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 flip" 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. beai iful n B by doretta i p. 26 Regulars 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 Cover 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 squale Lori Kie Christa sling Min B editor: salves v editor: real live autit Ann Con I... ;. Dai Chri a Mm LIS. Duck 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 charts: Luke Meat datebook) Ann Goncalves © "DiSCORDER" 2002 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents ■e $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the March issue is February 13th. Ad space is available until February 20th and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. 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: SATURDAY FEBRUARY 02 INSIDE Annual Review - PATRON PRIDE NIGHT w/ resident DJs DICKEY DOO & TODD OMOTANI, PLAN B in the lounge w/ CLARENCE & HIS SOUL/JAZZ CREW / 9 - 10 warm up w/ Franc Logik. Doors 9pm / Cover $10 THURSDAY FEBRUARY 07 NEW DEAL Uive Records DC'' I Progressive Break! - I'ets $13.50 @B VRY09 WE&smm mmmgmm mt MAT STE-MARIE (BBCM, Stereo Bar - MTRL) @ eps back insi ' INSIDE The man who threw f rTBA WEDNESDAY FEBRUARY 13 OMAN & RIZK present STARTIME SOUND CREW feat DJ FRESH & MC BABY J @ GRANDE Plus NORE's ne< THURSDAY FEBRUARY 14 HEART ATTACK-an Agg s/5MCs/5DJs-Madgiv SUNDAY FEBRUARY 17 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 FRIDAY FEBRUARY 22 SWITCH with Legendary Friday Res Putting the F.U.N, back in FUNK! Stcx ^fetiiwfr THURSDAY FEBRUARY 28 CHRISTOPHER LAWRENCE (Moor '] The Ame ' ~ rs 9pm / Advance tickets $14 @ Bassix, Boomtc Hypnotik, Obstruction THUSDAY MARCH 07 VMASS w/ Soulfly, Soulsi:' ' SISTA'HOOD 2nd 1—I female talent Doors 9pm / Advance tickets $10 @ Ba edbyPHLca the world' CD release 'Jt'M. J.. J ,^! 'I"!'. ^'MMLTi* l.'ilw s MR. SCRUFF (Ninja Tune / G Y APR 2 - FILA BRAZILLIA (23 Re THURSDAY APR 4 - MARK RAE (Rae & Christian, Grand MONDAY: CLOSED WEDNESDAY: FRIDAY (6-9) - THE BIG SHMOOZE AFTER WORK SOCIAL FRIDAY - SWITCH - HIPHOP SATURDAY - INSIDE - FROM HOUSE OF VENUS SUNDAY - SUNDAY SESSIONS - DRUM'N'BASS 3 discordcr learairhca fucliin: 233-6138 SUB Blvd. Va club.a by Christa Min INDIE ROCKER LASHES BACK Finally. —Christa Min WHERE'S MY HAPPINESS? 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 again. Dear irhead, 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. Kat We don't really know what happened to thai column. It ended when Miyu stopped writing it. She "realized that it was really had."—Ed. 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 TOAD THE WET SPROCKET'S 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 ago." THAT WAS A LONG 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 TOAD THE WET SPROCKET 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 LDU1EST DFTHE LDUI Robson & Burrard 604.669.2289 bullet Get the new LIVE ALBUM featuring 17 tracks recorded in Toronto & Buffalo, plus the 3 song bonus studio CD featuring the single "New Westminster Taxi Squad" YES BOY m 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 them. 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 geography >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 iiaiiaiiiiE^iHHmHiHBMnH 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 911 EMERGENCY RELIEF 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 DAREDEVIL: YELLOW. God, 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 SEND US SOME MAIL. discorder@club.ams.ubc.ca 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 OUT OF DESOLATION AND MISUNDERSTANDING, GREY EXUDES A QUIET HOPEFULNESS. 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 books. TAMMY ARMSTRONG 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 JUDY MACDONALD (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 i-ups.' 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- thos, Empire F night 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 Ohio /ay— 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 aches, and 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 from THE FORTY-FIVES (out of Atlanta, GA), with the surefire hit "My Kind Of Girl," a by Bryce Dunn 'shaker tella s renditi A hi*.. monl fors 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 ("Geronimo Roll'VCho sounding 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) bv THE EVERYDAY SINNERS nigh-. nd-t npo numbers of which the Garden City crew would have been all too proud. (Unity Squad Records, PO Box 1235 Huntington Beach, CA 92647 USA) [ma iurpnse my Soul 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. Now JERRY MCCAIN AND HIS UPSTARTS are 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 THE HARD FEELINGS pay 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 . But for TEACHER'S PET . 