do
Cry. If so, it was an interesting
layered choice. Another keep
was Brian MacDonald's Sex a
Sadness. Deceptively simp!
looking, its power built relei
lessly as it recorded a yom
x MacKei
;  hei
Kim Dawn and Scott Russell
ive been popping up a lot late-
on the local performance art
nd for lubricating the
last night of the VUFF with free
beer and port for everyone at the
post-screening mingle! •
7 discorder ra
ree prewre
fairly prod
pie 0
.nths in zine
and production make writing this column
easier than it should be. Old
friends are back to zine creating, and I'm looking forward to
seeing the outcome. Regulars
are back with new issues and
many of the big, glossy faves
have returned with some of the
best reading in months.
However, after just finishing
up another issue of Speck, sitting down to type anythii
idi \
A recent show at UBC featuring Dub Narcotic Sound
System, The Evaporators,
Operation Makeout, and Thee
Goblins presented a nice little
Sara Young. An Abbotsford
delegation was there with
some of their very welcome,
DIY-oriented productions. As
always, "necessity is the mother of invention" and these
somewhat rural kids are not
tious and generously loaded
punk zine named BULLSHEET.
A strong focus on (what passes
for) punk rock and the somehow inevitable ties to skateboarding is presented here—as
in many small-town zines.
Does owning a skateboard in a
small town make you punk by
default? 1 often wonder,
though not for too long. So go
read the interviews with pro
skaters and bands like The
Dingees, Five Iron Frenzy,
Thriftshop Junkies, The
Evaporators, etc. Undoubtedly
liullsheet, with its zine and
music articles and reviews and
D1Y flavour, is these bored
youths' most valuable asset in
an area where bands like Limp
Bizkit are seen as dangerous.
(Ryan Dyck, 2846 Evergreen
St., Abbotsford, BC V2T 2S1)
cles these days in the field of
pie who once had little or no
hope. Take the author of THE
HERMIT for instance; here's a
guy in Abbotsford that admits
Christ. The author promises
not to bring his faith up too
much,  but  it  is  a  recurring
by Bleek
theme throughout. In this case
religion is not at odds with the
rest of us, but The Hermit's
author is rightly critical of the
religious elite. There are good
thoughts in this zine, which
appear in questions to the
interviewed bands like Pedro
the Lion, Grade (who get
raked over the coals for being a
bit wishy-washy), and—subject
of the film American Movie-
Mark  Borchardt.   1  wish  all
profundity of mere city signs
like "private, property, no trespassing. SKATEBOARDS, BICYCLES,
roller skates. not permitted.
no soliciting. -Unknown"
Another article looks at the
idiocy of people who feel the
need to fight others. A thin
zine, but a  nice effort with
I remember a joke by some
• place.
Maybe fewer bombs would be
dropped, ya know? (Josiah,
35275 Selkirk Ave., Abbotsford,
BC V3G 1A5)
Another    zine    on    the
Abbotsford table
CBZ.  The edito
is Ihe l.u
r admits to
ig more interested in pic-
s and layout than type and,
enough, the layout is pret-
eative, even after the pho-
pier got through its dulling
bad. I really liked the sign
et poetry section, all artfully
id-out and highlighting the
punk band 1 read in a magazine: "How many riot grrrls
does it take to screw in a light
bulb? Four. One to screw it in
and three to write a zine about
it". It was with this in mind
DAMNED, a small, girl perzine
(personal zine) of a type that I
haven't seen in a very long
time. In fact the look and subject matter of this little perzine
almost had me convinced that
I was reading a very good parody of those 1995 high school
girl zines that were a dime a
dozen back in the day. But
damn was it a fun read. A
guilty pleasure. Remember all
those revealing stories about
crushes, getting too drunk,
falling in and out of love, pet
peeves, weirdo teachers and
the whole youth experience?
Well friends, if it ever left us
it's now back in PBD. The
address is in Medicine Hat, but
the editor who gave me these is
(Rickie Owens, 230 2nd St., NW,
Medicine Hat, ABT1A6J5)
The Sugar Refinery was
Brown's Saugus to the Sea
book launch. Pop Boffin editor
Kris Rothstein has crossed over
to the position of publisher and
was there on hand with Saugus
to the Sea illustrator Brad
Young of Stay As You Are. Bill
could not make it, and Brad
filled in as moderator and read
portions of the book. Bill managed to send over a video of
himself riding a bicycle
through Chicago while reading
from the book. Strange man.
Among the respectable-
sized crowd of beautiful
Vancouver people was smiling
Robin Bougie with the new
warm-off-the-press issue of
CINEMA  SEWER.  This  one
(#8) is bigger and perhaps
more compelling than others
with the fairly comprehensive
look at weird Japanese TV, '70s
soundtracks, anti-baby fun,
and asshole extraordinaire
Marc Wallace, a porn star who
covered up his HIV status and
infected "at least six other
female triple X stars." I mean
this is only a portion of what's
in this great, great local zine.
All this on the same night I
got back Speck #9 from the
printer, argh. Here's the question: where is the best place to
get copies made? Got an
answer? Let us all know.
Retailers with the best price
will be announced so speak up.
February 22 is the early
bird date for the Word on the
Street festival this year. Book,
magazine and zine people
should sign up soon for their
spot at the "celebration of reading" which happens September
29. Zines and comics will once
again be spirited away downstairs ("Word Under the
Street") where they can do limited psychological damage.
Registration, this time, evidently requires three sample copies
of your publication (zines and
comics only) to ensure that
your right of free press is properly monitored. A range from
$10 (half table) to $35 (full) is
required (i.e., you might just
break even). To get a registration and stuff, contact #107-100
W. Pender St., Vain
V6B1R8. •
Friday, February 1
Saturday, February 2
Sunday, February 3
Tuesday, February 5
Thursday, February 7
Friday, February 8
Saturday, February 9
Sunday, February 10
Monday, February 11
Thursday, February 14
Friday, February 15
Saturday, February 16
Sunday, February 17
Wednesday, February 20
Friday, February 22
Saturday, February 23
Sunday, February 24
Ford Pier
Gratia* Brown and the Prairie Dogs
Bandcouver Sunday w/ Robyn Carrigan and Scott Ssdth of Bottleneck
Exile on Main  street w/Aiy Honey
Kevin Kane w/Mac Pontiac
The Parlour Steps
The K Kollective
Bandcouver Sunday w/Willy Kruger
T.  Paul Ste.  Narie presents Cass King,  Johnny Wisdoa,
Noelle Pion,   and Noah Walker
Valentine's Day:  Kevin Kane w/TBA
Bandcouver Sunday w/Giles Gysel
Jack Harlan/Conrad
Subterrain Magazine launch party: Steve Dawson and Elliott Polskv
Bandcouver Sunday w/Flophouse Jr.
Cheap   beer
Who    needs    i
Exile on Main street w/ Aay Honey
Chaapagne of Les Narcophoniques
anyway?    w/Kevin    Kane    and    guests
THE MAIN 4210 MAIN ST @ 26TH V5Y 2A6 604.709.8555
$ february 2002 latn'Miidi
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riCKETS ALSO AT ZULU AND HIGHLIFE ■■■ lllwl   IWll ^r\ l \
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IT1-!1! r^ Jl
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TS ALSO AT ZULU HUHU/t NIP MOIZE wu.Vteivlnaik.c,,*
moldy   &&c*cH&s
oaRWiN's waitiNC Room
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»„^„..r  *,«.„.  ^M*a»M   .. ,      , .     , 1  SATURDAYS SUNDAY FEBRUARY 16 S17 SLAYER
PURCHASE TiCHETS OQQOQO AT hob.Ca OR tlCketmaster.Ca I Saturday march 2 thealkaholiks
*i^\\m\\vwmm\ lb, Ti rryqi io february 2002 a   Refrigerator,
and   a   Waiter
...Loscil eats in the weirdest places.
Out of this mess came the facts. Loscil, a.k.a. Scott Morgan,
"played in bands," and moved to the Rainy City for SFU's compositional electronic music program. He tells me, over some kind
of weird cheese and alfalfa sandwich, that he didn't do the whole
e-popping nose-bombing rave scene. He's one of those electroacoustic closet-Stockhausen freaks who claims he was influenced
by dance music only after the academic axe grind. It was Kranky
records who said: "Hey, your shit is like Basic Channel"—but
that was even before it had beats. His early work was ambient,
and Kranky pushed him into the deep end of dubbed-out minimalism. Best known for their post-rock bands, Kranky is a
strange label for this strange man to be on—Loscil's work is a
departure that oddly conn ides with the work of Pan American,
a side project of Labradford that is also on Kranky. And now with
the stars aligning around Scott's head, he has found himself touring Europe with Pan American and receiving begging emails for
a release on Traum. (Which would mean vinyl. And we all do
like vinyl. "It's vinyl..." he says, his eyes drooling.) On the gear
end, Loscil, like most laptop wankers, got sick of hauling out
samplers and synths <nu\ sequencers and now primarily works
with Max/MSP, the object-oriented granular synthesis program
for Mac. But none of this explains his ultra-smooth sounds,
which are the result of a process called "convolution"...
Loscil: The synthetic sounds are the bass. I either sample some
records or field recordings. A bulk of the more ambient textured
stuff... I recorded a more noise sound—a machine, or traffic, or
anything that is really wide bandwidth, and then you take a
small clip, like of a harmonically rich sound like a guitar or a
flute or something, and then vou can use that as a filter to put the
noisy sound through. It creates this texture that is based on the
harmonic sound, sorta like a stretched-out version of it, all the
peaks and valleys of the noisy sound. And then I loop that and
make it into this sort of background, sample that, and create a
rhythm that you can't really hear.
Loscil also has an interest in really crappy things. "At work I've
been using these handheld tape-recorders with minicassettes.
I've been using this one that is all fucked up, where the speed
goes up and down... then I have this crappy mic that I plug into
it, and I've been going around recording things with it, and then
editing out stuff from it... actually it sounds really cool when
you press stop, it keeps recording for a second afterwards, but it
kind of fades it out, so it goes k-shhhh... and so it becomes this
really nice percussive thing. I've been using that a lot. And cutting those up into little rhythms, and doing the same thing with
that process [convolution]—it's so noisy and lo-fi sounding—
and using that as a source to tilter things, vou know. So you just
get this kind of rich—it's the same reason why I think people
sample vinyl and stuff—you get this rich kind of sound, partly
by the technology and not only the source sound. So I'm into
Scott is in this for the long haul—he can't make a living froi
he says, and eyes light up in this strange '50s diner as his tor
laps at his sandwich just thinking about these obscure so
processes. It's his drive: "Absolutely. It's what I go home am
every night, unless J watch TV or something." (I told hirr
quote this—and here I am... "I was afraid of this," says Scot
mock indignation—little did he know that I was serious,
maybe he did know). Like Project Grizzly, the Government
given the guy money too—a grant to create interactive audi
sual work with Macromedia Director. Visuals are a major pa
Scott's artistic and work-work. We now enter a long debat
music and visuals, where Scott states the obvious and wi
order too much coffee in this pseudo-'50s diner. Or maybe it
only our waiter who was pseudo-'5()s, cryogenicallv frozen f
the days of Kerouac, suddenly reawakened, a post-neo-
Magnon man that chats up small talk in a desperate atteni[
come to grips with the outside world...
Loscil: There's been periodically over the last century or so—since
film came into play—there's been a few people who have kind of dabbled in it, like way back in the '20s, there was this guy who was doing
abstract, what he called "visual music films," just completely abstract
films, and then he would have this composer do a synchronized score
to it, and through the '60s there were people like Norman MacLaren
doing their stuff with animated music, where you would actually
draw on the optical side of the film to produce the sound, and then
draw on the visual, so you would have this synchronized—so it's like
this very scattered history of audio visual presentation that I am kind
of interested in adding to, I guess. Not in a pompous way, but just
because it is interesting. I'm kind of interested in creating a way of
making both the music and the visuals at the same time, and how
they relate—at some core level, you know—and at the beginning
starting really simple, and saying "How does a line moving on the
screen relate to a sound that's coining out?"
Rumour has it that you have been in Japan and Germany. Do      I
more people wear leather pants there? Really though, is it all      I
hanging out with Achim and Ricardo all day, or is the scene      I
much more chill? And are the Japanese really as fanatic about
music as everyone says they are?
There are many Achims and maybe a few Ricardos here in Germany I
but you must be name-dropping some techno doods, eh? Musicians I
are like rats in Berlin and I surely see quite a bit of them, but I try to
surround myself with other topics and people. Just because I do
music and am in the "scene" I have all these music acquaintances—
kind of like the free friends you get when you sign up to be an electronic musician—but these only go so far.
And yes, in Japan there are a lot of nerds (the Japanese word is
something like undo) that know more about my music than I do asking about tiny things I would rather forget. Endearing, I suppose.
Who did the cover for your incredible Plug Research album,
the one with the clown on front? Did you come up with that?
Why does it so accurately reflect your beautiful music?
I came up with the concept and did the photography for the
cover, while a friend of mine helped out with the graphic design
and filling in with some of the artwork (like the waves). There are
many ideas for photography and other things floating around in
my head. 1 was going to art school before I started really being
serious (if you could call it that) about music. So I hope it goes
with my music as I made both.
...Safety Scissors cuts me to bits...
But that's enough of Loscil: time for Safety Scissors. With a Midwest
Southern aa ent ol undetermined American origin, and a semi-base n
both San Francisco and Berlin, Safety Scissors is an emotional wondei
in the often sterile world of minimal techno. It's not quite emo-techno
it's more like an electronic Fraggle Rock ballad, an aria for the com
post heap with red glasses. As MPC is currently jetsetting acros:
North America for a short tour, lie answered the follow ing abuses vit
What software and gear do you use? What does your 1
Where did the name Safety Scissors come from? Does this have
anything to do with meditating on a rock and "Indian Gods"? Or is
it an oblique reference to your hair?
Mathew: The name Safety Scissors does not have some profound origin. Many times people think it has to do with editing audio carefully or something very set ions like that. Rather, it just is a stupid name
and I like it for that reason. Tlie fact it has nothing to do with computers or music and does not sound that "cool" is very appealing to me.
After hearing your song about being in a refrigerator, or being a
refrigerator, one cannot help but wonder if you suffered the fate of
being squished into small lockers as a teenager. Is this true? If not,
what brought on your desire to sing quirky little ditties over dub
I was picked on quite a bit in high school, but I do not think I fit completely in the lockers at my school. The fridge life track was the first
one I choose to sing on actually. I was in our cold and dark basement
(not so different than the inside of that appliance) working on a track
thinking it needed a bit more. Many times, as I work I will sing out loud
a new part that I would like to add and in my somewhat delirious state/
lack of sleep there were words that went along with this outburst.
Will you be singing in your live show?
Of course. I do not think I could do a live show without singing any-
ence in a much different way. 1 am presenting mvseltkn some ways,
rather than just my computer, and it's something people automatically can connect with. Now, I am not realh a ^otx\ singer per se, but
and naked in the shower 1 hope), so this is a thing that can make ped-
tobias   v
Your very own nerd question... hmm? I use many different software applications but mainly 1 use Logic to make tracks and
Max/MSP for playing live. I have recently taken an interest in getting a bunch of real instruments. Contrary to popular belief, I am
not just a laptop musician. There is a bunch of studio gear I have
and a bunch on my list. Since my move to Berlin I have been having to do a lot more work only inside the computer and it really
makes me feel claustrophobic. So now I am trying to get out with
electric pianos, a kid's drumset, an autoharp and jawharp.
When I plav live I just use my laptop, a midi controller, and
a microphone. I do my best not to be a "clicker" and just look at
my computer. My performance is quite live instead of just pushing play on a sequencer. I mix elements and there is no set
arrangement so 1 can move through and mix my different tracks
in any way. That, along with my singing (attempt at singing I
should say), gives it all some room for mistakes which 1 think is
very important.
With all the talk of theory in this sort of music (microsound,
Mille Plateaux), do you have a politics—and I really mean this
in the loosest sense of the word—in, behind, through, your
Well, I do have some reactionary politics against the Clicks and
Cuts stuff material I hear. First of all, I think it is bollocks to just
do music only along the lines of this genre (or any genre without
adding something new). It seems a large portion oi it follows
strict guidelines that really make it lack personality. It's just
sooooo ultra serious and has no sense of humor which makes
me just take it as more of a joke. I try to infuse a sense of humor
into mv music as well or at least have some fun with it.
Are there are any more Moron projects in the works?
Sutekh and I are doing a split EP on a small German label called
oni.tor but other than that we do not have specific plans for more
' collaborations. Since we no longer share a studio it makes it a bit
more difficult but it would be nice to work with him more...
especially since Moron is such a nice name.
Do you cut hair?
No. ] mean 1 am sure I could do alright at it as I try my best to
pay attention to what the stylist is doing, but I would not trust
me so much with a pair of scissors. •
iafcty Scissors, Sutekh. and Loscil live at the Video-In, 1965 Mai
n Feb. 9th. $12 @ door. 10pm-2am. Info at www.sliriimtribe.con
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fti Store*-2-12-02 Readymade is currently looking for a planet big enough to hold their
sound. In the climate of 2002, the planet Earth is too cluttered, populated and filthy for the wide and cleansing sounds of Readymade.
