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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-09-01

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 September 2000
Budget magazine §rom CiTR IOI.9gfD
Interviews with
BocaB music directory! SEPT
2000     J§^
®       ^i§ v/sa
lIR CANADA       rl\H J        ^——■
Great Soundtracks!
Cummins), a boxer, struggle
with a decade old Iragedy. Spirit
myth converge in this compelling di
Clement Virgo {Rude. VIFF 95), v
tures the acting debut of R&E
Deborah Cox. With Downpour (
mm). Aaron Woodley's stop-motion
short about duelling planters.
Benjamin Smoke (USA. 80 min.)The sou1
inspiration to artists like Patti Smith and
Michael Stipe, the gravelly voiced Benjamin
was a genuine underground legend — HIV-
Jem Cohen and Peter Sillen have crafted a
This film is sponsored by
101.9    fM
What About Me: The Rise of the Nihilist Spasm Band
(Canada, 75 min.) For more than 35 years, the Nihilist Spasm Band
has performed its own unique brand of wild, improvised noise music.
Zev Asher's highly entertaining experimental documentary explores
the history of Canada's strangest musical group. With: Me, My
Shadow and I (Canada, 15 min.), Desiree Leal's short about a do-it-
yourself Granville Street n
i\ Factory (USA. 9
ird Furlong) can t
es Willem Dafoe's I
ed inmate Earl Copen, the
is wing. Score by John Lur
Skewed Korean
Iron Ladies (Thailand, 104 min.) A
Thai answer to Priscilla, Queen of the
Desert, Yongyoot Thongkongtoon's
debut feature tells a true story: the trials, tribulations and eventual triumph
of a tranvestite volley-ball team. An
unmissable entertainment.
6ixty-nin9 (Thailand, 114 min.) Pen-
ek Ratanaruang's highly enjoyable
black comedy is sort-of a riff on
Psycho— from Marion Crane's point-
of-view. A woman who has been
"downsized" out of her job in banking
finds a box of used notes on her
doorstep. Soon there's a small mountain of male corpses inside the door...
Winner, FIPRESCI prize, Hong Kong,
Psycho Beach Party (USA, 94 min.)
Shaking bikinis, muscle-bound
surfers, a surf-babe with a split personality, and assorted severed body
parts are just part of the fun in Robert
Lee King's madcap romp. Captain
Monica Stark (Charles Busch) is
called to investigate a string of grisly
murders at Malibu beach... Surf's up!
Wild Zero (Japan, 98 min.)
Motorbikes! UFOs! Zombies in Love!
Rock 'n' Roll! It's Night of the Living
Dead meets Rock 'n'Roll High School
in Tetsuro Takeuchi's story of love
gone wrong, as Ace falls for a girl with
a secret while attending a Guitar Wolf
concert in a town taken over by creatures from outer space!
The Foul King (South Korea, 112 min.) A
smash hit in Korea this year, Kim Ji-Woon's
semi-sad comedy about a klutzy, incompetent
bank clerk (Song Kang-Ho) who invents himself a second identity as a wrestling-ring villain
is a total joy. Part of the pleasure is that it does
none of the obvious things you expect...
The Virgin Stripped Bare by Her Bachelors
(South Korea, 127 min.) Hong Sang-Soo (winner of our Dragons & Tigers Award for The Day
a Pig Fell into the Well) returns with his funniest and most playful film. On the day Soo-Jung
decides to give her virginity to one of the two
men who loves her, she and he have very different memories...
Attack the Gas Station (South Korea,
113 min.) Heading up this year's special
focus on skewed Korean comedy, Kim San-
Jin's very funny, very anti-social movie is
about four guys with grudges against society who take over a gas station for the night.
What happens has to be seen to be
believed: prepare to roll and be rocked.
The Happy Funeral Director (South
Korea, 97 min.) In a small country town
where nobody has died for ten years, the
undertaker's shop doesn't offer the best of
employment prospects... Chang Mun-ll's
wry comedy is generally likeable and
humane. But it does have a couple of
choice sick jokes.
by phone, call (604) 685-i
ti Festival Hotline at
; begin, accepting VISA ar
Free CBC-TV Sneak
Preview Guide available
September 6!
IHHJTlHMllJJ4,HHIlMa Features
The Spitfires
Ryan Moore
(The) Beans
Local Knobs
Battle Axe Records
Vancouver Nights
Local Seen?
barbara "a+" andersen
ad ho:
maren hancock
art director:
jenny watson
production manager:
christa "c-" min
photo editor:
ann goncalves
layout: christa, jenny, tess
dehoog, lori kiessling, wynne,
tara we stover
photography and
illustrations: bleek, casey
bourque, ann goncalves, lori
kiessling, scott malin, sam
macklin, tobias van veen
production: bree baxter,
julie colero, steve dipasquale,
ann goncalves, hancunt,
daniel jurnove, randall
mindell, nate, katie riecken,
anthony schrag, erin shaw,
rob willis
contributors: bleek, casey
b, chris c, julie c, mike c, paul
c, steve d, rana e,   jamaal f,
robin f, namiko k, sam k,
jannine I, christa m, penelope
m, sam m, gabby r, tobias v,
rob w, nat x, thee golden
on the dial:
bryce dunn
julie colero
barbara andersen, christa min
promotions coordinator:
matt steffich
us distro:
linda scholten
Vancouver Special
Louder Than A Bomb
Strut & Fret
Kill Your Boyfriend
Under Review
Real Live Action
Radio Free Press
On The Dial
If you had any idea how much agony this issue was to
produce you'd a) stop bitching about how much ass
DiSCORDER sucks, b) fall to your knees, and c) weep with
sympathy and gratitude. someone's doing it and it sure ain't
you. Extra special hugs and smooches for this one go to
Tara, Tristan, and all the other jerks at the Ubyssey for being
cover was designed by jenny. vancouver nlghts photos by
Ann Goncalves, Removal photo by Lori Kiessling, Beans
photo by Sam Macklin, Ben Nevile photo by ? (check next
month for the retraction.)
© "DiSCORDER" 2000 by the Student Radio Society
of the University of British Columbia. All rights reserved.
Circulation 17,500.
Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
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. payable to
sue is August
n be booked
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course). Please make cheques or money ordei
DiSCORDER Magazine.
DEADLINES: Copy deadline for the September
16th. Ad space is available until August 23rd and c
by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited
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is preferred. Send e-mail to DiSCORDER at
From UBC to Langley and Squamish to Bellingham, CiTR can
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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
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printed in Canada
Sat Sept 02
Premiere BC Performance - Only 22
Tue Sept 05
Thu Sept 07
Fri Sept 08
Thu Sept 14
Fri Sept 15
EVE ADAM (Atlantic Rec)
Sat Sept 16
Thu Sept 21
Fri Sept 22
(Kaleidescope, MIAMI)
Sat Sept 30
release party
PHOTEK (Science, UK)
Fridays   <**/{£
^cherry bombs
3 E|£g£SSf£Sffi Vancouver
local demos!
by jamaal
Hey, hey, hey. Gots your
local music issue today,
hey, hey. And it's good,
and it's cool, and it's gots demos
too. Bad rhymes, I admit it.
That's what you get at the last
minute. Enough stalling, on with
BAD APPLE hail from
Vancouver, as their bad name
makes painfully obvious.
Nothing new in the "heavy pop"
world, as their bio describes it,
but the music is well executed
nonetheless. The first track was
good, but it had me lamenting
the technology of vocal layering;
are you trying to sound tough or
not? Track two consisted primarily of guitar cliches, while track
three had me going until all the
"my living hell" boo hoos
started pissing me off.
Mountlake Terrace, Washington,
which I guess disqualifies them
from the local music theme, but I
have complete autonomy here,
and I need some fodder. The
music was cool, sort of a heavy
surf rock 'n' roll thing, though I
hesitate to relegate them to either
genre. The sound quality was
shit, but I got through that by
cranking it up and listening from
the next room. Only then did I
pick up the ripping guitar riffs
and creepy keyboard. Then I discovered that "Dolby NR" button.
Technology rocks.
Got a triple-pack CD from
the acoustic avengers (that's my
nickname, not theirs). It included
locals MR. PLOW and JOEL,
as well as Richmond, Virginia's
sucks, and not because of my
irrational fear of those south of
the 49th. He concentrates more
on being funny (which he's not)
than on writing songs with any
sort of musical appeal. May he
never gain access to our nation.
Mr. Plow, on the other hand, is
occasionally funny with song
titles like "Tragically Sick" and
"Hitler's Girlfriend," but he tries
too hard to be offensive; incest
is no longer offensive, and it's
never been funny. Thankfully, this
CD includes the musical talent
known simply as Joel. His first
track was acoustics on speed,
while his massively mellower second track allowed me to get into
his terrific lyrics and wonderful
vocal melodies. Proper.
And finally, you missed them
at SHiNDiGl, you showed up far
too late to see them at the
Starfish, but thank the lord they
sent you a demo. Carrying on
the tradition of Vancouver's Rock
V Roll Revival, THE NASTY
ON are here to bring you the
music you love, the way you love
it: dirty, hyper, and well, dirty.
My only complaint might be in
the lyrical content department,
but as the one-eyed Elvis reminds
me: "I'm here to rock, not think."
Check these boys out before one
of them ODs. (604.733.2579)
Okay, the fire alarm keeps
going off here at Main Library,
so I guess I should exit the building. Until next time: peace, love,
and death to fucking hippies. •
DiSCORDER readers are
young, hip, and ready to
buy your products!
Advertise with us and be
seen by 17,500 party
animals in BC, Washington
and Oregon!
OSTOBEB  BOOK: sept. 20
DE AD    ART: sept. 26
LINES    STREETS: sept. 29
dial ms. hancock for the hookup:
604.822.3017 ex.3
Primitive Tracks
Distribution .   Retail  Ii
l   902.423.1755   0
is always looking for VOLUNTEERS.
We are a non-profit, volunteer-produced magazine full of tasty
opportunities for unpaid (but
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layout, photography, production and
business realms. If you feel like
getting sweaty with us, call 822.3017
ext. 3 and demand an audience with
the Editrix.
f AtfiixsYK^eA. ZDOO Louder Than
A Bomb
The next person who asks me, "So, where are you from?" is going
to get a steel-toed boot stuffed right down their throat! I've voiced
my annoyance at this before, but people continually insist that it's
not racism, it's simply curiosity: you don't look like you're from here.
Why, because I don't look like you? Think about it. I'm so fucking
sick of this passive Canadian type of racism, that assumes that if
you're not white (or Native) you're a recent immigrant, I just can't
deal with it anymore.
It's not just in conversation either. Attitudes like this are deeply
ingrained in all levels of Canadian society: being asked for additional ID at the passport office, being questioned at the border when
returning home, being stopped by the police at random ("There's
been a break-in in the neighborhood. We're just checking it out,")
even while there are dozens of other people on the street. It also
shows up clearly in the representation of immigrants and immigration
in the media. A prime example is the coverage of the fate of the
Chinese refugees who arrived here in BC last summer. From the start
they were treated and portrayed as dangerous criminals. All of the follow-up stories have also cast an extremely negative light on these
people: stories of
prison riots, disobedience and
abound. Yet
when you think
about what
they're going
through, it's not
surprising at all.
Being locked in a
nal   for  over   a
treated by corrections officials
while the actual
swindled and
smuggled you
under extremely
dangerous condi-
ted is hardly
satisfying or fair.
Neither is being stigmatized as wanting to take jobs away from "real"
Canadians or being natural recruits for the sinister "Asian
Underground" which, as we know from the papers, controls all organized crime in this country (hah!).
All of these disparaging attitudes stand in direct contrast to reality. The fact is that while there is significant unemployment in this country, there are also thousands of jobs every year that need to be filled
by foreigners because of the lack of qualified domestic applicants.
Not only that, but if you check with Stats Can, you'll find that after the
first year, unemployment rates among recent immigrants are far lower
than among "regular" Canadians.
So why stigmatize them? Simple, they're not like "us." If you don't
agree, then consider the recent case of the crew of Russian sailors
who jumped ship and hid in Canada. Not only were they treated like
refugees rather than like common criminals, but the national newspapers all ran sympathetic stories about these poor brave sailors who
hadn't been paid in ages, who suffered difficult working conditions,
and who just wanted to better their lives in a new country. Hmmm. The
only significant difference (excluding the disparity in the risks involved)
was that the sailors were white. They were more like "normal"
Canadians. No mention was made of the fact that a huge number of
illegal immigrants to Canada come from Europe, nor was there any
mention made of the possibility of their entering the "underground
economy." Good hearty European boys just wouldn't do that!
Interesting in light of the fact that last year both Interpol and the FBI
identified the Russian mafia (with its roots in the KGB) as potentially
the greatest threat to international law enforcement.
Anyway, you get the point. It's the fear of the yellow peril and the
brown hordes all over again. So next time you see someone you think
doesn't look "Canadian" and you want to ask them where they're
"really" from, first check their boots, then check your head. •
Attitudes like this are
deeply ingrained in all
levels of Canadian society: being asked for
additional ID at the
passport office, being
questioned at the border
when returning home,
being stopped by the
police at random.
("There's been a break-
in in the neighborhood.
We're just checking it
We've    been    forced    to    change
our    name    by    Mega-Branson
(Mr.    Multinational   Virgin).
We    need    a    new    name    soon    or    the    slick   Virgii.
lawyers    are    coming    back    for    more.   So...
You    are    invited    to    play:
Almost Virgin's
M/wt   (HAivGC
best     name    will
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enter    as    many    times    as    you    like
Used    CDs    (most    <    8$)
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Clearance    Priced    Gear:
ionic,   Technics,      Toshiba,    Mission,
Acoustic    Energy...
1231      Broad     Steet
2962    W.    Broadway
604-732-9413 I don't feel like writing an introduction this month. You get
enough of my rant and rave in
the column proper, so I'm sure
you don't mind. I really am
through with cute.
BUM is back! I was pleased
to find a new Bum single slipped
under my door recently by the
Magic Teeth fairy, and was even
more pleased when I put the
thing on my record player. How
come no one ever told me how
awesome Bum is? There's been
a gaping hole in my life ever
since Kevin Lee ceased to be my
boss, but now he's back, and
he's on blue vinyl! The two Bum
tracks on this single are two of
the most catchy pop songs I've
heard in ages, and they're not
cute, or wussy, or anything bad
and perfect. "Turn Off The
Faucet" has a simple guitar progression and some powerful
lyrics—the Frumpies want to better our lives. "Tell Me" is a
Rolling Stones cover, a little
bit doo-wop-esque, very stripped
down and done with watery
vocals. The garage rock style is
way more Headcoatees than
anything previous, and suits the
band's skill level quite well. The
Frumpies grew up, but forgot to
sell out along the way. Thank
goodness for that. (Kill Rock
Stars, 120 NE State #418,
Olympia, WA 98501)
purports to step out on his own
on a split single with CHARLES
ATLAS, but Mimi Parker is still
right there beside him. "Sleep
Song" is a beautiful lullaby for (
747, New York, NY 10156)
Less confusing but more
annoying than the Dymaxion is
the new EC80R single. What
up with those crazy German
youth? What are they so mad
about? I missed my opportunity
to poll the population on its troubled generation but I sense, listening to EC80R, that their
future must be bleak. At least
that you might expect me to like.
They actually rock hard. There's
a PINGUi track on the b-side
here that reminds me of early
Pluto stuff (maybe it's the
voice), a nice song about candy
and sugar fixes. It's got a kicking guitar solo, and thus stands
tall next to the Bum tracks. Find
and consume! (Magic Teeth,
633 Johnson St., Victoria, BC,
no postal code, dorks!)
good idea. The band's latest single, four action-packed songs,
does me very, very right. The lo-
fi stylings of this band never
cease to impress me, especially
when they're in the less-dissonant vein. I expected a full-on
assault, and instead was granted a gift of pop pleasure.
"Frumpies Forever" is a fine
anfhemic ode to friendship, filled
with fond memories of how a
band becomes a posse. The
music on this release is simple
C y^p^n<Ae^ ZDOO
presume) his daughter, filled with
heart-felt, genuine lyrics about
the joys of parenthood. Maybe
not for all of us, but this one
seems like a keeper. You've got
to turn your babies on to good
music somehow, don't you? The
Charles Atlas track is a gentle
instrumental, sparsely laden with
guitar work to fall asleep to.
Mellow suits this release just fine.
(Star Star Stereo, PO Box
070762, Milwaukee, Wl
I don't know what's up with
DYMAXION, or why this
band's got a single. I thought
that Room Tone was a fancy
electronic label, but this release
has got me confused. Dymaxion
plays kooky instrumentals that
sound like practice tapes mixed
up with computer trickery. The
was always curious to see what
would come next. At one point,
a beat broke out, and I got my
hopes up, only to have them
M 3 ///H AIU*«
squashed when the song faded
back into nothingness. This band
seems promising, but I think
they're playing games. At least
there are no vocals. I bet they'd
be bad.  (Roomtone,  PO Box
they have lots of gear. The two
new tracks on this single are as
noisy as ever, with the signature
DHR freakout gabber beats kicking it right, left, and centre.
There's some good sound manip
ulation on these tracks, but I
don't have a clue what these two
are going on about. Mr.
EC80R's singing something
about Nyquil, and Ms. EC80R
seems to be balking on a bill
with her hot lyrics of "I Won't
Pay." There's nothing like picking
three words and repeating them
ad nauseum to create a hit!
(DHR, no address given, but I'll
be damned if there's not a million web sites and chat rooms for
you to explore to find out where
to get this, and get a real fan's
opinion on the thing.)
The good people at Junk
Records decided it was high
time they unleashed some more
rock at us all. God bless them
and their filthy, tasteless, lo-fideli-
ty record sleeves. The bands on
this label usually provide me
with a good laugh, and this
batch was no exception. THE
SHUT UPS are a batch of
teenage and twenty-somethings
who haven't yet figured out that
your band has to do more than
raunch to rock. This band is all
about having fun and scoring
with the chicks, so far as I can
tell. This single's got four fast and
songs offered up here are party
songs, less about fucking and
more about fun. The lyrics are
great (for a rock band, you
know what I'm saying...), as
they're cocky and stylish. Good
stuff. (Junk Records, 7071
Warner Ave., F PMB 736,
Huntington Beach, CA 92647-
If it's coming from Peek-A-
Boo, you know it's straight outta
Austin, Texas. FIVEHEAD is a
band that sounds too much like
Guided By Voices for me to
ever be able to listen to it twice.
This is big guitar rock. I envision
a live show full of booze, high
kicks, and lots of sweat. I envision myself not at that show.
One of these guys is in Silver
Scooter, too. Like you didn't
expect it to have somebody from
somewhere. (Peek-A-Boo, PO
Box 49542, Austin, TX 78765)
I like NO KNIFE, even if I
don't like the genre of music
they're generally associated
with. The band graces the b-side
of a split with LAZYCHAIN, a
much less interesting band doing
the same type of thing. No
Knife's song, "Permanent For
furious tracks with more "baby"s
than you can shake a stick at,
but whatever. Apparently that's
all the rage these days. "C'mere
Kitty" is the best song on the single, being slightly less frantic
and a little more dance- and
romance-able. This band will
learn quickly that close-ups of
ladies' bums on their album
sleeves DO in fact attract the fan-
base it's looking for.
are another hard and fast rock
band with nice guitar work and
not a lot else. The singer's voice
puts me off enough so that I didn't really bother listening to lyrical content, but I did notice a
pleasant lack of the word 'yeah.'
That's alright, then. These guys
sing about booze. They're on
Sub Pop now, too.
The Junk single I like best is
the one by THE VICE
PRINCIPALS. It's a bit slower,
so that people like me can understand what's going on. The two
Now," has some quality lyrics
(not mushyl not sappy!) and
excellent guitar work. Lots of
start/stop mischief. Lazychain
does me wrong by ruining their
music with dorky lyrics about
writing poetry in the sand and
watching the tide wash it away.
Whatever. Oh, and they sound
like The Promise Ring. (Big
Wheel Recreation, 325
Huntington Avenue #24, Boston,
MA 02115)
Sounding like the Promise
Ring is better than sounding like
Jets To Braxil. That's why I
only managed to listen to
about a minute of THE
Goddamn, is one not enough???
Let's do the kids another disservice, why don't we, and serve
them up more cruddy rock
music! (Redwood Records, PO
Box 6041, Fullerton, CA
928344041) • Strut & Fret
Strange and Tender
Saturday, August 5
Church of Pointless
It was late on a hot night when I
climbed the stairs at 1 10 West
Hastings. Out on the street in
front of the entrance was a big
square of turf with a lone deck-
chair on it, marking the site of
Radix Theatre's "inner city garden party," where two floors of
performance, installations, performance art, and generally tilted knick-knackery awaited my
Inside, the turf was every-
Astro. One understandable
exception was on the body of
Mistress of Ceremonies Jen
Cressey, who'd fashioned herself a strapless, astro-turf trouser
suit hot enough to germinate
real grass seeds, but she
remained radiant. Two performance sets punctuated the otherwise agenda-less atmosphere
in which we roamed around,
played with the toys and partic
ipated in whatever we came
across. Like most Radix events,
it all had the quality of a lucid
An entire little living room
with a grass carpet had been
set up on a riser where you
could chit-chat on the chesterfield or just be a rug rat, leaning on smooth stones as you
watched the telly. Nearby was
a yard sale consisting of small
chunks of turf with price tags.
Wandering into a back
room, I found a naked lady
arranged languidly on a velvet-
draped dais with several people
sketching her in charcoal while
listening to CD walkmans.
When a place came free, I
grabbed a sketch pad, plugged
in and did my first ever life
drawing. As a student, I'd spent
a lot of time life-modeling and
was amused at the soundtrack
of the model's thoughts coming
through the headphones—what
to have for dinner, sexual fantasies and such.
On the way back down the
hall, I passed a grinning
attendee strapped into one of
those vibrating spot reducer thin-
gies. On my right were a small
badminton court, a wading
pool, and a croquet pitch—all in
use. Other nooks and crannies
resembled sets from a
Svankmeyer film.
It lasted only six
king into obscurity
nemo projection
allowed dozens of ticket buyers
to watch the same film at once.
Because this year is the 100th
anniversary of its death,
Laurenson and friends have lovingly reconstructed one of these
dinosaurs, and it really works!
Eye of Newt, well known
for their silent film accompaniments at the Blinding Light!!,
filled the big room upstairs with
washes and bullets of sound as
dancers Anne Cooper and
Dean Makarenko performed to
spoken word tracks. Lots of contact   improv   and   lost   urban
For set two, the crowd was
assaulted (in a good way) by
slam-poet Shane, and then softly
bemused by The Svelt Ms. Spelt,
dress, beard neatly trimmed,
reading from a chapbook. The
gender-bending continued with
Salmon Avalanche (my favourite
performer of the evening) and
her Drag Sock-Puppet Show—a
man's sock in pigtails and lipstick belting out a naively uplifting tune. Salmon then appeared
in person, lipsynching to a strut-
tin', car-drivin' cowpoke number. Lordy, if it wasn't Brandon
Teena back for another kick at
the cai
Wandering into a back room, I found a
naked lady arranged languidly on a
velvet-draped dais with several people
sketching her in charcoal while listen
Reaching one of the hosts,
Andrew Laurenson, I noticed
that he was presiding over a big
wooden box, which I learned
was a Kinetoscope—a device
for film viewing by one person
ng to cd walkmans
gulps from
>nderfully v
which worked
EON's music. Intriguing visuals
were projected onto one of the
walls and bled into the perfor-
As the night
became positively
Bunuelian. I was
fixing   to   leave,
which   somehow
didn't      happen
and found myself
in the lead in a
game of croquet,
with     onlookers
cheering        and
hooting. (I lost dismally in the end,
which may have
had something to
do with taking my
shots      between
an obscenely huge
ot wine.) Then someone
selling water pistols for a
-the kind that can  be
d   to   shoot   sideways,
e if you will, the water
fights which ensued, with a
roomful of people all aiming resolutely away from their targets
and hitting them anyway.
In it's own words, Radix
"dedicates itself to the collective
creation of original, groundbreaking, sitespecific, interdisciplinary performance events that
address the personal, social and
philosophical concerns of the
day" and has been at it for at
least a decade. In the earlier
years, political and social concerns were addressed more
overtly-—though no less creatively—and there was an exhilarating physicality in its
activism. Under the more recent
influence of Laurenson's gentle,
bespectacled weirdness, the
activism is much slyer. The
chuckle factor has increased,
but keeps a straight face as
anarchy tap dances around in
bedroom slippers. The strangeness is truly inspired, but i jver
gratuitous because off-side
somewhere, there's always a
large implication for our personal lives and our places in this
As we were leaving in the
small hours of Sunday morning,
I noticed that amid the full-on
action in the Hundred Block, the
grass carpet and deckchair in
the street had remained intact
and undisturbed. Strange and
tender indeed.
Your next chance to hang
out with Radix is at the Fringe
Festival in September. •
Kill Your
Sunday, August 20
Heritage Hall
You have no idea how lucky you
are. Within this city there is an
amazing and thriving comics and
zine scene. You've yet to see evidence of that, you say? Well, obviously you weren't at the Comix &
Stories 2000 show. It was a one-
day affair with a $2 cover charge
put together by Leonard Wong.
More commonly known for his
mainstream comic conventions,
the event is a labour of love for
Wong, who says, "It's the only
show I do where I know I'm going
to lose money, but I do it anyway."
A highly-promoted event, it's an
alternative comicopia. Damian
Willcox, creator of Dorkboy,
came down from Calgary. Ira
Hunter and Robin Thompson, the
purveyors of Champions of Hell,
also made the trip from Vancouver
Island. Busloads of folks came up
from Seattle, Washington. With
many of our tried and true local
favourites also in attendance, it
was a comic fan's wet dream.