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 Sup,- song , "Pom r .ides offer i, but n Girls, ,uhe 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 CLASS ASSASSINS for being 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< THE FOURTH ANNUAL VANCOUVER UNDERGROUND FILM FESTIVAL SEE ME, FEEL ME 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 Elm lllle lignil 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 the FROM KITCHEN A W. HOWES FROM SEX AND SADNESS BY BRIAN MACDONALD 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 ingw .Mil.', 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 diof ree prewre A fairly prod pie 0 illec .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 \ ork. 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 <reeeeeal@hotmail.com> I remember a joke by some Chri: open- tmg. • 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 that I read PRAGMATISM BE 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 liv V.ii (Rickie Owens, 230 2nd St., NW, Medicine Hat, ABT1A6J5) The Sugar Refinery was the ■r/fihi naker 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. • MEDITERRANEAN HOMECOOKIN' • DRINKS • LIVE MUSIC 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 EVERY TUESDAY EVERY WEDNESDAY EVERY THURSDAY 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 Coal TBA Bandcouver Sunday w/Giles Gysel Assertion 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 I FEBRUARY 7 I I FEBRUARY 13 I Loudon v M \*W , AieM ^JsriP^ theNEWDEAL wainwright m 1 riCKETS ALSO AT ZULU AND HIGHLIFE ■■■ lllwl IWll ^r\ l \ I FEBRUARY 181 I RICHARD'S ON RICHARDS I LIVE IIM PERSON! j, w *™**& the n,5<», <oohi«# IFISIMHvE iin'i'Vi'iiiiniiiil>M liili> l TICKETS JUST 29.SO + S/C! 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C^Ulh msDr moldy &&c*cH&s *^ \JCTTH r.IIF.STS oaRWiN's waitiNC Room SUPERCHABCINC AMERICA mi'Siz MAR 15 & 16 FRIDAY S SATURDAY XFM St. Patrick's Day Weekend SPIRIT OF i THE WEST M**V J RICHARD'S ON RICHARDS I i ALL AGES - GENERAL ADMISSION I "^1 1 UPCOMING HIGHLIGHTS {■[■UiMHU J FRIDAY FEBRUARY 8 SHAGADELIC SWINGER'S BALL V SATURDAY FEBRUARY 9 DJQ-BERT »„^„..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 604-280-4444/www.ticketmaster.ca *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 that." 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- By tobias v stof? 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. $12 @ door. 10pm-2am. Info at www.sliriimtribe.con ii discorder HELLCAT RECORDS PRESENTS... Sand fyt Distiller! DropfjTcfflflurplrijo ICaro Ifrtfierilfoeii ftifo Dcvilo Sr«$e (featuring iflatt freeman from Sancfo) A0iioof(c5toiit K%Djaip #r S#cr Artmi Duane {Jctcrs M) (Djcltomte &rj>otnanti* * 3to$er $tttt Arit« el;e Dtoaofcro leftover toff (Djc ^lacffero |oe §trummer M S;c iHcocalcroo Hcpcat <Il;c pfctaotcro ifloutljtoaolj SIjc (BaDftta (D)c -Xtrvc Agtnto 2\§w\p 3$ottuo$fteoo 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 = change. 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 back? 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 BV ELEEk ReadYMade 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- larization. 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. TO EUERVONE REHDZNE, FIGHT THI5 FUCKIN1 TREHTV PROCESS REFERENDUM NITH VOUR DYING BREATH. 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, I Ihe i ■cltthc, ■i-the] mills aboi ■ dm! lets he, happe j iaA>~£ m&*~fc j were in Vancouver, where you 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 English? 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 Endearing? 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 together. 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. Why? AM W/Yv X$ 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. Oh. 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 laughing.] 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? Sure. 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 spoiled. 