Theirs is a hard, hard existence, my friends. Please do your part to help
Kevin Hilts, Arch, and Throwen Daggers lift themselves out of the mire
that is this world's state. Without caring people like you, Readymade may
continue to do amazing things thai will go unnoticed in this unjust land.
All it takes to support a band like Readymade is just 12 cents a day (until
you reach the price of their latest album, On Point and Red). That's right,
things can look much brighter for bands like Readymade if you just lend
your support. Help make this world a better place. Give today.
DiSCORDER: Where are the members from and how did you all meet?
Hilts: All from Vancouver. Me, Daggers, and Arch have been friends
for years. DT and the Doc are members of Pipedream (I use the present tense because they have started recording again).
What is the right time, place, and situation to listen to Readymade?
Hilts: Hmm... Walkman. Dark. Cold. Clouds illuminated by the city
lights. From a vantage point where you can see headlights crossing
over bridges. In a situation of uncertainty bordering on depression,
skating around the edges of hopelessness, but defiant about it.
If you could be anywhere at any time in history, where would you
be? Why?
Arch: Probably sometime in the '60s, so I could go see Steve
McQueen movies in the theatre on their opening nights.
Hilts: Cliche, but probably right now. We're passing through epochs
on an almost daily basis right now, not that anyone is really noticing... this is as interesting a socio-political environment as we've
ever seen. It might seem quiet, but things are stirring. Take just a
handful of these globalization protestors, get them to shave their
beards and put down the bong for a few minutes, get a commerce
degree, exploit technology to organize across borders and I think
some real interesting things will happen. One thing is for sure: anyone that speculates this to be the end of history, the great liberal
democratic dream, is really fucking mistaken. Inequality = friction =
When you think about Vancouver radio, what comes to mind?
Hilts: That we get no spins west of Alberta (college radio or otherwise). Readymade gets played more in Atlanta than we do at our
own university. We really don't have a very strong relationship with
what's left of the Vancouver music scene. With the closure of the
Starfish Room, things have just gotten ridiculous. I'm repeatedly
told by friends in other cities that Vancouver's rep is just the fuckin'
worst. We are known for the cliquey-ness of our scene, or rather that
the cliquey-ness has discouraged the emergence of a scene. Oh well.
The new Circlesquare record is a product of Van, so you can't really
argue with the fact that this city is a breeding ground for some pretty interesting stuff.
What makes you say that Atlanta radio plays you more than local
radio? You know this for sure?
Hilts: Just an example, but we went Top 10 at WRAS in Atlanta,
which I believe is the biggest college station in North America. I
don't believe we ever even charted for a week at any BC college/coop station, though we have been in the top 25 in Canada for 8 weeks
If I like Readymade, what other bands might I like?
Bark Psychosis, My Bloody Valentine, Hood, New Order, Flying
Saucer Attack, South Pacific.
What's the difference between Heaven and Hell?
Hilts: Don't plan on seeing either.
When you rent videos, do you rewind them before taking them
Arch: Rewind? Who doesn't have a DVD player these days?
Hilts: Agreed. Not everyone can afford DVDs yet. Though I think
excuses for not owning a computer in North America are starting
to wear thin, especially if you have a TV.
Where did you record On Point and Red?
Hilts: My apartment, except for the drums. Late, late at night.
Frequently drunk.
Drunk on what? I'm looking for brand names here.
Hilts: Hmm. I was drinking red wine, I think. The other guys were
probably kickin' Boddington's or Granville Island something or oth-
How was the recording process structured? Who produced it and
from where do we know them?
Arch: The recording process usually starts with me making a 4-track
cassette tape which has the original music structure and vocal
melody on it. Then I give that tape to Hilts and Daggers and they fill
in the gaps—adding keyboard parts, melodies—and refine the bass
line and drum machine parts, if any. Then a decision is made
whether to put it on a record or shelve it, basically. Then it's reconstructed from the ground up in final recording. DT did all the engineering and kicked in some musical ideas on some of the tracks.
You'd know him from Pipedream. We all produced it together.
Hilts: Process? Record the drums with throw-away beds, then DI
the whole thing. Reel-to-reel still. Not much in the way of "off the
floor" recording for us.
Readymade's list of best things of 2001 is:
Hilts: Hood's Cold House is really strong. I can't really remember
what else happened this year. Twelve months is a long time these
days. Worst moments are the ascensions of GW Bush, Ariel Sharon,
and Gordon Campbell.
What picture would you like to see next to your interview?
Hilts: A hammer and sickle over a map of BC. We're not really pure
Marxists, but that would be a cool image to see next to the interview. Especially in light of this current government.
What's the best thing about Readymade?
Hilts: That's your job.
How do you feel about being labeled a shoegazer band?
Hilts: If "shoegazer" is defined as indifference or as head-in-the-
clouds-outer-space-dreaminess, then it's not cool. But we do make
guitar-centric music that is heavily atmospheric, so what can you
do? How do you define it?
To me it's a transcending blast of beauty. I'm sort of tired of being
pigeonholed as a type of listener when I like so many genres (at
the same time hating most popular music). I like its all-encompassing wall-of-sound.
Hilts: I like the all-encompassing wall-of-sound, too. Sonic depth is
the dopest when you pick up different frequencies and spaces every
time you listen to it. What more appropriate genre could there be
or something. I ain't complaining, but I can't say I entirely understand it, either. To me, our music seems very married to Vancouver.
I guess no one else in Vancouver feels it.
What's the worst thing about Canadian culture?
Hilts: Its willingness to accept American hegemony. Beware of dol-
What can Canadians do to control their own destiny?
Hilts: A few things: There is no need to deregulate and privatize our
heavy industry, natural resources, or utilities simply to allow US
firms to come in and swoop them up. Also, I would like to see us
align ourselves as much as possible with the EU when it comes to
foreign policy, as opposed to our current state of lap-dogism. And of
course keep public education and healthcare as universal as possible. A recent OECD study had us at second place in literacy and
fourth or fifth in science/math. The US was way down the list
because their system is more classist and their government does not
spend enough. Gordon Campbell and friends would have us chase
that standard to the bottom in the name of fiscal prudency, while
their fuckin' kids go to St. George's and Vancouver College.
right now? A music of an exact space in a world of chaos, uncertainty and discord, a world itself in an exact space. But it has nothing to do with being dreamy.
How about religion? Natural human instinct, which means something, or superstition and cause of too many conflicts?
Hilts: I wish religion was totally irrelevant, but as evidenced this
fall, it most certainly is not. It just isn't necessary I don't know about
gion. Ask a Christian if they feel like they would suddenly become
a "bad" person without their religion to guide them. The look they
give you back is pretty interesting. I've come to terms with my own
finite existence, so that motivation goes out the window, too. Fuck it,
I give religion another 30 years. People have to grow up sometime.
What does On Point and Red mean?
Hilts: "On Point" is a nearly extinct hip hop phrase that debatably
means something like "bold" or "readiness." "Red" you can guess-
just blending two cultural elements that influence and interest us.
Sloganeering as much as anything. Putting as much distance as we
can from fucking "dreamy" descriptions of us. Didn't help though.
How do you know when the song is right?
Arch: Sometimes it's difficult to know exactly when a song is complete. Sometimes the original concept that was on the demo tape
gets an overhaul before we prep it for the studio (by studio I mean
someone's apartment). Same melody, structure often changes. Parts
stay the same, they just get reorganized a bit. We'll just keep playing
around with it until it clicks. Other times we'll know right away,
and we'll try and keep the song as close to the demo as possible.
Why do you suppose the political environment has become so
selfish? What can we do about that? How long can we continue
to steal from the poor and give to the rich?
Hilts: Not much fuckin' longer. Whether people are aware of it or
not, wealth disparities are getting worse, not better. Concentration
and consolidation. Either there can be a shift in consciousness by the
"haves" that a) this system is not sustainable, or b) we are not living
with any degree of compassion, or if I may quote Lightstrands: We
"won't settle things conflict might settle first." As for BC, we got
duped into thinking there was something fatally wrong with our
situation of extreme relative wealth, and only marginal growth. Got
duped into thinking that without 5% growth we were doomed or
something. Retarded. In all fairness though, some of that NDP
action was just laughable. So we elect these [Liberal) pricks for
alleged economic reasons, and now we're getting the other side of
the coin: the social policy.
You obviously have some heart-felt political opinions. Is there
anything political about Readymade's music?
Hilts: In the lyrics here and there. In some of the visual imagery. On
the website. Pretty tough to be political musically though and still be
listenable or emotive. Capitalism isn't going to chase us into some
comer of musical obscurity just for some misguided sense of integrity. The ideal situation is to make music that mostly deals with emotions, and then do a thousand interviews where we can cut loose on
the political front.
Are you playing around town any time soon?
Arch: We have some plans right now to do some stuff in the spring
and we've started rehearsing a live set. We're trying to keep in shape
so if anything comes up in the meantime we'll be relatively ready.
We've, unfortunately, had to decline a couple of good shows recently just because we're so out of shape, like Mercury Rev and another
offer in Calgary. The music scene in Vancouver is so dead right now
it's ridiculous, and the venue situation is also really sad. Those factors don't help much either. But yes, we are planning on playing
is discorder 'lie high praises in two reviews featuring lul
Vancouver last November. It's all for a goc
reason, julie I loiron is thai talented. She is easily one of the best singer/songwriters we have in Canada.
julie Doiron began her music career in the early '90s as Ihe bassist for Eric's Trip. When the band broke up in 1996 julie wet
on to pursue a solo career. All has been going well since then with several successful albums (one of those having won a jut,
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night at the Sugar Refinery. Did
DiSCORDER: Your latest effort Desormais is a Francophone
album. Did you grow up speaking French?
Julie: Kind of. I didn't learn how to speak French until I was in Grade
One. And then I did all my school and college in French. My grandparents spoke French. My mom speaks French but my father was
English. And my stepfather is French, so I spoke it quite a bit at home.
Why did you choose to do an album in French this time?
Well, I like writing French songs. I used to write them once in a while
and put them on my other records. Then I decided to do a French EP
which turned into a French record. And veah, I'll still continue to
write in French because I read a lot of French novels and 1 speak to
my kids in French. We live in Montreal; it feels right. I'll continue to
write both because 1 speak both of those languages equally.
Is there a big difference between writing songs in French and
I write quite differently in English than 1 do in French. I am not quite
sure why. They are different languages, so I guess that's why.
You are now with Endearing Records from Winnipeg. How did
that come about?
They just said if 1 needed any help, let them know. I've known them
for years, we used to help out with distribution and stuff. And every
time I would be playing in Winnipeg Blair (Purda] from Endearing
would be putting on the show.
And you have an English album coming out this spring though
I think the album is going to come out in March. I recorded it a week
after 1 recorded the French one, which was probably a bad idea in
retrospect. But it's not bad and there are a few songs I am very
happy with and I think they are really good.
How much of your songwriting is autobiographical?
I don't really know. I guess everything is a little bit autobiographical
because it comes out of whoever is writing it. So I think that everybody, not just myself, is putting themselves in their songs regardless whether it's first person or third person or whatever. But mine
are not as autobiographical as people would probably think. Some of
them are pretty much flat out but some are not. Sometimes 1 just
write different lines here and there on different days, and I just go
through them and put them together so they are not even about anything in particular. But I don't really like to talk about them too much
or explain them too much. I prefer people to just listen to them and
take them in on their own and adapt them to how they want to per-
What kind of music do you listen to these days?
I rarely put music on anymore. Actually one of the things I've been
listening to more often is the new Snailhouse record. And mainly
the other thing that we've been listening to a lot is basically almost
all of the Leonard Cohen records.
He has a new album out, Ten New Songs. Have you been listening
to that and do you like it?
Yeah, my husband and I both liked it a lot. I guess it sort of inspired
us to start listening to him again a whole bunch. So we are sort of
revisiting Leonard Cohen.
Tell me about the last
played two shows on t
you enjoy those shows'
Yeah, I thought it was a great show. It was a really nice place to play.
1 thought both of the sets were really good. Although I think I
enjoyed the first one a little better because I wasn't as tired.
I remember you telling the audience about why you were so tired.
You played the night before with Eric's Trip and had to check out
of your hotel room before noon.
1 vaguely remember telling the story, but I just know that I had to
walk around for five or six hours that day. With minimal amount of
money, in the rain, doing nothing. [Laughs] A lot colder than I expected. But it was fine.
How was the Eric's Trip tour? It seemed to be very well received.
The shows I've been to were packed.
It was great. It went really well. There was one show that was kind
of lame but the rest was really good.
Did you guys get along well?
Yes. We had fun.
Was the Vancouver show the last one ever for Eric's Trip?
Who knows what is going to happen next. I was quite faistrated that
it was advertised as "The Farewell Tour."
Yeah, Rick White seemed to hint that depending on how your guys
felt you might do more shows in the future.
Absolutely. If we feel like doing another tour then we'll do one.
Maybe it'll be next year or maybe in two years or whatever. We are
not enemies so there is no reason why we wouldn't want to play
together. But it gets scary because this time was really successful but
maybe in two years it will just be lame and no one would even care.
There were a lot of people who came out on this tour who have
never seen us before. That was cool because we've broken up either
before they got into us or they were underage then and never got in.
There were also a lot of older people who had seen us many times
and wanted to see us again. So it was interesting. It was hard on me
mentally and I think Rick too because our individual things don't
get nearly that many people coming out.
You recently did shows with Herman Dune in France and Belgium.
How were they?
All the shows went really well. The Paris show was sold out and the
venue holds around 450 people. I went on at 7:30 sharp and it was
pretty much almost full, maybe with 400 people or so. And the whole
room was just silent the whole time for my 30 minutes. It was really,
really cool. People seem to respond well and I sold I bunch of CDs.
I am not too familiar with Herman Dune. Who are they and how
did you meet them?
They are a band from Paris that I've met actually a few years ago
while I was on tour in the States. Mike [Feuerstack] from the Wooden
Stars was touring with me and we played Chicago with Songs: Ohia.
This guy from Paris was actually there to see Songs: Ohia and had
never heard of me but really liked what I had done. We started talking that night and turned out that he was in Herman Dune. And we
kept a loose sort of contact through email once a year you know. And
he emailed me last March and said "I'm going to South by Southwest
and I saw you're going so maybe we should get together" or whatever. That was cool. So basically we decided to do some shows
Did you get to do any sightseeing while you were there?
Yeah, when I was there in November I had a few days off leading
up to the show and a day off after my last show. I got to see quite a
bit of Paris. It was very nice. [Laughs] I was staying with people from
there because of the band and the label they're on. It was cool
because we would just go to things they would go to normally. And
they took me to a few sights that you've got to see. But I only saw the
Eiffel Tower from afar.
Going back to SXSW. How was it for you last time?
Hmm. For me personally it was really horrible.
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Oh. My show was horrible, horrible, horrible.
Was it the crowd? Or the way you played?
I was playing, St. Patrick's Day, on the main drag, m an Irish Pub, at
11pm on a Saturday night. And across town, at same time as me,
there was David Byrne, whom I would have much rather be watching, and Gillian Welch, at a different show. So all these people were
playing at the same time as me while I was playing the Blind Pig
Pub. It's true that there were 50 people there to see me and [they]
were standing in front of the stage, but then way in the back of the
pub, everyone was drinking green beer and being really loud. What
happened was 10 minutes before I went on, the club owners decided that they were canceling the show, they didn't want it to go on
anymore because they just wanted people to come in and drink. But
SXSW was charging a cover. What they did was they demanded the
bar staff to turn on their PA so no one else [could] access it. We couldn't shut that music off. I couldn't go on stage and then all the SXSW
staff had to rush down and negotiate with the venue. Finally at five
after eleven 1 was told I can go on stage. And 1 was so frustrated and
the sound system was so shitty and it was the worst show. Well, a lot
of people came up to me afterwards and was like "Congratulations,
you just got though the worst show you are ever going to do." It was
that bad. So what they've done is that they promise me that if I want
to go next year they are going to put me on a really good bill [laughs].
Do you generally like festivals?
No. Well, kind of [laughs]. See I have a really horrible experience at
CMW this year, Canadian Music Week. Yeah, that was bad too. And
that's when I swore that I was never going to do another one.
What happened?
I was advertised to play at 9pm and they made me go on at 8:30pm.
And I was telling them that this is wrong because people are going to
be showing up at 9pm. It said 8:30pm in the official guide but you
only get one of those if you buy a wristband, and in the weekly
paper it said 9pm. So when I went on stage there were like 75 people.
But it was Lee's Palace.
Yeah, 75 people at Lee's Palace is ridiculous. At 9:00 pm it was packed.
Like, I was literally finishing my last note and the room was packed.
People were coming up to me and saying "I don't understand, how
can you do this?" And I was saying "It's not me. They made me!"