Upon entering Heritage Hall,
I was immediately treated to a
buzz of activity. Everyone was
placed two to a table and against
the walls with the comic dealers/retailers in the center. The
Seattle contingent consisted of
David Lasky, who had his new
zine Sleepmachine on hand;
Megan Kelso, gearing up for her
weekly internet strip at www.high-; Ariel Bordeaux,
known for her comic, No Love
Lost; Rick Altergott, the brains
behind Doofus; Greg Stump, with
his great new comic Dwarf Attack;
Chad Dobenburger, otherwise
known as Smell of Steve Inc.;
Randy Wood, whose comic Kitties
In The Engine I adore; and Tatiana
Gill, whose collaboration with
David Lasky on OM4 was utterly
But enough about the away
team. Vancouver was represented
in style with almost everyone near
and dear to our terminal city
showing up. Mostly peddling
their comic books and zines, some
were creative enough to make
socks (Willcox) or statues (Hunter
& Thompson) of their characters.
A couple of local guys had the
right idea too. Brad Yung, who
does Stay As You Are, had a sheet
of   colourful,    witty,    imitation
postage stamps for sale, and
James Lloyd, known for his comic
Superstar, had a special sneak-
preview of his work on the first
Futurama comic. My favourite was
the sassy and classy photo-collage
packages put together by Kristen
Wamsley for Anti-Establishment
Susan Ferguson, who claims
Underbelly as one of her many
creations, was there. Underbelly is
a great comic mostly about being
a girl. She experiments with different styles and formats as well to
the point that Underbelly almost
reads like an anthology. Drawn in
Susan's expressive and bombastic
style, there is never a dull moment.
Underbelly is really funny, and
definitely worth getting even
though she hasn't done anything
in a long time. The tales of "Dippy,
The Chronically Depressed
Dolphin" alone make it worth picking up.
Ron Turner, a virtual ghost on
the local scene, actually made an
appearance as a guest this time.
This guy is so good. Turner is an
artist in the true sense, with portraits and paintings that would
make Picasso jealous. I wish he
would do more. The must-have is
Antenna Head, a mishmash of art
and comic, unconnected lines and
fuzzy, colourful beauty, haunting
stories, and just plain silliness. I just
want to shake him sometimes so
he will do more. But Turner, like a
lot of Vancouver comic artists, has
fallen prey to animation.
Convention mainstay Owen
Plummer was on hand as well.
Owen publishes Rubber Popcicle
Factory, a series of comics and art
all about his love for Mr. T and
Mexican Wrestlers. Solid black
and white line work, exceedingly
abstract and a lot of fun. Terry
Hann, Owen's better half, was
there as well. A great artist in her
own right, her comics also serve
as a basis for her obsessions,
whether they're about the history
of bras or bunnies. Her art is
wispy and dreamy. Fluid, thin lines
give the text-heavy stories a great
flow. (And she does her research!)
Steve Rolston is a guy to look
out for. Initially developing his
drawing chops in animation, he
has since turned to comics and is
now the artist for a new Oni spinoff—so new it doesn't even have a
name yet. Rolston is almost a
mega superstar. His style is car-
toonish and simplistic but full of
energy. You can get his labour of
love, Jack Spade and Tony Two-
Fist, at many fine comics stores
and on the internet at, if drinkin' and
brawlin' penguins are your cup of
It wouldn't be a convention
without the appearance of Brad
Yung, Robin Bougie, and Rebecca
Dart. Yung, <
nth dearee
3 the
s the witty a
cerebral Stay As You Are. His
weekly strip is presented in a
clean simplistic style and peppered with fabulous insight. Yung
also messes around with style and
format on occasion, and I swear
to God if you pick one up, you will
laugh. Yeah, I am sort of biased
(for those in the know), but I still
think this is a comic for everyone's
coffee table.
Another comic that can go on
your coffee table, provided you
don't live with your parents and
have no impressionable little kids
running around, is Deviant by
Robin Bougie. It's a journal of
strange sexual practices illustrated
by Bougie's great wonky art,
which lends character and a
goofy humour to some of the
weirder topics in his comic. It's an
educational tool that all should
have. Rebecca hasn't done anything in a long while, content with
making special appearances in
her husband Robin's books, but
I'm sure if you ask really nice she'll
draw you something. (You want
her to draw you something. Trust
me, she is amazing.) She too fell
under the same spell as Ron Turner
and now animates.
James Lloyd, an artist
endorsed by Rick Altergott, has
risen to fame drawing The
Simpsons and Futurama comics,
but his own comics are nothing to
dismiss. Drawing on the many
artists that formed EC Comics as
well as Mad Magazine, Lloyd has
fashioned something new with his
intricately detailed panels and
swirling lines. My favourite is The
Trip, one man's tale of moving
from sleepy Vernon, BC to the hustle and bustle of Vancouver. His
new comic Superstar is a rollicking tale of "What really happened
to Jim Morrison?" Graphically fun
and exciting—read it.
The other half of the room
housed some great people too,
including zinester Kyla Sweet,
whose ramblings can be found in
Notebook Comics, and Kevin
Long, whose Tuffy the Onion is
about to move on to Tom Green
See how much you missed?
The place was relaxed and fun.
Everyone was accessible and
friendly, and the only thing going
on was a huge amount of love
being passed around, the love of
comics. I just don't see how you
could neglect this. Such a wealth
of ideas and art surrounding
everyone. Friends were made,
catching up and contact-making
If you're a zinester or a fan,
this is not something you want to
miss next year. If you can't wait,
on September 26 at the
Downtown Branch library there
will be the "Word Under the
Street" festival featuring your
favourite local cartoonists, and
hey, even the ever elusive David
Boswell [Reid Fleming) has been
known to make an appearance.
The cartoonists will be participating in a panel about small press
comics, and that, my friends,
would be worth the price of admission alone—if it weren't already
free!« p
Incestuously Yours: Junk in Vancouver
Matt knows Andy knows Dave knows Chad knows Ryan knows me.
Matt and Chad played together in a band—long forgotten—which
used to open shows for Ryan's JetSet. Of course, that was before Matt
joined The Black Halos and Dave joined Chad in The Spitfires. And
it was well before Matt convinced Andy to move to Vancouver, where
he plays with Mr. Black as well as filling in for Chad in The Spitfires
when Chad's busy touring with The Black Halos as their manager.
Me, I'm dedicated to hard-hitting, objective journalism.
"No more Q and A stories," proclaimed the editrix, so here you
are. "Oh yeah, and try to bring a little optimism into this year's local
music issue." Optimism? Well, The Spitfires seem to have some. Their
shows are consistently well-attended and fun as hell, probably
d bands to see, tops." Thank you, Ryan. The Spitfires were quick
to jump in at this point, singing the praises of the Brickyard's promoter, Jason, for his fine work revitalizing the rock V roll scene around
there. My only question was why, if there are only five good bands,
would anybody want to start promoting shows? Put that in your pipe.
But of course there are many more than five good bands in
Vancouver, even in the limited, rock 'n' roily scope of this horribly
unfocused article. And there are opportunities for those bands. JetSet
and The Spitfires, for instance, both find themselves on the roster of
California-based Junk Records, and they got there the old-fashioned
because the band is consistently hammered by the time they hit the
stage. What more do you want from a rock V roll scene?
Vancouver's in a bit of an odd stage in the transition from town to city:
big enough to draw more national acts than, say, Calgary, whose
local scene is tight-knit because it has to be; not big enough to support
both the local and the touring music economy. Oh, woe is me! But not
The Spitfires. They seem to have nothing to complain about. The
scene's been good to them, it's just as vibrant as in any other
Canadian city, and besides, it's the only one we got.
How's that for optimism? And now for a little balance. Enter
JetSet, the pessimist. "The scene is shit. There's nowhere to play, probably because there are no good promoters. And there's maybe five
way: they merely sent them a demo tape. Owned by one Mr. Luis
Carus and operated by Ms. Nancy, Junk Records are, if you want to
buy into the accolades that spill forth from the mouths of their disciples, the best damn label in the entire universe. They will do whatever it takes to help their bands take the world by storm, including
spending every penny they gots on recording, promotion, and
pornography. This part of the article was reserved for Nancy to wax
ecstatic on her bands and the Vancouver scene in general, but she's
been away this week, so maybe we'll just have two lines of silent
Thank you. Carry on.
In all seriousness, though, there are things to look forward to. The
Spitfires are recording a new full-length in September, and then they'll
be "supporting the record." "National tour?" I ask. "Yeah, national
tour. Just like the last one, to California and back." As for JetSet,
they've got a single coming out in October, recorded with Greg (of
the Cowards, Siobhan Duvall, and god knows how many other local
bands) on drums, and a full-length in 2001 with Jason (of the Spitfires)
on drums. Are you guys following all this? Oh, yah, The Black Halos:
they recorded a video or something, so keep your low-attention-
spanned ass glued to MuchMusic and request it by name. The local
scene needs you, man, every one of you. •
Sept 9 Ms T's Cabaret 339 w penderwith silent treatment and nick barry
sept 28 the Sugar Refinery 1115 granville with cowboy dad
8 MfxUsyv*^ zDOO Ryan Moore
TuLUght circus Dub soundsystem
by Tobias van veen
Ryan Moore has been into dub for
a long time. He claims to be from
another planet, like all good dub
musicians. (Think Sun Ra. Okay,
he's not dub. Whatever). After all,
he was born in Vancouver, and
now he lives in Amsterdam. Add
this all up and you begin to understand the eccentricity behind the
mer for the cult psychedelic group
The Legendary Pink Dots and the
guy who practically is the Twilight
Circus Dub Soundsystem. The
Soundsystem has gained international recognition in dub circles for
its continued experimentation,
incredible production and massive
dub-bass grooves, with a slew of
CDs and limited DJ-edition 180-
gram vinyl platters from
Vancouver-based M Records.
I managed to corner Ryar
in Victory Cafe between
one of his mad extended,
late-night recording sessions at the Miller Block
that he tries to pull off
every time he visits
Vancouver with the Dots.
did you leave '
Ryan Moore: It's been about
10 years. I went to Holland to
do a jam, and now I am growing roots and branches and a
trunk and some bark, in Holland
Is there a large dub scene
over there?
In Europe in general, the dance
music scene is really large.
Techno-pop is the order of the
day: that is the Top 40 music, that
is the music that rules the airwaves. That is what the kids are
into. Live music and rock bands
have all died out somewhat.
There's always going to be an
element in interest in dub of
course, because of the heavy cc
nection between dub and dance
music. I get a lot of Soundsystem
gigs at raves and chill-out re
and big jungle parties.
Do you DJ at those parties
or play live?
What I have been doing i;
centrating on doing the shows in
more of a live format... running
tracks, playing different stuff over
the tracks... extra band members
and so on. But basically at this
point it is clear that it is going to
be a lot more feasible in terms of
the logistics of travel and putting
on shows and what the promoters
even want from a dub soundsystem by doing it more DJ style, and
that's what I have been concentrating on in the last year. Trying
out different configurations: pure
DJ style, live bass, live playing,
freaking out the tracks I am playing by running through extra dub
effects. It's been going really well
and it is a lot of fun. Definitely a
DJ/live configuration is the way to
go for a live situation.
Do you think you are bringing back a live element to a
dance scene which has
turned away from that?
Yeah, the funny thing is when I
was doing that there were a lot of
people freaking out... [but] at least
at that point in time I found it too
confusing. I had to think of too
to pretend that I was a member of
the crowd comirig up onto the
stage at random, wanting to play
the drums, and it evolved into a
part of the act. I would jump up
and down yelling "Me! Me! Me!"
Have you guys ever let
anyone from the crowd
play the drums?
That's a frightening thought!
How well do you get along
with the rest of the Dots?
They can be very serious
and dark. Mark Spybey
from DVOA can be very
dark—you're pretty funny.
How does that blend when
you're on tour?
Well the thing with the Pink
Dots is that it is c
eration of the most unlikely disparate personalities
imaginable, yet s
how over the years
people   hi
1 to find a way to
tolerate each other's
quirks that
many things at
So I started going
the   DJ    style   thing:
selecting tracks, blending them, focusing on
the vibe of the crowd.
What sort of gigs do
the Pink Dots get in
The Pink Dots is one of thi
few  rock   bands  that  is  s
capable of touring on the club
circuit and  drawing  enough
people to keep getting invited
back. Playing for 150 people
age [in Europe] and 3-
500 in the States with a lot of
hysteria and excitement.
So why did you jump out
of the crowd, yelling "V
from    Spi
Vancouver show?
On the tour
States with the Dots and DVOA
and Twilight Circus Soundsystem
doing DJ appearances on about
half the dates, I was invited to
play drums with DVOA. As any
tour progresses, mental disintegration starts to set in. Things start
to take on new meanings... different elements come in to play. We
were playing a show in
California, in Santa Ana, and for
some reason I just had the impulse
definite difference between
Horsey and Dub Voyage.
Horsey is more acoustic...
More rock.
And then on Dub Voyage
there is a track called
"K2000" which I am pretty sure is a reference to the
All those freaky filtering effects
are straight out of the Kurtzweil
processing algorithms.
So where is it going now?
Does it sound different
than the Dub Voyage
It's hard to say. The stuff I was laying down at the Miller Block are
just drum tracks. It really could go
in any direction. When I was
working on the first record, I had a
master plan. The first record was
to be completely c
only analogue effects, and c
out with a kind of stripped down
reggae-style record as a foun-
T or springboard to jump off
realms of dub-
exploration, and then after a couple of records to end up doing
completely  electronic,   biz
sounding dub stuff. Every record
does seem to have its o
tity, in that it really is the result
of a lot of improvisation in
the studio and spontaneity.
t really represents the
vibe that v,
that exact moment in the
studio. At the moment
be going
surprising   that   it
works     given     the
of   freakin>
and extremeness of the per-
alities involved. The added
chemistry of Mark Spybey and
DVOA created a lot of craziness
and laughing our heads off driving
around all day to the shows. The
image of the albums—gloominess
and spookiness is balanced out by
the side no one sees: all of us driving down the highway laughing
Where do you see your
dub music going? There is a
dub directic
Have you heard of the
Maurizio/Chain Reaction
material coming out of
Yeah, totally. I kind of dig the
aesthetic and the sound of what
they are doing. It even sounds
like electronic African music. A
purports to be modern trance
music, but most tracks don't
have a very earthy vibe to them.
The scene of people from Berlin
manage to get this sound which
does not sound that far off from
folkways-ethnographic drum
music. The Twilight Circus productions get the vinyl mastering
done at the Chain
Reaction/Basic Channel empire.
They cut all the Circus' [albums]
When should we expect
your next album?
The plan is for Dub Plates
Volume 3 early next year. I've
got all the ideas and bits to flesh
out and finish it. The idea I have
is that it will be super hardcore.
What do you mean by
Heavy grooves, fffaaaat
sounds. Possibly more dance-
oriented beats. Mainly c"
mng   t
ming, although it might be
heavily treated or generally
<">aked out But there is one
track that uses an 808 drum
machine. They're such great
machines, they are so conducive to being creative, especially for an electronic
instrument. It's that analogue
style, you just turn it on and
twist a couple of knobs and in
a couple of minutes you have a
groovy pattern.
Well, anything else you
want to add before we
wrap it up and head home?
CiTR has had a lot to do with the
history and development of
Twilight Circus. Especially now
that I live in Europe—there is no
college radio network. I really see
how important that is in North
America to exposing people to a
lot of music that they otherwise
wouldn't hear and generating a
lot of ideas in people who might
later go on to making their own
music. I think it's underrated and
under-appreciated. You all
deserve a pat on the back! CiTR
was highly influential. I remember
this dub special on "The Rockers
Show" on CiTR in about 1981. I
still have this cassette tape. When
I go back and listen to it I realize
that it was so influential in my
early development in my ideas...
I was listening to this tape like five
billion times. It's kind of funny, sitting here almost 20 years later,
getting interviewed.
Ryan Moore's work as Twilight
Circus Dub Soundsystem can be
found on M Records. His latest
album is called Dub Voyage. The
latest Legendary Pink Dots album
is called A Perfect Mystery. •
^\?%§&mm& /'m standing outside an anonymous-looking building on
Oak, contemplating the Vancouver music scene in preparation for DiSCORDER's local music extravaganza. Some
pretty good bands spring to mind—P:ano, Jerk with a
Bomb, Radio Berlin... but there are two acts who stand
head and shoulders above the competition One is the
awesome hip hop crew Swollen Members, the other is
Beans, who should be showing up any minute now. I tak<
to fantasize about how a collaboration between these two Vancouver
giants might sound. My reverie is broken by Beans guitarist Stefan
who ushers me inside.
We take a winding path up some stairs, past a defunct harpsichord and into a post-production film studio, where Stefon introduces
drummer Andy. The rest of the band take their time showing up. Bassist
Damon eventually ambles in, followed by guitarist and self-proclaimed
"loose cannon" Tygh. Multi-instrumentalist Ida never makes it along, but
nobody seems to mind. Everything's pretty laid-back and informal.
The band extend this attitude to everything they do. Take their
name, for instance. Stefan prefers to soy "The Beans" whereas Tygh
(who, significantly in this matter, does their sleeve art) prefers simply
"Beans." They're both easygoing about which version anyone else
chooses to use. Likewise, everyone's allowed to pursue
jects outside the band (Stefan plays in The Birthday Machine, Damon
in Saul Duck, and Ida in Radiogram and—brace yourself—Cunt).
Meanwhile, they've slowly-but-surely built up a reputation as
Vancouver's leading post-rock band, playing music that gradually
evolves from virtual nothingness into a beast of raging intensity.
Up 'til recently, the most solid thing they had to show for their
efforts was the LP Portage, which came out in 1998. Right
though, The Beans seem to be building up quite a momentum in their
rate of activities. There's a new EP called Tired Snow on Californian
label Zum Media, which is being distributed across North America.
They're promoting it with a two-week tour at the end of August, which
will take them right down to Cali.
In addition to stepping up their musical activities, The Beans are
branching out into film. They're in this studio to work on the soundtrack for an independent feature film, called Red Dear, and are planning an evening for the Blinding Light Cinema. They're very tight-lipped
about the latter project, which will reach fruition on October 14. All
Tygh will say about it is: "It's a performance about an experimental film
In spite of trying to juggle all of this with work and/or school, they
don't seem to be having much trouble maintaining their relaxed collective demeanor. After spending a little time in the presence of this, it
becomes clear why Beans never get bogged down in the poe-faced-
ness that afflicts many similarly atmospheric guitar groups. "It's just like
an extension of us hanging out," says Stefan, locating the source of the
sly humour that gives much-needed moments of levity to the band's
music. "I remember, when we started, humour was definitely something we wanted to get in there," Tygh admits, "I hope it comes
through." But like everything they do, how they realize this has more
to do with their friendship as individuals than any conscious collective
decision-making process. "When we play live, I just have to close my
eyes because as soon as I look at Andy, or something, I just start laughing," says Damon. "It's not that it's funny, it's just that I'm having fun. I
just get super happy." Tygh adds: "If you're having a laugh attack,
you're, like, 10 steps closer to starting to cry. You're opening yourself
up, so maybe it's like an unconscious device—I don't know." Damon
agrees: "They're both good."
The same uncontrived approach is, surprisingly, at the heart of the
band's multi-textured sound, which extends the normal guitar-band lineup with Ida's piano, accordion, and trumpet, a battery of electronics
and various found sounds. It's amazing that such rich results can stem
from a relatively thoughtless process. If Stefan is to be believed, though,
it's all down to the fact that the band members share a of love of
"sounds." Tygh is particularly excited by the possibilities of painting
with a broad sonic palette. "It affects the way you perceive the music,
so you're listening through those sounds, not necessarily picking up
harmonies and stuff," he enthuses. "It's like there's a door creaking,
and you don't even realize it, or it's certain frequencies affecting you."
Andy is especially interested in the possibilities thrown up in this
area by new technology: "I don't know if we're making any kind of
whether they approach recording
and playing live with two very different attitudes Again, they argue I
that, if they do, it's only natural,
sly |
make them different," says Stefan.
"They are different things, right?"
adds Damon, "So you have to
approach them differently." So,
says Andy: "We see going into
the studio as an opportunity to do
things that we might not be able
to do at a regular show." Tygh '
"When we're in the studio we have the opportunity to layer
a bunch of sounds and make one new sound. Live you can
layering, but it's not the same. It's a bit rawer. Part of the live show is
that you have bodies in the same room playing music and people interacting on a chance level. Their internal organs are being affected by
the frequencies that we're putting out there. It's a direct conversation."
I suggest that, with such an attitude, it must be important for them to
make every show unique. Once again, Damon argues: "We don't
plan it, we just do it. We don't consciously do it, we just like to have
fun and enjoy whatever we're doing at the time. If we're working on
new stuff, we'll try that."
For most bands, extending The Beans' laid-back philosophy to live
performance might be impractical. It's hard enough to get a well-drilled
set of established material to work in most venues, let alone to try anything spontaneous on a whim. Luckily Beans have managed to establish a special relationship with top Granville venue The Sugar Refinery's
proprietor Steve. "Steve was pretty nice to us," says Andy. "He's a
great man." Tygh reminisces about Steve's role in the last Beans tour:
"He was with us and did, like, most of the driving, documented everything, made sure we got paid or else kicked their asses, cleaned the
van. He's a workaholic support machine."
He's also created a deliciously garlic-scented little space, ideal for
the band's improvisationally expanded songs. "We're into the way
that everyone's sharing the space," says Stefan. "That room is full of
art," adds Tygh. "Steve's approach is to re-arrange the layout on a
daily basis. He's continually painting new colours on the walls and
the artwork's continually changing. It's a really good environment."
Andy continues: "We feel comfortable there too. We know what to
expect—what power outlets are going to go out—and we know the
people there, so it's never tense. We can pace it however we want to
and play whatever we want to." The connection is extremely well
established—Stefan suggests they may have played there over 100
times, and the band even recommends the venue's astonishing Pasta
Rafael on the sleeve of Tired Snow.
What makes the relationship between Beans' music and The Sugar
Refinery so magical is that the band and the venue share an awkward-
but-intoxicating intimacy. It had previously occurred to me that, on parts
of Portage in particular, the Beans' intimate sound is quite powerfully
erotic. Thankfully, I'm not the only one to have come to this conclusion.
"One of the best comments I've heard after a show was: 'Man that one
song you played was like the soundtrack to the best fuck I ever had,'"
laughs Tygh. "I loved that, man." Damon admits: "I'd always hoped
that Portage would be the best album to make love to. Someone told
me that it had been their make-out album all last year." Tygh cuts in
enthusiastically: "That's success, right there!"
Beans are such a great band that one can't help but hope that
they achieve success of a more lucrative nature. Whatever the case, it
likely that they'll go from strength to strength artistically. This
suspicion is confirmed towards the end of the interview when I 'fess up
to my Beans/Swollen Members crossover fantasy. To my great surprise
Tygh seems to think the idea has potential. "I like those guys," he says.
"There's been other rap groups in town that have got some notoriety,
whose pretentiousness inhibited any crossover, but they're not like
that." It turns out that The Beans are huge hip hop fans and Tygh
regards the form as "a huge influence," though, as Andy puts it, "not
in a concentrated form." Andy and Tygh once tried to put together a
hip hop-centric tune, complete with their own rapping, but Stefan
vetoed it. "It was really bad," Andy admits, "but it was strictly two
guys totally enamoured with hip hop and wanting to share it with people."
Mental scars left over from this experiment, along with the band's
all-encompassing avoidance of contrivance, may inhibit any further
excursions into rap city but their enthusiasm for hip hop counts for a lot.
It puts them more in league with super-obscure first-wave UK post-rock
acts like Bark Psychosis than with the tediously Slint-besotted North
American bands of today (with whom they share some superficial similarities). As I leave the studio, I feel a wave of optimism. The sun is
shining and the sky is wide open. While their music will probably
retain its dusky, inconspicuous sound, the open-minded irreverent spirit behind it will soar The Beans to even greater heights of vertiginous
creativity. You really should be along for the ride. •
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^Vestax        sTaNTon
217 w. bastings st [at cambie]
Vancouver, be, Canada
0604j68a7734 fx. 604.689.7781
mail orders available,
e-mail: bassbc@netcomxa the backstage lounge
t The Brickyard provided an appropriately palatial setting
DiSCORDER How did Removal start? What
was the first gig/recording that you did
here in Vancouver?
Ernie: We recorded our first album before we ever
played our first show. I own a studio in town called
Big Midget, and we recorded it there. These guys
are long time high school friends, and I'm a transplant from San Francisco where I met Bill when he
How did you guys hook up with Wrong
E: We played some shows with them [Nomeansno],
and we sent them our first record, and they were
interested in putting it out so they did.
And   you   guys   just   did   a   tour   with
E: Yeah, we did the West Coast with them, and
we've done dates in Western Canada, too... and
we're doing some European shows with them and
also the rest of the States in November.
How did you hook up with Konkurrent to
do your first album with them?
E: It's not actually on Konkurrent, it's on a record
label called Smoof, which is a guy who left
Konkurrent to start his own record label—it's on his
label. And we know him cuz it's Nomeansno's deal
there, too.
You've made the decision to release ten
7"s all with guest appearances, all from
people in Vancouver, is that right? Are
they all from Vancouver?
E: No, no one else is going to be from Vancouver
that I know of. The first two, [Rob Wright and Chi
Pig], happened to be people from here, that's not
just a coincidence. We actually had the idea about
a year or two ago and couldn't really do it cuz we
didn't have any money [and now] thanks to The
Melvins, they've ruined our idea—they put out
those three records with singers now, or that one
with singers, so whatever... we're gonna do it any-
And what about the lack of vocals—I don't
have a problem with it, but some people
have mentioned it—like, "Hey, why don't
you have vocals?"