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, though. 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. • -www.bocephusking.com 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- ter[. 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? Halford! 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, landol top.. ! Tin »rde> sette 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 thing? .'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 arrange 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 horns.* 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 between. 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. Yeah. 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. AndG? 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 song.] 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? PINK. 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 ALI AZIMIAN S/T (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 Times. CAPOZZI PARK 77ie Record of Capozzi Park (Independent) 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- nade 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 DAHLIA 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. Cato DJ COLETTE Our Day (EMD/Nettwerk) 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. Cato ENSEMBLE ABSTRACT 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. Cato F-MINUS Suburban Blight (Hellcat) 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 FIYAH (Independent) Bare and honest, perhaps under-produced, Fiyah have a and a cmg 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 VIDEO IN STUDIOS we offer technical training in video, audio and new media production and post- production including: we also have a 2000 sq. ft. studio available for rental for production purposes, screenings and audio and music events, for more information contact Tricia Middleton at 604.872.8337 info@videoinstudios.com www.videoinstudios.com final cut pro avid xpress protools digital audio editing / sound design camera, lights and sound aftereffects photoshop hours: 11-6 mon - sat 0f CITR DJ PROFILE NORMAN MOTOBBABBY WEDNESDAYS 3:00-S:00PM 1 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: Meatloaf. 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: Ann-Margret. 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 "if ^£ .•"'* 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 Westminster. 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 light. 11 be your children from ruel history. And ours. Mullein Buss whicl With DJs Bi| Hopeless GHOST ORCHIDS Architecture EP (Global Symphonic) My anemia was acting up so I the : and 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 nightli side, \a e—like 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. Lilitu GOLD CHAINS S/T (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 Cex CLIVE HOLDEN W/ JASON TAIT, CHRISTINE FELLOWS AND JOHN K. SAMSON Trains of Winnipeg (Endearing/Cyclops Prt This CD, ed Holden'sbrealhtakin 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 o-bori 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 Spike DAMIENJURADO 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 RICHARD LAINHART Ten Thousand Shades of Blue (XI) 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 BONUS REUIEHS INCLUDED ON THE NEXT FREE! NESDAYSiEBES TOOL Mq^ tori Amos Johnny Cash Eminem Tom Waits etc'ltc Rhino Party drinking games Hli]4iIiTi];l:fiV.IOI 2291 W. BROADWAY @ VINE) 3*4 FREE Before IO Is* 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 monks. 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 ecordingofthei 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 dynamics. 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. PC PIEDMONT SORPID Wilberforce (daintydeathy) 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 REMOVAL There Can Be Only None (removeallmusic) 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. STICKY RICE 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. 