Then I was really mad and some people asked for their money back.
They just did it because they were squeezing in some band from the
States actually. And they played an hour and a half. Grrr.
The last festival you did was the Halifax Pop Explosion back in
October. Was that good?
Yeah. The Halifax Pop Explosion was really fun. It's a festival, it's
not a conference. And usually the CMJ is good too. If you can get on
a good bill. Last year I was on a good bill, but I did one once where
I wasn't on a good bill. The frustrating part about those things is that
they want to get big name bands in so that people will go and think
it's exciting, but if you are a big band, you can play anytime and
you'll have people at your show. It's really not fair to be in competition with those bands, you know? And the only time you'll get a
good turn out is if you are on one of those bills. It's very conflicting.
What would you consider to be the highlight of your musical career?
Hmm. I don't know. I'm not really great at answering this kind of
[julie then went off to ask her husband jon, and very shortly came back
Umm... It's been playing the trumpet while my husband plays the
piano. Something that we probably never imagined we would do
together is make music. He is learning how to play the piano and he
is getting really good at it. I've been learning how to play the trumpet since the fall. And we jammed together [laughs]. •
Check out julie Doiron's website al ;; julie will be per
forming March 2 in Vancouver at the Vogue Theatre with Hayden.
H february 2002 Boci-phus King, a.k.a. lamia Perry, fronts one of \ 'am oncer's finest roots hands and has been throwing his
blend of blues, New < hlcans jazz, folk, country, funk, and more to audiences at home and abroad since the
mid '90s. Despite the ongoing buzz surrounding their live shows, they've managed to slip between the
cracks: not "alt" enough for college radio, too "all" for the mainstream.
Despite, or pcrluips because of. a lack of consistency, Bocephus King remains one of this city's best live acts,
and their Railway Club gigs arc the kind which should be entered into hipper tour guides as "the quin-
DiSCORDER engaged Bocephus King in a rambling conversation recently on the Drive and edited out
most of the gratuitous prescription drug references for your rattling pleasure.
DiSCORDER: Let's start with a quick background for those who
don't know you yet.
Bocephus King: Okay, I'll give you the quick version. I was always
into music, although I was more into movies my entire childhood. I
picked up guitar, learned a bunch of songs, and when I was 16 these
guys I know got a gig in a lounge in Tsawwassen. They didn't know
enough songs and asked me to play with them because I knew more
songs. I came in and played, liked it, and fired the other two guys.
Got my brother and another friend to come and play with me. So we
played there for awhile, and that's where it started. We were playing
just because it was a job,
most people I knew with their pi2
choice, so to speak. I was able tc
people were paying me to play m
have done whatever it is small toi
making more money than
ja jobs. It was a backward career
pursue and learn more because
isic. Otherwise I probably would
people do.
What kind of stuff did you cover?
Cover stuff, originals. We used to essentially take LSD and play for
drunken 40 to 70 year olds, my parents sometimes included. Neil
Young, we covered lots of Bob Dylan, Leadbelly, Nat King Cole.
After doing that and playing in different bands I went to Nashville
when I was 19. That's where I got my moniker "Bocephus King."
The guys I worked with were making fun of what I wrote and that
it was like "Bocephus" music. So when I would go out to little cafes
around Nashville I would call myself Bocephus King, and it stuck.
Eleven years later, it's still stuck, and I've stuck around. Puttering
around, doing little recordings, until 1986 when a bunch of people
got hold of a record I made in a cabin in Point Roberts called Joco
Music. They went big for it, people started liking it. Second record
[Small Good Thing] did good; bad relationship with the record company [New West]. Just before everything started falling apart, it
started selling well in Italy and in other places, so they didn't dump
me at the 11th hour. They still have a lot of integrity for what they
want to do, which is to push established writers like Billy Joe Shaver,
Delbert McClinton, people who never really made it into the spotlight. So what New West is doing, I think, is very honourable, but for
launching a new star, they don't have the ability.
Our latest album Blue Sickness was made as a demo for New
West, and eventually traded to them for distribution in Europe.
Once again, it started doing well, so I got Tonic Records involved
locally. So that brings us up to present, where I'm making the new
record, and I'm completely nervous and less confident than I would
be normally because none of the other three records carried any
expectations whatsoever. Their success was all pleasantly surprising.
I hear the guy who runs New West is actually" from Vancouver.
How did you hook up?
West Vancouver, actually. The label's currently based in LA. One of
the guys who played drums on our first record sent Cam, the label
guy, a tape [of joco Music]. Cam liked it and phoned me up.
Unfortunately this same drummer also took it upon himself to be
my manager, without my consent, and he made these big plans to go
to Daniel Lanois' studio in New Orleans, fire my band, and so on.
We ended up going to Minnesota instead to record.
How is the new album coming along?
Well, we remixed our song "8 1 /2" for European radio and made a
video of it, as well. It's just been sent to MuchMusic, so everybody
email them and request it! Wanna hear the story behind it?
Kate, my manager, had her buddy Doug lined up to direct. It was
getting down to the wire because we had to film before we left for
Italy last fall on our acoustic tour. He managed to assemble a crew,
everything, in about three days, gave us several choices of scenario.
He wanted to play up the reference to the Fellini movie 8 112, with
tango dancers and so on. Very, well, Fellini-esque. Everything was
fine until I started drinking some Wild Turkey with these anti-anxiety pills, which didn't mix so well. I was still out of it when I showed
up for the shoot. Kate's mom got Paul [lead guitar] drunk. He's
wearing this purple polyester suit, and splits the zipper. At one
point, we go shopping when the director's looking for us. Then it
was makeup time—we were still wired, of course. I didn't like the
way they were doing Paul's hair, so they let me comb it like Little
Nicky—you know, that Adam Sandler movie? I thought it was hilarious, and Paul is checking himself out in the mirror and saying
"Yeah, that's pretty nice!" But seriously! This of course made me
convulse with laughter so I fell over and split my eye on this lady's
makeup case. I don't feel anything because I'm whacked out, of
course. So I had to wear sunglasses for the video. The video turned
out okay in the end. My involvement in it was practically zero.
Let's chat a bit about how you came to be so popular in Europe,
Italy specifically.
joco Music did fairly well in Europe. Then we were at SXSW [South
By Southwest festival] in Austin and a couple of Italian guys saw
our show. One of them was with a big Italian magazine, Buscadcro,
and gave us a big push. Eventually, when Blue Sickness came out, he
gave us the cover. On our last tour we had a lot of media attention in
Italy. Even though during some interviews I was pretty blunt that I
wasn't the biggest across-the-board roots fan, and not everybody
was happy with my opinions. I put Destiny's Child above Ryan
Adams on my "evolving" list, and stuff like that.
So you can actually say that, unlike a lot of other Canadian bands
who hump themselves down to Austin for SXSW, it was a success
story for you.
Yeah, and what we didn't know before we got there was that we
already had an insane amount of hype. New West was based in
Austin at that time and had a lot of Austin old-timers on the label,
and they got the word out about us to the local critics. So by the time
we got to Austin, we were driving in and they're talking about us on
the radio! Everywhere we went, it was hyped out and packed. It
was a lot of fun.
So what's with the being popular in Italy? Any theories on that?
I don't know. They like the entertainment aspect of our live shows,
I think. They listen more than North Americans. We're still like a
one-horse country in some respects. It's tough, but you can't really
blame the audiences because no one's ever really learned how to
watch music. So you just try to put on your best show, and people
are pretty good to us, for the most part. We stick to the Railway Club
because I don't really like playing anywhere else. I don't see a point
in this town, at all. Not to insult any other club, but in the end it
really doesn't matter. I used to think it did, but now that I've toured
a lot, it really doesn't matter.
So what is your take on what's going on, or not, in the local music
I don't have a complaint so much as there just isn't a scene. The way
I see it, there's many bands, not many live clubs. There's a big art
scene here, a big movie scene. I find there's small groups within the
music community which are community-like, but for the most part
it's the "mine, mine, mine" attitude. I don't think it's just a
Vancouver thing. We could be sitting in a similar-size city in, say,
Texas, and having the same conversation. But I think we're also a
bunch of spoiled little sluts sitting in la-la land. It's true! Go to any
other part of the world. We live in, like, a resort. We give welfare to
snowboarders—it's crazy. I feel that a lot of people are kind of
I think the thing that everyone skips is that people just do what
they like to do. We have no problem with movies; our film festivals
are good. Music shows are pretty good. We just don't have a large
enough audience for our kind of roots music. There's just not
enough support lor the scene apart from radio DJs and people like
Shelley Campbell of the RANCH Society. There's just not enough
people buying our kind of music.
What do you think of the current O Brother, Where Art Tliou? phe-
I think things like [soundtracks for] O Brother, Where Art Thou?,
American Beauty, when they get through, they're great. It tells us that
everything that's popular isn't crap. As much as anyone wants to
think we've been completely taken over by mindless commercialism, the O Brother thing proves otherwise, I think. And look at the
popularity now of Townes Van Zandt. Not that long ago you couldn't even find his stuff here. Now there's a big tribute album out and
all. Townes Van Zandt—he's our new Vincent Van Gogh.
So what would you think if someone decided to make you The
Next Big Thing?
I don't know if I could play the game so well, but I'd fully take
advantage of it. I don't know... "Thanks for all the money. I'm gonna
go watch movies now. This was only a job!" [Laughs] I'd still make
records, but yeah, if that happened I'd spend ridiculous sums of
money on stupid things. I'd break lots of things, do more speed than
I do now, laugh more when people told me to do things. I'd ask lots
of people in restaurants if they know who I am, if I couldn't get a
seat. But I certainly wouldn't get a newspaper article and trash
everyone in Canada—why bother?
You've had quite the upheaval in band membership over the past
year or so. How's that working out?
It took really about a year to find new guys, and they're working
out great. It's gelled in the sense that they're similar musically to
Paul, they all get along well and hang out together. Those are Paul's
requirements. My requirements are that they sound good after one
rehearsal, so I like it as well. Win-win—I don't have to do anything!
What's your future tour schedule looking like?
We're going to do some big Canadian festivals again this summer,
and we're supposed to go to Europe, including Amsterdam.
Amsterdam is disappointing if you're Canadian because you can
just as easily smoke pot here and cruise hookers. Americans like it,
What's the theme for the next album?
"Big ideas, tiny results." [Lattglis]
Any advice for aspiring musicians?
You know, before I would've said, "Do whatever you want to do."
But now, I'd sav being successful is harder than not being successful.
And holding onto success is much harder than getting success. If
you want to be a rock and roll star, hey, that's just entering the lottery—just do it. But if you want to get yourself into a position where
you have to work to continue, I don't know. I mean, if you're some
chump working in a record store right now who thinks "I'd really
like to be in a band," or "I want my band to go tour all the time," no
I don't know if you should do it. Is it worth it for that? No, because
your life is going to be as good working in the record store as playing music. And you really can't tell playing two times a week and
making demos in your basement what it's like to go tour for three
years. It's just too hard to explain. In theory, that person probably
thinks it's a great idea, but can you do it for that long? Maybe.
Everyone thinks they can. I used to think I could, and I don't know
if I can anymore. And that's with a small portion of success. •
15 discorder S^ncfiesof
Six men have one singular mission: lo make Metal be
your master. Sure, they don't have long hair, air-
brushed paintings of Nordic swordsmen folding the
reins of sabre-tooth tigers on their tour van, or a mascot (yet), but damn'if they don't make you wanna
bang head. With a hefty batch of shows and a jive-
song CD already under their studded belts, Discorder
siddown with Jaime Hooper (dirty vocals), Cam
Pipes (clean vocals), and Rich Trawick (bass) lo celebrate the coming release of their full-length opus
Battle Cry Under A Winter Sun with flagons of
\b february 2002
DiSCORDER: Let's start off simple: How did you meet, and how
did the band get started?
Three Inches of Blood: We all lived in Victoria and we met through
school and whatnot... actually we formed to perform a reunion
show of a previous band we were in, in a town called Vanderhoof.
It turned out that we were short a couple of members, so we asked
Rich and his brother Jeff to fill in. We couliin't be bothered with trying to re-learn the old songs so we just started writing new ones and
this [3 Inches] is the result.
You were originally in a band called The Knuckles in Prince
George. What was the scene like there?
It was good! Back in the mid-'90s it was fantastic. It's just such a
small town ocn\ everybody's starving for music, so when somebody
takes the initiative to make a band, everybody loves it. The
Knuckles were pretty early-'90s hardcore, but it was pretty cool
coming out of a town that size and that people were into it.
There is also a Calgary connection with you guys as well. Were
you into the scene back then as well?
The first show 1 saw was Skin Barn at The Republik when I was 14...
Geoff and I are actually still big fans of Beyond Posession. We found
their first album when we were back in Calgary over Christmas... I
never got to see them though... I started going to shows just alter that.
The impression I get from seeing Three Inches of Blood play, and
listening to the CD, is that you're just a bunch of guys having fun
who don't take themselves too seriously. Now that you've won
this year's Shindig, is there a pressure to start being more serious?
Three Inches still is six guys having fun. We're going to make
enough money to buy and restore the Hammersmith Odeon!
Are you ever going to release the ultimate anthem in parts that
require the Roman numeric system?
I'm sure that will be inevitable. We're definitely working on prolonging our songs into awkward and difficult time lengths [luii^li-
Did your guitarists learn by playing tablature?
Not really, they're both self taught. They grew up playing hardcore
and punk when they were younger. Sonny locks himself in his room
for about nine hours a day!
When practicing, do you go into the studio saying "Hey guys! I
have this song about slaying ores!" or do you begin with the
[Laughter] That's how most of the lyrics are written, for sure! But
mostly the music is written first. Sonny will generally come in and
play us some riff he's been working on and we'll jam around that.
Then we'll come up with ridiculous ideas for song lyrics.
Will there be a lyric sheet included with the next album?
There will be one available, but it won't be included with the album.
There's too much text and "booklet" to begin with.
So no map in the booklet then? [For further examples see any
album by Italian "Hollywood Metal" band Rhapsody.]
That's a good idea! We could map out all the songs on the album
and note geographically where each song came from!
Why only three inches of blood? Why not four inches or a foot or
a streaming geyser of blood?
We're thinking three inches deep but over a vast area [laughs]'. The
name actually stems from my brother's horrible ability to exaggerate and my dad suggested we name the band Three Inches of Blood
'cause y'know... blood... metal... they seem to go hand in hand!
The story is that my brother slammed his finger in a drawer and
every time my brother tells a story it gets better and better so when
you hear the same story months later, this prick on his finger turned
into three inches of blood and it |iist had a good ring to it I guess.
The song title "Balls of Ice" causes me to ask: do you have low
sperm counts? Are you planning on conceiving children in the
[Laughter] We've been trying for a while now. The doctors prescribed this pair of underwear with a little bag to put ice in. The
inspiration behind "Balls of Ice" was this joker who kept incessantly pranking our guest book on our web site. He made a parody reference to the song "Sunrise Over the Fjords"—something about "the
sun rising over Cam's ass and the wind blowing his icy balls!"
Speaking of "Sunrise Over the Fjords," there is definitely a
Norwegian feel to your songs. That being said, would Varg
Vikernes or members of the scene there (known for burning down
churches in the name of Satan) want to kill you for "mockery"?
If Varg finds out that we're mocking his beloved fjords we're done
for! True metalheads would eat us alive.
The Paul D'ianno scream at the end of "Onward to Vallhalla" is
fantastic! Who would win in a battle of wails: Paul D'ianno vs.
Bruce Dickenson?
We gotta go with Bruce all the way. D'iai
but Bruce...
Ozzy vs. Dio?
Whoa! Sabbath or solo career?
Okay. Blizzard of Ozz vs. Holy Diver?
Wow! I have both of those on vinyl so I v\
n that one.
Brian Johnson?
o has his good qualitie
mid have to go overtime,
game seven
Bon Scott t
Bon Scott.
Halford vs. Ripper?
Emannuel Lewis vs. Gary Coleman?
Gary Coleman! That dude just never gets old! By   Lucifer   Meat   and   The   Dunndertaker
Photos   By   Dr.   Daniel   Siney,   PhD    ■
Will it ever get too ridiculous for Three Inches of Blood? Would
you ever look at each other and go, "We've got these anthemic six
minute solos, why bother?"
Because it's fun! I guess if maybe after six minutes we got bored of
the guitar solo then it would be too much, and we would shorten it
to maybe five minutes and forty-five seconds. We're having too
much fun with the fantasy lyrics. As soon as we're sick of that,
there's space themes and deep ocean themes we haven't even
touched on.
If you had a rider, what would be on it?
I like the idea of a pair of clean white socks for after the show,
! Tin
it off VN
I pair
peanut butter and jam sandwiches with the
in wax paper, throat spray in a crystal vase.
Would Three Inches of Blood ever endo
about tapestries? That seems to be a lost a
That's not a bad idea! The first step though
to an institute and learn the art of tapestry.
too. Very medieval...