E: We don't care about them.
That makes two of us. So if you're not
influenced  by  Nomeansno,  then  who
would you cite? More Black Sabbath or
Slayer or Iron Maiden?
E: All of our influences you've never heard of,
we're that cool. We're so cool that we're influenced
by bands that you wouldn't know.
Okay, onto Vancouver now, and the city
that you say doesn't love you as a band.
Why do you think that is, and what's the
E: Well, we're not really interested in trying to figure it out, it's not like it's... it's kind of a bug up our
butt, but at the same time we don't really mind. It's
not a huge thing. I mean, Vancouver is not really a
great leader in music, it's a great follower in music,
in my opinion, and I don't think that the scene here
is structured for independent bands to do well, I
think it's structured for major label bands to do well
if they're from here.
I've seen your video on MuchMusic. Why
the Nietzsche quote [in the video]?
E: That wasn't our idea, that was the guy who
made the video. I don't know why he used that
one, just cuz it's a popular one everybody would
know, and you can reverse it, so it's funny...
[deadpan] ha, ha.
How do you choose the samples that you
Bill: Sit down, listen to 'em and laugh. They're
funny. E: I mean, we're not always using humour,
but if we think they fit the music well or we like the
way that they sound, that's a part of it, how they fit
in the music. There's no criteria. The only criteria
we do have is that they can't be popular. We
already made that one mistake with Raveen, cuz
Raveen is popular, but I didn't really know that
since I'm not from Canada.
You say that you don't care about vocals,
which is fine with me, but then you've
chosen to release ten 7"s with people
doing vocals. Do you think that vocals get
in the way of your music?
E: It's a contrived, money-making, publicity stunt.
Well, we could have gotten you to sing for us, but
we obviously got people that people know so that's
pretty obvious [what] the reason is. The reason is
that it's another outlet for our creativity—it means
that we can put out things between records and
records that are, you know... B: Not just two more
songs. E: Yeah, we can keep putting out things and
being artistic and creating things, and it's also fun
cuz those guys are people that we know. So far,
we've used people that we know and we like; the
upcoming people are a little further away from us.
How's your studio going?
E: It's going good when I'm there cuz we're touring
a lot, so I'm not always there. I have a couple engineers that work out of it so...
You've picked up some new gear? Is that
what you were saying earlier?
E: Well, I have the computer, I've got my 16-track
analog, and I've got the 16 tracks digital. I just
picked up a new pair of speakers the other day
that are nice. I'm pretty much at the end of buying
because unless we want to move into the realm of
the huge studios, it's like chasing the monkey: you'll
just never buy enough gear and never have all the
things. We have enough to do what we need, I
have my computer and it's pretty much bottomed
out. Plus we're in debt so...
What about the choice to release on vinyl
rather than CD? The 7" now, as I see it,
has just slowly become more and more
obsolete, for better or worse.
E: Well, a lot of people call it a vanity pressing—
which I think it is, to a certain degree—and it's really difficult to make money unless you have big
names involved. That's another justification for
using people that will sell records besides us. But
it's fair enough that if you put a singer on that
record and somebody buys it cuz of that singer and
the B-side is a song of a band they've never heard
before... I think that's a way to get them to hear
something that they wouldn't otherwise have heard.
There are so many 7"s, so many bands that are
getting pushed—I mean, it's subversive in a way—
but it makes it easy for people to buy something
and hear us without having to gamble on a record
that they know nothing about.
Is the new record going to be on vinyl?
E: As far as I know... B: In Europe. E: We don't
know, it might be in Europe cuz they do a lot... B:
They do a lot of that in Europe.
Would it be on Wrong or with this...?
E: Wrong isn't really in Europe as far as I know. I
believe I can speak about this because the deal is
done, but everything that's on Wrong records is
now going to be available through Southern in
Europe, which is a pretty big label, and our record
is coming out on Southern, too. So it'll be available
that way, and we're hoping they'll pick up the 7"s
as well, but we don't know about that.
And do you like touring or do you find it
taxing and annoying?
E: Love it to death. B: It gets better all the time.
E: If we couldn't tour, I don't know what we'd do. I
mean, I've always loved it. That's my favourite
Driving in the van?
E: No. [Unanimous laughter.] B: Sometimes driving's alright, when it's not 115 degrees. E:: As
long as they play good Barry Manilow songs on
the radio.... A lot of bands around here or in
Canada, we've done tours with them: Another Joe,
Choke, The Smalls. Those guys wind up always
being friends of ours, and a lot of times they have
people that they stay with on previous tours and
stay with them, too, so I prefer that. And you
always end up finding good breakfast places, too,
through them.
And what do these other bands say about
Vancouver? I know that The Smalls aren't
from here and Another Joe is from here
aren't they?
B: Well, I just went to The Smalls show last Sunday.
Were you there?
No, I was at the show at The Commodore,
1 with Punchdrunk.
| B: Well, this was Strapping Young Lad and The
ills just right over here in that vacant lot on
I Hastings Street. It's outside, it's a beautiful, sunny
I day, and it started at two in the afternoon. Nobody
I there. Perfect place. How many years have people
I bitched that nothing interesting or fun ever happens
1 in Vancouver? Here's a gig with [these two bands]
I playing on Hastings Street in a vacant lot—it was a
I little pricey, but even so, you could stand in the
alley, and there was nobody there. E: Vancouver, it
seems to me, is missing this middle part—there's
all the full-on dirt rock bands at like, the Cobalt,
I you know, those type of venues, all the bottom feed-
. if you want to call them that—and there's this
I huge mid-section of independents that's missing,
ind then you get to Nickelback and Jar and
Matthew Good, you know, just at the bottom of the
major label barrel. But there's this huge middle spot
and in my opinion, there's nobody that really pays
attention to that, but that's a skewed view because
I sort of think that because we've been ignored. I'm
sure if you ask cub, they think that Vancouver is the
greatest place on Earth and probably think that the
DiSCORDER is the greatest magazine on Earth...
we disagree. People come out in droves when
Superchunk or Tortoise, some band in the US—
maybe those are two bad examples cuz they're big
already and they've been around for awhile. I
remember when I first moved here in '95 I would
go to local shows and there would be nobody
there... and there's lots of good bands, I think. Then
you go to the Starfish for a name—and they have
to be on an oh-too-cool record label from the
States—and it sells out. I don't know why that is in
Vancouver, but that's the way it is.
What were things like when the Town
Pump was still kickin' it, before it was
B: From my perspective then, it was the opposite of
what we have to deal with now. In town, years
ago, we used to never play a gig for less than four
or five-hundred bucks, ever. And not only would
we get paid, but everybody made money, everybody's happy, it's all good, right? E: It's pointless
for us to sit here and try to figure it out when we
can just expend our energy playing places that will
open the door immediately to us, and we're happy
to do that. I mean, I think Vancouver is a fine city,
it's just that we've had a few troubles with it and it
didn't work out for us here... other places it has
worked out, so we go back there.
And it's fine being based out of a city that
has these sorts of problems for you?
B: Well, it motivates you to leave, it motivates you
to go on the road and the fact is that if you live
here, you have no choice but to leave and to go on
a little more of an extended trip even because
you're not in the middle of the country. Like, if you
live in Winnipeg you can do two weeks to Ontario
and two weeks to Vancouver and back and have a
comfortable alter-life, but when you live here you
pretty much gotta make a stretch anywhere, anywhere you go. So that's good. It separates the
wheat from the chaff: either you're gonna get a van
that works and your shit together and go and tour
and try to do something or be limited by the geography of the place. E: And that's the downfall of a
lot of bands. B: The geography is really harsh. I
know so many bands that go on their first tour,
"Their first show! It's in Calgary!" and they get to
Roger's Pass and the van dies... and I've known a
lot of bands that's happened to. E: Or bands that
book a whole tour of the West Coast and they get
to the border and they're shut down. We have two:
you have the mountains and you have the border.
Unless you're playing in Prince George, I think
you're fucked.
I'm sure you'll find things a lot easier in
Europe where you can travel 100km and
be in a completely different, major centre.
E: Or even the East Coast. I mean, three hours from
Baltimore to New York, two hours to Washington
and two hours to Philadelphia. I mean, that's where
you can make some impact.
And not be so tired.
E: And not spend so much money on gas. •
■^jjjgg£^~l^ll^^^        CATALOG WRI
^-2^ %££J*    13772 GOLDENWEST ST #545
^m^cSXSTenm Westminster, ca 92683
)3E local knobs
By  Tobias
It's not called "eiec-
tronica." I just wanted
to say that before we
really start. "Electron-
ica" is some lame tag-
line that mainstream
media uses because
they don't know the difference between house
and jungle. And it ain't
all "techno" either.
Techno comes from
Detroit, just as House
comes from Chicago.
Okay, lesson over.
Now, the following producers are not the established ones, like Phil
Western, Stephane
Novak, and Ryan
Moore. These are the
people on the up-and-
up. Without further ado,
here's an incomplete
whirlwind tour of who's
creating the sounds of
the future right here in
Vancouver. (Apologies
to all who will be
inevitably excluded, but
c'est la vie, carpe diem,
yadda yadda).
Ben Nevile
is originally from Winnipeg, the
land of indie-rock. Yet as soon
as he heard the sounds of
house music, he was hooked.
As a producer, he was inspired
by the amount of control he
could have over his own music.
"I didn't need to organize people and to have to go through
all the shit of getting people to
play certain things at
certain times and having to collaborate on things," Ben says in
an on-the-spot phone interview.
Ben calls what he makes
"house music" but also considers it to be a Chicago feel to
the more German urban-dub
music. "Give it enough of a
push so it can be used on the
dancefloor," is the way he
describes it, while he cites his
influences as the Germans,
Chicago, and Detroit. Nevile
considers himself involved in
"the culture of sound-art." He
works for Cycling74 along with
Kit Clayton (SF dub-techno producer on ~scape, Cytrax,
Delay) as a developer for the
graphic-oriented sound synthesis software, Max/MSP. He currently has a track called
"Designer Drugs" on the
Nordic Trax compilation
Necessary Pieces 2 which
should be on the shelves as you
read this. Adamant about his
music, Nevile says his main
inspiration comes from "rolling
around in rotting royal jelly
while rubbing my stark, white,
Ultimate^oned naked body with
Primordial Nature
aka the Sci-Fi Witchdoctor,
aka Noah Bouddit, had just
come back from playing a
full-moon party on the
Sunshine Coast when I
spoke to him. Gracing
Vancouver with his presence
for several years as a local
producer who brings his
shows to the masses as a
Live PA, Noah cites his influences as Canadian minimalist Richie Hawtin and the
harder, drum-style techno of
the Italians and the Belgians.
Signed to Phatt Phunk
records, Noah's music is
moving towards what he
describes as "driving,
polyrhythmic music with an
expansive sound" in the
techno and downtempo
realms. He has two tracks on
the Nordic Trax compilation
Necessary Pieces 2 under
the moniker FSP, an album
coming out this winter on
Phatt Phunk, and a 12"
release ("Origins EP") on
Phatt Phunk's Red label.
How did he get into it? "I
played musical instruments,
guitar and bass guitar. I
went to an underground
party in 1995 and was stimulated by the music, and I
decided to make a point to
move towards that sound."
is a member of,
an affiliation of producers, visu-
People    Who
Play    with
and     Keys.
al artists, and DJs who delve
into the realms of hardcore,
noise, and sonic-experimental-
ism. His latest sonic offering,
"Alchemy," can be found on
the CBC's in
the "Beats" section, with visuals
by Mediacore artist Merlyn. He
also has tracks on vl.O, the compilation
CD-R, upcoming beat-related
tracks on the Darkstep list and
r.i.p. and the System compilation CD-Rs. The short-spoken
Clone calls the sounds he
makes "live noise/ambience
and dark, computer-enabled
soundscapes," with influences
ranging from "hard/dissonant
guitar-based bands, last hour
or so of Brave New Waves,
music/chanting" to "friends,
the internet" and "technology,
failure, frustration, socio-sonic
conservatism, spiritual yearn-
ing, [and] success."
Another Mediacore-affili-
ated musician,
Bad Feng Shui
creates "kind of frugally produced, uh... audio quest for
coherence." When I asked
what that means, Shui
explained how he started:
"Just kinda accidentally
fooling around with trackers,
listened to a lot of classical
music, messed around with
creating electronic music mixing weird kind of elements
that don't usually get mixed.
Did some stuff that was kind
of noise-ish with samples of
jazz and classical and whatever... kind of funny at the
time. Got more into it and
basically did stuff for a few
years before releasing anything." Right. Shui's material
moves from broken-beats with
political samples, as witnessed at the <ST-C> Musikal
Resistance event during
Mayworks, to what Shui sees
as his musical future: "trying
to be more improvisational,
more soundscapey, doing
concept-albums, overall kind
of stuff." This is not surprising
given that Shui's influences
are Throbbing Gristle, The
Orb, The Dead Kennedys
and, of course, classical
music. Along with other musicians,
Shui's material can be found
on the Mediacore vl.O CD,
on in the
"Beats"    section,    and    on
Thomas Greenwood
Has been producing since
the late '80s, working with
Echoplex for a while, and
then working solo, creating
tracks focused on "repetitive,
intelligent, funky, deep,
hard, and experimental techno." Greenwood has too
many influences to list, but
he says that I have to
mention Slowdive for sure.
So there! (He also mentions
Algorithm.) He started vir-
ginally young: "I used to go
to a music store everyday
after school when I was 1 2
and learn from the people
that worked there. [I] then
convinced my mother to buy
me an Ensonic ESQ-1
(synth/8-track sequencer). I
used my mom's stereo, which
was really good for the time,
and began taping everything
I did. Then I got my first job
and bought a drum machine
(tr-505), a sampler (s700),
and a sound module
(Yamaha TX817) and continued..."
Yup. He has lots of tracks
Hailing from Victoria and
known for their incredible live
sets at venues like the
Neptune Sound Bar,
Cobblestone Jazz
is composed of Danuel, Tyger
Dhula, and Matjonson. TygerB
spoke of everyone's diverse
influences: "Danuel is into free
and improvised jazz, and Matl
comes from a d'n'b and tech-l
no      background."      Tyger|
himself is one of Victoria's!
finest house and techno DJs.T
Together, they really thrive offB
"the excitement of [live] ere-™
ation... a lot of it is explo-Q
ration, trying to play off ofU
what each other is doing—
that's where the jazz element is
coming in." They starred play-1
ing live together two year
ago. Danuel and Tyger had™
been working together for si
years and "then Mat cameB
along and was able to do a lot™
of real-time drum  progra
ming... so Dan said 'let's dol
some live shows.'" Expect two™
CDs of live Cobblestone Jazz™
performances out soon,
you can catch their produced I
material under different guise
on the Garden City Dubs CD.I
was up playing the Sunshin
Coast when this article wa
being written, which attests]
to their popularity, and c
inability       to       get       a
commentary.    Melding    thel
sounds of house music, improv-H
jazz, and experimentation, Ql
is a "funk-jazz" band like n
other, playing many a gig atfl
the Chameleon over the past™j
two years. Many know Jess,™
Yt   A&fxksYK±*A.  ZDOO the drummer, who back in his
DJing days rocked many a house
party. (And I don't mean a house.
I mean House, fools.)
These live-improv house musicians incorporate turntables, a
sporadic jazzy-lounge singer,
live African drums, and keyboards into their live act which
is best described as a house-
music version of a James
Brown-jam. Another incredible
live act out of Victoria, they
also have a release, Funky
Dancer,   on   Digniti  records.
Math Genius
Producing broken beats and
ambient-scapes, Math Genius
has established a reputation in
the ambient scene by playing
live at many an infamous gathering, as
well as down the Left Coast at
anarcho-music gatherings like
the Phoenix Festival.
Third Eye Tribe
Incorporating elements of dub,
hip hop, jungle, and techno,
Third Eye Tribe has gone
places with its unique and very
west-coast dub-MC sound,
including playing at the infa-
-      c   night   in    San
founder MC Jacob, rapper Jeet
K Da Tripmaster, drummer
Robby Chirsinoff, and diva
Caitlin Simpson, the Tribe has
'ith    Kin
Twilight Circus Dub
Soundsystem, cEVIN Key of
Skinny Puppy fame, and King
Cob Steelie, and has tracks on
the Hard Core Logo compilation and Nordic Trax. MC
Jacob says that he is constantly
exploring a lot of different
styles of music, but really goes
for "a deep bassline...having
a sort of richness." That rich-
ences: "Mad Professor,
dancehall reggae, hip hop...
Nomeansno taught me the
ideas of grooves and repetition." So how did the current
pastiche that is the Tribe get
together? "Robby I've been
working with for quite some
time, I've been working with
Jeet K for about three years.
He's got me exploring the hip
hop side of me. Caitlin saw me
at a gig and approached n
it to V
you.' When we were touring
through Norway, she met a
man and fell in love and now
she's moving there in
a month and a half."
Jane, the soft-spoken-with-a-
explained to me how Veloce
evolved out of the now defunct
Tree. "We evolved in
the summer of 1999 from
Perfume Tree," she says. "What
than PT, more electronic, more
geared towards dance, and
still evolving. We had been
doing PT for a long time, and
were feeling stuck. It was creating restrictions to what we
were doing." Jane and Peter
from PT teamed up with Ian
MacLauchlan, who also
worked on Perfume Tree's last
album. "Ian had a very different background—minimal techno, Maurizio and things like
that." Way back when, both
Peter and Jane had been
involved with CiTR. "We did
tape loops, looping beats onto
reels, adding vocals, writing
songs based on these things,
and then that turned into doing
our own programming, and it
just sort of took off from there."
Expect some Veloce records out
soon. Past albums as Perfume
Tree may still be hunted down
on the now-defunct World
Domination label, and more
info and mp3s can be found at
There are, of course, many many
many more people making noises in this great city. A great
place to find some of them is to
go to a collective of Vancouver-area pro-
including koolatron,
e frequency, jefree jon
LowDown records. Live drum V
bass seems to be coming out of recently,
including live PA Boom Chaps.
Jay Tripwire has been quietly
releasing tech-house material on
Carlos Miguel's Seattle label
eatHouse. There also seems to
be a crew centring around
Boomtown records, working on
dub/deep-house music, including Wood, and single producers
such as Kevin Bolston doing
material at things like Industry &
Agriculture's Open Circuits
audioart festival at the Sugar
Refinery (check out Industry &
Agriculture on CiTR
101.9FM, Monday 7:30-9pm
on Pirate Radio).
Ambient producers centre
around events by, including artists
from   UpstairsRecordinas.
Soundsystem. Speaking
audioart/experimental non-
music, check out Broken Record
saibot&sseiss, firstfloor.orq's
OMZ, Pirate Jenny, and many of
the audio-artists currently working out of The Western Front Hopefully this
will give you a taste that will
have you coming back for more.
Suck it in. •
and fidgital. Then there a,
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i^k'i Battle Axe Records
despite the fact that
Vancouver's hip hop scene is
dominated by a bunch of
posturing middle-class suburban white
boys who like to call each other "my
nigga" and try to talk ghetto, it's still
somewhat gratifying to see underground
hip hop expanding and thriving in the
increasingly corporate environment of
the music business. Independent music
of any genre is vital to the growth of the
music scene in any given city and even
though it's usually sexist, homophobic,
and often unselfconsciouly racist,
underground hip hop is an important
element of Vancouver independent
music. Battle Axe Records is one example of underground hip hop finding a
place in the context of independent
music in Vancouver. What originally
started as a way for label founder Mad
Child to release his own music has
grown into an operation with a growing catalogue and a stable of artists
from both sides of the border.
According to Mad Child, Battle Axe
came into being in 1 997 when Swollen
Members was looking for a way to market their music. Rather than try to shop
their skills around to whatever label
might show some interest, they came up
with Battle Axe Records as a means to
get their music out while still retaining
total financial and creative control. As
the first few Battle Axe releases began to
show impressive sales, Mad Child started to think about signing other artists to
the label. As a result, Battle Axe currently includes not only Swollen
Members, Moka Only, LMNO, and
Buck Fifty, but also San Diego's Mr.
Brady. One thing about artist-run labels
is that they tend to have a different
approach to marketing music from those
of faceless corporate monstrosities like
the Universal Music Group, focusing
more on creativity and originality than
marketability and image, and this
maxim certainly holds true for Battle
Axe. Mad Child attributes the success of
the label at least in part to it being something of a creative collective rather than
an expression of one person's vision:
"One thing about Battle Axe is that I
believe 1 10% in any artist that I sign.
Anyone who is on my label is part of
the family and so we're trying to build it
up together." He also credits the vibrant
Vancouver hip hop scene as contributing to Battle Axe's success: "I think it's
great, I think it's growing, and I think
there's a lot of up and coming talented
young artists." The open and supportive
relationships that Battle Axe cultivates
with its artists have paid their dividends.
Battle Axe artists have impressed hip
hop icons like Mixmaster Mike, Del,
Bahamadia, The Arsonists, Abstract
Rude, Saafir, Funkdoobiest, Dilated
Peoples, Divine Styler, and DJ Vadim
enough to show up as collaborators on
various projects. Not only that, Battle
Axe is currently negotiating a North
American distribution deal with Caroline
and has secured a deal with DJ Vadim
and his company Jazz Fudge to launch
Battle Axe Europe.
I guess I'm starting to make them
sound like "the little label that could,"
but in a way, that's not so far off, with
30,000 copies sold last year of both
Swollen Members' Balance and the
Defenders of the Underworld compilation. Battle Axe is still a small operation,
run out of a False Creek home-office, but
with about 10 albums ready to drop
over the coming year from Mr. Brady,
Swollen Members, LMNO, Moka Only,
Buck Fifty, and Joey Chavez it looks like
they might be movin' on up. •
For more information on Battle Axe
releases check out their website at
www, battleaxerecords .com.
swollen members' prev & madchild
A New
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CD & Album,
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HopduAty Devoted To Vou Vol 3
unreleased tracks: Samiam, Mustard Plug, The Queers, Against All Authority, Dillinger Four, Digger, Fifteen, The Weakerthans,
Nobodys, Selby Tigers and Scared Of Chaka also featuring: 88 Fingers Louie, Falling Sickness, Heckle and Funeral Oration
New cheap priced HopefawSGub City Aampkn out OCT. 3nd
afao new m^^^    TSSeS          ,e$f^         coming joon selbyatos    j,
Dillinger Four            ^f                                           «pMPP$»                             Selby Tigers   f|\/I'Li^-
The Queers   ^mif"'W^M           %'vi$^':J           -M-^                                         Fifteen     jfV jjJj jlfel           ~*v
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($&$??Z,+.    (ttSUB CITY<3>\
P.O. Box 7495 Van Nuys, CA 91409
16 Ajef>fe*H&eA. ZDOO  Vancouver   Ni
lust in case you're not so in-the-know, the
Vancouver Nights are where it's at. Better than that,
they're where it's at globally. This Vancouver band,
fronted by former Kreviss singer Sara Lapsley and
featuring Destroyer's Daniel Bejar and Capozzi
Park's Steve Balogh, is not only hot on its home turf,
but is creating a bit of a buzz on foreign shores.
The band's first CD, scheduled for an early fall
release on Endearing records here in Canada, is
already available to pop enthusiasts on Quattro
Disc, a Japanese label which had the smarts to
license the CD for some international action. Being
popular overseas is pleasant, but the Nights are
looking for a little hometown notoriety. Sure, they
lost at SHiNDiG! to The Salteens, and we all know
how that can make or break a band; still, I can't
help but feel there are big things in the works for
When asked about Vancouver Nights' past,
^sent and future, Sara looks a little concerned.
Sha's worried that she's going to be the one doing
all of the talking. The Nights is her project, and it
looks like she's accountable for the brief history
r. -ort. Thankfully, Dan and Steve are not just passive musical accompanists, and both have more
than a few things to say about what they think of
the Nights life.
Sara's one of the many who came to
Vancouver in the early nineties and got herself
hooked up with the music scene. As a key member
of Kreviss, Sara met more than a few movers and
shakers of the west coast indie scene. Of Kreviss,
Sara says it's her "lingering claim to fame, but it's
-.0 long past that I can't even claim it any more,
/ve were a riot grrrl band, and we had a little bit of
local fame." She's right about that. The band had a
single out on then-fledgling Scratch label, and
appeared on the first Kill Rock Stars compilation
and on the International Pop Underground compilation as well. Like I said, Kreviss was where the
action was at.
"We're in that K documentary that just came
out," says Sara, rather nonchalantly. She's talking
about The Shield Around The K, the recent documentary that chronicles Calvin Johnson and
Candace Peterson and their little label that made it
big. K should be familiar to most of you, thanks to
the label's never-ending slew of hot releases. K
helped to make Olympia the musical mecca that it
is, and the film examines how and why this hap-
nineties, playing their rocked-up gospel tunes
(dressed in pious white) to a sold-out crowd.
After the novelty of the Jesus-loving scene wore
off (and I'm assuming it did), Sara slipped back out
of the scene, continuing to write music, but not performing or really even organizing a band. Before
there was the Vancouver Nights, there was Sara
and her guitar; she's been writing these songs for
years, and some of them are rather old, despite the
fact that they're only coming out on CD for the first
time now. "I hope they still stand," says Sara, of
the songs that appear on the new album. Rest
assured that if you heard these songs in their first
incarnations, they probably sound more than a bit
different. Changing musicians makes for changing
music, and the added bonus of a fancy studio has
left its mark on Sara's songs.