604-675-9227 open: mon-sat: 11-6 sun: 12-4 I www.teenagerampagerecords.com lIlSjgMJttiajflTHE I AKI I : COMING SOON! j three inches J of blood I "battle cry under ^ a winter sun cd \ billy the kid j& the lost boys aVfcd* streets "s/t" cassette* AVAILABLE NOW! \ the blackjacks > "s/t" cdep | trOOl . the witness protection §8 program W the revolution..." cd \ IrOOl * not actual cover PUNK/INDIE/HARDCORE O cd's/lp's^'s $/ new/used <jg> buy/sell/trade gift certificates available now 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! Spike NOBUKAZU TAKEMURA Sign (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- mpo- lated t nent. The rest of the album's i that great, either. Donovan VARIOUS ARTISTS Buy Nothing Day: The Album (Independent) 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 www.teddave.com/noth 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. Spike VARIOUS ARTISTS 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.... «©«.»o starsailor hear what the buzz is all about at fAuskwfotld 22 february 2002 real live: action i 'SOs-ii spired e ling o >1 pop a live music reviews THE DEARS 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 ntlv 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 THE PSYCHEDELIC FURS ECHO AND THE BUNNYMEN 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 Because humpta1 n gondii}1 isn't really our thing. iBSBB- t\wsc',nch / °*ayt°daV C \\*e,'tssSU 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 veil. SAUL WILLIAMS Saturday, December 2 '-spy 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. Carlos SOLID STEEL TOUR: DK, STRICTLY KEV, BONOBO AND FOUR TET 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 Buy thoughtful™ albums! 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- iftheVogel-style s he i; das lortei lany 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, Jo, Mitchell. 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 ANGELS OF LIGHT VIRGIL SHAW AND THE KILLER VIEWS 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 glue. 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 DUB NARCOTIC SOUND SYSTEM EVAPORATORS OPERATION MAKEOUT THEE GOBLINS 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 Serviette. RoBeRt RoBoT DENIZ TEK AND THE GOLDEN BREED NEW TOWN ANIMALS WITNESS PROTECTION PROGRAM 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 WESLEY WILLIS GRAND BUFFET CUSTOM ON IT 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 Ul TwinF 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! $5ppd 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) $< SATURDAY MARCH 2, SEYLYNN HALL, NORTH VANCOUVER (6th RIRTHDAY OF ALL-AGES SHOWS AT SEYLYNN HALL) — SATURDAY MARCH 9, PICCADILLY PUR (ANNA MAKEOUT'S BIRTHDAY PARTY WITH VOLUMIZER, CLOVER HONEY/THE EWOKS, AND MORE) 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 SATURDAY FEBRUARY 23, BRICKYARD (WITH WEDNESDAY NIGHT HEROES, BLACKJACKS, WITNESS PROTECTION PROGRAM) 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 RECORD RELEASE PARTY: TUESDAY FEBRUARY 26 RAILWAY CLUB (WITH THE EWOKS) Various Artists Carolyn 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 AVAILABLE FROM YOUR FAVE RETAILER OR FROM MINT RECORDS pop-rock gem cally just wo-i my songwriting," explains Kleiner "t thought He was looking Por a Pull-time commitrnen $12ppd 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 RECORD RELEASE PARTY: TUESDAY MARCH 2, WISE HALL 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 RECORD RELEASE PARTY: SATURDAY MARCH 9, PICCADILLY PUB (aka ANNA MAKEOUT'S BIRTHDAY PARTY OPERATION MAKEOUT, THE EWOKS, AND voiumizer 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 LOVAGE NO LUCK CLUB 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 irough lis usual repertoire of i msical ricks. I he scratching w, s flaw- ess, of course. Each nembers maintained th of the aseball 3ip, and some solid p aying. the least of the evening's irds. I hope Lovage contin- Naben Ruthnum TONY FALINE GROOVEROBBER 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 Fall 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 PONGA ANZA Club 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. ndtl i. Jaz: egghe 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 dam ■ floe offei begin. 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! ValC 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 best 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 o,v 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 lllllllllllfll 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 1 the cleats save yourself longshot 1 three inches of blood tonight we rejoice 2 tim hecker haunt me subtractif 2 tijuana bibles mexican courage trophy 2 the epoxies need more time 3 mr. t experience and the women who... lookout! 