The first time I saw you, I was drunk out of me head, and I must
confess to shouting requests to you in a more than unpleasant
manner. How do you deal with asshole fans like that?
Well, for one thing, we believe that heckling is a lost art in and of
itself. If there is someone who can come up with creative heckles,
welcome! We've never had that many hecklers at our shows except
for the Shindig Finals. "Bring back Motorcycle Man!" [another competing artist]. We said: "Motorcycle Man taught us everything we
know about metal even though he drives by our house everyday on
a Kawaski Ninja!" In Calgary we had some guy shouting out Iron
Maiden and Judas Priest song titles so Cam sang the first line of
every song and he shut up.
Since you won studio time [Shindig's first prize] have you
thought about using backward masking on any of the new songs?
We've thought about that, and we were actually really bummed out
because we thought about it after we recorded the new album. I've
always been in love with Sepultura's use of backward masking. The
message is "Damn you, smoke my dope!"
How do you feel about the new album? Was your producer [Jesse
Gander] more "hands-on" or did he sit back and let you do your
.'ckage and Teenage Rampage.
Your record will be out on Teenage Rampage locally, and domestically on Radio Is Down and Cadaver Fashion—how did you
hook up with them?
Cadaver Fashion are friends of ours, and Matt from Radio Is Down
is in a band called Destro, who we played with in Olympia a while
back. He really liked us and wanted to help us out which was nice.
The album will be distributed by K and Scratch.
After the record is released, what next?
In June there should be a tour across this fine nation of ours.
-. the p
i detail
.till v
o be y
t. We a
slotted t
i play Toron
o at the beginning of June, so we are going to
rse throat spray? How
o make our
vay out there. There's talk of going down the
rt in the metal world!
west coa
st in May.
is we would have to go
Being o
r the road, i
s there one "road trip" album the band can
Brass rubbings are nice
usly agree c
n listening to on those long drives?
Iron Maiden, Powerslave. Or Live After Death.
A couple final questions. Name three other bands besides you
selves you would have on the bill at your dream concert.
Wow... serious or comedy? Children of Bottom, Blind Guardia
and Manowar for good measure!
What would Jesus do?
He would bang his head and stick his thumb out while giving tl
He was perfect. When he needed to be hands-i
when to punch up. He was great. Even when we thought we did
our best take Jesse would come in and say "You can do better."
Who came in to do the acoustic guitar and mandolin?
It's Cory, Mike, and Johnny who are in a band called The Streets.
The Streets are an unstoppable skate rock band. Johnny is an
incredible guitar player who did some classical stuff; Mike played
17 discorder Who's David Axetrod? You could ask those who've sampled Ins work, like Dj Shadow, Dr. Dre. Mos Def, The Heat/tuts, or even
hturyn Hill - they'll tell ya. Shit, that's only the hip hop breed. Ask jazz greats who've worked with him, like Lou Rawls, Oscar
Peterson, or even the psychedelic Electric Prunes, and they'll tell you a thing or two about THE AXE. Bui if you're part of the
great unwashed populous, then this interview will have to do. Even if you're hip hop challenged, chances arc you've lieard
Axelrod's work in some form or another. My first exposure was via Cunnonball Adderley's "Black Messiah" loop sampled on A
Tribe Called Quest's track, "The Infamous Date Rape." I didn't even knew it was a sample. But il reus, and it was good.
Speaking to David Axelrod is like talking to tluit professor who already knows what you're going to say and is often forced to suffer fools. Yet, grand]m Axelrod (the man is 68 after all) is surprisingly chatty, and he spoke at length about his years as the head
producer for Capitol Records, and fondness for his best friend Julian "Cannonball" Adderley. Old in years but youthful in energy, A xelrod's done a hell of a lot more in a lifetime than I could do in two, and still scores high in the hip department today. How
hip you ask? Hip enough foi lames I avclle and close chum 1'/ Shadow to prostrate themselves in front of Ihe Axe and ask him lo
unearth and update a forgotten piece of symphonic jazz, r&b, and soul and release it on the Mo' Wax label.
Apart from two new bookend tracks on the David Axelrod album (the lead track includes an ominous monologue from LA's Raz
Kassl the album is pure 1968 funkiness. The Mo' Wax label tends to define itself through reappropriation of the classics, and
Axelrod's Ihe real I lung. Phoning Ihe Axe in his hometown of Los Angeles, our subjects ranged from where logel Ihe best deli sandwiches in Montreal, to our mutual appreciation of Ralph Nader, to the rise of political apathy. This is what we discussed in
david ahelroa
DiSCORDER: I've read that you've spent a lot of time on this
record for Mo' Wax. I'm wondering if this is one of the most
involved records you've worked on?
Axelrod: Well, it had to be because of the tracks. The tracks were made
in 1968. How do you take something like the rhythm tracks (I wrote
those parts out 33 years ago), and make it sound contemporary?
Right—but you've pulled it off.
Thank you, but a lot of thanks goes to Mr. Arnold Schoenberg, who
has a great book on harmony. It's about how all keys—no matter how
distant they are—are related somehow. And I utilized that because all
those tracks are in a key. I had not reached my tonal period yet.
Is the book The Dictionary of Music thing?
It's called Theory of Harmony and it's a damn shame because I had
one that I got in the 'wis and the translation was so rotten! The book
was used as a textbook all over the world except here. And the reason it was not used here was because of the translation. I thought I
had dyslexia—I'm not kidding, it didn't make any sense. Then I got
hold of a brand new [edition]—they revised it in the early '90s. I got
it and it's a fantastic book on harmony.
I'll have to check that out.
Do so!
I understand that you were quite a boxer when you were a young
man. Do you find any correlation between boxing and making
[Pause] No, other than the fact they're scary.
They're both scary?
Yes—both are scary. I get very nervous when I first walk in [the studio). I always have. And it's a very old, cliche line, but it's true—the
day I'm not nervous, then there's something wrong.
I just want to ask you about hip hop. You seem to be a fan of hip
hop, and hip hop is certainly a fan of yours. Has any of the hip
hop production or styles influenced what you do?
Well if you listen hard to the album vou will hear hip hop, but you
have to listen hard, and see where you can pick it up. And I'm not
going to tell you where either [laughs]. Raz Kass can pick it up. He
can listen to the whole album and tell you where the hip hop is. And
so can [DJ] Shadow.
Well, "The Shadow Knows" is one of your tracks.
The people being influenced by you—is it mainly the breakbeats
You know something, I didn't even know what a breakbeat was. So I
called my drummer, Earl Palmer, a great drummer—and I said, "What
is a breakbeat?" And he goes, "A breakbeat? I don't know." 1 found
out from Shadow—it seems that I have a habit, and I noticed it before,
where I will be doing a phrase, a melodic phrase, and it will be broken
up suddenly, and there will be a two bar or a four bar drumbeat and
then the phrase continues: tliat is a breakbeat [laughs]. Now I am so
conscious of it, and I didn't know 1 was doing that.
Do you find it odd that it took a Brit like James Lavelle to push for
the release of this album?
No. No. No. By the time we got to talking about an album I had
already become so big [in the UK] it was incredible. That's why there
was the feature in Mojo. And Andrew Male [the author of the article]
and I have remained very good friends and I talked to him a couple
of months ago and he told me, "You're now one of the 25 most well-
known personalities in music in the United Kingdom."
It's interesting how much of an impact your music has had in the UK.
And it always did, which is weird. When nothing was happening for
me here, 1 was still getting these cheques from BMI or different publishers for stuff I had done years ago that was still selling in the UK.
Did you go there to promote at all?
1 never went to Europe until June of this year. There was a reason for
that—I reached a point where I was suddenly afraid to fly. At
Capitol I was always traveling, I had flown thousands of miles. But
1 suddenly got this feeling... that there's nothing beneath my feet    Yes.
you've been bold/with Harry, Mark and John"—I mean, he's got
such great wit.
The track "A Divine Image" off of your Songs of Experience
album—parts of it sound very similar to 'Jimmy T" and The
Shadow Knows" off this latest Mo' Wax release...
That's an accident. I wasn't listening to those albums. I don't listen to
myself—I really don't. I don't want to know what I'm doing, I want
to know what other people are doing.
Where were you at musically during the '80s and early '90s? In particular with your unreleased albums like Big Countri/?
There was an album that was made in 1981 that was just fantastic,
and when the time is right, I will talk to a label about it.
So you have control over those still?
No. It would have to be bought, but I published them, so the people
who own them can't do anything with it. They own the tracks so I
can't do anything with it. But I'm sure that they would be more than
happy to take this money.
The Big Country album was something a little different for you...
It was supposed to, that's something you can do with any kind of
music. The president of Liberty [now Capitol] had great plans for that
album. He wanted to get the whole country music association
involved, and say, "See, you're always calling us primitive, primitive,
well here's what can be done if someone wants to use their imagination with country music songs."
Unfortunately the album was never released.
Unfortunately he got cancer of the throat! He had to take all this
chemotherapy so he had to resign.
Can you tell me a bit about your involvement with the Canadian
band the Collectors, later known as Chilliwack?
Did they have a guitar player named Bill Henderson?
I the ground 35,000 feet belo'
more the odds start narrowing. I do
but it did. And I started to take the tra
What do you find right and wron§
today? Do you think the '60s were
And the more you travel the
iT know why this happened,
n around the country [laughs],
about contemporary music
ruly the best time to record
Yes. There are certain things I like today but we're in a verv mediocre
age in all art, and you know that.
I do?
I don't hear anything that I would say, This is great and this is going
So are you still influenced by music from the '60s and before that?
Well there are certain albums that I always listen to—I love Miles. I
like Sly Stone a lot and as much as I like the Beatles. The best produced track that comes to mind when I think of production, is Lou
Reed's "A Walk on the Wild Side." Everything on that one track is perfect—when that one violin comes in—everything about it is so hip.
And you can still hear the influence of Velvet Underground and
Lou Reed today.
Well, I never liked the Velvet Underground. And I still don't. 1 think
the records he made after are a lot better. "Now I've been told/that
Bill Henderson was this kid from Canada who could sight read so
fast it was unbelievable. He was one of the best guitar players I've
ever heard. He was one of the ringers we brought in. He just knocked
me out. But he fucked up here. He was smoking a reefer in front of a
motel here and at that time, 1967, a black and white [patrol car) came
by, saw him, busted him, he was here on a green card, and that was a
felony at that time, and I've never seen him since. They kicked him
out of the country. He went back up to Canada. I have no idea what
happened to him. He took over all the guitar solos on the Electric
Prunes album, Moss in F Minor with ease.
At that point, I myself was givei
apologized for having to end the in
tags gelling impatient at having
? intervieiving "axe." David Axelrod
ie:c so abruptly due to record label big-
'ait 20 minutes to go for lunch. •
i$ february 2002
bVPObEPtrObOb cityolanners-
by captain morgan
Underground hip hop docs exist in Vancouver and the City Planners are at
Ihe apex. Although Moka Only is a member—and an important one at
that—there are four others whose work has helped put Pacific Northwest
rap on the map'. In a recent chat at Beat Sired Records, Jeff Spec, Ishkan,
Sweet G, and Sichuan spoke on pop, hip hop, and polka. And il goes a Utile something like this. . .
DiSCORDER: What gear do you use to make your beats?
Sichuan: G uses the MPC; Jeff and I use the SP and the 950 and we
sequence on a computer.
On an old Mac?
S: A new Mac!
So Jeff Spec, you rap and produce?
Jeff Spec: Yeah, 1 rap and produce.
Ishkan, you rap?
Ishkan: Slash don't produce.
And Sichuan?
S: Beats, rap, DJ.
Sweet G: DJ, produce.
I: Not to mention that Sichuan plays the plethora.
G: I'm the back-up dancer on stage.
j: G does the best cabbage patch and butterfly you've ever seen.
[Jeff Spec now draws our attention to a super-ill break on an undisclosed
record that's playing on the turntable and says, "Diggidy Domino looped
the drums," in reference to Domino's use of the break in a Hieroglyphics
So you guys are always choppin' samples. You won't loop it?
S: We'll loop, we'll chop.
J: We'll do anything.
S: We rarely loop drums, but if nice ones come up we'll use 'em.
There are people that get a little too uptight when it comes to some
things—like they won't do something—and I think we've all been
through stages where we won't do such and such. But if it's tight
we'll do it.
G: I just choose to say I won't make a bad beat, or I might make
one—I just won't let anyone hear it.
J: Nah, we get to hear 'em.
Do any of you play live instruments? Would you consider the sampler a live instrument?
J: The sampler is not a live instrument.
S: It's a tool.
J: The sampler is a computer, without being a nerd and using an
actual computer to make your music.
S: You can use it to be musical.
So what are you trying to say... you're not a nerd?
J: Yes. I'm not a nerd—that's a fact.
G: I'm gonna say I'm not a nerd either.
I: I might be a bit of a nerd.
S: I'm a definite nerd.
Word up!
S: No. For real, a sampler's a sampler, and an instrument's an instrument. People can justify it and use all their terminology, but it gets a
little corny. The sampler's not an instrument, but you can be musical
with a sampler. You can be extremely musical. You can be more
musical than a musician sometimes.
So you guys wouldn't consider yourselves musicians?
S: Oh yeah.
I: We do.
J: Yeah, we're musicians but you don't have to play a live instrument
to be a musician. You gotta make music to be a musician: you gotta
compose and write and perform.
So we're musicians on that level. Just to be as good as a blues guitar
player—as a musician—doesn't mean that what I make my music
on has to be a live instrument. It's different, but it's just as good in a
different way. People get caught up on the turntable as a musical
instrument, you can flip it and make it musical, but when it comes
down to it you're still playing other people's records. I don't see the
turntable as a musical instrument.
S: It's just as good but it's different worlds.
Do you sample from particular styles of music or do you use any
kind of record?
G: Anything that has the right sound. There's obviously gonna be
certain types of records that tend to have those better sounds. But I
don't care if I use a polka record if it has something that I want on it.
J: Any record where the drummer is the weirdest looking dude in the
group, that's a good record. If the daimmer has buckteeth or a tooth
growing out of his forehead, buy that record. It's good, sample it.
S: I just bought a drum set so I can be that guy.
,e pla
o your tracks?
re inhibited to just
'ything that we do.
the drums, fools play
pling. Of course sampling is the coi
What's your favorite Pink song?
S: Who?
S: I like the new one, man.
I: Yeah that new one's crazy.
S: I didn't hear the whole album.
What's your motivation and goal in rapping and producing?
J: There is nothing fun about rap. We are dcui serious about it. It
will be our career and make us all of the money in the world until I
am the most dominant man and 1 stand on top of Eatons and everybody says, "Look, there is Jeff Spec, the successful rap man."
I: It's just what we love to do.
S: 1 would say before anything it just happens. You can formulate a
reason why afterwards. We've always |iist been writing or producing.
I: It becomes a part of you too, it's your art, it's a part of your personality It's what you need to be yourself. Just like anybody, a
painter or a ball player, or whatever it is that you love to do. You
have to do that: it's who you are.
What's your relation to the Halifax cats living out here now—like
Moves and Josh Martinez?
I: Yeah those are our folks.
S: They're friends of ours. We work along different lines. Moves will
hit one of us with a beat—or Sich has given beats to Josh Martinez.
We have respectful views of each other. We like their stuff and they
like ours, but it is very different.
So what about other local groups?
J: We hate them. Nah, we like all local groups. Yo, Checkmate and
Concise I think are really dope. You know, there are different groups
that we relate to on different levels, but we don't hate anybody. We
could be friends with anybody, work with anybody, or just be
friends with them and not work with them.
G: I just like people. There are lots of local groups and I may or may
not like their music but it doesn't really matter as long as they're
cool people. If they're happy and they're having a good time doing
what they like to do, that's cool. I think that when you talk to
younger people they hate on other crews and they hate on other
artists cause there's still this conception like there's one record deal
out there, and if they get it then I don't get it. And I'm sure we all
had that when we were younger, too. But now if I make good music
I'm gonna succeed because I make music for me. I agree with Jeff
that I'm at work all day thinking about it, wishing I could be making
music rather than being at work. But if I don't make money off
music I'm not gonna be sad that I didn't succeed, like the world didn't see me as a great producer. I'm gonna be sad that I can't stay at
home and make music all day.
Where were you when you first heard New Kids On The Block's
"Hangin' Tough"?
[Sichuan curses and violently shakes his head.]
J: That was a magical day. I think I was in my school hallway, it was
something like seventh grade. That was the hot shit to me, I just
wanted to be down . ..
What do you think about the Rascalz, and more recently Moka and
Swollen Members blowing up; do you see a "trend" in underground rap becoming more popular, and do you think you guys
might be next in getting recognition?
S: I don't know about trends. As G was saying, there's enough to go
around. There are people that prefer Swollen to the Rascalz and
there are people that prefer the Rascalz to Swollen. As far as opening
up more avenues for people who are independent like us, that's true.
People might be accepting and understanding the independent
thing a little more, so in that aspect it's good. I don't know about a
trend because I think different people like different stuff.