"The focus of the band is my song-writing, and
getting the best possible music together around the
songs," Sara explains. The musicians she's worked
with over the past three and a half years have all
added their own special flavours to her songs, but
the structures remain the same. She knows what
she wants her band to sound like and is confident
of the directions the band is traveling in. Steve says
that the band sounded pretty "shambolic" when it
started out, and Dan agrees that the sound wasn't
very clean. Comparisons to The Pastels may have
been in order then, but no longer. The Vancouver
Nights' sound, as presented on the album, is
extremely clean—exactly the way Sara wants it to
Sara wants to keep the Nights sound simple,
but the album's got more than a little bit of added
finesse from her players. Dave Carswell and John
Collins, both members of more bands than I've got
room to mention here, recorded the album in their
JC/DC studio and had their hands on more than
just the mixing board. Without sounding too disappointed, Dan states that "it's actually impossible
to try and recreate the sound of that record," due to
the fact that Dave and John add some fancy guitar
work that Dan doesn't even want to imitate. "I find
a guitar chord and strum it." It doesn't get much
more simple than that!
On this album, Sara's simple is a lush simple.
The Nights sound rather '60s-vintage, with sweet
female vocals layered over pleasant pop music. "I
was writing this poppy stuff that some people
would say was old-fashioned—but in a sense it's
by   Julie   Colero
pened. Kreviss got a bit of film-time thanks to their
involvement in the International Pop Underground
convention they played, along with The Pastels,
Nation of Ulysses, Courtney Love (Lois and Co.,
not the famous Hole lady), and Beat Happening.
Kreviss, a multi-guitar female aural assault, was
a kick-ass counterpart to the Vancouver troublemakers known as Superconductor. When Kreviss
fell apart, Sara, the lead singer and most motivated
member of the group, was expected to turn up in a
new band pretty quickly. That didn't exactly work
out. Sara took a step back from the scene, avoiding
any big band action for almost five years. In
between Kreviss and the Nights, she hooked up
with Carl Newman of Superconductor and
Zumpano and Mark Szabo of Good Horsey and
Capozzi Park to form Thee Crusaders. Their single
on Scratch, rumoured to be the worst-selling record
on the roster (Steve probably shouldn't have
revealed that, but he did!), is a fine collection of
religious tunes done right. Keith Parry, Scratch
owner and operator, stands behind Thee
Crusaders' release one hundred percent, calling it
"a great little record." He says that "no one really
knew what to make of them, whether they were
serious or not," but that the band really put its heart
into the Christian campfire songs it performed and
recorded. The band's high point was an opening
slot for Negativland at the Town Pump in the early
not because it's using all these computerized
effects. If only they knew how done up it is..."
Sara's not allowed to reveal any more about these
effects, as Dan and Steve are quick to shush her.
Some things ar
the men don't v
a way, I wish it
more time and
up lusher and
1 best kept secret, apparently, and
t their credibility damaged... "In
s more Top 40 sounding. If I had
re money, I would have done it
e produced." Sara's ideals are
.2000 Ipcal Muslc
iUustcaticjns by Bleek
Adios Amen
Live bass and drums, beats and
electronics. Turn tables = urban
horror dub soundscapes.
Randell Schmid
#1-3990 Fraser St.,
Vancouver, BC
All Purpose
Experimental post pop for ages
5 and up. CD available—
Thank Friday, It's God.
Jon Lipton
#1818-1147 Quadra St.,
Victoria, BC V8W 2K5
All State Champion
Post hardcore.
Dan Sioui
#406-1265 Cardero St.,
Vancouver, BC
Ph: 604.682.6652
Fax: 604.682.6259
Another Joe
Delicious Vancouver Punk Rock.
Smallman Records
PO Box 352, 905 Corydon
Ave., Winnipeg, MB R3M 3V3
Ph: 204.452.5627
Fax: 204.284.8801
The masters of asking.
Verne, Rob, Nick
1st Ave. RPO PO Box 56001
Vancouver, BC V5L 5E2
Ph: 604.253.6543
Fax: 604.608.0908
Autumn Ex
Very Original with controlled
doses of acoustic serenity.
Tyson Araxzewski
#401-770 East 7th Ave.,
Vancouver, BC V5T 1P2
Ph: 604.879.7224
Fax: 604.714.2641
tyson@reboot. com
Bad Feng Shui
Unkempt producers of hip hop,
hardcore, and IDM hybrids.
#23-1195 Davie St.,
Vancouver, BC V6B 1N3
604.682.3269 ex.3249
A band that plays music.
Dolph Onassis
Your Floor
Ph: 604.709.9166
Moody soft pop, original.
Diane Barbarash
204-1550 Woodland Dr.,
Vancouver, BC
The Beekeepers
"TopDrawer, chappies," Sir
Leslie Fishcaykes.
Dominic Belanger
Drummer is looking for a metal
band. Influences: Death, Fear
Factory, Slayer, Pantera.
Serious only.
Moody, carefully crafted, guitar
driven alt.pop.
KGE Management
#404-2001 Beach Ave.,
Vancouver, BC V6G 1Z3
Ph: 604.687.2429
Fax: 604.687.2420
The Buttless Chaps
Death country.
Dave Gowans, Lasse Lutick,
Morgan McDonald, Torben
Bruce Cockburn/Big Black.
1 st Ave RPO PO Box 56001
Vancouver, BC V5L 5E2
Ph: 604.253.6543
Fax: 604.608.0908
Caffeine Charlie's
Wake-up Service
Experimental arrangements,
noise, found-sounds,
snapshots. New recordings in
2000 after a 5-year hiatus!
Capozzi Park
Vancouver's premier art-funk
band. See also Mark.
The Cinch
B-side electronic rock that
leaves you stranded.
Kathy Dube
1529 E. 8th Ave., Vancouver
BC, V6N   1T2
604 709.9166
The exact opposite of 38
KGE Management
#404-2001 Beach Ave.,
Vancouver, BC V6G 1Z3
Ph: 604.687.2429
Fax: 604.687.2420
Live noise-ambient/drone and
dark CPU'd sound scapes.
#23-1195 Davie St.,
Vancouver, BC
604.682.3269 ex. 3249
clover honey
Frentic, turbulent, down and
dirty, ass-shakin' pop. New
album out on Lance Rock
Anita L. Binder
Dreamy dark western pop
Nicole S.
C8-238E. 10th Ave.,
Vancouver, BC V5T 1Z5
Ph: 604.871.0055
Fax: 604.875.9971
Emo, punk, pop, hardcore, you
name it, we are it.
Kyle Richardson
PO Box 93046, 19705-Fraser
Hwy, Langley, BC V3A 8H2
spawner 1
Haunting sing speak cranky
pounding poetry.
19 iiAg&umm Crowned King
Pop punk with horns.
Shaun Frank
POBox 16124,3017
Mountain Hwy., North
Vancouver, BC V7J 3S9
Mark Crozer
"The ghost of Nick Drake meets
Neil Finn at a Beatles convention. "
Mark Crozer
43521-1625 Robson St.,
Vancouver, BC
The Cunning Stunts
Cunning guitar-driven pop-punk
melodies. Get your polka shoes.
Jacqueline Guillon
Darwin Marsh
Melodic, strong, climactic,
soaring rock. If Jeff Buckley and
Soul Coughing produced an
The Deadcats
Octane-fueled Pistols meets
Gene Vincent bad-boy trasha-
billy fuzz, tattoos, sideburns, 3
CD albums.
Mike Tupelo or Mike Dennis
fly i ngsa ucer@d i rect. ca
Ass kicking, high octane punk
rock and roll!
Johnny Cerveza
#6-3821 Cambie St.,
Vancouver, BC V5Z 2X6
Marq Desouza
Half Jack Daniels, Half Jack-ass
seeking solo acoustic shows.
Marq Desouza
The Dollar Store Jesus
Bass. Drums. Guitar. Vocals.
Blair Jewers
3-30 E. 12th Ave., Vancouver,
Drexell's Eye
Rock and Roll.
Mark Karpinski
928 E. 15th Ave.,
Vancouver, BC
Engine of the Future
Bottle of whup-ass! Metal,
disco, bluegrass.
Todd Hoeght
Ethers Void
A four piece power pop/rock
group out of Vancouver.
Grant McKenzie
Ph: 604.8360509
Fax: 604.272.0429
Experiencing Difficulty
Spontaneous Tribal Spazz
www. sinusoidal .com/exp
and kidney stone therapy.
Guaranteed results.
Facepuller World Headquarters
16012-3017 Mountain Hwy.,
North Vancouver, BC V7J 3S9
Eclectic 3-piece rock outfit.
Hooks-a-plenty. CD available
Ronald Cope
605-1872 Nelson St.,
Vancouver, BC V6G INI
Big band techno. A spy movie
soundtrack to a big club beat.
Holly Kemp
Freedom to Groove, #210-
1807 Maritime Mews,
Vancouver, BC V6H 3W7
Ph: 604.682.7434
Fax: 604.688.1370
Free Radicals
Why don't you try sticking your
head up your ass, just to see if it
4553 W.I lth Ave.,
Vancouver, BC V6R 2M5
Post modern fuck.
504 Shannon Way, Delta, BC
V4M 2W5
604.943.7046 (Davey)
604.943.8127 (Troy)
D.Scott Abfackeln III
1010 Seymour St.,
Vancouver, BC V6B 4Y4
Goafs Blood
Rage of Achilles sludgecore-
metal recording artists.
Golden Chubby
7bto//y fucked self-indulgent pro-
sex feminist post-punk electronic
rants and drug-induced
MC Greedylips
Haitch C Soundcraft
Sine fuzz loop bzzt beep.
The Hell Caminos
Five years of shows, drinking,
touring, and still not one review.
Mike Hawk
#351-5420 206 St.,
Langley, BC V3A 2C4
Dungeon rock that astounds
and confuses wizards and
trolls alike.
Matt G. Cube
1529 E. 8th Ave.,
Vancouver, BC V6N 1T6
Ph: 604.709.9166
Idiot Savant?
Happy, sad, band that refuses
to die.
Ken Paquette
1131 Lily St.,
Vancouver, BC V5L 4H5
chain of melodic headaches.
Ph: 604.255.4558
Fax: 604.251.6354
Moody semi-electronic post-
#151-2416 Main St.,
Vancouver, BC V5T 3E2
Jack Tripper
Tfiree piece band with an
emphasis on heavy pop
sounds, vocal harmony, and
textural noisescapes.
Kate Wattie—Tonic Records
#6-108 18th Ave.,
Vancouver, BC V5Y 2A5
Ph: 604.709.9449
Fax: 604.733.6586
Acoustic/not folk.
Joan Jett 'n Suzy Quattro
smokin' in the girls' room!
Tequila rawk extraordinare!
PO Box 60069 c/o Fraser
Postal Outlet, Vancouver, BC
trashmaven@suddendeath .com
Night Drives, in a rusted old
car, through an unforgiving
Landscape Body Machine
Ambient industrial techno with
a social/political edge.
Craig Joseph Huxtable
851 E. 13th Ave.,
Vancouver, BC V5T 2L4
Beverly Lee
Singer/songwriter with a
folksy/pop style.
Beverly Lee
Little Man Syndrome
Dynamic energetic mix of rock
and ska. Strong emotive vocals
underscored by hard-edged
Anarchist folk punk for
anarchist punk folk.
My Mom
12858 18th Ave.,
Surrey, BC V4A 7E9
digression Jo_simplicity@
Ae^e^j^e^ ZDOO The Malchiks
Wie don't play and we all have
Jason, Mark
5484 6th Ave.,
Delta, BCV4M 1L8
Currently writing on
commission: name a topic and
I'll write a song (heartbreak a
Morning Gold Fix
Electronic kitsch and
programmed glitch.
Morning Maker
Full rock! Vancouver's best new
Rob Morfitt
#15-1355 W 4th Ave.,
Vancouver, BC V6H 3Y8
Just another fucking band
going nowhere.
4553 W.l 1th Ave.,
Vancouver, BC V6R 2M5
Mercury The Winged
Asenlix-powered fantasy metal
to slav draaons to. Triple auitar
rock by boys with short hair.
Spoken rock—a great mix of
storytelling with a rock
Craig Lester
1231 S. Sullivan St.,
Seattle, WA 98108
Minimalist Jug Band
Plunk-a-billy solo act.
Performing acoustic death core
and verbal collage (dining and
dancing nightly).
Al Mader
#21-1190 W. 12th Ave.,
Vancouver, BC V6H 1L6
Mr. Plow
IfG.G. Allin sang songs like
Neil Young with his nails on a
Mr. Plow
c/o Crusty Records, PO Box
59, 1895 Commercial Dr.,
Vancouver, BC
www. eyeteaser/c rustyrecord s/
Musikill kills music dead.
#23-1195 Davie St.,
Vancouver, BC V6B 1N3
The Nasty On
Rock music delivered frenzied
and ragged. Shake here for
maximum effect.
Allen Forrister
#25-2830 Hemlock St.,
Vancouver, BC V6H 2V9
Exu Nazares
Voudou child,
singer/songwriter, shrine
builder twisted roots music,
aural soundtracks.
Exu Nazares
Operation Makeout
Post-punk. 3 girls, I guy, and a
whole lot of vocals.
Ms. Makeout
#144-2910 Quebec St.,
Vancouver, BC
operation makeout@hotmai I .com
Orchards & Vines
Stratospheric rock with soaring
female vocals.
Dahlia Davavich (manager)
37053 Gordon Park,
Vancouver, BC V5P 4W7
Ph: 604.301.0023
Fax: 604.301.0026
The Organ
Organ rock.
The Panda Bear of Delta
Sean Ramsay
#110-10644 151A St.,
Surrey, BC V3R 8R3
Ph: 604.582.6564
Fax: 604.582.6564
Leonard Pennifold
Guitarist —electric/acous/
noise/audio abstract (add)
#802-1616 Pendrell St.,
Vancouver, BC V6G 1S8
Perpetual Dream Theory
Alternative folkrock classical-
jazzblues, sometimes a trio,
sometimes a quintet. Available
for coffeehouses and other
such venues.
Gordon Breckenridge
Pet Fairies
Death lounge—to satisfy all
your deep, dark cruel desires.
R. Michaelis
#14-1656 Adanac St.,
Vancouver, BC
Phat Tank
Watch for their post-rock
garage opera in the new year.
Sure to be a sensation.
Step Carruthers
Studio 201-321 Railway St.,
Vancouver, BC V6A 1A4
Ph: 604.331.6966
Fax: 604.331.9979
Phoenix Wisebone
Progressive folk songstress at
the corner of pop and jazz.
Phoenix Wisebone
Granville Park PO Box 60605,
Vancouver, BC V6H 4B9
Ph: 604.871.5507
Fax: 604.321.2791
Adrienne Pierce
Mazzy Starr on speed with a
touch of Lou Reed.
Adrienne Pierce
PO Box 2961
Vancouver, BC V6B 3X4
Primordial Nature
Electrofunk and Technodub:
Celebrational Electronic
Polyrhythms for Mind, Body,
and Soul.
Noah Bouddit
A modern sound rooted in
rock, fusing ethnic instruments,
samples, jazz stylings, and
drum loops.
Ed Quan
#103-4900 Francis Rd.,
Richmond, BC V7C 4R5
Relentless, non-vocal sludge in
huge amounts—happy now?
RC Johnston/Ed Frey
948 Keil St., White Rock, BC
V4B 4V7
The Radio
Psychedelia from the Great
Ray, Dave, Lee
c/o Astro Pop Records
3837 Main St.,
Vancouver, BC V5V 3P1
The Reverberators
Instro surf reverberations.
Frank Nichols
#2-1966 York Ave.,
Vancouver, BC V6S 1E3
Ph: 604.737.8162
Fax: 604.738.9050
The Revolutionary 8-track
Mixing System
Several old 8-track cartridge
decks routed to mixer, punching between programs of
original source material.
The Riff Randells
Fun rock 'n' roll.
c/o Mint Records
PO Box 3613,
Vancouver, BC V6B 3Y6
Ph: 604.669.MINT
Fax: 604.669.6478
Rocket Fins
Hot-rodded rockabilly, hellbent
twang, doghouse bass, 3 cats, 2
kittens, and high coolness factor.
Mike Dennis
Rockin Daddys
Savage Rockabilly.
Rich Hagensen
4337 Percival Ave.,
Burnaby, BC V5G 3SX
Sajes Myned
Jazzpunkrock with girl singer.
Slow & groovy to fast &
insane. Will play for food.
Steve Simpson
5550-1 20 St.,
Surrey, BC
_J Il££g2®£3JB DEATH
July 4th Toilet -
The Evaporators
Thee Goblins
Thee Skablins
Redd Kross
Carolyn Mark
Birthday Ma
22. A&p^ZSYV&s^ ZDOO Near Trafalgar
Age of Electric
Velvet's Christian
Ryan Moore, aka
ze      Twilight Circus Dub
gendary Pink Dots
Tremolo Falls
The Beans
Saul Duck
Please Car
Generally, the coloured arrows follow
the same parson. This Is what happened to some of the members of
Superconductor. Drummer Keith
Parry has filled in on the skins for
Gaze and Neko Cass, lie's In a noise
band whose name no one can
remember. He Is the man behind
Scratch Records. Guitarist Sean
Elliott is also a Scratch man, and his
label. Cava Canons, has released
Destroyer and Blaise Pascal
records—among others. Sean and
Keith had a short-lived band called
Twerdocleb which released one 7"
with large breasts on it. Carl
Newman Is a music machine and has
since played In 600 bands Including
Thee Cruaaders, The New
Pornographers, Zumpano, and
Tenneasee Twin. David Carawell and
John Collins played with
Superconductor on a tour with
Guided By Voicea. As well as playing
In The Smugglers and the
Evaporators, they operate JC/DC
recording studio. Scott Gubbels is
currently the keyboardist for Cappozi
Park. The rest of the members of
Superconductor have died. The
research team at DiSCORDER could
not dig up anything about them. Who
are we kidding? We didn't even have
shovels; we didn't try very hard. If
Gunnar, Mike, Pat, Mike, or Cal feel
left out, please write to Airhead
and tell us about life after
Superconductor. The last time the
boys (well, seven of them anyway)
got together was for a scene in Reg
Harkema's film A Girl is a Girl.
Despite Robert Pollard's efforts,
Superconductor has no reunion in
sight. Jerks. Some of the connections on this map are not so obvious.
Dave Carswell played drums for cub.
Lisa Marr form cub plays In Buck.
Corky Pidgeon, the drummer in
Buck, made a few appearences on
the '80s television show Silver
Spoons. Lisa Marr married Ronnie
Barnett of The Muffs. Roy Mcdonald
played the drums for The Muffs and
he was in Redd Kross. Carl Newman
plays in Tennessee Twin with his
wife, Cindy Wolfe, who is the twin
sister of Alison Wolfe of Bratmobile.
Alison once threw a max! pad at Ian
MacKaye of Fugasi, but we won't get
into that. The majority of the bands
at the end of the arrows are still
active. Some of these bands have
played only one show together.
Some of these bands have changed
their names. DiSCORDER Research
Labs is not "happening." DiSCORDER
Research Labs has left Vancouver for
fear of being beat up by local bands.
_3 H^gSG^iM
Young punk band looking for
Joel McDonald
11977 237 St.,
Maple Ridge, BC V4R 2C8
The Scenic Highrise
Fast kids playing slow.
Zsofia Zambo
2652 Violet St.,
Vancouver, BC V7H 1H1
Bertram Scott
Gay, urban, roots, singer-songwriter.
JB Scott
#205-1530 Graveley St.,
Vancouver, BC V5L 3A6
Glenn Scott
Big drums. Fat analog.
Mouths. Leaves a gritty
204-334 E. 5th Ave.,
Vancouver, BC V5T 1H4
Christopher Schmidt
Psychedelic Trance DJ signed to
Phantasm Records, a major
British label.
Christopher Schmidt
PO Box 93596, Nelson Park
RPO, Vancouver, BC
Ph: 604.735.7375
Fax: 604.215.4040
Noise is beats. Beats
noise- ._»_* < ; K
#23-1195     ;^pl'Xr^
Davie St.,     '
Vancouver, BC V6B 1N3
604.682.3269 ex.3249
Sweet, crunchy raw
pop/punk/lounge trio with all-
girl rhythm and vocals.
Shannon H./Mike B,
2?   /ULsfdkSLSYi^JlA.  ZDOO
The Skyfishermen
Faster than yo' mama's '78
Pinto on high octane gas!
Jas Cooperman
Smut Peddling Sam
Four suburban english white
guys try to get angry at the
161 Munday St.,
Coquitlam, BC
Everyone knows that all men
must snuggle each other!
Looking for Christian synth,
bass players.
370 Nenzel Rd.,
Qualicum, BC
Sophie Tucker
Intelligent pop rock with a
punk twist.
Aaron Mannino
PO Box 84686 Seattle, WA
Splitting Adam
Vancouver's own independent pop/rock band.
Marino Piombini
Box 37008-6495
Victoria Dr.,
Vancouver, BC
V5P 4W7
Ph: 604.444.8014
Fax: 604.879.2628
Star Collector
Mod influenced rock V roll,
Vic Wayne
#67-1930 Cedar Village
Cres., N. Vancouver,
BC V7J 3M5
www. angelf i
Dark blues, country, jazz,
punk, lounge. See name.
Female vocals and screaming
and sound effects.
CamiHe Baker (formerly of
Spiritual Heroine)
#309-175 E.Broadway,
Vancouver, BC V5T 1W2
Ph: 604.708.0997
Fax: 604.708.0997
Evan M. Symons
"Lyrics so artfully cloying I
wanted to break his record."
Evan M. Symons
Vancouver, BC
Hard rock 'n' roll with
humourous lyrics and a bizarre
stage show. Must see live!
3081 Kitchener St.,
Vancouver, BC
The Technicians
Respect the Unexpected, enter
the Tent of Miracles experience
Childhood Zen, understand
The Inaccurate Misconception.
Exu Nazares
Thee High Prophets
Vancouver's ambassadors of
original electronic music.
Fresh beats, spacey loops,
underground integrity.
Exu or Russ
Sparse country and western,
spacey and atmospheric
interludes, and uplifting
all-weather driving songs.
Glenn D'Cruze
2941 South Creat Dr.,
Burnaby, BC V5A 4V4
DJ Tobias; production as
DJ: Three turntable minimal
Detroit techno, tech-haus,
minimal dub and electro.
Musik: techno, tech-haus, dub
and experimentation and
audio art performance.
Trail Vs. flussia
Canadian rock power-trio.
Steve DiPasquale
Triple Word Score
"Art reaches its greatest peaks
when devoid of self-
consciousness. "
#2-3780 Cambie St.,
Vancouver, BC V5Z 2X5
The Uncle Monstor Space
Theatrical four piece band.
Sound is:
Sevli Android
Westbank, BC V4T 1J2
Vancouver Shame
Two acoustics, two vocals.
We have no shame. That's
why we're Vancouver Shame.
604.682.3269 ex. 9342
Fun loving bitches from
Vancouver and we're sick of
this love thing.
Peter Weber
PO Box 77, 199W. Hastings
St., Vancouver, BC V6B 1H4
Victory Gin
'n' roll.
Jonathan Truefitt
Waltz Darling
Drink, Dance, and Fuck!
#6-925 Cardero St.,
Vancouver, BC
The sonic equivalent of hitting
your funnybone and loving it.
Mr. Eric
#304-1 HOW. 10th Ave.,
Vancouver, BC
Original, all-girl, alternative
punk band. Playful and high
Rene Botha
34 E. 18th Ave.,
Vancouver, BC V5V 1C9
Young and Sexy
Simon and Garfunkel without
the edge.
Paul Hixon Pittman
#42-841 Commercial Dr.,
Vancouver, BC
604.879.4033 Your Funeral
Literate punk rock. Green Day
meets the Misfits in a gruesome
grudge match.
Trevor Fielding
#706-501 Pacific St.,
Vancouver, BC V6Z 2X6
Star Wars inspired porno
5741 Lanark St.,
Vancouver, BC
Ache Records
Label and mail and box
Andy and Zoe
POBox 138, #101-1001 W.
Vancouver, BC V6H 4E4
Angry Landlord Records
Hardcore label with a taste
for originality. Released
Vancouver Island Sucks comp.
Starting a subscription club.
Joseph Paling
ALR c/o Joe Attn: Ronald
Reagan 1 195-B Dogwood St.,
Campbell River, BC
V9W 3A3
Astro-Pop Records
Featuring The Radio, Young
and Sexy, P:ano, and Amy's
Rocks, Astro-Pop offers some of
the best bands in Canada.
Ray, Dave, Lee
3837 Main St., Vancouver, BC
Calamalka/S-V Records
Experimental hip hop and
dub styles.
Capital Punishment
Consumer Rock.
1st Ave RPO POBox 56001
Vancouver, BC V5L 5E2
Flying Saucer Records
and Studio
CD Record Label (rockabilly,
psychobilly), CD design and
duplication, demo and live
recording, CD burning and
website design.
Mike Dennis
Indiecomp Records
We deal with the best of everything—from ska to electronica.
D. Yoshin Nagase
3112 W. 8th Ave.,
Vancouver, BC
Musical hobos releasing locally produced electronic oddity
that burns whitey's ears.
#23-1195 Davie St.,
Vancouver, BC V6B 1N3
604.682.3269 ex. 3249
Nefer Records
Indie Punk/hardcore label
owned and run by
Marzie or Dawn
#600-1027 Davie St.,
Vancouver, BC V6E 4L2
Ph: 604.435.7563
Fax: 604.430.5930
Sinusoidal Records
A plethora of local
5208 Blenheim St.,
Vancouver, BC
V6N 1N8
Smallman Records
Home of Choke, Another Joe,
Guy Smiley, Layaway Plan,
and Moneen.
Rob Krause
PO Box 352, 905 Corydon
Ave., Winnipeg, MB R3M 3V3
Ph: 204.452.5627
Fax: 204.284.8801
Sonic Unyon Recording
Fully independently owned
and operated record label and
distributor since 1993. Record
store since 1998.