3 victims family calling dr... alt. tentacles 3 the organ we've got to meet 4 stereo total musique automatique bobsled 4 red hot lovers s/t redline 4 tennesse twin these thoughts are occupied 5 ana bon bon sister independent 5 butchies where r we mr.lady 5 red hot lovers fuck or fight 6 Cornelius point matador 6 new town anime Is lose that girl mint 6 ths spinoffs novelty garb 7 sam shalabi on hashish alien8 7 riff randalls how 'bout romance lipstick 7 panurge listen to your own 8 cleats lost voice, broken strings independent 8 the evaporators honk the horn mint 8 bestest willfor 9 de la soul aoi: bionix tommyboy 9 the lollies channel heaven evil world 9 sharp teeth burn return 10 pop shove its the pop shove its independent 10 the stereo/ulti nate fakebook split popkid 10 mr. solid already gone 11 los straitjackers sing along with cavalcade 11 the locust s/t gsl 11 second narrows live off the floor 12 just barleys s/t independent 12 psychoplasmz am 1 deranged? ir sidious urban 12 byronic heroes ant dance 13 Vermont calling albany kindercore 13 matt pond this is not polyvinyl 13 human hi-lite reel lamb-a-rama 14 felix da housecat kittenz and thee glitz emperor norton 14 megabrats ode to mintor dooI or pond 14 softcore you won 15 trail vs. russia the anvil one gold ruble 15 the braille drivers 20 class a... hey frankie 15 the hoodwinks alibis 16 karp action chemistry punk in my vitamins? 16 marmoset/firtips s/t a nimal world 16 your funeral girl guide cookies 1 7 princess superstar is rapster 17 eleni mandell turn on... heart of a champion 17 hummer latest thing 18 june cold from the outside independent 18 bright eyes motion sickness blood of the young 18 six block radius kill to hide 19 set fire to flames sings reigns rebuilder alien8 19 the class assassins no justice... insurgence 19 the radio la dolce vita 20 einsturzende neubauter strategies against architecture mute 20 destroyer 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 ( CHARTS WORK) 25 operation makeout first base mint HOW THE 26 subb ultimate highstep to hell stomp 27 silver mt. zion born into trouble... constellation 28 le tigre feminist sweepstakes mr. lady Th 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 Ci 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 SUNDAY ARE YOU SERIOUS? MUSIC 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. THE ROCKERS SHOW 12:00- 3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00-5:0OPM Real-cowshit- caught-in-yer-boots country. CHIPS WITH EVERYTHING alt. 5:00-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your jet set holiday now! 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- and RHYTHMSINDIA 8:00- 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- MONDAY BBC WORLD SERVICE 6:00- 8:00 AM BREAKFAST WITH THE 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! THE MORNING AFTER SHOW alt. 11:00-1:00PM GIRLFOOD alt. 11:00- 1:00PM PARTS UNKNOWN 1:00- 3:00PM Underground pop for the minuses with the occasional interview with your host Chris. STAND AND BE CUNTED 3:00-4:00PM DJ Hancunt wants you fo put your fist to the wrist—you know ABSOLUTE BEGINNERS 4:00- 5:00PM A chance for new CiTR DJs to flex their musical muscle. Surprises galore. WENER'S BARBEQUE 5:00- 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- 6:30PM Movi< sand c MY ASS alt. 6:30-7:30PM Phelps, Albini, V me. WIGFLUX RADIO 7:30- 9:00PM thought we'd go into blurb sux, but our n't. Tune into Wigflux ith your hosts Vyb and i. Oi Krystabelle. THE JAZZ SHOW 9:00PM- 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 Spaulding. 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." VENGEANCE IS MINE 12:00- 3:00AM Hosted by Trevor. It's ck, baby! Gone from the bul fro —thank fucking Chris TUESDAY PACIFIC PICKIN' 6:3O-8:0OAM 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 <worldheat@hotmail.com>. THIRD TIME'S THE CHARM 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. ELECTROMAGNETIC PULSES alt. 11:30AM-1:00PM PARTICLE 1:00-2:00PM Incorporated into the soul are Sunday Monday Tuesday Wednesday Thursday Friday Saturday REGGAE LINKUP ARE YOU SERIOUS? MUSIC ROCKERS SHOW BLOOD ON THE L SADDLE h| Po I gL—j T BBC WORLD SERVICE PACIFIC PICKIN' BREAKFAST L~ WITH THE BROWNS WORLD HEAT1 jwtT THIRD TIMES THE CHARM Lk THE MORFT ING AFTER SHOW PARTS IE UNKNOWN BLUE ,-i-, electro ..