I: I think maybe on a wider scale people are beginning to realize that
all these underground cats have been packing the house for years. So
why can't they be featured on a major label? •
19 discorder under review
recorded media
(131 Main Studios)
Ali Azimian has just moved to
Vancouver, and he brings with
him a wealth of talent. Think
Talvin Singh meeting Dzihan
& Kamien and you've got the
gist. Loungey breakbeats with
loads of film samples, strings,
and movie thematics. Space-age
martini music for the pot-smoking jetset.
Caveat: there's lots of shit
out there like this. So what
makes this different? It is really
well-produced, and the orchestral layout of the riffs, choruses,
and samples are spot on. The
beats are rough when they need
to be rough and delicate when
they need to be delicate, from
subcontinental Indian style to
Japanese guitar pluckings,
always with a complicated layering of percussion, scratchings,
and deep sounds, from buried
film samples to synths.
To be honest, Ali should be
getting a tasty record deal with
this demo soon enough, 'cause
this is great shit for kicking back
in that velvet red jacket with the
vodka and the cranberry juice
with the friends and the Good
77ie Record of Capozzi Park
Mark Szabo can write a great
song. A thousand times better
than other (former) local Dan
Bejar. A thousand. But, unlike
Destroyer, Szabo. doesn't get
much attention. It's because
Mark's a weirdo. He plays his
guitar upside-down. He plays a
right-handed guitar left-handed. So he strums towards his
belly. It's like singing into a
microphone while standing on
your head. And his custom-
c glut.
Okay, it's more of a rectangle. A
rectangular box.
Szabo plays purposely shitty, too. Well, I don't know if it's
on purpose, and really, it's not
shitty, but it'll sound that way
to you at first—slightly out of
time, clumsy picking—so
Capozzi Park sounds messy.
But you have to listen. Every
song (except for "Max2000"
which sounds like a medley of
jam  sessions  turned   into 34
minutes of death [much like
"Recurring Dreams" (I don't
have a whole afternoon to
waste [or the patience (not that I
have any of that)])]) on The
Record of Capozzi Park is a diamond covered in charcoal.
If it weren't for the annoying keyboards from outer space,
and if Szabo's guitar sounded
more like it had some testicles, I
could call this album great.
Christa Min
emotion cycles
(Auditory Sculpture)
Capturing a fairy on film is difficult. They are very small and
they hide behind flowers, their
songs float into our ears, lose us
deep into the forest until it is
night and everything is purple,
the world circling, the fairies
singing, flying. I caught a lucky
one on my birthday, wings beating as I came upon the music,
because she knew, and let me.
Days past, the songs still
play in my head, the fairy voices ethereal like dew, rain drops
the beating pulse of fairy dance,
stars and moon all a different
harmony,   whispering   about
those lured and lost to fairy
lust, the trees, the bugs and the
flowers, like dahlias, hiding
under the winter.
Our Day
DJ Colette has smoky eyes and
red lips. Her hair is bleached
blond and she sings. She mixes
her own house too. She is from
LA, where music is born, or
departs to discover the big
world outside. I know this
because I have lived in that city
of demons, and many of my
friends do not realize the significance of the '80s and the beat of
that music in the city where
funk was still alive, before
America turned it to trash,
before decadence lost itself in
too much mush....
Our Day goes through deep
vocal house—voice of Colette
featured on several tracks, beautiful—mixes echoes of Daft
Punk, then solid house, before
moving into a slightly more
repetitive tech-house beat and
bringing us back down to song.
The beat pulses, pulses though
the body, reminiscent of the
flow of night, dancing, taking
you into the early morning,
moving like that.
Stendhal's Syndrome
(Pacific Force)
An experiment in sound begins
with a hypothesis: new levels in
sound attained by letting musicians respond to one another in
free form. In the process, competent musicians are assembled
and they make a basic musical
roadmap with some planned
elements but mostly improv.
The resulting album is a lot
more musical than you would
expect from such an abstract
experimental concept: at parts
melodious, at parts rhythmic.
Very jazzy, very nice.
A different sound for each
ensemble, three ensembles in
all, long improv sessions, and
then we begin to hear the
instruments talking to each
other, the notes, words and stories, sometimes crashing, and
soft again. Funny, jazz as logic
and math on the CD cover
amidst non-chaos.
Suburban Blight
In this corporate world of ours,
self-esteem can be bought with
$. Or, alternatively, it can be
propped up by booze. The sad
irony is that booze costs $.
Water, of course, is free. Beware
watered-down booze. It is a
waste of $. To maximize your
booze-to-$ ratio, drink only
hard booze—without water.
The same logic can be
applied to punk rock. Punks
have very few $. Watered-down
punk rock is a waste of limited
$. But $ spent on this F-Minus
album is $ well-spent. For two
hours of training wage (thanks
for nothing, Gordon
Campbell—you cocksucker!), a
punk gets: a) twenty 100-proof
songs b) played by two angry
men and two angry-but-lovely
ladies c) railing against the
many evils of this corporate
world (white-collar crime, glob-
alism, materialism, organized
religion), and d) directions on
how to build Molotov cocktails
and homemade grenades.
Literally, good bang for a your $.
So, forget Coors Light and
Millencolin—blow your $ on a
'sixer of rye and this F-Minus
CD. Your self-esteem will soar.
You will revel in your drunken
brokedness. You will hate The
Man. You will experience something $ can't buy: the pure,
high-octane buzz of alcoholic
destitution and  angry  right-
jamie Maclaren
Bare   and   honest,   perhaps
under-produced, Fiyah have a
and a
around it in the fervent, cultic
worship of a bass, drums and
horns deity, the vocalists sermonizing for a lost reggae Moloch.
They are absorbed in their performance, dedicated and
intense, projecting a fanaticism
for their style which makes a
virtue of the album's low production values. Accra's 10 tracks
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Record played most often on your show:
I play the Motorcycle Scramble Sound Effects LP every show!
Record you would save in a fire:
Probably The Scramblers' Cycle Psyclws LP.
Record that should burn in hell:
Anything "R&B."
Worst band you like:
First record you bought:
David Bowie, Clianges.
Last record you bought:
Hal Blaine, Deuces, Tees, Roadsters and Drums.
Musician you'd most like to marry:
Favourite show on CiTR:
Nardwuar the Human Serviette Presents...
Strangest phone call received while on air:
Some guy from White Rock who always babbles to me in
German while sitting on the toilet! •
t         1
20 february 2002 are all either minimally mixed
or one-take studio cuts. But at
their best, the band feeds off of
its own variations like on those
fine old jazz recordings. This
unbeliever then begins to bump
and sway. "It's so true," I think,
"synchronized movement is the
rhythm," and a bass line
answers: "it is so."
Pastor and preacher to the
ceremony, the vocals are not
chanting cycles, but carry an
intellectual weight of opposite
intent to the pelvis-oriented
instrumental appeals.
Originating as a band in
Ghana, Fiyah's earnest vocalists
Douglas Thistle Walker and
Heiko Decosas are Christian
souls of the C of E (Vancouver
chapter) gone native on the
dark continent and herein
recorded murmuring heresies
about the grace of sound from
something like a low stage at
seedy Club Mombassa, supported by a 6/4 rhythm, horns,
keyboard and the occasional
violin, and owing far more at
this point to Babylon than to
Freed from Cardinal regulation, these missionaries have
become threadbare but content,
like streetside evangelists who
have surrendered to the impenetrability of their distracted
audience and are spinning further and further into a theology
For example: "Feather and
cord/ crave angelic motion/ to
float through space and time.
My vision is rusty/ but the edges
still shine" laments sullied angel
Thistle-Walker on "Addicted to
Movement," before calling
"Escape, 1 said."
The instrumental stable
resembles nothing so much as a
dance band slowed down and
drawn out, its normal functioning artfully warped according to,
perhaps, those unstable, non-
dance hall iambic vocal
cadences. The players are also
often extremely good, particularly the drummer, and rather than
being fazed by this unfamiliar
element they appear freed by it
to new forms of note-smithing.
"Yo yo" Ankar (kit drums) and
Kiki Gyan (keyboard) are not
Herero ranchers sealed in tribal
custom. They are more likely to
invite you in to their nightclub,
part of a modern Africa vou may
see soon enough on CNN but
will find no trace of in the mral
artifacts populating your record
store's "world beat" section.
There, as the band performs, perhaps one may spot
President Mugabe a
ids d
I Iron
the comfort of a padded booth,
or dozing military irregulars on
tuckered out from furlough.
Dream on, sleeping Lost Boys,
because although that well-
oiled Browning .50 calibre will
not help you against the British
cillg   ,1
11 be
your children from
ruel history. And ours.
Mullein Buss
With DJs
Bi| Hopeless
Architecture EP
(Global Symphonic)
My anemia was acting up so I
the   :
bought some miso and spiruli-
na and orange juice. My friend
Bubba over at the Adanac Street
House came and clipped my
widow's peak for me. I put the
spimlina in the orange juice and
if lookin
it the w
the r.
y gray e
side, \a
really well produced, making
you wonder if 1. The Entire
Thing Is A Joke or 2. The Entire
Thing Is A Conceptual Art
Project or 3. The Entire Thing Is
Just Plain Weird—which is
exactly where it should be: this
is Orthlorng Musork, and it is
good to know that they are so
consistently releasing music
that so categorically denies categorization, nevertheless good
quality, produced musical projects that
cith a
of I
true inner death disco diva run
free instead of sublimating
everything into some quasi-
Thatcherite aesthetic dwarfism.
Fuck dude, it sucks being a
vegan vampire.
(Orthlorng Musork)
This album was produced and
mastered by dub techno master
Joshua Kit Clayton and put out
on his label Orthlorng Musork.
The words and music are by
Topher Lafata, and the project
sounds like—how can I explain
it... it's like this: you're a white
boy cruising the neighbourhood
in a Ford Tempo with a broken
antenna, with a stock stereo and
with this odd combination of
bad rap with bad lyrics (yet oh
so bad that they are oh so good)
not boomin' but fuzzing out
your speakers. This is like anti-
rap rap music that has been
this is like taking Kid606c
and packing them full of
Trains of Winnipeg
(Endearing/Cyclops Prt
e that it
imaginative and all). By recal
ing inherently Canadia
images—such as prairie wind:
long and deserted highway:
the ailing face of the late A
Purdy and, of
Unfortunately, the album
succumbs to the sometimes pretentious nature of poetry
backed by music on many of
the tracks, but the bone-jarring
emotional impact of such tracks
as "Death at Neepawa" and
"Babette" more than atones for
any shortcomings. Add to
Holden's power of imagery and
sentiment the postmodern
piano phrasings of Christine
Fellows and the recognizably
wistful tag-team guitar phrasings of Jason Tait and John K.
Samson of The Weakerthans
(all fellow Winnipeggers), and
you get a potent mixture that is
sometimes mysterious, sometimes sad, sometimes menac-
overwrought and schlocky, but
t and do
I Break Chairs
(Sub Pop)
Well, Damien Jurado has r
Otri a new album. When
placed the CD in my car stere
was taken a bit back. Dami
has gone quite rock. The inti
duction track "Paperwings"
full of overdriven electric guitar.
It was a sort of Pete Seeger to
his Bob Dylan. So I skipped the
track, and mumbled "what the
hell?" "Dancing," the second
track, had the same buzzy guitar, but it sort of started to
warm on me. By the third song I
found myself humming along.
Damn it, I think I like it. By this
time "Inevitable" took stage
and I was sort of hooked.
Damien found my soft spot
again, I'm too much of a sucker
for a nice melody and a pretty
voice. It was all downhill from
here, I had to like the album.
There is even a nice glockenspiel on one song. Give in, you
know you want to.
jay douillard
Ten Thousand Shades of Blue
Electro-Acoustic composer
Richard Lainhart celebrates
two decades worth of his
recorded music with the release
of this double CD, Ten Thousand
Shades of Blue. Compositions
date from the mid-'70s (Disc 1)
through to the end of the '80s
(Disc 2) showcasing the composer's evolving stylistic developments. "Bronze Cloud Disk"
features    a    28-inch    cymbal
TOOL Mq^ tori Amos
Johnny Cash      Eminem
Tom Waits etc'ltc
Rhino Party drinking games
3*4 FREE Before IO
cf r»ink with this coupon
2i discorder bowed with multiple overdubs
and filtering while "Two Mirrors
Face One Another" features
much the same technique as
applied to six Japanese temple
bells. "Cities of Light" features
the composer's own multi-
tracked voice using multi-phonic
techniques a la Tibetan Buddhist
Later works from his '80s
period, like the title track and
"Staring at the Moon," explore
the relationships between realtime performances with computer music systems which utilize
additive synthesis programs,
allowing the composer greater
control  over  the final  sound
;   SI.H
3ackwards"   fe
While the overall scor
the sounds available here a
be described as ambient,
music demands attentive li;
ing, as opposed to the u
wallpaper effect that the t
implies. Much like the woi
the minimalist composers o
70s (i.e.: Reich, Reily) in h
of small shifting details o\
long period of time, Lain
appeal to fans of trance music
with its long drones of minute
fluctuations in texture and
Ten Thousand Shades of Blue
will certainly lead one in to a
deep beta state if listened to at
full length. Keep still and pay
attention, if you can.
In the snow-covered mountain
tops of the southern Slocan, you
might find Piedmont Sorpid.
Residing in some sort of lonely
shack, cursing as the gas powered generator gives out under
and thats. Giving the generator
Sorpid continues to make some
electro-acoustic noise and beats.
I picture sweat pants, yes I
believe Piedmont Sorpid wears
errand without removing them.
These people who claim that
they are comfortable slowly
become the people with sweat
There Can Be Only None
Seemingly a concept album of
sorts, this local instro-outfit's
third full-length proposes that
lyric-less music such as theirs
can say as much, if not more,
than your average song with
usually meaningless, empty
lyrics. Removal's potent, if not
sometimes slightly repetitive,
concoction of the bass-heavy,
chunky, funky hardcore of Bad
Brains, The Minutemen, and,
of course, Removal's own mentors, NoMeansNo, mixed with
deliberate, Clapton-era Cream
licks and quizzical samples of
such non sequiturs as string sec-
sounds and varied spoken
word clips strewn throughout.
The Removal cocktail is spiked
with synths, scratches and
loops to give it that foreboding
nuance of a future past that
might be when it all goes to hell
in a handbasket. Less heavy
and more adventurous than
past efforts.
Take Out
(Bobby Dazzler)
"Hm, is this supposed to be
Canada's version of Shonen
Knife,    or    something?"     I
thought as  I  popped  in  the
debut CD from this all-female
Toronto trio. But the very first
track, "Defenses Down," told
me this is not cringeworthy
19 east broadway
Vancouver, b.c.
mon-sat: 11-6
sun: 12-4
I www.teenagerampagerecords.com
lIlSjgMJttiajflTHE I AKI I :
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top quality
twee with cute Asian accents.
Instead it is hard-hitting guitar
pop with '70s and '80s arena
rock and punk influences and
copious vocal harmonies, a la
Sloan, but with a Go-Go's
twist. The punkier latter half of
the recording belies an innate
fixation with early 90s femme-
grunge, championed by a wide
selection of obvious influences
such as Bikini Kill and the
Breeders. Rock on, Rice Girls!
(Thrill Jockey)
Although the album itself is a
little dull (too casual to be
Merzbow... too slippery to be
Tortoise), the bonus animation
CD (by Katsura Moshino) is
pure gold. It seems to be the
story of a team of heroic
mutants—led by a robotic rabbit and a mysterious samurai
shaman—who confront the
injustices of the military-industrial complex, all set to the
music of the first song on the
album. Now that I have pictures to go along with it, I like it
much better. Beware: not all
computers can handle the high-
lated   t
nent. The rest of the album's i
that great, either.
Buy Nothing Day: The Album
Local personality, activist, and
political cartoonist Ted Dave
has collected together some of
the best of Vancouver's eclectic
independent music community
to create this "compilation" and
generate awareness about the
annual Adbusters-created Buy
Nothing Day. The event takes
place on the Friday of the
American Thanksgiving Day
weekend, acknowledged by
retailers as the busiest shopping
day in the entire year. It's meant
to "celebrate" the fact that we
can change the world by how
we choose to spend or not
spend our hard-earned dollars.
This compilation features
previously unreleased gems like
Veda Hille's cover of
NoMeansNo's epic, "The
River," and a long-lost Sarcastic
Mannequins (Beez's, from the
Smugglers, original band) track,
"The Smile That Costs a Fortune
(Money)." Other jewels include
the post-rock skronk of Proud
Mary's "No Deal, No Way, No
How" and the glee-club punk
anarchy of Submission Hold's
"Purchasing Power of the
Paranoid and Hopeless."
Summed up, this collection
of songs is generally a good representation of what's going on
in Vancouver's action-oriented
music underground with the
advent of 2002. These songs, all
donated by the participating
artists, are only available in the
annoying Realaudio format at
ingcd.html or via the artists
themselves, in limited quantities. Although the effort is truly
grassroots (i.e. you can't buy the
CD, with good reason), it is a
novel activism concept and a
truly entertaining listen.