PO Box 57347 Jackson Station
Hamilton, ON L8P 4X2
Ph: 905.777.1223
Fax: 905.777.1161
Spawner Records
Canada's fastest growing
record label. Bands: Complete,
The Malchiks, Tim, Burden,
Wishing Well, Huskavama.
Kyle Richardson
PO Box 93046-19705 Fraser
Hwy., Langley, BC V3A 8H2
spawner 1
Step and a Half
Will the internet become a
mirror to the astral plane?
Evan Symons
#292-3495 Cambie St.,
Vancouver, BC V5Z 4R3
"That pathetic shitrag with no
significant impact on the local
mediascape." Vancouver's best
loved monthly college music
tabloid. Cheap ads!
Barbara Andersen
(editorial)/Maren Hancock
#233-6138 SUB Blvd.,
Vancouver, BC V6T 1Z1
Ph: 604.822.3017 ext.3
Fax: 604.822.9364
Lame ass sickle/chopper zine.
Mr. Chop
PO Box 1564 Point Roberts,
WA 98281-1564 (but we live
in Canada!)
Fax: 604.733.1646
Pop Boffin
PB is a smart, cute, funny independent arts and culture 'zine.
Lara Jenny
3848 W 1st Ave.,
Vancouver, BC V6S 1H4
604.228 1711
Rubber Popsicle Factory
Pop culture zine of artist.
Different interpretation of
culture like Mr. T.
Owen Plummer
34-1455 W. 8th St.,
Vancouver, BC
SPECK fanzine
Indie-rock, pop, punk,
electronic, murk, etc.
views music, zines,
shows o\ society. Solid!
2573 Oxford St.,
Vancouver, BC V5K 1M9
Gerry-Jenn ofJP5's quick guide
to becoming the ultimate beer
drinkin' maneater.
PO Box 60069 c/o Fraser
Postal Outlet, Vancouver, BC
Dubvibe Productions Inc.
Dubvibe Productions is a
Vancouver based production
company specializing in all
forms of urban music.
Daniel Elmes
3543 W.8th Ave.,
Vancouver, BC V6R 1Y8
Ph: 604.739.8523
Cel: 604.786.1725
Hive Project Recording
Balls out rock and roll.
Colin Stewart
Saltwater Studios
Digital audio recording and
graphic design. Relaxed,
creative atmosphere!
Reasonable rates.
Steve Simpson
Surrey, BC
Ph: 604.502.0605
Cel: 604.789.0764
ZS S£sj%£®E3® The Stereo Lab
Computer-based recording.
All FX, mastering, CDs in
house. Let's experiment.
Jon Bitze
2737 W.3rd Ave.,
Vancouver, BC V6K 1M6
Zerocks Sound
Specializing in demos.
Kevin Murphy
Rock V Roll "fuck you"
Ph: 604.739.7570
Fax: 604.739.7570
#23-1195 Davie St.,
Vancouver, BC V6B 1N3
604.682.3269 ex. 3249
Stefano Panusa
Free listing for local bands and
musicians. MP3's, classifieds,
user forums, all genres
#220-8651 Westminster Hwy.
Soulsistah Productions
Promoting events and various
music related projects which
inspire, promote, and educate
women who are becoming
involved in urban music.
Oksana Kolibaba
2037A Collingwood St.,
Vancouver, BC V6R 3K7
Ph.: 604.836.0058
Fax: 604.739.5004
Propaganda Foto Studio
Images of daring originality to
help market your
Daniel J.
321 Railway St., Studio #210
Gastown, Vancouver, BC
Full  Clit Crew
Promoting women in  hiphop,
funk, urban, soul, reggae,
and beyond.
Maren Hancunt/Adrian Noble
bananaspliff 1
Providing electrosonic alternatives to white bread aesthetic
^AfrpU^n^j^ zDOO
(ST) Collective
Musikal resistance and
surrealist performance art.
Upstream Entertainment
Hand-picking the finest dance-
able live music in America.
Derek Arrowsmith
2343 Western Ave., North
Vancouver, BC
Ph.: 604.904.4207
Fax: 604.984.3274
The Urban Music
Tfie UMF organizes events
which support and promote
Canadian urban music talent on
a local and international scale.
Me-Key RedEyE/Oksana
Suite 118, 4825 Kingsway,
Burnaby, BC V5H 2C9
Ph.: 604.836.0058
Fax: 604.739.5004
Christoph m-ear
for techno/house/elec-
tro/dnb dj's and producers
along the West Coast.
Jeremy Baker
Radio Guru and all around
nice guy.
Talk to his agent.
161 Munday St.,
Coquitlam, BC
BC Music Industry
Foundation and
Museum  (BCMIFM)
An incorporated, non-profit,
volunteer-run society AND registered charitable organization.
To receive a list of BC Music
Hall of Fame inductees enclose
Donald R. Aikens
PO Box 56002, Vancouver
BC, V5L 5E2
Ph: 604.229.7201
Fax: 604.327.7778
If I Only Had A Heart...
Custom I" button making
Zoe and Andy
POBox 138, #101-1001 W.
Broadway, Vancouver, BC
V6H 4E4
Live hypnotic video
performance art and
audience—interactive visual
accompaniment for your music.
#23-1195 Davie St.,
Vancouver, BC V6B 1 N3
Morning Glory
DJ's, sound, decorations, and
chill rooms.
Ruby Street Clothing
Restricted to black.
Peter Weber/Tamara
239 Abbott St., Vancouver, BC
Ph: 604.684.2933
Fax: 604.684.2944
KGE Management
Artist management and consultation.
Aggie Richichi/Dean Hamaura
#404-2001 Beach Ave.,
Vancouver, BC V6G 1Z3
Ph: 604.687.2429
Fax: 604.687.2420
Live Music
The Java Joint
The Lower Mainland's only all-
ages venue. Theme nights and
live shows on weekends.
Dave (booking)
10727 King George Hwy.,
Surrey, BC V3T 2X6
Tart Gallery
Pop art gallery and all ages
venue. Free in-store band performances.
Vicki M. and Nicle Steen
1869W. 4th Ave.,
Vancouver, BC V6J 1M4
T's productions
Graphic design and consultation for print and the web.
David Tees
#204-1390 Nanaimo St.,
Vancouver, BC
604.722.3184 not shared with the others. Steve believes that less
is more, production-wise, while Dan sees some
merit to insane production values. He's a fan of the
possibility of playing with prog sounds, as is Sara.
This secret was let slip, without the men censoring
it—"I secretly want to be horribly prog."
As much as Dan wants us to believe that
"there's this program on the iMac called the 'Sara
Lapsley' that they just pressed a button for," the
album is full of real live musicians, each and every
one of them playing their hearts out. Glancing
now. Steve is my rock, and Dan is my constant support," Sara explains, as Dan adds "I thought you
were going to say 'hard place.'" The Vancouver
Nights band is made up of musicians with their
hands on too many instruments, musicians who've
got a lot on the go without adding another band to
the mix. Dan can count five bands he's involved
with (The Battles, Destroyer, The New
Pornographers, The Vancouver Nights, and AIDS,
which he refuses to elaborate on), as it's rumoured
that "Dan will be in anybody's band...", and
photos   by
through the liner notes, other players on the album
were Shawn Mrazek (drums), Danny Fazio (bass),
Bernie Arai (drums), and Scott Livingstone
(drums)—that's on top of the five already mentioned! Even worse, the band's got a new guitarist
lined up for its fall tour, Shane Nelken of The Come
Ons. How did the band get so big? "I have had a
lot of people playing in the band over the last three
years. People have more commitments in their late
twenties. It's been a struggle for me to keep my
head above water. There are times when I've
wished it would gel more easily, but it's going well
Steve's a busy man as well.
Sara seems like she's come to terms with the
chaos. For the fall tour, the line-up will be Sara on
piano and vocals, Steve on bass, Shane on guitar,
and Bernie on drums. Sara thinks that they're
"going to have a really hot tour ensemble, physically and musically." Dan's staying put at home,
but doesn't sound too disappointed. The Nights are
going to be touring across Canada and back
through the States with Endearing label-mates The
Salteens, which Sarah and Steve believe will be a
lot of fun. Dan looks rather cheerful when he says,
"I'm not going to be there, so I won't know how
much fun it is."
The band is looking forward to meeting members of the always-dedicated Endearing fan-base
that criss-crosses the nation. Steve's heard that in
Grand Rapids, Michigan "the shows pay well, and
there's beds for everybody." A band can't really
ask for much more, can it? Sara's got a plan to get
her through the tour: "I won't be home-sick, or get
too drunk, or worry about the food we eat." Steve's
planning on living off of his charm (the band
swears he's its charm factor). The highlight for Sara
will be playing in Toronto, a long-time dream.
it well: "We spent about seven minutes playing,
and about 23 minutes tuning." This sets Sara off
on a bad trip down memory lane. "It was so important that we do really well and wow everybody,
and it was this horrible disaster where the guitars
wouldn't tune and nobody knew the songs, and we
got booted off the stage..." "...and then you got
really drunk and started stage-diving." Not such a
pretty picture, is it? These stories should be more
than a bit surprising to anyone who's only seen the
band lately, or heard the album.
The Vancouver Nights are stylish, even if they
purport not to be. Sara claims to be "really out of
Originally from Ontario, she'll be on home-turf,
with family and friends to impress the heck out of.
The   Nights  have  a   show  booked   at the
Brickyard on Wednesday, September 20th to start
the tc
|. The e
celebrate the Canadian release of the album, and
to show uninitiated Vancouverites what the band is
all about. The band doesn't play much in town,
keeping a low profile to avoid scenester burnout.
Steve explains that the band generally "play[s] in
bursts," due largely to the fact that its membership
is in a constant state of flux. Sara believes that a
band "can have a longer life span by not playing
that often," and that's been applied to the Nights'
show scheduling over the years. Add to that the
fact that the first few shows were kind of messy,
and you'll feel better about not having seen or
heard much just yet about the band.
"We've had some total disaster shows—not
recently..." Sara recalls one of the Nights' lowest
moments, at a show opening for Zumpano. It was
"the worst show of my life," she says, adding, "and
I've played some horrible shows." Dan remembers
touch," preferring old music to new stuff, but the
band looks and sounds great. Sara aspires to be
stylish, but Dan doesn't seem to be willing to make
the effort. "I have to concentrate so hard on playing
guitar that I don't have time to do rock kicks or
make faces or present myself in any way. I just try
to keep up. I think we're fairly earnest up there." As
we all know, however, the good style is never
achieved with high kicks, so this band is doing the
style thing right. They are "teetering on the edge
of falling apart, but it's exciting that way." You'd
never guess about the falling apart bit from the perfectly crafted and executed album, but maybe seeing them live offers up something else entirely. It's
always nice when a band mixes it up a bit.
Sara's got high hopes for the next album,
including adding strings and horns to enhance the
lushness of the music. Before that, though, her band
has plenty on the go. An album and a tour are the
Nights' present plan of action, but Sara's already
busy thinking about the future. Any time around
now would be a good time for us to jump on ■ s our local music scene alive and well or
I famished and grunting feebly? Are we
I partying into the new millennium with
hope and inspiration, or are there still people out there crying tears in their beers for
the good old days of taking in a show at
the Town Pump? Are we too big to be
closeknit and supportive of one another?
Too small to have enough consumer/audience support to nurture a diverse and thriving live music scene? This line of
questioning drove me to pillage local
papers, websites, and DiSCORDER's Local
Music Directory in order to send out a simple email to 100 addresses, pleading
bands, promoters, labels, clubs, and the
like to bare their souls to The Golden
Chubby. The amount of people who
replied far exceeded my expectations,
which immediately assured me that the
locals in our scene are vocal and working
hard to make the shit happen.
Local music is alive and well—
although you might doubt it upon reading
this article, as the peeps are often pissed
off. Instead of taking this as a symbol of
bad times in the local scene, however,
recall that we all know it's easier to bitch
than to praise. Of course everyone had
different and conflicting opinions, but a
few areas garnered almost identical
responses from a variety of scenesters.
Most people took the promise of anonymity as an invitation to vent, and I was
thanked more than once, for what I'm not
sure. Being there, perhaps? Read on for
some uncut dope that's purer than
Colombian Blueflake. Oh yeah, all the
snide little comments in italics are from The
"Depends on who you're talking to, usually a pretentious barfly, but sometimes
a good photographer/reviewer."
"Omigawd, Nice, they know a lot
of people in the industry—
without actually working in the
"Someone who is in a scene of people
and tries to be known and cool, tries to
dress cool etc., but they're just a scen-
ester—they don't actually create or do
anything for the scene except critique it."
"Someone who you see at shows over
and over again like Amy Brannen from
Clover Honey, Mark Szabo from
Capozzi Park, and of course me."
"Every single last fucking one of
"As an anonymous local musician, I
appreciate how supportive the [people]
are, yet at the same time, it's a trap. All
the musicians can easily become "local
heroes" in Vancouver, [where] everyone
in town knows who they are, but nobody
else in the world knows, and soon they're
40 years old and still at the record shops,
playing the same old places'."
"We've got lots of good independent
record stores."
"More stores need to have
Independent/Local sections and
promote        them properly.
Although most retailers will take
local product, they seem apprehensive about promoting it and
showcasing it, therefore not really helping the local scene at all."
"A&B and HMV should stock our indie
CDs without Indiepool."
"Boomtown is excellent, Futuristic
Flavour is for crackmonkeys, Scratch
should let you listen to vinyl."
The Golden
.  Chubby  .
"I use Napster myself."
More so than retail, Radio plays a major
role in getting local and indie music to listeners' ears. And guess what? CiTR
IOl.9fM fucking rules! I knew it...
"A few radio shows on CiTR are worthy
(and that's not a suckup)."
"Other than a few shows on CiTR, the
radio in Van sucks my ass."
"Only 2 good stations: CiTR and
"CiTR and Co-op rule. CBC Radio 3 is
slowly becoming coopted by cool people
on the inside." Urn, it hasn't even been on
the air. Is that a result of co-optation?
"SFU can't be heard outside of the cam-
"It's great that there are three
stations in town where volunteers can play whatever they
want. That's a lot of selection
and we should be thankful."
"Too much top 40 and classic rock...
stuck in the '80s!"
Now we'll move from
spaces. Our scene has seen some blows.
Cheesy murals depicting Jennifer Lopez
stain the walls at our beloved Starfish
Room. The Commodore re-opened as a
venue that requires promoters charge
$20+ a ticket and have at least 700
people in attendance just to break even.
Those are obvious disappointments.
What mystifies me, however, is how
almost everyone who wrote me back
complained that there was nowhere to
play. On paper, it seems like Vancouver
has a plethora: the Marine Club, the
Starfish Room, the Brickyard, the
Chameleon, Sonar, the Purple Onion, the
Railway, Richards On Richard's, the
Lamplighter (just joshing!), Ms. T's, the
Lotus, the Yale, the Picadilly Pub, the
Sugar Refinery, the Columbia, the Cobalt,
the Backstage Bar & Grill, and even the
Plaza and Bar None come to mind. On
the jazzy tip there's Rossini's, the Jazz
Cellar, the Cotton Club and the Mojo
Room (I know, it's in Burnaby). On the
Drive there's Bukowski's, Cafe Deux
Soleils, and a host of other restaurants
that feature live music on the weekends.
For big-time groups there's the Vogue, the
Queen Elizabeth, the Orpheum, and the
Commodore. Those with a mid-size draw
show up at the Cultch, the Croatian
Cultural Centre, the WISE Hall, and the
Western Front. What is troublesome is
the tragic dearth of all-ages venues; the
only one coming to mind as I write is the
Java Joint. To quote one respondent:
"Booking an all-ages show in Vancouver
is bloody impossible." Aside from that
unfortunate reality, there is a goodly number of clubs that host live music. So why
is it that the number one complaint that I
received about our local scene was that
there aren't enough venues? Do you
doubt the Chub? Read on...
" A serious 'lack thereof,' but obviously
supply and demand applies here."
"There aren't many live venues...
there's only, like, 2 places to play
in Vancouver."
"New venues would help."
"We need more bars, not in the
Downtown Eastside either, legitimate
places for legitimate bands to play."
"Good live venues in Vancouver, with
proper lighting and sound, and good sight
lines, etc., are an endangered species."
"We need more venues, and the ones that
we do have need better management."
"Venues do not book a lot of
local bands to support larger
and more established bands,
which makes it hard for local
bands to build larger fan bases.
No advertising is done, so names
do not get known."
"If clubs want to stay in business, they
have to be smart enough to realize that
they need more than just the draw of the
bands. Bands shouldn't be completely
to blame if the bar is empty."
"Some venues are good, but then they
are like Fort Knox to get into, so then
they suck." It's not all bad though:
"Thank God for the Railway is
all I have to say."
"The venues are really good in
Vancouver. Well, some of them: the
Brickyard, the Pic, and the Java Joint.
Everywhere else has too much of an
ego to let new bands in."
Ego? Or fiscal desires? I must say, I can
somewhat understand the motivations of
venues. They're out to make money, and
will do whatever is profitable. If booking local acts were more profitable, they
would do it. Period. So how do we
make local music more profitable for the
clubs? I've witnessed first hand the nervous apathy of Vancouver audiences—
people make fun of me for dancing and
whooping it up. I'm convinced that the
main reason people don't go for live
music in this town is because the drinks
are expensive and weed is cheap. Turn
every bar into an Amsterdam-style coffee shop and people will flood the
place. Read on for the scenesters' comments on audience participation:
"Audiences of any kind should
be worshipped for their mere
"They need to get up and dance. I've
been at too many shows where the crowd
just stands there with their arms crossed,
blankly staring at the stage. People in this
town need a good kick in the ass."
"Audiences need to unfold their
arms and move."
"Most of the gigs I go to, the people are
stunned at best, although some of the large
name bands get the crowds excited."
"There are lots and lots and lots
of very talented bands/artists
in Vancouver... unfortunately,
there are more bands than
there are people who want to
go and see theml This is the
BIGGEST problem in this town."
"Wake up."
Well, it seems that our fine West Coast
weed has some downfalls. Maybe it's
increasing our apathy, maybe it's causing stupidity:
"It ain't called fucking 'electronica,' and
if I hear that again I will call everything
with a guitar 'rock,' be it ska or punk or
emo or some wasted fat wank in a
Hawaiian shirt singing bad Elvis music
or a Sonic Youth noise LP, got it?"
Most people who responded to my
inquiries about Media liked DiSCORDER
(although I know there's lot's of dissension
out there... perhaps no one wanted to hurt
my feelings?}. The Straight got mixed
reviews, Exclaim! was only mentioned a
few times (although they're not local), the
Sun and the Province were totally trashed,
and no mention was made of the
WestEnder (who provide limited but loyal
coverage of our local scene). Suprisingly,
Agree to Disagree, a solid and locally produced punk 'zine, wasn't mentioned either.
"It's all hype."
"The Georgia Straight sucks except for
Ben Nevile, who we all know has a very
skilled tongue."
"We need more critics who are
"The media is comprised of shite middle
class weenies that wouldn't know music
if it sat down next to them on a bus!"
"It's pretty cool that DiSCORDER has
cheap ad rates." / swear I didn't make
that up.
"Media is going to follow whatever it
thinks will sell, or in the case of a volunteer paper like DiSCORDER, whatever
the writer feels like writing about."
"I respect many of the music writers in
Vancouver, Shawn Conner gets a special shout out!" Gee, even though he
slagged Korn?
"I don't care that you were too
drunk or late and missed the first
band, and I really don't care
about reviews of your stupid
friend's bands." They wouldn't be
talking about DiSCORDER, would they?
This one's my fave:
"I think the scene can lick my butt. I like
DiSCORDER and CiTR 101.9fM for all
the help they give to the local scene. The
Georgia Straight only helps you if you
lick their ass. It's all about how well you
lick, not about how well you are. Fuck
_JT Jaz^jz^vv^iX
"Fun theme nights, more creativity in putting on shows, more creative
venues, more promotion & coverage for shows."
"More support for locally produced music."
"I would like to see: more bands with politics and ethics and more
unity. It would be cool to see artists from different genres
collaborating for a common purpose, larger bands donating time and money to important local causes and a better activist/artist media site/paper."
"Support of local talent."
"More Radio stations, no more Rock Radio (we have enough).
How about some dedicated Jazz, Hip-Hop/Urban, or Funk Stations,
and more venues for bands to play in."
"Fun rock 'n' roll parties! Nice people!"
"Clubs without attitudes, a third turntable, sex, drugs, and all-night
break-ins. People willing to speak their minds and not cower behind
an    'it's    all    good'    mentality    which    promotes    mediocrity.
"Crossover indie-rockers into DJ culture and vice-versa. "
"The Revolution."
"The door money."
"Top 40/Classic Rock."
"Formula-rock radio-friendly catchy-tune college bands."
"Rock Radio, shirty garage bands, and ego in the scene."
"Posers! People who think they're all that... but they're not."
"Out-of-town DJs getting press support."
"People who whine about the lack of venues but never
go to local shows. People who complain about lack of
local support from college radio who never write or DJ."
Hallelujah! Say it brother!
"The high-school clique-ish 'irvcrowd' DJ Mafia who control all bookings,
can't spin worth a dead rodent stuck up their collective asses, have the
musical  taste of that poor suffering  rodent,  and  plain  suck."
"Ravers, robots and genrefication." Genrefication, I like that
"Less cliques. Less self-importance from bands who actually aren't that
"Could there be any less?"
"In a town where you have to pay $200 for someone else to put up
your posters it's fucking hard to put on a show if you have no money."
"I think the people in Vancouver need to get out to shows
and create the "scene." There is no scene in Vancouver because
it costs too much to get in to clubs, they should drop their cover
charges to maybe $3 or $4 and offer more incentives to draw
patrons. What better way to get people to your club than by offering
drink specials! People like to drink when they go to clubs, the clubs
need the business and the bands need the audiences. We need this
kind of thinking to attract people out to venues."
"I've met a lot of great bands and people in this city that
love (most of) the music and the integrity behind it."
"Regarding the Local Music Scene—there is nothing wrong with
Vancouver musicians, but there is a hell of a lot wrong with the public and the promoters. The public is not attending shows, and we have
to wonder why. This lack of support leads to a very small scene."
"Lots of talent in this town, but it needs to be nurtured and
supported. We're doing our best but government help is needed at the
grass-roots level. We need music-based youth clubs, places where young
people can get together and learn how to play their instruments."
"Less Rock, Less Talk, more diversity." A new slogan for FM
"Vancouver has huge talent but needs to set up a more serious industry to keep this talent and the industry needs support from the public
and the government in order to develop this talent."
What have we learned from this, boys and girls, promoters and
fans, DJs and retailers? Some bands have taken matters into their
own hands, throwing gigs in people's homes, forming their own
record labels, organizing alternative music festivals like Music
Waste, Tuck West, and Crucifest. You go! Don't like the media?
Produce a zine! Don't like the radio? Volunteer at CiTR and get on
the air! Don't like the bands? Form your own! And then go and listen to everyone else's. Do unto others as you would have others
do unto you. Do It Yourself! Don't make me a sad chubby. Go out
and see some music, motherfuckers! •
Higfi Vancouver
We're handpickin' the freshest, finest, live
groove bands for your dancing pleasure!
An explosive combination of some of todays most
talented and progresive jazz/bluegrass musicians from
The String Cheese Incident, David Grisman Quintet,
Leftover Salmon and The Anger/Marshall Band
Sunday Oct 8th
Richards on Richards
She Stole my Veer
Friday Oct 13th
The Starfish Room $12
In memory of Billy
the Monster-sized live house grooves of
sector 1
Friday Nov 3rd The Starfish Room
Saturday Nov 4th The Boot Pub, Whistler
Tix @ Puff, Zulu, Black Swan, Highlife and all Ticketmaster
v      More info @      •
2.9 EJKgSTjfieffi Under
All the World's America
This trio of Haligonians who like
to sing a lot about sex—maybe
a bit too much—have become a
bit less obsessed with their
favourite subject on their sophomore release. This time around,
Arlibido penetrates the superficiality of the subject of sex as a
song subject and decides to front
criticizing the consumerist and
materialistic ways of the world
on songs such as "Just a Little
Time," "All the World's
America," "If I Need," and the
intensely clever "Bulshat." Their
potshot at the record industry,
"Your Record Sucks," also takes
a lot of balls as it opens them up
to a lot of potshots in return.
Luckily, still present is Arlibido's
ass-spanking bass-led grooves,
orgasmic ska undertones and,
above all, tight and erect musicianship. The songwriting does
get a little wanky at times, resorting to petty innuendo and just
plain lyrical perversion—take the
self-explanatory song titles "Bite
You" and "Jello"—but the musical accomplishment of the band
makes one forgive them.
Amazingly, Arlibido has the
balls to cover DOA's version of
The Righteous Brothers'
"Unchained Melody" as the
album's closing track and credit
Joey Shithead as the writer of the
song!   What  a   buncha   dick-
Contradictory nature and
the struggle within
(62 TV)
This is seriously cool noise. This
Belgian-Dutch concoction will
make sense depending on personal mood, and it gets better
the later in the night you listen to
it. The perfect fusion of dark,
almost Burroughs-ian lyrics (written by M. Van Bergen), with
dyslexic ambient electronic
works wonders. It's a treat for
junkies of sick humor and connoisseurs of kitsch, fully
equipped with a cool stuffed
The After Birth
A Caustic Resin record is like
a really really long road trip
down the 1-5. Just as it takes a
lin type of person to appre-
i the
of li
i and subtle
several days, eating nothing but
McDonald's, Taco Bell, and
other-side-of-the-highway fare, it
takes a special kind of person to
enjoy Caustic Resin's rambling
jam-rock. The songs don't really
go anywhere, but that's not really the point. Caustic Resin is all
about the journey. The After Birth
seems longer, windier, and less
to the point than any other CR
record (rumour has it that the
songs on the album are left-over
jams from the recording of The
Medicine Is All Gone), though
the actual song lengths are surprisingly economical, with 10
songs in 40 minutes. The album
is obtuse and moves like it's stuck
All State Champion
I think that every band should
have to record three EPs before
they get to make an album. It
would kind of be like minor
league baseball, weeding out the
"hot prospects" from the nobodies and helping to reduce the
number of filler-filled, 70 minute-
long messes out there.