„.ir.jG MAGNETC MONDAYl_r_l PULSES Tk CPR STAND AND BE CUNTED(CF) ABSOLUTE BEGINNERSL MEAT EATING VEGAN(Ec) C WORLD SERVICE SUBURBAN JUNGLE FOOL'S PARADISE L THE NORTHERN WISH Tk RADIO FREE PRESS L MOTORDADDY RACHEL'S [*" SONG BBC WORLD SERVICE END OF THE WORLD NEWS IE PLANET LOVETRON CANADIAN L!l LUNCH Tk | Hh BBC WORLD SERVICE CAUGHT IN THE RED SKA-T'S L SCENIC DRIVE THESE ARE THE BREAKS ThTT" LEO RAMIREZ L^. SHOW NARDWUAR PRESENTS BBC WORLD SERVICE | Rts THE SATURDAY EDGE SOULSISTAH RADIOL: POWERCHORD CODE BLUE 10 ' 11 12*" 1 2 3 4 5 6 10,000 VOICES (Tk] ELECTROLUX HOUR QUEER FM EVIL VS. GOOD MY ASS |Ec| FLEX YOUR HEAD E POP GOES THE Ec WEASEL L OUT FOR KICKS u RHYTHMSINDIA I Vfo WIGFLUX RADIO1" T* ~^HE 0 JAZZ SHOW SALARIO MINIMO AND SOMETIMES! Po/Ec I' WHY ON AIR Ol WITH GREASED HAIR FAREASTSIDE SOUNDS venu: FLYTRAP EJ IS k£ pAb Iris soulI— SONIC WANDERLUST LIVE FROM... '— THUNDERBIRD HELL AFRICAN RYTHMS UBC THUNDERBIRD SPORTS SYNAPTIC SANDWICH TEJ HIGHBRED VOICES SOUL TREE TRANCENDANCE VENGEANCE IS MINE! HANS KLOSS' MISERY HOUR BREAKING L1 WAVES IN YOUR HEAD h BBC WORLD SERVICE AURAL TENTACLES PSYCHEDELIC AIRWAVES FIRST FLOOR SOUND SYSTEM PLUTONIAN NIGHTS BBC WORLD SERVICE PIPE DREAMS REGGAE LINKUP 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) 3:30-4:30PM ELECTRIC AVENUES 3:30- 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 disabilities. THE MEAT-EATING VEGAN 4:30-5:00PM 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. hrtp://flexvourhead.vancouver- W SALARIO MINIMO 8:00- 10:00PM VENUS FLYTRAPS LOVE DEN alt. 10:00PM- 12:00AM <loveden@hotmail.com> SOULSONIC WANDERLUST ait. 10:00PM-12:00AM Phat platter, slim chatter. AURAL TENTACLES 12:00- 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 WEDNESDAY BBC WORLD SERVICE 6:00- 7:00 AM THE SUBURBAN JUNGLE 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 gem! <suburbanjungle@channel88.com> FOOL'S PARADISE 9:00- 10:00AM Japanese music and talk. THE NORTHERN WISH 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 RADIO FREE PRESS 2:00- 3:00PM Zines are dead! Long live the zine show! MOTORDADDY 3:00-5:00PM "Eat, listen Motordaddy, repeat. RACHEL'S SONG 5:00-6:30PM Socio-political, environmental 'ith : War On Terrorism" Part 2 Feb. 20: A show on Bjork Feb. 27: Ethics and Genetics POP GOES THE WEASEL 6:30- 7:30PM AND SOMETIMES WHY alt. 7:30-9:00PM (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 andrr !. Not a <folkoasis@canada.com> STRAIGHT OUTTA JALLUND- HAR 10:30PM- 12:00AM Let DJs Jindwa and Bindwa Bhungra! "Chakkh de phutay." HANS KLOSS' MISERY HOUR 12:00-3:00 AM FIRST FLOOR SOUND SYSTEM 3:00-6:00AM THURSDAY BBC WORLD SERVICE 6:00- 8:00AM END OF THE WORLD NEWS 8:00-10:00 AM PLANET LOVETRON 10:00- 11:30AM Music inspired by Chocolate Thunder, Robert Robot drops electro past and present, hip hop and intergalactic funkmanship. CANADIAN LUNCH 11:30AM- 1:00PM STEVE AND MIKE 1:00- 2:00PM Crashing the boy's club in the pit. Hard and fast, heavy and slow (hardcore). THE ONOMATOPOEIA SHOW 2:00-3:00PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00- 5:00PM LEGALLY HIP alt. 5:00-6:00PM PEDAL REVOLUTIONARY alt. 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- fainability.com/dinos/radio OUT FOR KICKS 6:0O-7:30PM No Birkenstocks, nothing politi- We don't get paid heap of over 50 years worth of real rock V roll debris. SKAT'S SCENE-IK DRIVE! 10:00 AM-12:00PM Email requests to <djska_t@hot- THESE ARE THE BREAKS 12:00-2:00PM Top notch crate diggers DJ Avi Shack and Promo mix the underground hip hop, old school classics and original breaks. THE LEO RAMIREZ SHOW 2:00- 3:30PM NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30- 5:00PM CITR NEWS AND ARTS 5:00- 6:00PM FAR EAST SIDE SOUNDS alt. 6:00-9:00PM AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa, and African music the world. HOMEBASS 9:00PM- 12:00AM Hosted by DJ Noah: techno, but etc. Guest DJs, inti <http://www.necessaryvoices.org> Feb. 6: Noam Chomsky "New War On Terrorism" Part 1 Feb.13: Noam Chomsky "New Hosted by Chri ON AIR WITH GREASED HAIR 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. <ripitup55@aol.com> LIVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bandz from 10-11. HIGHBRED VOICES 11:00PM- 1:00 AM PLUTONIAN NIGHTS 1:00- 6:00AM Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs http://plutonia.org FRIDAYS BBC WORLD SERVICE 6:00- 8:00 AM CAUGHT IN THE RED 8:00- 10:00AM Trawling the trash SATURDAY BBC WORLD SERVICE 2:00- 8:00 AM THE SATURDAY EDGE 8:00AM- 12:00PM Studio edy sketches, folk music calendar, and ticket giveaways. 