We Came From Beyond
(BMG/Razor & Tie)
Based on his radio show We
Came From Beyond, LA DJ Mike
Nardone has compiled an
album that represents the vitality and creativity of the hip hop
underground even as mainstream rap cycles itself through
a disco era. For more than 13
years, Nardone has been
viewed by underground musicians as a fearless trailblazer,
helping to launch many music
careers. As artists would bring
him demos to play on the air
and he would bring them into
the studio, Nardone helped to
break acts like Cypress Hill
and Jurassic 5 as well as paving
the way for countless others
including Hieroglyphics and
Freestyle Fellowship.
With songs representing
styles from the Bay to the Twin
Cities, this record tackles many
important topics. For example,
Dilated Peoples asks: "Beer vs.
Weed (you make the choice),"
and Blackalicious ponders the
merits of a "40oz for Breakfast."
With a tight remix of Beastie
Boys' "Pass the Mic," as well as
notable contributions by AWOL-
One and Eyedea, this is a great
record to pop in whether you're
chilling with friend or hanging
out, smoking a joint solo style.
Chikodi Chima
Hello Discorder readers! Those of you who are devoted readers
may notice a few changes this month. Well, just one change. We
at Discorder would like to take this time to welcome Sara, our new
Under Review editor! Actually, we at Discorder would like to take
this time to go for dinner, leaving Sara to fill the extra space at the
bottom of this page with a self-congratulatory welcome note: I
hope that you all enjoy how little influence my personality has on
these pages. And I hope I am invited to dinner next month....
hear what the buzz is all about at
22 february 2002 real live: action
i 'SOs-ii
spired e
ling o
>1 pop a
live music reviews
Thursday, November 29
Picadilly Pub
I went to this show just to see
the Dears. No other reason.
How great the Dears were.
They didn't play my favourite
song, but they did make me
want to buy their new CD. 1
had heard the CD a couple of
times and wasn't so impressed.
But now I love it. And I'm glad
they played a couple of the
songs from it that evening. I'm
glad they convinced me. It was
weird seeing so many people
crowded up on that stage. It
was utterly wonderful seeing a
flute, organ, guitar, drums, and
the kitchen sink. They incorporate it all so well. This is a wonderful band.
I took my boyfriend who
didn't like the CD but was
instantly converted after the
show. He maintains that they
sound way better live.
They have the best lead
singer ever; kind of '60s, a little
like Morrissey. Super-dramatic
with his delivery, he made me
feel like I should be wasting my
day, staring in the windows of
Tiffany's. It's music to listen t(
at the end of the world. It madi
me want to make out with mi
boyfriend. I love this band.
Commodore Ballroom
Both the Psychedelic Furs and
Echo and the Bunnymen have
Different this time from their
show last April was the addition of a keyboard player.
Hooray! Remember those guys?
Those lonely looking characters,
usually tucked in at stage rear,
I li
t they v
•itatic when I found
ere going to play
here. I was sort of surprised to
see so many people there. But
they cleared out fairly soon and
I had more than enough room
to bop around in. 1 can't explain
it, listening to them live just
filled me with glee. The venue
was perfectly intimate.
If you're reading this
because you were there, you
don't need me to tell you how
great it was. If you're reading
this 'cause you're curious about
the music, just go buy End of a
Hollywood Bedtime Story. And if
you're reading this because you
kind of regret missing the show,
I know your pain. Soul
Coughing at the Starfish Room
four years ago.
Robin Fisher
Sunday, December 2
diligently tickling the ivories in
the long-gone pre-grunge days
of yore? It just made sense that
such an important band of the
'80s would bring back probably
of that decade. Although
sparsely attended .it first (likely
because the show started
promptly at 9... and I mean
promptly folks. Don't ever be
late for a Commodore show, or
you'll lose, lose, lose) things
tightened up a bit into their
hour-long set. Fans were treated to favorites spanning their
career such as "Heaven,"
"President Gas" and
"Heartbreak Beat." But the high
was bathed in a glow of fuchsia
to the tune of "Pretty in Pink."
who felt like a young Molly
Ringwald at that moment. Front
man Richard Butler seemed to
be serenading the front row as
outstretched hands reached up
to show their approval. One
even handed him a pink rose.
Sweet touch, 1 thought. Overall,
these guys were fantastic to
hear and see, as their enthusiasm and very obvious love for
the stage made for big energy
from the crowd. Butler's beautifully raspy vocals have aged
like a fine wine in their 20-vear
and vi
til   his
help but lo\
wearing a
pearl  choker,  for
God's sake! That's cool in my
Forty minutes later, the
Bunnymen took the stage.
Vocalist Ian MacCulloch's back
lit big hair in silhouette was
eye-catching and he apologized
for having "a touch of the flu."
Welcome to Vancouver, Ian. By
now the mostly 30-something
crowd was filled out and the
two or three beer had kicked in.
People were dancing, people
were bouncing, people were
singing. Like the Furs, they had
six members on stage (keyboards included!) and they too
sounded not a day over 1986.
Although not as animated as
the act before them, somehow
Ian just standing at the mic with
shades and a smoke as trippy,
swirling pictures danced on the
screen behind seemed to work.
Their repertoire was speckled
with hits from "Bring on the
Dancing Horses" to the crowd
pleaser "The Killing Moon,"
James Brown's "Sex Machine"
and the Doors' "Roadhouse
Blues." And for all you Lost
Boys fans, yes, they did do their
soundtrack version of "People
are Strange." From close to the
stage to far at the back, they
sounded perfect.
Despite the odd teen-memory addled thought of "I must
be getting old or something," I
was very grateful to acts such.as
these two for keeping the good
old-fashioned pop music genre
humpta1 n gondii}1
isn't really our thing.
t\wsc',nch        /
°*ayt°daV C
U MosesW„„,
\\  yesse°,Tne
iusic :: HllflUM* Monc
: 1926 W. Broadway :: See www.whap. ilive and well. And anyone
vho went to this gig to see "old
Sis acts" was, I'm sure, pleased
vith both bands' abilities to
lot only yesterday, but today as
Saturday, December 2
were, and it was obvious that
Saul was being true to himself.
of his new stuff and told people
to donate blood. The whole
audience felt the lyrical content
when he rocked the mic, and he
rocked the mic. Saul's delivery
was captivating.
Thursday, December 6
Tlie Ninjatune website is one of
the best elements of the
Ninjatune clan. They have
about 10,000 sub-sites and years
ago, 1 discovered their forum. I
tried to write this review for the
show I attended by surfing their
forum. I learned about some
crazy world leaders cult called
the "Bohemian Grove." George
the Monkey, or Bush Jr., is a
member. Supposedly it's a sort
The Solid Steel Tour, which
was meant as a promo tour for
both the DK & Strictly Kev hip
hop mix CD (as well as Four
Tet's new album  Pause) was
the mighty ninjas. This useless
Addams Family theme, and (2)
the Beat's "Mirror in the
Bathroom" with added jungle
beats. I expected more continuity within their set and just
more interesting things; they
had four turntables and two talented guys up there!
Four Tet was an interesting
fellow. His second DJ set was a
waste of time, to be honest. It's
i, but better luck
Cyrus B.
a he play
all his
I spoke with the guy (who 1
don't remember having a goatee, though The Straight reported he did) and I learned that he
is just as influenced by experi-
s he i;
shows. And for go
they get it going ii
ways from Kid Koala to Scruff.
DK and SK did too, but in a
neat tricks thrown in" kind of
way. The hits were not a lot of
Solid Steel hip hop, but top
tracks from many genres of
electronic biz. The two nice
tricks I remember were: (1)
Pharoahe Monch turned into
jazz and folk. Opera was not to
his liking, but his interest in hip
hop was based on his love for
its inclusiveness. Hip hop, he
felt, was an open-minded
approach to hybridizing music
to build tunes bigger than the
sum of their parts.-1 suppose
that's what he meant by playing
music from Britney Spears to
that "whoop, there it is" song,
Overall, DK and Strictly
Kev should have put more
work into it... oh yeah. Bonobo,
who went on just before them:
thanks for coming out.
Nevertheless, long live Four Tet
the new amsterdams para toda v
in stores february 12
the anniversary your majesty
in stores february 12
Sunday, December 9
Picadilly Pub
There was this lion playing percussion, and a raccoon playing
the kick drum and the keyboards at the same time, and a
coyote playing a Stingray and
singing softly. Then there was a
man, a weathered fellow with a
hat and a thumb filled with
It was like a herd of buffalo
running around your heart.
Gira, forced to end before we
had had enough, sang "God
Damn the Sun" as we put on
our coats. Certainly one of the
best shows I have seen.
Christa Min
Friday, January 4
UBC Sub Party Room
Nardwuar, I met the man in the
bathroom. But that's another
story. Pop and fanzines were
served up with glee in the Party
Room but wanting beer, I got to
discover the Pit Pub for the first
time; also another story. Thee
Goblins took the stage first setting the Nardwuar tone for the
evening complete with ska riffs,
cornball costumes, and sweat.
Nice start. If you're reading for
Operation Makeout, I'm afraid
beer intervened. I guess they
were good emo if you're into
that. More Nardwuar and the
Evaporators followed. Inside
the room and out, Nardwuar
was the puppet master weaving
his endearing tales and being
the spectacle that he is. The kids
liked the audience participation, especially since most of the
audience was too cool or self-
conscious to move their inert
booties themselves.
The big guns from Olympia
didn't need Nardwuar to make
being in the rec room tolerable.
Oh, Calvin Johnson how I
wanted to see the real man ever
since your days in Beat
Happening and the low-fi
scene's love and hate relationship with you. Chris Sutton's
bass was rich and bubbling,
providing the funk for Calvin's
spastic energy. Dub don't do
anything new musically. Rather
,it's seeing kid-like adults being
honest with the crowd about
politics and egos (mostly
Calvin's) that made them compelling. An odd venue with
great bands; thanks be to the
RoBeRt RoBoT
Saturday, January 5
Picadilly Pub
1 think Steve Godoy lives somewhere in California. I'm pretty
sure Art Godoy lives in
Vancouver. Deniz Tek lives in
Billings, Montana. So for a band
that only practices a few times a
year, it sounded great, but fuck
was I hot. I hate wearing coats.
If you get hot, you have to take
it off and carry it, and where
does a coat fit into the dance
routine? There are no coats in
rock and roll. It was a little cold
out, though, so instead, I wore
three shirts. So I was hot. I
guess I could've taken one of
my shirts off and given it to
Steve. He seemed to have lost
his. I thought he was going to
explode. He held his breath,
flexed his neck, and cracked the
ride until he was ready to blow
up. Steve and Art sang a few
Exploding Fuck Dolls songs
along with Tek's Birdman classics and Golden Breed originals. Mr. Tek, in case you didn't
know, can play a fine guitar
The New Town Animals
are five boys with elastic faces
whose songs are faster than a
15-year-old's beat-off session. I
wish I could've seen Witness
Protection Program's set. Some
guy told me it was awesome.
Christa Min
Wednesday, January 9
Richard's on Richards
Soon after filing into Richard's,
the packed house was greeted
by Grand Buffet. This act consists of two MCs rapping and a
Discman on stage supplying
beats. Seriously: they had to
bend  down, select the next
track,  and   press   "Play"   for
the high point of Grand Buffet's
performance. The low points
included one of the MCs repeatedly challenging some idiot on
the balcony to an on-stage fight;
after said idiot threw some plastic on stage. The other member,
perhaps suffering from some
bizarre form of OCD, not only
applied deodorant mid-song,
but also found time to brush his
teeth onstage. Better than fighting, certainly, but nothing that I
felt like watching.
The other openers were
Custom On It, a lightweight
hard rock band from Chicago. I
Things took a turn towards tiresome once this group took the
stage. These are guys who likely
dropped out of high school
band to take autoshop, then
dropped out of autoshop to
take a case of Pabst to the parking lot outside of the White
Snake show. When I wasn't
feeling embarrassed for the
singer's postured dances with
the mic stand and choreographed layer-by-layer clothing
removal, I tried to guess
whether or not the drummer
was a session man. His work
was the only redeeming part of
Custom On It's set.
Unfortunately for him, people
go to shows hoping to see quality bands, not drum clinics, so
he couldn't save his clients.
Of course, nobody had
lined up for blocks to see Grand
Buffet or Custom On It; they
had lined up to see a colossal
schizophrenic man named
Wesley Willis. Formerly homeless, Willis now writes simple
songs about celebrities, eating,
and just about anything else
that comes to his mind. To clarify: when I say "simple songs,"
I mean "simple" in the most
extreme form of the word, and
"songs" in only the very loosest
sense. Each of Willis' programmed  keyboard songs is
Barenaked Ladies of Rap"
(dubious bragging rights, at
best), which neatly characterized the spirit of their two goofy
sets. Obviously experienced
and confident, they demonstrated far more skill than commercially dominant rec room
rap idols The Bloodhound
Gang. A kiddie sing along,
"Let's Go Find a Cat," had the
crowd responding as if in a
Fred Penner flashback, and was
notice. Luckily for the crowd,
his stage show is far from boring. Willis interacts with the
audience well, he drinks nearly
a dozen cups of sweetened milk
during a single set, and his
switches between fast rants and
doleful bellowing make for
quite a spectacle. With constant
touring and a vast catalogue of
releases, this spectacle is gaining       Wesley       Willis—and
24 february 2002 I ALBUM 1
Toronto's pride oP Bloodshoc Records.
Features Kid Congo Powers playing
sceel on the one-song B-side. $4ppd
Team Mint Volume 2 cd-Mine
Records' special lo-price CD sampler
oP previously released material!
Songs by che whole Mine crew including New Pornographers, Neko Case,
Huevos Rancheros, I Am Spoonbender,
and others! 70+ minutes! 23 songs!
Operation MakeOUt First Base CDEP • "..there's never a dull moment with
;ing lips, static tongues and swapping saliva, and Operation Makeout
a kiss." (Chant) $<
NeW TOWn AnimatS is Your Radio Active? CD & LP • Brand new video For
"Three Steps Backwards" coming soon to a TV near you! Nick JePP, Chucky,
Stevie and Bobby "...dispose with two decades worth oP musical progress since
punk was new and (some say) pure" (Popmatters) CD/LP $12ppd
The Bright Side CD • Album #3 by Winnipeg's "mod couple" —
request their new video Por "The Evidence Comes Prom All Directions"! "They
deconstruct their hipster stereotype, while still punching out mod rock
every bit as driving and on point as they ever have. Tricky bi
Free To Do What?
CD • Cindy WolPe & Co.'s debut album
release. With an allstar cast including the
New Pornographers' Kurt Da hie & Todd
Fancey, Blue Lodge Quartet's Shane
Nelken & Coco, I Mudder Accordion's Mai|a
Martin, Monica Chattaway and
Thibeaulc — the album was recorded on
beautiPul Galiano Island by John and Dave
oP the JC/DC hit machine, A charmingly
•earth unpretentious slice oP BC
RainForest Polk/country with a valley girl
twang! $12ppd
Various Artists
Her Room-Motes Present a Tribute to the
Soundtrack oP Robert Altman's NASHVILLE
CD • Corn Sister (along with Neko Case)
Carolyn Mark realizes a liPeling dream
with this release: to record a tribute to
amazing late mid-TOs ensemble
movie/musical, Nashville. So with a backing
band oP Tolan McNeil and Garth Johnson,
Carolyn recorded a bunch oP her
Favourite singers and Friends including
Kelly Hogan, The Sadies' Dallas Good, Neko
Case, the Corn Sisters, Carl Newman,
Cindy WolPe, The Buttless Chaps' Dave
Gowans, Canned Hamm's Robert Dayton,
and others to create a touching, PaithPu! <
Pamous Film. $12ppd
Mark Kleiner Power Trio LoveToNight
CD • Two years aPter leaving Vancouver abruptly
Por the Prairies to Follow his muse ("Called to God"
ran the story). Mark Kleiner, the son oP a preacher'
ex-Jungle/ Sister Lovers brainchild, came
representation oP that
;eamed ui
(PitchPork) $l2ppd
pop-rock gem
cally just wo-i
my songwriting," explains Kleiner "t
thought He was looking Por a Pull-time commitrnen
young and sexy ^ ^ **. your mothe,
CD • A ius
vocals, young and sexy serves up elabc:
intimate pop that n
Guided by Voices, Fleetwood Mac, end the
Carpenters, but maybe chat's just us Tl
opinionated Robert Dayton oP Cannea Hamm says
'young and sexy are one o'r those musical groups
the cusp. They're ready to break out oP their
cocoon and become a big beautiPul butterPly with
their mellow Folk poo sounds,  and blushing mannerisms." Whateven im! $12ppd
VOlUmiZer Gaga Por Gigi CD • Brand new pro)
ect by Bill Napier-Hemy (Pointed Sticks), Rodney
Graham (UJ3RK5), Jade Blade (Dishrags), and
Shannon Oksanen (visual artist): Voiumizer. On the
other side oP the Mint spectrum but also sporti
JC/DCs King Midas touch, comes a diPPerent kinc
oP Vancouver allstar collaboration. Togecher witl
John Cody they've created a buzz-sow punk rock
document that looks waaay back while standing
Pirmly in the present. $12ppd
gaga for gigi
P.O. BOX 3613. VANCOUVER. BC V6B 3Y6 MtNTRECS. Alternative Tentacles Records—
a lot of money, and it also seems
to make Willis quite cheerful on
stage. As long as people are
willing to pay money for a
friendly and legal equivalent to
a   freakshow   (while   accom-
Michael Schwandl
Thursday, January 10
Richard's on Richards
I    really    don't    thin
Lovage's music is appi
Automator, Mike Patton, Kid
Koala, and Jennifer Charles.