If Vancouver's All State
Champion were a baseball
player, they'd probably be a
shortstop who hits for the
fences—a good blend of finesse
and power. Their CD has a nice,
sensible six songs: enough room
to stretch their legs and show their
range without boring or upsetting
the listener. They play what you
could call rhythm-driven post-
punk, with a distinct vocal style
that borrows heavily from emo.
Not unlike Fugazi, but generally
faster and with a more anthemic
sound, they bounce back and
forth between subtle string-picking
and flat-out assaults, but generally keep it pretty melodic. Driving
basslines keep the dissonant guitars on track and prevent the
band from venturing into a no-
man's land of weird time signatures. Good lyrics too—honest
enough to make you blush but
never sinking to self-help cliche
So this is a debut release that
does what it should: makes you
wish for more. If they, uh... can
stay injury-free, then they just
might get called up to the big
leagues after all!
Paul Crowley
Of Florencian Romances
If you had never been to Italy or
had a romance of the Florencian
kind, you might start a band that
involves a lot of counting—to
keep your mind off of things like
unrequited love and low self-
esteem—but occasionally, you'll
have to yell, "No one's listening!
No one cares!" because you
can't take it any longer.
Members of Forecasts
Farewell re-join (this time with a
chorus pedal) to make calculated
songs with moments of emotion.
Think Radio Berlin but prettier,
post 1986, and pro-math-rock.
When dreams of love and
going places are never realized,
you'll always have the band.
Christa Min
Operation Makeout
Two weeks ago, I asked my sister if she remembered what I used
to wear when I was sixteen.
"Purple high-tops, white tights,
and brown shorts," she
answered. Like many young girls
at that particular historical
moment, I had a Passionate
Attachment to Visions of Utopia.
The collages on my wall and the
phrases on my patches seemed
deep but on closer inspection,
were muddy of meaning. ("So
what?" I would have said.) When
I grew up I had to resolve my anxious passion and manifesto fever
with the realities of personal complexity and change. The white
tights went the way of my political
This very, very good local
release is held together by singsong and tremolo, speed and
interplay. It is laced with words
that rhyme but mean nothing:
"synthetic"/"aesthetic." Empty
phrases: "What about the eyesore? What about the difference?" (When I read or hear
things like this, I think about all
those terrible first-year papers
inflicted on underpaid TAs.)
Operation Makeout couch
their heady postmodern cliches
("I'm a audience I'm the projectionist") within caffeine-trembly
sleepover chants. Familiar, yes,
but it is adrenaline and youth and
the anticipation of too much edu-
' ■ sounds GREAT.
Vt Hold Focus" features a
>let that makes me want to
//ith gratitude (jargon and
truth): "Gotta have your face on
straight your feet on right / We'll
make chic babies if it all works
out / Prickly legs are so particular
the body a backdrop / Oh scabby sister take me out tonight."
Ptaytand is open weekends until Thanksgiving.
Admission inctudes unlimited access to 25 rides,
m   0\ *$ *
O ROGERS VIDEO    *        ,
30 Ae^e/w*i*A. ZDOO in mud, but it sounds little like a
Modest Mouse record.
Although the whole thing seems
like one big jam session, it's definitely not Phish-like in any
way; Caustic Resin is busy making its way down the Pacific
Coast, paving its own path
where there's no highway.
godfrey j. Leung, esq.
The Great Eastern
(Beggar's Banquet)
When The Delgados came
onto the UK indie scene a few
years back, it was easy to write
them off as third-rate  Sonic
Youth wannabes. Since that
time,    the    mounting    critical
acclaim being heaped upon the
Chemikal Underground
house-band has made their
releases increasingly difficult to
It seems that, somewhere
along the line, the band have
ditched their Dirty riffs in favour
of the sort of post-Beach Boys
indie pop guaranteed to get
British critics' mouths watering.
This quasi-symphonic sound is
usually seen as an antidote to
the never-ending flood of generic guitar sludge that clogs up our
ears year after year.
Unfortunately, such a viewpoint
often means that, as soon as a
band adds a string arrangement
or brass section to a few songs,
critics can become blinded to the
material's essential shortcomings. Witness the hyperbole
whipped up over Mercury
Rev's disappointingly tedious
Deserter Songs.
Rev alumnus Dave Fridmann
is co-producer of this equally dull
piece of work. The Great Eastern
has a few pretty tunes, but it's
also horribly lacking in imagination—just about the worst crime
one can commit in Pet Sounds
pop. This album merely pays lip
service to the idea of imagination; displays the most obvious
traits that indie fans associate
with many-hued beauty. It's
cheap in theory and drearily
ponderous in execution.
Remind me not to pay attention to the critical consensus next
Sam Macklin
Dusty Trails
Dusty Trails is a collaboration
between Vivian Trimble (ex-
Luscious Jackson) and
Josephine Wiggs (Ex-Perfect
Disaster/Breeders). That's a
pretty good pedigree artistically,
though not commercially.
Surprising, then, that a major
record label was prepared to
fund and release this album,
which is rather unsatisfying on
an artistic level and doubtless
bound for minor-cult obscurity.
It's not without it's charms, of
course. The basic blueprint is in
the "Avant Garde MOR" style
pioneered by Stereolab (it
even has a song in French).
Influences from swinging '60s
Britain and Brazil are very much
to the fore, while woozy synths
V samples provide a much-
needed contemporary edge to
many of the album's best
Overall, it's a pretty lovely
sound but taken individually, the
tracks often fail to make the
grade. Some are just a little too
sickly sweet; insipid melodies
played with weedy synth tones.
Elsewhere, as when Jill Cunliff
from Viv's old band lends some
vocals to "Roll the Dice," it
sounds like a rather smug product of music industry hangers-on.
Having said that, it's another
star collaboration that provides
the album with its best moment.
"Order Coffee" features a beautifully husky vocal from country-
rock divinity Emmylou Harris.
This is a moment demanding of
attention on an LP which, all too
often, fades into sappy back-
Sam Macklin
Silence is Sexy
The constellation that comprises
Einsturzende   Neubauten
has once again shifted.
Following the release of the
excellent Tabula Rasa (1993),
Mark Chung left Blixa's fold to
pursue other ventures. Ende Neu
(1996) seemed a letdown,
owing more to a superficial pop
sensibility than the more typical
atmospheric feeling of their earlier work. The release of Silence
is Sexy, EN's newest effort,
comes on the heels of the departure of yet another veteran, FM
Einheit, the percussive heart of
the group. Joining the group are
Jochen Arbeit and Rudi Moser,
formerly of Die Haut.
Silence is Sexy owes much
to the aural texture created on
Tabula Rasa—there are even
faint flavourings of the earlier
Fiat Lux. Lyrically, EN are up to
form as usual, weaving eloquent
tales of love, despair, and life in
general with a bittersweet sense
of inevitability. The instrumentation continues the process of
refinement that the group has
been pursuing over the last few
years. Not as bold percussively,
the music is more focussed on
delicate sounds and their juxtaposition to the main melody, creating a lush aural soundscape.
"Die Befindlichkeit des Landes,"
a song about the psyche of present day Germany, is a beautifully full-sounding piece
reminiscent of the earlier "Fiat
Lux." "Beauty" is a well-crafted
little gem. Blixa's wry wit is at full
play on "Musentango," which
uses the tango format as a meditation on the vagaries of desire.
"Pelikanol," a lengthy opus
which cqmes on the second CD,
is a heartfelt tribute to an adhesive paste familiar to anyone
who grew up in Germany. On
Silence is Sexy, Einsturzende
Neubauten are in fine form, their
maturing sound ever more intricate and evocative.
Thee Singles 19901999
(Damaged Goods)
Stop Billy... you're killing me! I
love your stuff, but enough's
enough! Didn't you guys break
up? Yeesh!
Bryce Dunn
The Friends of Rachel
Australia's Go Betweens purveyed literate indie pop throughout the '80s to much critical
acclaim but little commercial success. Since they called it a day,
there has been remarkably little
animosity between songwriters
Grant McLennan and Robert
Forster, so the band has enjoyed
various mini-reformations. Last
year they finally gave up any
pretence of non-existence, set out
on a world tour and decided to
record this new album.
The Friends of Rachel Worth
is much slicker in production and
songwriting than the band's classic work. Without the down-at-
heel charm of yore, much of the
album is dispiritingly undistinguished in its generic maturity.
The new songs only really
hit home on the odd occasions
that they are augmented by
unconventional guitar harmonies. Strangely enough, these
subtly abrasive arrangements
are provided by members of
Sleater-Kinney and Quasi.
This post-riot grrrl line-up may
seem a peculiar choice of backing band but it undoubtedly provides what little edginess the
album has. "The Clock" and
"German Farmhouse," in particular, combine rugged textures
and wordy lyrics to create a
sound not unlike The Fall in
unusually melodic form.
Forster and McLennan's idiosyncratic wordiness is the
album's other main saving
grace. Their erudite wit is a welcome respite at a time when the
rock world prizes thugishness
above all other qualities. Still,
without the technical limitations
that once added grit to The Go
Betweens' fey bookishness, the
results here are often rather too
Sam Macklin
(Spectra Sonic Sound)
I like Spectra Sonic Sound, they
have put out some good albums
in the past. Shawn Scallen, the
man behind the label, is one of
the best photographers around,
and most of the SSS releases display his work. I thought it was
my lucky day to find a new
release from this label in the
sometimes quite dull review
bin—too bad it was
Hacksaw's I've put off writing
this for a long time because I
don't like negative reviews. I've
listened to this album to the point
that it has just become more
painful. It just won't grow on me.
Nothing really interesting: bad
lyrics, bad voice, ho-hum music.
I don't like it. That is all I can say.
jay douillard
Recipe (Music for Robots):
1. Mix equal parts
Morcheeba, Kraftwerk, and
Go-Go's, and 1 /6th of a tablespoon of Berlin.
2. Add one part of cup's
alluring vocals to three parts of
dustin, brain and marc's
European-style electronic pop
savvy. Add a dash of cub (to
3. Fold with spatula until
4. Preheat oven to "somewhat toasty."
5. Slop in quarter-size dollops onto greased baking tray.
6. Slide in oven and let fry,
frazzle, and pop for about a
week. Remove from oven when
7. When cooled, place in
CD tray and press "play."
Position yourself between speak-
8. Turn on strobe light, point
at face.
9. Sit and stare. Allow full
effect of light and sound to energize fuel cells.
10. Repeat from step 1, if
Warning: those at risk of
spontaneous short circuits or
combustion should refer to robotics specialist before using i am
Mike Chilton
A Place Called Home
To ,
of I
demographic, there is an order
form on the inside of the CD tray
for admittance to the Sea
Shepherd Conservation society,
which is, apparently, an organization that sinks whaling ships.
The record has everything you'd
expect from a modern hardcore
band: songs about the politics of
the hardcore scene, gun control,
the benefits of being straightedge, and plenty of raging
against anonymous machines.
The optimist's view: Ignite
embodies the hardcore ethic and
proudly displays a singular
vision, steadfast ideals, and simple but positive lyrics. The pessimist's perspective: Ignite's lyrics
are hardcore cliches and often
come off as closed-minded.
godfrey j. Leung, esq.
Teenage Dream
IQU smoke way too much. All
that nicotine does not allow them
to get enough oxygen into their
bloodstream. And this affects
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V  Et£i_3_®3ffi their brains. And then they make
music. I take this music home
with me, and then I listen to it.
This time, the music they made is
full of crazy Japanese Children
singing and blips and sounds
and beats and as usual,
theremin things. It makes me a little wacky. But that's not all. No.
This time, along with general
wackyness of they that are IQU,
they got a whole bunch of other
wacky DJs and other wacky
artists—like Looper—to remix
and re-make the music they
made when they didn't have
enough oxygen in their brain.
Then I listen to it, and then I feel
a little crazy. I cover myself in
sushi mats and wear my electric
blue kimono/housecoat. I stand
in the middle of my living room,
stereo full blast and begin to
smoke. I smoke way too much.
And all the nicotine does not
allow me to get enough oxygen
into my bloodstream. And this
affects my brain.
Anthony Monday
Le Voyage d'Hiver
(empreintes DIGITales)
The Montreal electroacoustic
composer Daniel Leduc has
taken on the formidable task of
following in Franz Schubert's
footsteps by providing a new
musical setting for Willhelm
Muller's romantic 24 poem cycle
Die Winterreise. Taking on such
an icon of 1 8tn Century German
romantic Lieder tradition gives
credit to Leduc's ambition.
Die Winterreise cycle is
made up of a series of vignettes
telling of a young man's lost love
and his delirious imaginings as
he ventures into the cold moonlit
landscape—only, in the end, to
meet the figure of death. The
danger of being too literal in creating a musical setting for the
text is as great as that of being
too abstract and thus totally losing the delicate mood of the
story. Leduc manages to navigate these dangers skillfully and
offers a fresh interpretation of
Muller's poem. Using the original German text, Leduc uses a
minimal palate of distortion,
samples, percussion, and electronic accents to guide the listener through this tale of
Romantic-era despair. His sound
collage gives the text a mournful
and uneasy edge only occasionally brightened by some musical
flourish. Daniel Leduc's composition offers a modern take on a
tale that is still strangely moving
Empreintes DIGITales has
also included some earlier works
by Leduc. "Traverser les Grandes
Eaux" is reminiscent of fellow
Quebec composer Robert
Normandeau. "Troposhere" is
made up of four movements
(Stratus, Cumulonimbus,
Altocumulus,  and Cirrus) that
transcription of the cloud formations described, but which illustrates the composer's fascination
with atmospheric textures. Le
Voyage d'Hiver CD includes a
booklet in English, French, and
German with the complete text
of Die Winterreise as well as
brief explanations of the individual works. A highly evocative
and interesting release for anyone interested in contemporary
Canadian electroacoustic music.
1000 Hurts
(Touch & Go)
Shellac. A decisive, punishing
defeat. Shellac. An often alcohol-based lacquer with active
compound derived from the
secretions of scale insect Coccus
lacca. Shellac. An early audio
format fabricated, in part, from
said compound. Shellac. Also
found as a component in the
manufacture of sealing wax, fireworks and electrical insulators.
Shellac. A surname belonging to
Quebecois villain (avec le toque)
featured in Bugs Bunny episode
#434 (See also: Black Jacques).
Shellac. An onomatopoeic, aesthetic analog to the certain elasticity of this kid's combinations,
latently anticipated (o o) and
inevitably suffered [ /\ ].
Shellac. Trolley. Tracks. Shhh...
quiescence, patience, restraint...
LAC —> Decisive. Punishing.
Victory. shLAC.
Steve DiPo
(Touch & Go)
Last night this nutcase that lives
in my building set his mattress on
101.9 fM
11:30AM- 1:00PM
Record played most often on your show:
The song "Lust for Love" by my Vancouver favourites, Images in Vogue.
Record you would save in a fire:
Alphaville, Forever Young; Sisters of Mercy, First and Last and Always; Ella Fitzgerald, Best Of... —
had to rescue three.
Record that should burn in hell:
The Cure's Wild Mood Swings. (I mean, there's plenty, but this one stands out. Anything by The Hip
would be a close second.)
Worst band you like:
Oh, so many. How about Backstreet Boys, and Honeymoon Suite.
Last record you bought:
Howard Jones' Cross That Line.
First record you bought:
The Village People's "YMCA/Women" 45. I was four years old, I saw them perform on television, and
I dragged my mom to Port Alberni's only record store to snatch it up.
Musician you'd most like to marry:
This is a toughy, but I think the recipe would go as follows: He would have to be 50 parts Perry
Farrell (circa Ritual de lo Habitual), 25 parts Prince (circa Purple Rain), 10 parts Mick Jagger, 10 parts
Peter Murphy (the eyes) and 5 parts Poison Ivy. I could also quite happily settle for my real-life musician partner Andrew.
Favourite show on CiTR:
"Hans Kloss' Misery Hour," Wednesdays midnight - 3am.
Strangest phone call received while on-air:
This was actually when I used to co-host the "Slippery Slot" with Kiley. I had just cued up the song
"War is News" by local '80s obscurity Alien Hiers. No sooner had I done that, when the phone
rang. Kiley answered it, and it turned out to be the guitarist from Alien Hiers who just happened to be
simultaneously requesting that exact song! Spooky or what? Other than that, the "fast
talker," of course. •
fire and then, realizing that the
place could burn down, hucked
his bed off the balcony. I slept
through the whole thing. But if
the fire alarm had been pulled, I
would've been ready. I keep my
Libertine LP propped up against
the wall, ready to be rescued in
case of fire.
I am determined to get every
single Silkworm release from
their inception in 1987 to their
1994 gold medal Libertine. In
that period, they were the best
band in the world. After that
period, they weren't. I refuse to
own Silkworm's last three
albums. I decided that Andy
Cohen and Tim Midgett couldn't
sing anymore, their lyrics were
molded from poo (remember
Winnie?), and their songs
weren't good enough to overcome these faults. This was what
I told everybody. But my record
habit forced me to buy their last
7" just so I could have the complete Moneyshot Records library.
When I was sure no one was
around, I danced to "I Must
Prepare" and punched myself in
the heart because I, like, totally
felt what Midgett was singing.
Guilty pleasure soon turned to
admiration because, well, the
man has two Travis Beans, you
When Lifestyle came to our
office, I held it up and said,
"Let's listen to this. It should be
funny." The first listen put an end
to the 'Pretend I Hate Silkworm'
game I play. Although the Rock
seems to have rolled into the
Country, nearly every song on
this album is a hit—from Cohen's
catchy "Treat the New Guy
Right" (with lovely back-up
vocals by producer Heather
Whinna) to Midgett's incredible
"Plain" (with a bitchin' guitar
solo by Cohen). Hell, even their
"Ooh La La" cover overcomes
bad thoughts of Rod Stewart
and Soul Asylum Unplugged.
And, of course, the album is
and inside-your-cochlea vocals.
Do you know what this
means? Now I have to go get
Firewater, Developer, and
Blueblood even though most of
those songs blow just because
I'm a completist. Because I'm a
complete idiot. Silkworm's
Lifestyle is great, and I'm pretty
upset about having to admit it.
Christa Minimum Minimalism
All Hands on the Bad One
(Kill Rock Stars)
For those of you who are profoundly shocked that the lady-
men at DiSCORDER didn't
review S-K's new album back in
the spring, that we didn't dedicate a whole issue to it, wipe the
smirk off your face. We just
wanted enough time to really get
to know the record. [For sure,
Miss five month late submission—
Ed.] Listen to it over coffee; discuss it with friends, you know.
We're women after all, we like
to get to know a thing before we
rush off and award it with the
money shot ("5 stars, better than
Dig Me Out, etc.)." All Hands
On The Bad One isn't as hard
and fast as DMO or The Hot
Rock, so we decided, in that sensitive way of ours, that we needed more time. Time to figure out
why the new album is more laid-
back than previous efforts, sporting more straightforward hooks
and obvious melody lines. Time
to figure out the annoying, formula-rock formatted single
"You're No Rock 'n' Roll Fun,"
whose ironic title is a much needed clue that the song is kind of a
joke. Time to figure out why S-K
now have husbands.
And? Well, opinion at the
office is divided, but I like the
album. I can't help it—I'm a
sucker for Corin's Belinda
waj|—jfs so good! I love the
third-wave-feminist lyrics, lamenting the co-optation of riot grrrl,
exploring their contradictions,
and—yes—their cravings for
dick. I like it when bands experiment and change their sounds
from album to album, because
there's two words for what happens when they don't:
Dinosaur Jr. I like AHOTBO
despite its mellower tones. The
riot has lulled for a while, and S
K are merely surveying the damage. You can bet when they play
live that they will rock harder
than cock, that's for sure, and
there'll be tons of cute queer girls
for all of us cute queer girls to
press up against in the front row.
First Album
(The Song Corporation)
I've stuck with this four-piece pop
outfit from Victoria pretty much
from their beginnings, mainly
because they are one of the best
live acts from Vancouver Island.
But it is with a heaw heart that I
say their First Album, which is
actually their third album, is actually their most overproduced and
middle-of-the- road effort yet. The
dynamic sound which The
Special Guestsl (who have
now decided to put an exclamation mark at the end of their
name to avoid confusing doofus
mainstream radio programmers)
have become known for and
which obtained them their solid
fan base has all but disappeared
in favour of a bland and radio-
friendly early-'80s pop sound.
That the power ballad "Love to
You" sounds like a Bryan
Adams rip-off is simply the sealing of the pact they made with
the devil, otherwise known as
record execs.
The exploration of sub-genres which made both Just
Another Face and Everybody
Rock such good albums is only
evident on the melodic '90s
power pop of "Take Them
Higher," the horn-driven '70s
pop-rock of "Everybody" and
their rehashing if the '60s influ
enced doo-wop pop of "3rd
Street" (which was originally
recorded as "3rd St. (Doo-
Wop)" on Everybody Rock).
Of some redeeming value is
the fact that the musicianship is
as tight as ever—thanks to top-
dollar production, I suppose—
and guitarist/pianist/songwriter
Piers Henwood's razor-sharp
songwriting; I mean, the man
has never met up with a bad
bridge or chorus in his life, and
his hooky riffs will leave you
humming for days even if the
However, if he actually lived
even half of what he writes
about—drug addiction, abuse,
suicide, etc.—he must lead one
screwed-up life. I think his lyrics
are pretty much all about street
cred and coming off cool...
which is what mainstream success is about, right?
Voice Brother Sister
Quirky, melodic, but not annoying. If you can pull that off without pretension, you've impressed
me Summer Hymns gives us
an album that really does convey the whole spirit of summer:
carefree, lazy, optimistic, and
well, just fun. Rather than cramming the album with suspiciously
perfect pop songs, they throw in
some vintage synth or some sloppy mixing to make it all interesting. Buy it. Drive in the car with
it. Smile. Be happy.
Samuel Kim
Valentine Killers
(Yeah, It's Rock)
It's pretty uncanny how much
these guys sound like The
Motards (RIP). Actually, they
even look like The Motards—
right down to the insert photo in
the CD. Singer Brian looks like
John Motard, sings like John
Motard (with that l-eat-rocks-for-
breakfast voice), and their tunes
are simple, three chord, sloppy
rock-punk like The Motards. Wait
a sec, it is The Motards! No,
Bryce, hang on, face the facts,
it's not The Motards, it's The
Valentine Killers. Damn. A
guy can dream, can't he?
Bryce Dunn
And the coat and hat
Wolf ie do what they do best on
this new kindercore EP: very
sweet girl-boy pop that you can
dance to. Nothing really amazing, but it has all the hooks and
will make you happy. This album
has definitely increased Wolfie's
dance factor. If this release is
any indication, things are definitely looking good for this
band. I look forward to a future
full-length, as should you. In the
meantime, get off that chair and
start waggling with Wolfie!
jay douillard
32- A&fjJ-isnJheA, WOO Real Live
Thursday, July 6
Richard's on Richards
Smartly dressed and ready to
rock, The Sadies captivated
the small but appreciative audience with their funny jingles and
Friday, June 16
The Brickyard
Strange to find the downtown
east side's Brickyard full of characters even more disconcertingly
eccentric than the folks shooting
the breeze on the neighbourhood's notorious street corners.
They must have turned up for
San    Diego's    Optiganally
Yours, a band who, in this age
of cool,  detached  irony,  are
refreshingly unrepentant in their
OY's main gimmick is the
use of an obscure proto-sampler
called the Optigan, which was
originally marketed in the early
'70s as a toy. It produces a raw
sound, spooky in its low-resolution retro ambience. For the most
part, though, the band uses the
instrument's beats and riffs for
the considerable kitsch appeal
intrinsic to their dated swinging-
London idiom.
Which brings us to OY's
other gimmicks, which include
Viking helmets, lizard masks, leotards, cross-dressing, a
break-dancing competition and
a Hammond-funk rendition of
"Wichita Lineman." Like
Nardwuar's Goblins and
Austria's Fuckhead, Optiganally
Yours fall just the right side of
unbearably irritating. One imagines that this is the upshot of
some serious intent behind the
whole thing.
This suspicion is confirmed
by Thingy, a band featuring
most of the same scruffy misfits
as OY They play an aggressive
mix of punk-pop and convoluted
math/prog rock. It's an impressive noise but the intricacy of the
compositions is often lost in the
sheer  bluster of their perfor-
Perhaps Thingy just played it
that way because of the venue's
sub-standard PA. Certainly, the
subtleties of the New
Pornographers' colourful
power pop were lost in the general boom and buzz. New Porn
deserve better because they
write fantastic songs and
arrange them with great imagination (as evidenced by their collaboration with Neko Case on
the Vancouver Special compilation). Admirably unafraid of such
un-punk rock elements as craftsmanship and backing vocals,
they could really shine given the
right venue.