8-9AM: African/World 9AM-12PM: Celtic music and performances. SOULSISTAH RADIO 12:00- 1:00PM POWERCHORD 1:00-3:00PM 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. ELECTROLUX HOUR 5:00- 6:00PM UBC THUNDERBIRD SPORTS 6:00-8:00PM Tune in for ongoing coverage of T-Bird events. Check citr.ca for details. SYNAPTIC SANDWICH 8:00- 10:00PM 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 REGGAE LINKUP 4:30-9:00AM Hardcore dancehall reggae that will make your mitochondria quake. Hosted by Sister B. CITR IS ON THE WEB AT WWW.CITR.CA LISTEN ONLINE 24 HOURS A DAY!!! ^K^^^^^^7^^ it 1 * * * trt°t t 29 discorder datebooL what's happening in February SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE MARCH ISSUE, THE DEADLINE IS FEBRUARY 26. FAX LISTINGS IN TO 604.822.9364 OR EMAIL <DISCORDER@CLUB.AMS.UBC.CA> 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!! SAT 2 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 bar SUN 3 robin carrigan and scott smith@main; gabbeh, kanda- har@ridge MON 4 suzanne vega@richard's on richards; bully, waking //re@ridge; canucks vs. coyotes@gm place TUES 5 exile on main street w/amy honey@main; dickin' arounc/@blinding light!!; bully, waking //'fe@ridge WED 6 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 THURS 7 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 FRI 8 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) SAT 9 CiTR PRESENTS A RECORD RELEASE PARTY: TRAIL VS. RUSSIA, METIC, VERMILLION@MS. 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 TUES 12 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) THURS14 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 (seattle) 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 refinery 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 CITR PRESENTS VOLTA DO MAR, SAUL DUCK, TRAIL VS. RUSSIA@MS. T'S CABARET; carl cox, dj brian@commodore; r.a.n.c.h. presenJs@railway club TUES 19 undertakin' daddies@railway club; beat films@blinding light!! WED 20 assertion@main; singer not the songwriter@railway club; beat films@blinding light!! THURS 21 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 (seattle) 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 TUES 26 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!! THURS 28 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 TUESDAY, MARCH 12TH @ Wetfc Oar CHICAGO HOUSE LEGEND ( DUST TRAXX / NOCTURNAL INTERLUDES ) rf7s7&j Tickets: $15 advance $$ more at the door Available @: Boomtown <102-1252 Burrard St.> Bassix <217 W. Hastings St.> Futuristic Flavour <1020 Granville St.> wett VARIOUS ARTISTS All Tomorrow's Parties Vol 1.1 CD L J 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 FELIX DA HOUSECAT 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 CAPOZZI PARK The Record Of Capozzi Park CD 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 STEPHEN MERRITT Eban & Charley CD A t some point I hope they build a /"Yshri XH!| / ■ 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 CORNELIUS 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 THE SUNSHINE FIX 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 FROG EYES The Bloody Hand CD ElfCTRELANE Rock It To The Moon CD ^s^!? NEILHALSTEAD Sleeping On Roads CD 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 ALL PRICES IN EFFECT UNTIL fi PLAN YOUR ROUTE WITH THESE: 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 outing!! 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. MISS KITTEN AND THE HACKER First Record CD/LP 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 TOSCA 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- collage! 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 USED VINYL 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 IJSfflSg! Zulu Records 1972-1976 W 4th Ave Vancouver. BC tel 604.738.3232 www.zulurecords.com STORE HOURS
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-02-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2002-02-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2002_02 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 3a92eb28-b93f-4951-9a0d-f1eddd1268a9 |
DOI | 10.14288/1.0050832 |
AggregatedSourceRepository | CONTENTdm |
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