Tlie costumes were great: stiletto heels and smoking jackets
making  the  stage  seem  like
interesting \
able variety, courtesy of No
Luck Club's able turntable
work. After about an hour of
that and a long between-sets
pause, Lovage finally took the
stage at the midnight hour. This
J-iand fills the void left by Serge
Gainsbourg with such able
musicians      as      Dan      the
excellent form; Charles k
opt her
lis usual repertoire of i
ricks. I he scratching w,
s flaw-
ess,  of course.   Each
nembers maintained th
of  the
3ip, and some solid  p
the least of the evening's
irds. I hope Lovage contin-
Naben Ruthnum
Thursday, January 17
Richard's on Richards
This was my first time
Tony Faline; one of the heavyweights of the Florida/Nu
breaks scene. I'd seen DJ Icey
twice last year but missed
Faline every time he's hit town.
I knew it was going to be cool
seeing him at a club and not a
party because of the smaller
break ruckus, which he took
from the abrasive tech sounds
to the odd sappy E-hug chords
and vocals. But, see, that's the
cool thing about nu-breaks;
whatever sounds play over the
beats, the edge is always there
because of the rapid, thunder-
Thursday, December 13
Ponga is a new Wayne Horvitz
project whose name comes from
a type of New Zealand greenery. Wayne (keyboards/electronics), is best known in these
parts for Zony Mash, and in
some respects doesn't wander
uie and smaller wife-beater
int. This was one of those
es where everyone was there
the DJ, which makes for a lot
re dancin' heads.
Grooverobber warmed it
p until about 12:15 and then
on. Seeing dudes
ike him (early 30s maybe) help
o reassure oneself that, yes,
nusic   is   beyond   fads   and
tages.  On  came  the electro
ous hip hop-influenced beats.
Also, it maintains the balance of
not having any scraps, and not
having any glow sticks and E-
hugs either. Players like Tony
Faline are needed every once in
a while to keep those well-balanced breaks alive in this town.
Boon Kondo
Joining him were Skerik from
Critters Buggin' on sax/electronics, Dave Palmer (keyboards/electronics), and Bobby
Previte (drums).
It was refreshing to see a
couple of 30-somethings and a
couple of 40-somethings entertain a room of mostly 20-some-
things. No surprise, then, that
early-'70s   Miles   Davis   and
Herbie Hancock came to mind
at first listen. What was amazing was how "organic" (hate
that descriptor, but no better
one comes to mind!) a sound
resulted with so many electronics and a sax player who often
threw his own samples into the
mix. Given the avant-jazz pedigree of the individual members,
I was also pleasantly surprised
to hear a very accessible music
from the collective.
i. Jaz:
ally gratified, while the electronic/ambient lovers and the
roots/jam crowd can get into a
groove and chill, dance, or
whatever. More chillin' than
dancin', apparently, although
Skerik did jump down to the
■ floe
solo number at the
g of the second set. I
:en to the ANZA in
awhile and had forgotten what
a cool venue it can be. Crisp
new sound system in there, too.
With several downtown venues
either dead or on deathwatch,
it'd be good to see more promoters step up and do more
shows here. All in all, a night of
many pleasant surprises!
C$f C&atr/e to 38eme#M o4Kt.
f/JfC      ty    </W/i7   iS*
/,/tv/o ty  tftrat/ n,\f„/f/t/
Three years ago. drummer mid clct tronic mush intcilct hail Brady Cranfield
had the impulse to put on a small music festival. He was inspired by the
Festival of Drifting, organized by Lahradford: he titled his own festival
Beautiful Music, and that first event was defined by ambient pop. The
upcoming Beautiful Music—February 73-/5 at The Sugar Refinery—is in
the same spirit, if not the same aesthetic. Cranfield says thai "nowadays I
think of the festival as more generically pop titan specifically drifty, ambient
pop. The term 'beautiful'is a big umbrella, after all. Come lo think of it. so is
'pop'." When asked why the festival is called "Beautiful Music." lie replies
"Because it is. The music. 1 mean. I'm so damn literal. Um, and sublet live."
Ah, the '80s. And 1 love music And I love inn friends. But basically, there is
so min h really good music made in the city 'right now. It needs to be heard.
In Ibis way, the festival is inherently worthwhile."
In choosing the acts, Cranfield says that "1 am mindful of the ads 1
nd the organization of the festival as a whole. I would organize a
more acts tliat are new io me and hopefully to others, [.ike a sot nil service. "
Each night <>/ Beautiful Music features a Dj or electronic musician plus
three bands or solo acts. The louder bands have been instructed to stay as
mellow as possible and The Hive studio is going to record all three niglits.The
ads brought together under the umbrella of Beaulihd Music are among the
where, and why.
(/cry /,  CZ%^„a^ /.I
Soolah: Patrick Deadly. Cranfield refers to him as a "nice young man"
who does a regular night of "dreamy electronic music" at The Sugar
Sherry Ostapovitch: Solo electric guitar player who played at the first
Beautiful Music. She uses pedals, sometimes with no inputs, "just the
sounds passed from pedal to pedal. Maybe with some small noise to
start the chain going. Sounds abstract yet refined. Her guitar stuff is
reminiscent of Fahey-Brubbs-O'Rourke at times."
The Birthday Machine: Cranfield refers to the band as a "neuroses-
heavv indie supergroup" and "a minor soap opera in the form of five
people." But he's allowed to make these comments because he's their
drummer. Scott Malin joins the band on bass and former bassist
Christa Min picks up the guitar and keyboards. Miko Hoffman (formerly oi Gaze) and Stefan Udell of The Beans round out the band
Please Car: Tygh Runyan and Damon Henry from The Beans are
joined by Richard Folgar. Their sound is, according ta Cranfield,
"Beahs-Morricone-Labradford-Badalamentfc Very nice bass and bari-
vocals. Subdued. Romantic."
(/ay  t.   eftt,,,
Joshua Stevenson: f
on laptop, or a bit of
flashes of American
row's Parties (Sonic
irov collective Jackie-
Burquitlam Plaza: This is the solo project of Nick Krgovich from
P:ano (arguably Vancouver's best young band). Burquitlam Plaza is a
mini-mall that he walks by all the time. The shops and buildings are
run down and sad; the songs are run down and sad. Cranfield says
that Krgovich is "Young and charmed. The apple of The Hive's eye."
Rodney Graham: The superstar artist "was a member of Uj3rk5, a
Vancouver post-punk-cum-new-wave supergroup with such important
Vancouver figures as Jeff Wall and David Wisdom. Now plays with
members of The New Pornographers, The Smugglers, Zumpano, and
The Evaporators." He should deliver a great solo set.
Parks and Rec: Christa Min has pointed out that if Sassy magazine
still existed, The Secret Three would qualify for their "Cute Band
Alert." This is relevant because Parks and Rec is Chris Harris from
The Secret Three, backed by The Secret Three, with Nick from P:ano
on keyboards and Ida Nielson from The Beans playing trumpet.
Harris will sing, and Cranfield promises "music for swooning and
plotting revenge."
iJay  .1.   CZ%A,„„,y  fS
Micro Nice: Chris Harris' electronic alter ego, formerly known as
Neosphere. Cranfield says, "Nice electronic music. Laid back. Sexy."
Jon-Rae Fletcher: Fletcher's music is the best combination of country,
Jesus, alcohol, and Kelowna. According to Cranfield, "Many say he's
groat. Some say lie's derivative, two things that no longer seem to
present the same contradiction for this generation of music fans as for
the generation before. Folks from The Hive are silly excited abouthim.
Let the gods decide."
Sparrow: Jason Zumpano's latest project. Cranfield says, "Charming
instrumental music. Lots of piano. Promises some violin and cello. No
drums. Similar to the incidental music by Mark Mothersbaugh for the
Wes Anderson films." If you liked the music for Bottle Rocket,
Rushmore. and The Royal Tenenbaums. then Sparrow will appeal.
The Battles: The last band to be confirmed because bassist Scott
Morgan was in Europe touring as Kranky recording artist Loscil.
Cranfield says, "Local rock act in the tradition of many fine early post
punk bands of the early '80s. And, er, Destroyer. Supposed to be a somewhat reined-in performance for the festival. Mavbe mostly acoustic."
The Battles impressed many at the Turf Magazine Birthday show in
October and Cranfield thinks they are marked for greatness. •
happening February 13-15 at The Sugar Refinen
■ilte Street. Doors at 9:00pm, show at 9:30. Tickets are $7 at th
.com>for more information.
Beautiful Mu
Granville Stn... „
Email <bradycran@hi
11 IS
26 february 2002 chart a
what's being played at CiTR 101.9fm
february Cong Vinyl
february Short Vinyl
february Indie F)ome ^obs
1  hives
main offender                     big wheel
the cleats
save  yourself
1 three inches of blood
tonight we rejoice
2 tim hecker
haunt me                                subtractif
tijuana bibles
mexican courage
2 the epoxies
need more time
3 mr. t experience
and the women who...            lookout!
victims family
calling dr...
alt. tentacles
3 the organ
we've got to meet
4 stereo total
musique automatique              bobsled
red hot lovers
4 tennesse twin
these thoughts are occupied
5 ana bon bon
sister                                  independent
where r we
5 red hot lovers
fuck or fight
6 Cornelius
point                                       matador
new town anime
lose   that   girl
6 ths spinoffs
novelty garb
7 sam shalabi
on hashish                                alien8
riff randalls
how 'bout romance
7 panurge
listen to your own
8 cleats
lost voice, broken strings   independent
the evaporators
honk the  horn
8 bestest
9 de la soul
aoi: bionix                         tommyboy
the lollies
channel heaven
evil world
9 sharp teeth
burn return
10 pop shove its
the pop shove its               independent
the  stereo/ulti
fakebook     split
10 mr. solid
already gone
11  los straitjackers
sing along with                 cavalcade
the locust
11 second narrows
live off the floor
12 just barleys
s/t                                    independent
am 1 deranged?    ir
sidious urban
12 byronic heroes
ant dance
13 Vermont
calling albany                  kindercore
matt pond
this   is   not
13 human hi-lite reel
14 felix da housecat
kittenz and thee glitz   emperor norton
ode to mintor
dooI or pond
14 softcore
you won
15 trail vs. russia
the anvil                    one gold ruble
the braille drivers
20  class  a...
hey  frankie
15 the hoodwinks
16 karp
action chemistry punk in my vitamins?
s/t                         a
nimal    world
16 your funeral
girl guide cookies
1 7 princess superstar
is                                                rapster
eleni mandell
turn on...         heart of a champion
17 hummer
latest thing
18 june
cold from the outside       independent
bright eyes
motion sickness blood of the young
18 six block radius
kill to hide
19 set fire to flames
sings reigns rebuilder            alien8
the class assassins
no   justice...
19 the radio
la dolce vita
20 einsturzende neubauter
strategies against architecture     mute
the music lovers
sub pop
20 sylo
red eye
21 chemical brothers
come with us                   astralwerks
22 dears
orchestral pop noir...     shipbuilding
23 real mckenzies
loch'd and loaded            independent
24 buttless chaps
death scenes 1 II III            independent
25 operation makeout
first base                                      mint
26 subb
ultimate highstep to hell             stomp
27 silver mt. zion
born into trouble...           constellation
28 le tigre
feminist sweepstakes              mr. lady
e monthly charts
are compiled based on the number of times a CD/LP
29 langley schools...
innocence and despair     bar none
("long vinyl"), 7" (
'short vinyl")
or demo tape/CD ("
ndie home jobs") on
30 sticky rice
take out                        bobby dazzler
TR's playlist was
played by ol
r DJs durinq the previc
)us month (ie, "Febru-
ary" charts reflect airplay over January). Weekly charts can be received via
email. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts." •
Say hello to Penelope Johnson!
He says "Advertise with DiSCORDER!"
But don't worry. He's not our Advertising Rep.
Steve, our official Ad. Rep isn't as good looking,
but he's just as friendly. Call him up at
604.822.3017 ext. 3 or 604.329.FUNK. We're cheap
and good. Like beer.
27 discorder om the: dial
9:00AM-12:00PM   All of
time is measured by ifs art. This
show presents the most recent
new music from around the
world. Ears open.
3:00PM      Reggae   inna   all
styles and fashion.
3:00-5:0OPM Real-cowshit-
caught-in-yer-boots country.
alt. 5:00-6:00PM British pop
music from all decades.
SAINT   TROPEZ   alt.   5:00-
6:00PM    International    pop
(Japanese,   French,  Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
your guide to CiTR 101.9fm
QUEER   FM      6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, back-
>und c
-ent i
sical rr
isical m
Ghazals and Bhajans,
and also Quawwalis, pop and
regional   language   numbers.
THE     SHOW 10:00PM-
1 2:00AM Strictly Hip Hop-
Strictly Underground—Strictly Vinyl.
With your hosts Mr. Rumble on
fhe 1 & 2's.
TRANCENDANCE        12:00-
10:00PM Rhythmslndia features a wide range of music
from India, including popular
music from Indian movies from
the 1930's to the present, clas-
2:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts fo
propel us into the domain of the
mystical. <trancendance@hot-
8:00 AM
BROWNS   8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of fhe familiar and exotic in a
blend of aural delights!
alt. 11:00-1:00PM
GIRLFOOD alt. 11:00-
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt wants you fo put
your fist to the wrist—you know
5:00PM A chance for new
CiTR DJs to flex their musical
muscle. Surprises galore.
6:00PM Join the sports dept.
for their coverage of the T-Birds.
EVIL VS. GOOD alt. 6:00-
7:30PM Who will triumph?
Hardcore/punk from beyond
the grave.
REEL TO REEL alt. 6:00-
sand c
MY ASS alt.  6:30-7:30PM
Phelps, Albini, V me.
WIGFLUX      RADIO      7:30-
thought we'd go into
blurb sux, but our
n't. Tune into Wigflux
ith your hosts Vyb and
i. Oi
12:00AM Vancouver's
longest running prime time jazz
program. Hosted by the ever-
suave Gavin Walker. Features
at 11.
Feb. 4: Escapade, a fine and
■y recent album by a
looked r,
:.iito ■„
phonist    and     flutist
Feb.ll: "Not For Nothin'," the
latest by the best working jazz
group today, bass master and
bandleader Dave Holland and
Feb. 18: Pepper Adams Plays
Charles Mingus. Recorded in
the '60s under Mingus' supervision, the late baritone sax great
leads an all-star quintet and
octet through Mingusland.
Feb. 25: An extended jazz feature beginning at 10:45, a full
performance of composer/saxophonist Bob Belde
„ -,.,
rchestral rr
ck Dahlia."
3:00AM Hosted by Trevor. It's
ck, baby! Gone from the
—thank fucking Chris
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
An old punk rock heart considers the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
9:30-11:30AM Open your
ears and prepare for a shock!
A harmless note may make you
a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most dangerous    criminal!     <borninsixty-
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's      only
industrial-electron ic-retro-goth
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM-1:00PM
PARTICLE 1:00-2:00PM
Incorporated into the soul are
h| Po I
gL—j T
BLUE   ,-i-,  electro
..„.ir.jG    MAGNETC
RACHEL'S     [*"
| Hh
SKA-T'S       L
| Rts
10 '
10,000 VOICES (Tk]
WEASEL        L
I Vfo
~^HE        0
ON AIR      Ol
LIVE FROM...   '—
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Re= reggae • Rr= rock • Rts= roots • Sk = ska *So= soul • Sp= sports • Tk= talk • Wo= world
2$ february 2002 s of digital sound.
Unleashed, cryptic economies
accelerate the sound particles
through states of Becoming,
breaking the flesh, whirling,
hydra-head, rhizomatic sky.
■v.shru      "
CPR 2:00-3:30PM
buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA BOMBA (first three Tuesdays)
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a special focus on
people with special needs and
10,000 VOICES 5:00-6:00PM
Poetry,   spoken   word,   perfor-
FLEX     YOUR     HEAD    6:00-
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
SALARIO     MINIMO     8:00-
alt.       10:00PM- 12:00AM
ait. 10:00PM-12:00AM Phat
platter, slim chatter.