Whether or not the individ-
;rs of the band will
d develop this project
is another matter. The line-up
contains faces familiar from
Neko's Boyfriends, Destroyer,
Vancouver Nights and even
The Radio, so one assumes
that this is something for a side
project    for    most    of    those
with a profusely sweaty Asia
spitting out lyrics as he grooved
on the stage. Next up was
Bahamadia, who put the
place on fire. Not the kind of violent back draft that comes and
bursts in and sets everything
alight—this was the kind that
slowly and steadily <
the supersuckers enjoy themselves at the brickyard,
photo by casey b.
involved. Hopefully they'll all
wise up to the fact that this act
could be the one that propels
them   beyond   the   parochial
Sam Macklin
Thursday, June 22
Richard's on Richards
Amazing. Simply amazing. The
first Vancouver installment of
Toronto based lll-a-mental blew
me away.  Usually a  familiar
song is needed to make the ear
drums pop at a show, but not in
this case. Due to lack of availability of Good Vibe albums,
most of the songs performed at
the show were being received
for the first time. The energy was
sparked by Chicago's
Spontaneous with help from
his boy Eclipse 427. The Cali
Agents, Rasco and Planet
Asia, both known to hold their
own, further ignited the place
ything in its path. The inten-
and respect her presence
amazes me. Just
when you think all hip hop
females have to be hoes to make
it, you realize how long
Bahamadia's been in the game
and how much of it she has control over. Lastly, Slum Village
came on to raise it up with "Fall
in Love" and "Get Dis Money."
Once again, the energy executed was 1 10%. They got the
crowd all hyped up and chanting along. The only thing that
prevented the tour from spreading like wildfire that night was
the lack of audience participation on the second floor. These
guys went through some major
shit to perform that night, they
needed everyone's love. Looking
forward to the next installment of
lll-a-mental, and if you missed the
first one, too bad for you.
The second band didn't perform. They just left an annoying
void during which you couldn't
really chat with your pals
because of various ear-wrenching       technical       difficulties.
then the rafters, on the speakers,
and into the crowd, one soon felt
fear replace boredom. Starting
off with the first track on their latest release, 000, "I Feel Fine,"
their big bad beats had us soul-
twang rock style. The nonconforms! bassist, who had not
donned the angular Sadies'
suits, offered a lot musically, as
did the lonely crooning of the
backup vocalists. Some said The
Sadies stole the show, but I
would say their whimsical
style only overshadowed
Beachwood Sparks.
Recorded, the band may have
something different to offer, but
on stage they were terribly boring (yawning-uncontrollably-type-
Boredom, however, may
have been the perfect foil for
The Delta 72. Leaping,
screaming, splaying and spraying their way onto the stage and
clapping ir
no time. A few beers
linor threats later, the
crowd was shaking their thing
for a good forty minutes until the
brief but explosive show was
Namiko Kunimoto
Saturday, July 8
lock around
S*?HnW 1.°oo ©?cott tf>\*
l    HErJ
iiiim&umm Showbox Theatre (Seattle)
"Tenacious who?" "D." "Ooh,
Tenacious D, I don't know
them." These were the words I
uttered after my American chum
invited me to witness the phenomenon known as 'the D.' As it
turned out, my buddy hadn't
heard of them either. But this
Canadian wasn't about to
decline an invitation to go out
with his one and only companion in rock in the excited States.
Besides, the Showbox was
packed and everyone else
seemed to know what was in
store: some serious ass-blowing
Tenacious D is an acoustic
guitar duo made up of the husky
KG (Kyle Gass) and JB (Jack
Black). Folks might know Black
from such films as Bob Roberts,
The Cable Guy, or more recently
as Barry in High Fidelity. The
band supposedly started as a
sort of stand-up comedy routine
that was featured on HBO alongside the sporadically humorous
Mr. Show. Thus far, they have
only performed live, not having
a single release to date. If we
are to take the band's word as
to its true origins, they are the
two-headed lovechild of Iron
Maiden, Black Sabbath,
and Molly Hatchet While
lacking their parents' sheer volume and teased hair, they make
up for it in speed, ego, and a
respect for all things winged and
They started with the medley
of all medleys. Queen's "Flash
Gordon" was humorously mixed
with Bob Dylan and other
seemingly unmarriable material.
Lyrics were altered at random. I
had told myself that I had risen
above so-called "novelty joke
bands," but Tenacious was different. KG and JB rocked out
with so much energy that even if
you didn't find them funny, you
had to admire their stamina.
Besides, any band with lyrics
like, "We ride with Kings on
mighty steeds across the devil's
plain..." with complete conviction and straight faces has my
respect. Like JB said, they are the
only band with the rocket juice.
Tuesday, August 8
Starfish Room
This evening of retro rock began
with a depressingly enthusiastic
band called Supporting Act
(or something hilarious like that)
giving a tight but uninspired performance. Things picked up considerably when The Dandy
Warhols, looking withered at
the end of their North American
tour, shambled on stage to show
Vancouver that, for this type of
music to work nowadays, it has
to be all about inspiration.
Umberto Eco once argued
that Casablanca is a classic
because the script is saturated
with stereotypes and cliches to
the point that it becomes sub-
. The
tainly be applied to the Dandie
tribute to rock history is the kind
of thing that gets UK critics salivating, which explains why
Portland's finest are far more
popular in Britain than on their
own continent. Where other
bands with a similar approach
album title—13 Tales from Urban
Bohemia—isn't all that ironic.
These PoMo bohos really look
like they live it, and make a convincingly psychedelic racket to
As well as the general sham-
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With nothing original to add to
their irreverent but loving pastiches they perfect and elevate
the art of shameless rip off.
Guitarist Peter Holstrom managed to epitomise this approach
by wearing a Rolling Stones
t-shirt while playing Stones riffs
on a guitar with a Stones sticker
attached to it.
This sort of tongue-in-cheek
(say Saint Etienne) often
sound rather detached, the
Dandies always counterpoint
their arch posing with bursts of
"authentic" emotion and energy,
which, in this context, take on
seismic proportions.
So, to an extent, they mean
it, maaan. Indeed, judging by
their dishevelled onstage glamour at the Starfish,  the r
bolic noise, their loud 'n' long
show featured: a trumpet-slinging additional Dandy in a 10-
gallon hat; an impromptu
version of Kristin Hersh's
"Your Ghost"; several hundred
guitar pedals. What more could
you ask for from this kind of
band? Second on the Bill may
have been tighter but it was the
Dandies' slack approach to retro
rock that made this show s
Wednesday, August 9
Kissing girls is fucking gross! I
don't care if you do it under the
Sleater-Kinney poster in your
bedroom or in front of some
Japanese tourists at Stanley Park;
it is a disgusting practice that
needs to be abolished once and
for all. Not only do girl-kissers
risk being ridiculed by their
friends, but they also must deal
with a number of hygiene considerations: obviously, most girls
are nowhere near as thorough
with the floss as they are with the
hairbrush, so gingivitis is a
major concern. Also, lord forbid,
the vixen might try to go for your
throat, leaving an unsightly mark
for your mother to quiz you
about (at this point, I usually
recoil, planting a firm karate
chop against her neck). Of
course, 1 haven't mentioned the
dreaded "ham tooth" which is to
be avoided at all costs.
The evidence is overwhelming: the practice of kissing girls
has got to be stopped.
As gross as it is, I would risk
%f   AzpJt&sV*^
WOO even herpes cold sores to kiss
the three hot girls in Operation
Makeout. That would be
alright. We could eat some
Ethiopian, burn some incense,
throw a little Discount on the
stereo, and neck all night on the
sofa. Operation Makeout are so
good that I'd probably even kiss
the boy, too!
Grab-me Hesh
Saturday, August 12
The Brickyard
Due to unforseen difficulties with
"The List," I managed to miss
The Probes. I weaseled my
way  inside   in  time  to  catch
Montreal's  The   Datsons.   I
enjoyed  their  '60s-influenced
mod pop a lot, although they
somehow seemed heavier when
they opened for Tricky Woo
last August. The songs were really pretty— perhaps too much so
for most of the  liquor-fuelled
At this point, The
Supersuckers were poised to
show all in attendance what a
rock 'n' roll show should be. I
would be hard pressed to name
a band that is tighter, louder,
and more accomplished live,
largely due to the fact that they
have been together beyond a
decade and tour constantly.
Having sauntered onto the
stage, they had the audience in
the palm of their hand before a
single note was played, and didn't loosen their grip for a second. Whether playing tunes
from their latest excellent album
The Evil Powers of Rock and Roll
or from their extensive repertoire
of classics, they are relentless!
Witness the double "gold top"
assault of Dan "Thunder" Bolton
and Ron Heathman, or the awesome poundings of "Dancing
Edge" on the skins.
Singer/bassist Eddie Spaghetti is
the consummate showman;
incredibly charming, tossing out
golden one-liners like yesterday's
trash. They don't buy into that
jive encore bullshit either. They
"pretend" to leave the stage, the
audience "pretends" to cheer
them back, and they continue
playing until they're done
(although at their April show,
they actually did an encore,
including a Turbonegro
cover!). "Born with a Tail" seems
to be a signature closer—I suppose because it kinda sums up
what they're all about: living life
to the fullest and giving the middle finger to any consequences.
Sunday, August 13
Cates Park
I attended Under the Volcano
last year and had a good time,
but this year I had an even better
time, so I'm looking forward to
next year. Under the Volcano is
a self-proclaimed "festival of art
and social change" (now in its
1 1 th year) which aims to put the
Conscious back into Party, and
with admission costing only $5-
$20 (sliding scale), it's a total
bargain for everyone. Taking
place at North Van's beautiful
Cates Park, this year's theme of
"Rhyme & Resist" saw more hip
hop and hip hop hybrids happening on the two stages than in
previous years; however, the
whole festival was wonderfully
diverse, highlighting expression
and political creativity and creating a rewarding experience.
Under the Volcano is great
because there's tons of shit to do
and see for just one day, yet it's
manageable, both in terms of
the distance (minimal) between
the various stages, and the quantity of performances and activities. It's just enough. In addition
to the Mainstage and Waterfront
stage was a Kidz stage, a film
and video tent, a totally thumpin'
daylight rave, a literary stage,
and an information fair/vendor
area. Highlights were many, so
I'll just share a few. Victoria's
Stirfry crew, fronted by MC Kia
Kadiri, played a warm and
funky set. I saw Loud for the first
time and fell madly in love with
each band member. Taiko drumming  meets Sonic  Youth—
you've got to hear it, it's perfect.
Although I missed hearing her
speak, I got to meet Inga
Muscio, author of Cunt (Seal
Press, 1998), and you can just
imagine how excited I was to
meet a fellow cunter-in-crime.
Writers weren't just relegated to
the Malcolm Lowry literary
stage, either— the afternoon
mainstage audience was witness
to the pure and gorgeous poetry
of Japan's Nanao Sakaki.
Anyway, although I couldn't
stay for the entire 12 hrs of the
festival, the whole thing was
pretty incredible. There were
really only two major disappointments. First, the self-indulgent punk choir shtick of Seattle's
Uncouth provided yet more
proof that there's more to being
an activist than yelling a lot, and
more to being an artist than
obtuse lyrics. Their cranky wail
ing didn't create melody out of
dissonance, or discipline out of
chaos, its just made me leave to
go see something else. See?
Everything has a purpose! The
other big disappointment was
Aztlan Underground. While
I loved the words and symbols
embedded in their music, and
was glad that they came to
Vancouver to educate and incinerate, I couldn't deal with the
rather boring and derivative
grinding hardcore tunes they
cranked. So what? I went to see
the Matriarch Q Bee and
Vinyl Ritchie kick the shit out
of the audience at the Waterfront
My dog had had enough by
i, though, so I had to
the evening portion, but I
Jefinitely be there next year
I am sorry I did not attend
Rethinking      Resistance
conference which took place the
day before Volcano at the
Britannia Community Centre. I
can't give you a review of that,
but with workshops like "Mass
Movement for Mass Movements"
and "Queer Pride or Corporate
Pride?" it sounds like I missed
Wednesday, August 16
Unclean Wiener was what
drew me to the Brickyard's
$1.49 Wednesday (home, I
learned, to the highest proportion of aging skateboarders in
Vancouver). I was expecting art-
damage and I got it. The retarded duo performed in paper
bags: "If I made music like that,
I'd put a bag on my head too,
ha ha," commented a companion. Their show was totally dumb
and pretentious, but I couldn't
help liking it anyway. The metalinguistic vocals were what
clinched it for this nerd. No one
will believe me when I tell them
that Unclean Wiener has
jammed with Jim O'Rourke.
Just ask Luke Meat, dude.
I can't get past Removal's
sampled vocals to any real
appreciation for the band's
power-chording metal lite. I felt
like I had been transported back
to a bad early-'90s industrial-
rock homejob tape. The human
voice either is a part of your
musical masterplan, or it is not.
No half-assed equivocations are
allowed on my ignorant critical
0 0
u s
b j|    J u 8 i e    Colero
Some of the best bands in the city don't fit into the club scene. Thank goodness Vancouver has a new scene, one that looks
after those who want to do something a little different—the restaurant scene. The Sugar Refinery plays regular host to local
and out-of-town bands and DJs, and has gone so far as to name some of its dishes after regular crowd pleasers like The
Molestics and Fryer Tuck. DV8, another local restaurant, is not new to the music game, but it is looking to step up its profile.
It should be known that local bands who want to make noise and eat tasty food have two locale choices, and listeners are
equally blessed—a little variety in the diet never hurts, does it? The two venues share some performers, but DV8's trying to find
a few unheard gems to unveil to its (so far) unwitting audience. People don't know, yet, that when they show up for eats on a
Wednesday night, they might just see something a little bit crazy.
When I showed up to talk to Patrick Deady, the man in charge of putting together DV8's Wednesday nights, I was treated to a performance by Kyerstan & Jim, two members of Gospel Space Juice. A guitar/flute duo, these two managed to
make more than a few patrons ignore their beer and conversations. "We've been doing live music at DV8 on Wednesday
nights for about six years. Since I've been booking, I've tried to focus more on experimental and/or electronic music. We do
stray from that, you know, if someone is doing something really good or way out there. "There are so many bands in the city
doing things that are really different—not the same old boring rock."
Deady is enthusiastic about what DV8 has to offer Vancouver musicians and music lovers. "We want to generate a little
more interest in this non-scene that's going on, maybe make it a bit more of a scene." This fall, Deady plans to continue featuring some of the bands he's stumbled upon over the last year, as well as introduce new ones to the stage. He is always looking for new artists, and submissions are welcomed. One thing Deady's got going for him now is a possible label sponsorship.
One of the larger labels in town is interested in showcasing its artists and sending A&R reps down to the shows. This could
prove to be some lucky local band's big break. Don't get too worried, though—there's not much of a chance of the restaurant
being inundated with cheesy rock bands. Says Deady, "In my world, 'rock band' and 'amazingly good' just don't go together any more." Look for diversity over all else to play a key role in DV8's fall line-up. Sandwiching the live artists between experimental DJ sets is another of Deady's ideas to increase the ambience, and he's proud to be one of the DJs on board.
September's Wednesday nights will feature shows by Sinoia Caves (featuring members of Pipedream), Al Levy, an electronic
artist who may choose to incorporate a band, Landscape Body Machine, an experimental ambient/industrial project, and
jgosper-lsim, a call-and-response electronic duo.
Julian Gosper, one half of jgosper=lsim, was more than happy to explain what they get up to on stage. Pushing their gear
past what Julian calls "manufacturer's intent," Julian and his partner Laurence Sim aim for a "glitch aesthetic." Their works are
rooted in traditional musicality, but the duo enjoys using and misusing the new technologies. Julian believes that "the errors con-
textualise the harmonies" and that what the two do is "transform the chaos into sane ground." Their humanist approach to elec-
tronica is a healthy change from the beat-driven creations showcased in venues like Sonar. So far as I know. Sonar also has
no good eats and treats. The Sugar Refinery has good perogies; DV8 has tasty bands. Immerse yourself in the restaurant scene.
It's pleasing to all your various palates. •
3SiI^_5£!£3ffi 2 ROOMS 2 SOUNDS
15 water street "whether you're looking to dance the nijght
Vancouver be away with our city's best djs in the club or relax
602-9442 in our lounge with nightly live music, then the purple onion is for you"
3296 Main St. @ 17"
LPs • 45s • CDs
New & Used
Boomtown VAN         ^^          Boomtown VIC
102-1252 Burrard St.         105-561 Johnson St.
(davfe & burmnj)                                                          {pepeftoox arcade)
(604) 893 8696             I             (250) 380 5090
36 ^fihyn^eA, WOO Radio Free Press
This being the local issue and all, we should take time to remind
you to seek out excellent Vancouver-based zines like Pop Boffin,
Speck, Queen of the Universe, Stay as You Are, Cinema Sewer,
and I'm Johnny and I Don't Give a Fuck. A great deal of independent
publishing's vitality stems from its ability to build communication conduits on a local level. So get down to Black Sheep Books, Zulu,
Scratch, or wherever and pick up some of that good printed matter.
Having highlighted the importance of local publications, we
should also point out that zines are also a great way of establishing
communication between opposite corners of the world. So excuse us
while we review some zines from far-flung places.
ROOM TONE may hail from the UK, but it still technically counts
CRUO       #t Free*
as Canadian content, being put together by one Jesse Simon, an ex-
member of Winnipeg's late, lamented dream poppers Dynamic
Ribbon Device. It's a music zine covering the more imaginative
side of indie rock in an unusually articulate fashion. It really comes
into its own on the one occasion that Jesse moves further left of centre. His review of Japan's heroically pretentious noise rockers
Fushitsusha aptly captures the masochistic transcendence of the
band's music. The zine's not all as good as that, but it does, at least,
recognize its own flaws (narrow focus, lack of images, sterile design)
and promises to remedy them in issue #2, which should be available
by the time you read this. (#1 for one pound from Top Floor, 87
Goldhurst Terrace, London NW6 3HA, UK)
KICKSTAND is a far more established and accomplished zine.
Okay, so they haven't put out a print version since November 1998,
but their excellent website ( suggests that a
new issue will appear at some point in the future. Anyway, this sunny
offering from sunny California is in the classic girlzine style, though
much better written than most of what falls into that genre. Issue #10
featured covers made with parts of real maps and had "reviews" of
all 50 US states. In a world of hastily compiled, badly photocopied
rags, this labour of love stands out as a class act. ($3 US or trade
from PO Box 1440, Santa Cruz, CA 95061-1440, USA)
Not that chaotically laid-out zines are necessarily a bad thing.
We recently picked up a copy of TONGUE TIED #4 (available in
stores around town) which is a crazy melange of art, stories, comics,
and interviews—arty, but with a DIY irreverence that makes it very
accessible. It seems to have been published way back in November
1997, out in Calgary. If anyone has any information on the current
state of this intriguing project, we'd love to know.
Anyway, it's about time that we got 'round to reviewing some
more recent stuff, eh? Bleek recently spent two weeks in his homeland, the US of A, where he picked up a bunch of good stuff coming
out of Washington State.  Hey,
that's almost local, right?
With nods to Seattle's Ten
Things Fanzine comes CRUD #1,
a free punk magazine with gobs
of potential. Interviews with
Cookie, The Load Levelers,
Quick 66, and Poxy introduce
us to lesser-known, backyard punk
bands. Crud offers another venue
for zinesters to get their stuff
reviewed and for punks to continue to flog their shit from a sanctuary
free of pervasive bourgeois culture. Editors Spit and Iggy plan to try
to get these out quarterly, but no one really ever succeeds at that, do
they? Keep up the good work. ($4 outside of the US from PO Box
4134, Seattle, WA 981 04-01 34) <>
From Seattle—with ties to Olympia^omes OBLIVION #8 and
we hear that #9 is out now. Oblivion is one of those zines that cross
the line from entertainment to being a great tool for information on
rights and liberation. These youths are angry at a system in which
kids are continually seen as criminals just for being teens. They're not
mindless reactionaries either. They know what they speak of, giving
1?3»TSl l|§ .•&
1 i
examples of age discrimination from news articles and personal experience. Ask yourself what you feel about the state of youth today.
What do you assume? Higher crime than ever in recorded history?
You'd think so, thanks to the mainstream CONSERVATIVE MEDIA (get
that straight, assholes). Stats actually show crime at an all-time low.
I've been bitching about this for years. Oblivion does something about
this. Highly recommended! (PO Box 95227, Seattle, WA 98145-
2227) <>
One of the coolest names in zinedom has to be Stella Marrs, who
puts together a small zine with huge subject matter. CRITICAL
THINKING EQUALS SURVIVAL is packed with true but sad sta-
tistics and compiled info on pesticides, poisons, toxins, etc. and the
shortsighted fools that would lead us down this horrible path of genetic retardation. It's happening all around us. Our health and the well-
being of the rest of the Earth's inhabitants are for sale and expendable
in a heartless, capitalistic system Americans equate with God and
patriotism. Oh, I'm sorry, go back to your TV. (Stella Marrs, PO Box
2273 Olympia, WA 98057)
Olympia's Dylan Williams draws this comic-zine called HEY
GRANDPA and promises "More belly laughs from America's foremost funny man." So how funny is it really? Sometimes it's kinda funny
and sometimes not so much. Maybe this is a composite of ridiculous
old men and their quirks, or perhaps it's Williams' own Grandfather
documented as a cranky, impatient nut. Whatever it is, it will cost you
a dollar where you can find it or you can ask about cost at 210 Bethel
St. NE #10, Olympia, WA 98506, or
That little lot not close enough to home for ya? Want to see more
local zine coverage in DiSCORDER and on CiTR? Well, get in touch
and get involved with our show, which broadcasts 2-3pm on
Wednesday. You know it makes sense. •
Happiness     by     Miyu
Your neck hurts. You haue this pain in
your neck because you didn't sleep
right. You couldn't sleep because you
were turning, tossing, thinking about
how the warmth ot your blankets isn't
enough to stop you trom being cold,
especially in the morning when you're
sweating and you haue that neck cramp,
that pain in the place that you can't
reach. You spread yourselt out on your
bed because there's room, but you wish
there was someone in the way, someone
to take away the pain in your Goddamned neck. In the middle of the
night, you wish you could be restless
and there would be someone beside you
who would wake up. •
3?E*E_aB®aB From Scene To Shining Scene
Honest Don's P.O. Box 192027 San Francisco, CA 94119
38   A4spJhe/rvJ>£A-
_000 CiTR
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "September" charts reflect
airplay over August). Weekly charts can be received via e-mail. Send mail to
"" with the command: "subscribe citr-charts"*
September long vinyl
3 kinnie Starr
4twilight circus dub...
6 up, bustle and out
7 lily frost
8 Jurassic 5
9 shellac
10 olivia tremor control
11 pole
12 clover honey
13 dandy warhols
14 isotope 217
15 murder city devils
16huevos rancheros
17 ursula 1000
18 v/a
19 datsons
20 silkworm
21 arab strap
22 kid606
23 senor coconut
24 jimi tenor
25 super furry animals
27 oval
28 livehuman
29 buju banton
30 mean red spiders
31 billy bragg & wilco
32 st. germain
33herbaliser band
34 les sexareenos
35 mark kozelek
tired snow
left and leaving
tune up
dub voyage
will you find me
rebel radic
quality control
1000 hurts
violet inch
tiger style
ninja tune
touch and go
singles and beyond emperor norton
3 matador
go horse go lance rock
thirteen tales from urban... capitol
who stole the i walkman thrill jockey
in name and blood scratch
el muerte del toro mint
all systems are go go 1 8th st lounge
powerpuff girls comp. rhino
mad for sadness
down with the sc
el baile alaman
out of nowhere
the great eastern
elefish jellyphant
unchained spirit
mermaid ave. vol. 2
live! in the bed
rock 'n' roll singer
touch and go
emperor norton
chem. underground
thrill jockey
teenage usa
blue note
department h
1 riff
2 gene defcon
3 k.
4 frumpies
6 bis/apples in stereo
7 mooney suzuki
8 a. sparhawk/charles atlas
9 selby tigers
11 jean bach
12 maulies
13 radio berlin
14 hot hot heat
15 candies
17 teach me tiger
19q and not u
20 skewbald
ber short vi
frumpies forever
patty duke covers
powerpuff girls
flight fright
jean sans le payback
on holiday with...
heart of industry
sad neon lights
remember me
between still sheets
hot and informed
kill rock stars
top quality r'n' r
star star stereo
magic marker
hub city
teenage usa
anoize top 10 for September
Wednesdays, noon-1pm
10 particle burn
s/t 3" cd
9 v/a                    in formation:
a tribute to throbbing gristle
8 the flying luttenbachers
gods of chaos
information overload unit
6  hospital
5 the hafler trio
seven hours sleep
4 borbetomagus
buncha hair that long
3 lou reed
metal machine music
2 v/a                                     no
music festival 5xCD box set
1 keiji haino                        the book of "eternity set aflame"
September indie home jobs
sea hag
dragon style
1 panty boy
3amarillo stars
5 lollies
6 squares elite
7 heatscores
10 metic
11 jay a. beck
12 les saints
13 nasty on
v hedro
15 riff randells
17 birthday machine
18 dreamy angel
19 join
20 symphonic ensemble
el   paso
train robbery
green card marriage
around the capital
run santa run
put a shirt on (and i don't mean one of them lank tops)
the notion
je ne sais pas
ta mere
lester bangs
heap wonder
sweet sixteen
all of november, most of October
ie the torch
laundromatte queen
boxing day blues
this is what we listened to...
townes van zandt • the beans • the misfits
(tooooo much) • shellac (toooooo muchhhh) •
princess superstar • mingus big band • senor
coconut y su conjunto • pj harvey • operation
makeout • karate • sleater-kinney • by the grace
of god • kia kadiri and the stir-fried crew •
blonde redhead • the voices in our heads telling
us to quit, quit, quit before it's too late •
superconductor • silkworm • joel's new tape •
and all the usual suspects.
flex your head top
tuesdays, 6-8pm
1 dillinger four
versus  god
vad vet vim om kriget?
3 hopeful
4 jr ewing
calling in dead
5 mushmouth
lift the curse
triple crown
6 my hero died today
the city will pay for th
s   schematics
7 the nerve agents
days of the white owl
8 100 demons
in the eyes of the lord
good life
9 planesmislakenforslar
s knifeinthemarathon
deep elm
10 throwdown
drive me dead
top 10 nOOze stories
fridays 5pm
1 we're on the internet—and so is porn.