6:00AM It could be punk,
efhno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
something different. Hosted by DJ
7:00 AM
7:00-9:00AM     Bringing you
of new and old music live from
the Jungle Room with your irreverent hosts Jack Velvet and Nick
The Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
10:00AM Japanese music and
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended  for the strong.
THE SHAKE 1:00-2:00PM
3:00PM Zines are dead! Long
live the zine show!
MOTORDADDY   3:00-5:00PM
Motordaddy, repeat.
Socio-political, environmental
'ith    :
War On Terrorism" Part 2
Feb. 20: A show on Bjork
Feb. 27: Ethics and Genetics
(First Wednesday of every month.)
REPLICA   REJECT   alt.   7:30-
9:00PM Indie, new wave, punk,
noise, and other.
FOLK OASIS   9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-song-
rldbeat, alt. country
!. Not a
HAR     10:30PM- 12:00AM
Let   DJs   Jindwa   and   Bindwa
Bhungra! "Chakkh de phutay."
12:00-3:00 AM
8:00-10:00 AM
11:30AM Music inspired by
Chocolate Thunder, Robert Robot
drops electro past and present,
hip hop and intergalactic
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (hardcore).
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! http://www.sus-
No Birkenstocks, nothing politi-
We don't get paid
heap of over 50 years worth of
real rock V roll debris.
10:00 AM-12:00PM
Email requests to <djska_t@hot-
12:00-2:00PM Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
hop, old school classics and original breaks.
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music
the world.
HOMEBASS 9:00PM- 12:00AM
Hosted by DJ Noah: techno, but
etc. Guest DJs, inti
Feb.  6: Noam Chomsky "New
War On Terrorism" Part 1
Feb.13:  Noam Chomsky "New
Hosted by Chri
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1962 with your snap-
pily-attired host Gary Olsen.
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11.
1:00 AM
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
8:00 AM
10:00AM  Trawling  the trash
8:00 AM
8:00AM- 12:00PM      Studio
edy sketches, folk music calendar,    and    ticket    giveaways.
8-9AM:   African/World
9AM-12PM: Celtic music and
Vancouver's only true metal
show; local demo tapes, imports,
and other rarities. Gerald
Rattlehead, Dwain, and Metal
Ron do the damage.
CODE BLUE 3:00-5:OOPM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
6:00-8:00PM Tune in for ongoing coverage of T-Bird events.
Check citr.ca for details.
SOUL TREE alt. 10:00-1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
1:00 AM
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.
—Guy Smiley
Hardcore dancehall reggae that
will make your mitochondria
quake. Hosted by Sister B.
it 1 * * * trt°t t
29 discorder datebooL
what's happening in February
flock of seagulls, platinum blonde ll@commodore; heri
dono@western front; ford pier@main; gabbeh, kanda-
nar@ridge; mr. underhill, darkest of the hillside thickets, tv momas@pic pub; smell-o-vision@blinding light!!
quartetto gelato@chan centre; brooklyn sax quar-
tet@western front; dirtmitts, honeysuckle serontina, robo-
sexuals@pic pub; hot hot heat, red light sting, three
inches of blood, and films@blinding light!!; graham
brown and the prairie dogs@main; gabbeh, kanda-
nar@ridge; Vancouver's shame, mr. plow, frygirl, johnny sizzle, man o' death@cobalt; junior sanchez@wett
robin carrigan and scott smith@main; gabbeh, kanda-
suzanne vega@richard's on richards; bully, waking
//re@ridge; canucks vs. coyotes@gm place
exile on main street w/amy honey@main; dickin'
arounc/@blinding light!!; bully, waking //'fe@ridge
be good tanyas@richard's on richards; time r7/es@west-
ern front; landscape suicide, alone, life wastes andy
narc/y^blinding light!!; himalaya, cfiunhyangOridge
the new deal@sonar; cunt@railway club; crowned king,
complete, tim@pic pub; brady cranfield
(ambient)@western front; kevin kane w/mac ponti-
ac@main; time r7/'es@westem front; landscape suicide,
alone, life wastes andy narc/y@blinding light!I;
himalaya, chunhyang@ndge; smut peddling sam, mr.
plow, human hi-lite reel@ms. t's cabaret
vue, hot hot heat, 3 1 knots@pic pub; eugene ripper,
buttless chaps@railway club; parlour steps@main; time
flies@western front; the daddy of rock Vro//@blinding
light!!; down from the mountain@r\dge; canucks vs.
flames (calgary)
T'S CABARET; safety scissors, sutekh, loscil@video in,
immortal lee county killers, hi test@pic pub; matt st.
marie@sonar; the k kollective@main; time flies@west-
ern front; dj qberr@commodore; the daddy of rock
ro//@blinding light!!; down from the mounfa/n@rid<
flames vs. canucks@gm place; beulah, John vander-
30 february 2002
slice, long winters@crocodile (seattle)
SUN 10
willy krueger@main; bluesprint@richard's on richards;
the daddy of rock V ro//@blinding light!!; down from
the mountain@ndge; no luck club@w.i.s.e. hall
MON 11
zombies and cyborgs@western front; t. paul ste. marie
presents cass king, johnny wisdom, noelle pion, and
noah walker@main; great big sea@richard's on richards;
the big lebowski, the man who wasn't fhere@ridge
doug cox, todd butler, sketchy@railway club; lo-fi/sci-
fi@blinding light!!; the big lebowski, the man who wasn't ffiere@ridge; canucks vs. bruins@gm place; gwar,
goatwhore, god forbid@showbox (seattle)
WED 13
microphones, jerk with a bomb, p:ano, dream on drea-
ry@ms. t's cabaret; let's make a monster@western front;
loudon wainwright lll@richard's on richards; sonically
induced@railway club; lo-fi/sci-fi@blinding light!!; time
regained, the taste of orners@ridge; beautiful music:
soolah, sherry ostopavich, the birthday machine, please
car@sugar refinery; agnostic front, casualties@graceland
(seattle); indigo girls@crocodile (seattle)
sweaters, siobhan duvall@pic pub; kevin kane@main;
freaky flow and mc flipside@richard's on richards; fish-
bone@commodore; croon tunes@railway club; eon play
live to m/'crocosmos@blinding light!!; time regained, the
taste of orhers@ridge; heart attack@sonar; beautiful
music: joshua Stevenson, burquitlam plaza, rodney graham, parks and rec@sugar refinery; the ruby doe,
bronze, bearskin rugburn, new mexicans@crocodile
FRI 15
daro, samworth, and van der schyff@st. James
nity square; silvia kolbowski exhibition openin;
ern front; coal@main; town pants@railway club; the
burning man weekend@blinding light!!; beautiful music:
micro nice, jon-rae fletcher, sparrow, the battles@sugar
SAT 16
slayer@commodore; felchers, last of the v8s, splatter pat-
tern@pic pub; moving ideas@roundhouse community
centre; town pants@railway club; the burning man week-
end@blinding light!!; phantom 309, seamonkeys@cam-
brian hall; satina saturnina, evil stevil, the three bitches,
lava@ms. t's cabaret
SUN 17
slayer@commodore; giles gysel@main; fudge hair and
fashion show@richard's on richards; the burning man
weekend@blinding light!!
MON 18
brian@commodore; r.a.n.c.h. presenJs@railway club
undertakin' daddies@railway club; beat films@blinding
WED 20
assertion@main; singer not the songwriter@railway
club; beat films@blinding light!!
Campbell ryga quintet@cellar; filthy rocket@pic pub; bot-
tleneck@railways club; byo8@blinding light!!
FRI 22
jack harlan, conrad@main; bottleneck@railway club;
the cedar Jbar@blinding light!!; jon-rae fletcher, jay
douillard@ms. t's cabaret; george jones, mustang
ramount (seattle)
SAT 23
morgan's heritage, tony rebel@commodore; canned
hamm@pic pub; subterrain magazine launch party
w/steve dawson and elliot polsky@main; big John
bates, spectres, billy bill midnight@railway club; the
cedar bar@blinding light!!; damien jurado@crocodile
SUN 24
karl denson's tiny universe, michael franti with spearhead, blackalicious@commodore; flophouse jr.@main;
ffie cedar bar@blinding light!!
MON 25
grrrls with guitars@railway club
tennessee twin, ewoks@railway club; andy warhol
superartist@blinding light!!; st. louis blues vs.
canucks@gm place
WED 27
sonically induced night@railway club; andy warhol
superartist@blinding light!!
christopher lawrence@sonar; robert wilson@railway
club; be my junkie shac/ow@blinding light!!; dallas stars
vs. canucks@gm place; migala, for stars, treasure
state@crocodile (seattle) X-PUMP PRESEIMTS
@ Wetfc Oar
$15 advance
$$ more at the door
Available @:
Boomtown <102-1252 Burrard St.>
Bassix <217 W. Hastings St.>
Futuristic Flavour <1020 Granville St.>
All Tomorrow's
Parties Vol 1.1
Mandatory listening for
all indie-rock travel agents looking for cheap
fares and quaint accommodations this Spring, as L.A.
becomes the destination of choice for those interested
in attending Sonic Youth's out-rock festival, All
Tomorrow's Parties. Zulu's has managed to grab a
bunch of these preview comps, featuring exclusive
tracks from some of the notable players: Sonic Youth,
Unwound, Stephen Malkmus, Stereolab, Bardo
Pond, Cat Power, Papa M, Cannibal Ox, Dead C,
Boredoms, and a few others!!
CD 16.98
Kittenz& Thee Glitz CD/LP
Muzik's favorite new listen is this sprawling dance-
floor ass-shaker that rolls the last 25 years of
Eurotechno in to a giant Catnip party! Chicago DJ
Felix Da Housecat collaborates with newcomer Miss
Kitten, in a vain attempt to up the ante on the
Peaches and Gonzales 'we talk dirty' grooves, Let the
chips fall! Vocoders on!
CD 16.98
The Record Of
Capozzi Park
That was then. The city
was burning, paradoxical. Emotions were mixed. Everything was melting
into air. Over-coded signals abounded. Easy answers
were unavailable. Galleries were looking to the outside, but outsiders were looking to get in. Rock was
fermenting, decentered. Funk was set for needed
renewal, giving life to old cliches. And jazz was willing
and able in newfound ways. Most importantly, and
even with a certain urgency, the people were ready to
dance. As always, popular music continued to be a
choice refuge, a focus, a place for experimentation,
and a promise of something somehow better. Eclectic,
inspired, and daring, Capozzi Parte embodies this
unsure time, forever looking back while moving forward. Catch up with the 20th Century.
CD 12.98
Eban & Charley CD
A t some point I hope they build a
tahrine or erect a statue to commemorate the genius of Stephen      j
Merritt 69 Love Songs is more
than enough to justify a large and
winding parade through the streets of New York. Or maybe
every restaurant could offer a special Merritt sandwich that
comes with a complimentary huge dessert. Whatever decision
is made in the future, it is certain that some celebration is well
due. Who else has his capable breadth, attention to craft, and
amazing high-quality productivity? It goes without saying that
soundtrack work also becomes him. Indeed, this forum
embraces his confident and inventive eclecticism, from pop
songs, sad ballads, to odd atmospheres. I wonder if the
movie's good?
CD 16.98
Point CD/LP
A distiller of eccentric harmonies, Cornelius is doing more
than simply deconstructing the 1960's folk weirdo pop
history. Yes, we dare say that his craft approaches more than
just the en vogue audio-conceptualism characterized by calculated references to Dylan, Gram Parsons and Brian
Wilson. Indeed, the gorgeous harmonies are there, the subtle
chord changes, and the post-baroque orchestration, but
Cornelius' vernacular offers more atmosphere, mood, and
true oddball charm. Picking up on the scope of his North
American debut Fantasma this 11 song full-length is dizzying - further solidifying Cornelius as more than just the head
Bathing Ape' designer. Get the Point?!?
CD 19.98      LP 19.98
Age Of The Sun CD/LP
A friend returned recently from a year of travels, during
which time he spent a while in Athens, Georgia. He noted
that down there the popularity of "the weed" rivaled even
Vancouver's own well-reputed fondness. I'll bet Bill Doss -
Athens resident Sunshine Fix main-man and ex of Olivia
Tremor Control - likes "the weed". I'll bet he also likes
Buffalo Springfield, The Beatles and The Byrds - heck, he
even looks like Roger McGuinn with his buckskin coat and
rose-tinted glasses. Eschewing the more oddball aspects of
his former band's output, Age Of The Sun is pure, sugary,
goodtime pop - the feel-good hit of summer 2002, six
months early. Whether you like "the weed" or not, you can't
argue with that.
CD 16.98     LP 16.98
The Bloody Hand CD
Rock It To The
Moon CD
Sleeping On Roads
London called Speed of Sound,
which features members of
Heavenly and The Headcoatees.
Their mixture rasping of electric organ squalls and twangy
guitar peels is an aural treat that most Vancouverites will
probably never get to experience. Take solace in the fact thai
the Mr. Lady label has picked up an LP by another British
band who have basically the same sound. That's basically
the same, because Brighton's much-feted Electrelane, take
SOS's "soundtrack lo-fi" style to a level of strung-out intensity which is entirety their own. So impressive is Reck it to
the Moon that every play we give it on the spiffy new Zulu
PA yields a veritable flurry of enquiries and/or purchases.
Watch them take off.
CD 19.98
Waking up woozy and afflicted     I  HHw^J
with a terrible red wine hang-    I -
over, you make your way to the        I	
pantry to see what's in the icebox. A
cocoon-like frost coats the windows, sealing in the fragile
silence and serene beauty of your flat, minus the usual housemates. White two eggs poach in an inch and a half of vinegar
infused water, you decide to give yourself to the only love in
your ascetic existence - your Martin Double 0. Little do you
know but these simple pluckings that aesthetically land somewhere between Neil Young and Nick Drake, will be the foundation of the solo debut that will save your life. A wonderful
listen from this member of Mojave 3.
CD 16.98
NEIL HAGERTY Plays That Good CO In exile ex-Royal
Trux kingpin settles the score.
DJ LOGIC The Anomaly CD Just opened for Amon Tobin,
a nice full length!
CHUCK E. WEISS Old Souls & Wolf Tickets CD A star in
the universe of Dennis Hopper, lightnin' Hopkins and Tom
Waits of course!
VIOLET INDIANA Casino CD A post-Cocteao Twins
MOUSE ON MARS Agit Itter It It CDEP Witness the
rebirth of their pure electronica styles.
FISCHERSPOONER #1 CD/LP The future of pop is here.
Controversial electro-beats.
Meet Victoria's Carey Mercer — intelligent, articulate,
unfailingly polite and well mannered. A true gentleman... until he takes the stage that is, whereupon a transformation occurs. In his stead stands a howling lunatic,
channelling generations of demons through his reverb-
drenched microphone and staccato guitar chords, backed by
the carnivalesque cacophony of his band, the inimitable Frog
Eyes. Some of you may be familiar with Mr. Mercer's previous outfit, Blue Pine, whose self-titled debut is one of the'
finest local releases to grace oar shelves in recent years. The
sound is similar, but the scope has expanded with the addition of keyboards and more expert use of recording technique. The result is a never less than compelling listen, alternately sweet and savage (like the man himself). With The
Bloody Hand, Frog Eyes have managed to produce a cohesive whole without sacrificing the fire and brimstone intensity of their live performances, a rare feat indeed.
CD 12.98
Different Tastes of
Honey CD/4LP
After the huge success of the
"Suzuki* album, Tosca returns
with an afterburner - the already
traditional collection of mixes.
This time, the choice cut is "Honey," a tune that rocked radio,
clubs and HiFi sets alike. Focusing on this one song, an all-
star team of remixers offers an all-new variety of moods:
Markus Kienz! from the Sofa Surfers with an heavy bass &
beat mix, Massi Shelter AV and Azois from Nylon Records
with impressive Downtempo work, and The Funky Lowltves
(Faze Action) with a pushy groove & percussion driven version, Further, we have Faze Action (Nuphonic), Glyn Bush
(Rockers HiFi), Sunatone (from Paul's Boutique with a wonderful deep rooted Jamaican vibe), Andy Spence (Tommy
Touch), Kieser.Velten, and last but not least, Freedom
Satellite, who round up this package with subtle sounds
that flow sweet as Honey!    Available February 12th
CD 19.98     4LP 36.98
AZURE RAY November CDEP A fine dreamy Mazzy Star-
esque listen.
FILA BRAZILIA Jump Leads CD Renegade beats, avant
garde soul, stolen voices, jazz licks, DJ kicks and
heavy, heavy bass!
SKANFORM Hand-picked Fragments CD A lush sound-
VINCENT GALLO So Sad CDEP/12" Further fan
worship material.
MONSTER MOVIE Last Night Something Happened CO
A new release a la Air and Yo ta Tengo from other rr
bers of Slowdive!
Do your turntable a favour!
20% OFF
including collectors wax!
Coupon valid until February 17, 2002
LOSCIL In-Store Sunday Feb. 17th 4:00pm
'• Just back from a European Tour, Scott Morgan
i Loscil brings his laptop by for a demonstration
f his Triple Point thermodynamics
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232


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