2 nOOze director cuts off lame yuppie ponytail and grows
lame non-yuppie mullet.
3 los angeles erupts into anarchist riots over Democratic
4 DiSCORDER editrix "only play[s] squash."
n'n beards, lenin eyebrows.
i, but we still prefer porn for arm and
■ CiTR and BLACK becomes
mandatory dress-code.
8 our "other" returning nOOze director promises to model
the CiTR Thong after spending a summer in
9 hoodie synchronicity, synchronicity. synchronicity.
10 APF: anarchist porn front (in black).
5 lenin. leninism. I<
6 frolf hits the natic
7 germans take
travis bean's top 10
shellac songs
1 "didn't we deserve a look at you the way you re
ally are"
2 "spoke"
3 "billiard player song"
4 "il porno star"
5 "prayer to god"
6 "song of the minerals"
7 "jailbreak '95"
8 "a minute"
9 "ghosts"
10 "wingwalker"
wufg&s&m On The Dia
9:00AM-12:00PM   All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
3:00PM Reggae inna all styles
and fashion.
3:00-5:00PM Reakowshit-
caught-in-yer-boots country.
ah. 5:00-6:00PM British pop
music from all decades.
SAINT  TROPEZ   alt.   5:00-
6:00PM    International   pop
Papanese,   French,  Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
QUEER  FM     6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
HELLO INDIA   8:00-9:00PM
Geetanjali features a wide
range of music from India,
including classical music, both
Hindustani and Carnatic, popular music from Indian movies,
GhazaU, Bhajans and also
Quawwalis, etc.
THE    SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl. With your hosts Mr.
Rumble, Seanski & J Swing on
the 1 & 2's.
12:30-2:O0AM Time to wind
down? Lay back in the chill-out
room. Trance, house, and special guest DJs with hosts Decter
and Nasty.
VIBE 2:00-6:00AM The
Sunday Night Vibe bringing you
the very best in funky and vocal
house spun live by your host
Delacey. For the true house
lovers out there this is the place
to be.
8:00AM Spanish rock, ska,
techno and alternative music—
porque no todo en esta vida es
BROWNS   8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
Tune in and enjoy each weekly
brown plate special.
Instrumental, trance, lounge,
and ambience.
POP SCENE alt. 11:00-
GIRLFOOD alt. 11:00-
Underground pop for the minuses with the occasional interview
with your host Chris.
Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM Join the sports department to hang out with Wener,
the Freight Train and the 24
Karat Goldman.
SOUPE DU JOUR alt. 6:00-
7:30PM Feeling a little French-
impaired? Francophone music
from around the globe, sans
Celine Dion.
FILL-IN alt. 6:00-7:30PM
PIRATE RADIO alt. 7:30-
9:00PM Formerly "Love
Sucks," now at a new time.
BY THE WAY alt. 7:30-
9:00PM I dont' know what I'm
up to any more. I play lots of
odd German electronix, some
7"s, and a demo here and
there. Go figure.
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
Sept.4: Missed feature from
August—the great jazz violinist
Hezekiah "Stuff" Smith with the
Oscar Peterson Trio.
Sept. 11: Jazz education time with
Leonard Bernstein and "What is
Sept. 18: More of the same,
except this time with alto saxophonist Julian "Cannonball"
Sept.25: Legendary Jamaican-
born trumpeter Dizzy Reece with
tenorist Stanley Turrentine and
drum master Art Blakey.
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts    but    not    from    our
hearts—thank fucking Christ.
8:00AM Bluegrass,old-time
music and its derivatives with
Arthur and "the Lovely Andrea"
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Put your
hands together for the rock 'n'
roll riot! Put your hands together
for the rock V roll riot! Let's go!
11:30AM- 1:00PM
Vancouver's only industrial-electron ic-retrcKjoth program. Music
to schtomp to, hosted by Coreen.
2:00PM Music and poetry for
4:30PM     Featuring     That
Feminist Collective from CiTR.
(last Tuesday of each month)
teggae VnKup
&M*&SffiQ ffl^fl^fr^
-fcvaMfav* a\ dikun
Leo Ramirez
pacific pickin'
The browns
(gMKmsnr1 hbs insm imaa
end of the world news
are you
Fool's Paradise
7he Northern Wish
the ether table
%KA-r* bCht**C
Sirif oo 4/
pop yceoe
soulsistah radio
the shake
jHlfa /fee f$$S
Black Noise
3_9®_ ©H J5S &&9®15
stand and be cunted
UJ_K1T _! __i_S__f
hips Kts fips power/
EVtt. vs. fiw&e
Chips with Everything
/Saint Tropez
Queer FM
ParEostSMe Sounds
hij the tuny
Hello India
Y<9LK <9ASf «
Uve f roivu..
The Show
Aural Tentacles
Vw-X.Y VVara
VfcOO^i: t»t*f0?
7   I
9 |
10 I
1       I
7   I
9 |
10 I
1   I
3 I
4 I
6   I
L — -.-.-.-.-.-.-.-.-.-.-.-.-. — -. ---------------------------------------------------------------- J
to Mpt&vMK woo 4:30-5:00PM
10,000 VOICES 5:00-
6:00PM Poetry, spoken word,
preformances, etc.
8:00PM Hardcore and punk
rock since 1989.
8:00-9:00PM Greek radio
WORLD   9:00-10:00PM
alt. 10:00PM-12:00AM
alt. 10:00PM-12:00AM
Phat platter, slim chatter.
3:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
7:00-9:00AM A perfect
blend of the sublime and
absurd, with your refined and
exotic hosts Jack Velvet and
Carmen Ghia.
10:00AM Japanese music
and talk.
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00-1:00PM
THE SHAKE  1:00-2:00PM
3:00PM Zines are dead!
Long live the zine show! Sam
and Bleek present the underground press with articles from
zines from around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
7:30PM Info on health and
the environment, consumption
and sustainability in the urban
context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things.
9:00PM  Independent and
from an ex-host of Little Twin
FOLK OASIS 9:00-10:30PM
The rootsy-worldbeat-blue-
conjunto show that dares call
itself folk. And singer-songwrit-
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
HOUR 12:00-3:00AM
Mix of most depressing,
unheard and unlistenabie
melodies, tunes and voices.
FILL-IN 6:30-8:30AM
8:30- 10:00AM
11:30AM Phone-in marriage
proposals encouraged.
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE & MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
2:00-3:OOPM Comix comix
comix. Oh yeah, and some
music with Robin.
6:00PM  Movie reviews and
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM Roots
of rock V roll.
RADIO    HELL 9:00-
11:00PM Local muzak from
9. Live bandz from  10-11.
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real rock V roll debris.
10:00AM- 12:00PM E-mail
requests to
12:00-2:00PM DJ Splice
and A.V. Shack bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
Essays, poetry, social commentary, and conscious music
from a Black radical perspective. If you can't take the heat
listen to Z95.
3:30-5:00PM Please keep
on rawkin in the free world
rid have a good breakfast.
delicious yet nutritious Erin,
D.C. Cohen, the Rev. Dr. K
Edward Johnson and Wine-
Jug Hutton.
SHOW 3:00-6:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM12PM: Celtic music and
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Jim and
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
TABLETURNZ alt. 1:00-
EARWAXalt. 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
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
Cleopatra   Von   Flufflestein.
NOOZE & ARTS 5:00-
6:00-9:00PM David "Love"
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa & African music
from around the world.
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
SHITMIX alt 12:00-2:00AM
The Shitmix council convenes
weekly. Chairman: Jamaal.
Correspondents: DJ Marr, the
. ar\\00C
m®w mm
The Dollarstore Jesus
Victory Gin
Amarillo Stars
Thi Cinch
V^&W^      Trail Vs. Russia
Engine of Ihe Future
Wake Forest
Morning Maker
ti ®?£&mm Datebook
Chill Factor@Starfish Room; Dave Gowans, Aaron Booth@Sugar
j  Refinery
THUR 28 Crowned King, The Cartels, Wisecrack@Brickyard;
I Joe!@Sugar Refinery
I FRI 29 Tonic, Stir@Commodore; The Clumsy Lovers@Starfish Room
SAT 30 Golden Wedding Band@Sugar Refinery; Necessary Pieces
I  2 Release Party@Sonar
FRI SEP 1 The Makers, The Bangs, The Riff Randells@Brickyard;
Royal   Canadian   Motorscooter   Portage®???;   Alan   Zweig's
Wny/@Blinding Light!!; The Kingpins, The Peacocks@Starfish Room
SAT   2   Bunchofuckingoofs,   Opressed   Logic,   Strong   Like
©COMMODORE; Royal Canadian Motorscooter Portage®???;
Alan Zweig's Vmy/@Blinding Light!!
SUN       3      Guttermouth,      Side      67@Brickyard;      Tracy
Chapman@Orpheum;     "Double-O-Seven"    w/Scooter    Rally
Shakedown@Piccadilly Pub; Mark Kleiner Power Trio@Silvertone
Tavern; Royal Canadian Motorscooter Portage®???; Alan Zweig's
V/ny/@Blinding Light!!
MON  4  Ladysmith Black Mambazo@Vogue Theatre;  Royal
Canadian Motorscooter Portage®???; The John Doe Thing, Chris
Houston & Evan Johns@Starfish Room
TUE 5 Kittie, Disturbed@Croatian Cultural Centre; Bruce LaBruce's
Skin Flick: The Hardcore Cu/@Blinding Light!!; Supreme Beings of
Leisure, Tahiti 80@Sonar
WED 6 Jet Set, The Nasty On, Spanish Fly@Brickyard; "Double-0-
Seven" w/DJs Andy Capp and Dr. Go!@Piccadilly Pub; Bruce
LaBruce's Skin Flick: The Hardcore Cuf@Blinding Light!!; Just Singin'
Round@Starfish Room; Briggan Krauss@Sugar Refinery
THUR 7 Radio Berlin@Brickyard; Bruce LaBruce's Skin Flick: The
Hardcore Cu/@Blinding Light!!; Todd Tomcrrow@Sugar Refinery;
Neguse, The Agent, Kalamalka@Sonar
FRI 8 JP5, Mr. Black, Tacklebox@Brickyard; Bruce LaBruce's Sexy
Super 8s@Blinding Light!!; Jebediah@Starfish Room; Red Light
Sting, Hot Hot Heat, Reserve 34, The New Fever@DANSpace;
Sean    MacDonald,    Panzer    Attack@Sugar    Refinery;    Rob
SAT 9 Salteens, The Metic, Pepper Sands@Brickyard; Bruce
LaBruce's Sexy Super 8s@Blinding Light!!;
Pulseprogramming@Sugar Refinery; Paul Warsaw, The Silent
Treatment, Joel, Nick Berry@Ms. T's Cabaret
SUN 10 Brown Women, Blond 8ab/'es@Blinding Light!!
MON 11
TUE 12 Dead Bolt, The Rockfins, I Braineater@Brickyard; Moby,
Hybrid@Plaza of Nations; Ladies and Gentlemen... Mr Leonard
Conen@Blinding       Light!!;       CiTR PRESENTS SHiNDiGl:
WED 13 The Mooney Suzuki, The Come Ons@Brickyard; Ladies
and Gentlemen... Mr Leonard Conen@Blinding Light!!; Exit This
Side, The Switch, Ether's Void@Starfish Room; Strung Out, No
Motiv, Belvedere, Complete@The Auditorium
THUR    14    Substance,    Slick   60,   Yoko   Zuna@Brickyard;
BY08@Blinding Light!!; Jonathan lnc.@Sugar Refinery
FRI  15 Rainbow Man/John 3:16, Visionary Environments &
Amateur Advenfures@Blinding Light!!; Mike Watt@Starfish Room;
Eve Adam@Sonar; Naughty Camp (BC Punkfest!)@Mt. Currie
Reserve Concert Ground
SAT   16 Destroyer, Citroen,  New Hedron@Brickyard; CITR
BAND@COMMODORE; Rainbow Man/John 3:16, Visionary
Environments & Amateur AaVentures@Blinding Light!!; Radiogram,
Auburn@Sugar Refinery; Naughty Camp (BC Punkfest)@Mt. Currie
Reserve Concert Ground
SUN 17 Eye of Newt, The Element of Crime@Blinding Light!!
MON 18 Saul Williams@Sonar
TUE 19  Cop Talk: Police Training Oddities@Blinding Light!!; CiTR
WED 20 Vancouver Nights, Young and Sexy, P:ano@Brickyard;
Mighty Mighty Bosstones, Gadjits@Commodore; Iron Maiden,
Halford@Pacific     Coliseum;      Cop     Talk: Police     Training
Oddities@Blinding Light!!; J. Englishman, Default@Starfish Room
THUR 21 LSD-49: Truth and t"xp/os/ons@Blinding Light!!
FRI 22 The Spitfires, The Vultures, The B Movie Rats@Brickyard;
Trans Am, Laddio Balacko@Starfish Room; Huda Hudia@Sonar
SAT     23     Free    Coke    for    Supermodels,     Biffy    Perdu,
Shrimpmeat@Brickyard; Colorifics@Sugar Refinery
SUN 24 Tobias@Sugar Refinery
MON 25 The Posies, Kevin Kane@Starfish Room
WED 27 The Dirtmitts, Montana, Weights & Measures@Brickyard;
Amsterdam Cafe 302 W. Cordova St. (Gastown)
Anza Club 3 W. 8th Ave.  (Mount Pleasant)
Arts Hotline
Astoria Hotel 769 E. Hastings St.
Bassix 217 W. Hastings St. (at Cambie)
Backstage Lounge   1585 Johnston  (Granville Island)
Black Dog Video 3451 Cambie St.
Black Sheep Books 2742 W. 4th Ave.  (at MacDonald)
Blinding Light 36 Powell St.
Boomtown #102-1252 Burrard (at Davie)
The Brickyard  315 Carroll St.
Cafe Deux Soleils 2096 Commercial  (the Drive)
Cambie 515 Seymour
Caprice Theatre 965 Granville  (Granville Mall)
Celebrities   1022 Davie St. (at Burrard)
Cellar Jazz Cafe  361 1 W. Broadway (downstairs)
Chameleon Urban Lounge 801 W. Georgia (Downtown)
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC)
Club Vesuvius 1 176 Granville St. (downtown)
CN Imax Theatre 999 Canada Place
Columbia Hotel  303 Columbia   (at Cordova)
Commodore Lanes  838 Granville St.   (Granville Mall)
CNB Skate and Snow 3712 Robson St.
Cordova Cafe  307 Cordova St. (Gastown)
Croatian Cultural Centre 3250 Commercial Dr. (at 17th)
Crosstown Music 51 8 W, Pender St.
DANSpace 1622 Franklin (East Hastings)
Denman Place Cinema   1030 Denman St.   (West End)
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St.
DV8 515 Davie St.   (downtown)
Fifth Avenue Cinemas 21 10 Burrard   (at 5th)
Firehall Arts Centre  80 E. Cordova   (at Main)
F.W.U.H.  Beatty 552 Beatty St. (downtown)
Frederic Wood Theatre  (UBC)
JZ. A&p±*S>%*+AA.  2000
683 7200 Garage Pub 2889 E. Hastings St.  (downtown)
876 7128 The Good Jacket 225 E. Broadway (at Main)
684 2787 The Grind Gallery 4124 Main St.  (Mt. Pleasant)
254 3636 Hollywood Theatre  3123 W. Broadway (Kitsilano)
689 7734 Hot Jazz Society 2120 Main St.  (Mt. Pleasant)
687 1354 Hush Records 221 Abbott St.
873 6958 Jericho Arts Centre   1600 Discovery (Pt. Grey)
732 5087 Jupiter Cafe & Billiards   1216 Bute (near Denman St)
878 3366 La Quena   1111 Commercial  (the Drive)
893 8696 Lotus Sound Lounge 455 Abbott St.  (Gastown)
685 3978 Luv-A-Fair  1275 Seymour St.  (downtown)
254 1195 Medialuna   1926 W. Broadway
684 7757 Minoru Pavillion 7191 Granville St. (Richmond)
683 6099 Moon Base Gallery 231 Carroll St. (Gastown)
689 3180 Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
738 1959 Neptoon Records 5750 Fraser St.
669 0806 Orpheum Theatre  Smithe & Seymour  (downtown)
Otis Records 1 176 Davie St.
822-3017 Otis Records 1 340 Davie St.
688 8701 Pacific Cinematheque   1131 Howe  (downtown)
682 4629 Palladium   1250 Richards  (downtown)
683 3757 Paradise  27 Church   (New Westminster)
681 1531 Paradise Cinema 919 Granville (Granville Mall)
682 5345 Park Theatre 3440 Cambie  (South Vancouver)
683 5637 Piccadilly Pub 630 W. Pender  (at Seymour)
879 0154 Pitt Gallery 317 W. Hastings (downtown)
683 8774 Plaza Theatre 881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
683 2201 Puff #14-712 Robson (at Granville)
662 3207 Purple Onion   15 Water St. (Gastown)
682 4388 Queen Elizabeth Theatre  Hamilton & Georgia
734 7469 Raffels Lounge   1221 Granville  (downtown)
689 0926 The Rage 750 Pacific Blvd. South  (Plaza of Nations)
687 7464 Railway Club 579 Dunsmuir St.  (at Seymour)
822 2678 Richard's on Richards   1036 Richards St.  (downtown)
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
669 5414
647 1161
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs)
Ridge Cinema 3131 Arbutus St.  (at 16th)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards St.
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Silvertone Tavern 2733 Commercial Drive
Singles Going Steady 3296 Main St.  (at 17th)
Sonar 66 Water St.  (Gastown)
Starfish Room   1055 Homer St.  (downtown)
Starlight Cinema 935 Denman St.  (West End)
Station Street Arts Centre 930 Station  (off Main)
Sugar Refinery   1 1 15 Granville St.   (downtown)
Theatre E  254 E. Hastings  (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Tribeca 536 Seymour
Tru Valu Vintage Robson (downstairs)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club  221 5 Granville  (S. Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Futuristic Flavours 1020 Granville  (downtown)
Video In Studios  1965 Main  (Mt. Pleasant)
Vinyl Rekkids 76 W. Cordova (Gastown)
Vogue Theatre 91 8 Granville (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Wett Bar 1320 Richards  (downtown)
Whip Gallery 209 E. 6th Ave  (at Main)
W.I.S.E  Hall   1882Adanac (the Drive)
Women In Print 3566 W. 4th  (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1 869 W. 4th  (Kitsilano)
738 6311
877 1676
687 0499
291 6864
876 9233
683 6695
682 4171
689 0096
688 3312
683 2004
681 8915
988 2473
688 8385
685 5403
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
689 3326
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
732 4128
681 9253
738 3232 p YXff kK^i 4
u J^ I j
With an Internal operating system capable of computing
raw musical data into amazingly
inventive forms, TRANS AM s fifth
full-length release is the most formidable hyperlink available for consumers interested in
accessing the new sonic platform. The test scores on these
21 new compositions are yet to be published, but officials
reporting in 'Future World' magazine issued the following
brief: "Their chip set is unparalleled, the technology invisible",
'the sound of electricity being born", "perfect vectors of synth,
horns and distortion, we applaud!" AVAILABLE SEPT. 5'"
CD/2LP 19.98
The Mirror
Conspiracy CD/2LP
Grenadine, Orange Juice and
Vodka —The first three
decades of my life. The booths at the Eighteenth Street
Lounge have become the waiting rooms for the new disco
dancers. Smoke curls through the air as the bass bin shakers
blow rings out onto the rug. Let's cut that rug. Along with
Kruder & Dorfmeister the THIEVERY CORPORATION has been
a consistent star of the DJ Kicks series, offering up silky mixes
re-mapping the '60s lounge co-ordinates over a smooth geography levelled at 125BPM.
CD 16.98    2LP19.98
Three CD
A spooky mix of backwoods
hooch-folk-rock and desert-
dust desolation sounds, BLACK
HEART PROCESSION return with a
new album of funeral hymns. Written from the plume of the
Cactus thorn, these wise burned out songs smile like circling
buzzards — angels of mercy from the evil under the sun.
Touchstones may be Giant Sand, Palace or even Gram
Parsons, but like life, BUCK HEART PROCESSION are a private act, and a have sound unto their own. This is the trouble
that you are looking for. AVAILABLE SEPT. 5™
s/t CD
The debut full-length recording from Sarah Lapsley s
stylish new pop outfit, featuring
players Dan "Destroyer" Bejar
and Steve "Capozzi Park" Balogh. Tuneful songs, smart
lyrics, great performances, and clear JC/DC production all
make for a fine recording that should be finding a place
on collage radio charts soon. Making it easy to support
local music. Celebrate VANCOUVER NIGHTS. AVAILABLE
SEPT. 5""
CD 14.98
Agaetis Byrjun CD/2LP
Long-awaited and acclaimed Icelandic dreamy guitar-
rock for an emerging new transglobal romanticism.
Too passionate to be mere shoe gazing revivalists, think
back to early-mid-era Pink Floyd instead, updated via
Radlohead. Even more sweeping and melodramatic than
Mogwal, and significantly more advanced compositional-
ly, yet never overblown or overly pretentious. Cool hues
and colder landscapes sound audible in the delicate
touches and thoughtfully spacious arrangements. A new
classic to place next to your My Bloody Valentine. Only a
recording this good can make us anticipate the fall s
chilled and greying sky. AVAILABLE EARLY SEPT.
CD/2LP 19.98
Hyacinth and
Thistle CD
Noel Coward
has penned
his second collection of songs for today's leftfield indie
voices. From his New York piano bar, Merrltt mines the
timeless themes of love — a parabola of dancing, kissing,
crying, hurting, and humping — while creating a lush pop
curtain before which the likes of Sarah Cracknell, Sally
Timms Momus, Gary Numan, Marc Almond, Miho Hatori
(of Clbo Matto), Neil Hannon (of Divine Comedy) and
others gather.  AVAILABLE SEPT.-5'*
Stalled Parade CD/LP
While sepia may be the colour of nostalgia, its tone is
the reverb-drenched Fender Stratocaster of Yo La
Tengo or Nell Young. 17 years ago, ELEVENTH DREAM DAY
picked up this sustained fading wail, watched it slowly dissolve in the wind, and then created some of the most
evocative 'neo-Americana' records to date. Contributing to
Freakwater, Tortoise, Smog, Palace and Tara Key s band,
ELEVENTH DREAM DAY'S resume speaks for itself. This is
the perfect music for watching rust coloured Cypress
leaves rolling down the street, stopping occasionally in the
doorways of inspiration. AVAILABLE SEPT. 5'"
CD 19.98   LP 14.98
The Big Gundown:
15th Anniversary
Special Edition CD
Il   yj
Featuring a large and remarkable ensemble of musicians,
this tribute to the music of Ennlo Morricone helped establish ZORN as an avant Jazz agent provocateur and a significant cross-genre influence in general. Here re-mastered
and with six newly recorded bonus tracks, The Big
Gundown still impresses. As Morricone himself commented, "Many people have done versions of my pieces, but no
one has done them like this." Now on Tzadik, this reissue
also includes a full-colour 32-page book of interesting CD/LP 16.98
infomfljn and images. Recommended.
CD 16.98
The Blossom Riled Streets CD
Here s a band that continues to Improve with each
recording — consistently beautiful and hushed yet
dynamic and stylish. Like Broadcast or Stereolab there
are traces of sixties nostalgia. But rather than pleasant
cafes and. colourful palettes, MOVIETONE is haunted by the
tragically poignant image of Nlco dying while bicycling in
Ibiza in 1988 (nostalgia is impressionistic and aesthetic,
after all, not historically accurate). And like Nico.
MOVIETONE'S music is imbued with tasteful chamber-rock
dramatics, a smart jazzy subtext, and low-key pathos. The
wonderful charm of sadness is forever seductive. Sigh.
Recalling KIM GORDON'S earl
art training, this recording
largely leaves her pop-driven
projects behind, and instead
explores far more conceptually based terrain. Joined here
by IKUE MORI'S no wave cum avant jazz drum machine
experimentalism and DJ OLIVE s iilbient psychedeltcs.
GORDON'S vocal mannerisms and subtle playing are able
to stand out, unencumbered by Sonic Youth s signature
guitar blowouts or ironic rock gestures. Be prepared for
uneasy listening.
CD 14.98     2X12" 19.98
Bottle of Humans CD/LP
Finally a new release from the Anticon hip-hop label!
Sporting the West-Coast indie hip-hop feel of outfits
such as Blackalicious and Jurassic 5, along with an oddball rhyme approach a la newcomers Anti-Pop
Consortium, Sole continues the revitalisation of the
American hip-hop scene. Pulsing with positivity, these
'stream of consciousness' rants tap into an 'automatic
rapping', designed to free up the cognitive map for a
semiotic barrage of beats and language. Pure Surrealism,
we recommend it.
Singles CD
Nestled comfortably between two railcars, carrying the
urgency of Rocket From the Crypt and the pop sensibilities of Jets to BrasS, Jimmy Eat World seem set to
derail the post-straightedge rock party. Wftn two briskly
selling full-lengths to their name already, this collection of
singles should shore up any
gaps fans — new and old
— have. All aboard!
Available Sept. 5th
rn 1 r Qfl pR|CES |N EFFECT UNT|L
uw ,u,w SEPTEMBER 30™, 2000
CD 16.98
CD 16.98
CD 19.98
CD Limited edition budget sampler of the Darla indle-pop stable! Bossanova-fused of these bands is the next Beach Boys.
Various - POP JINGU VOL. 2. CD A collection of Japanese A GRAPE DOPE- Immediate Action 12" John Herndon of Tortoise
pop...tons of cool unknown spacey sounds. and Isotope 217 offers up his skills.
PLURAMON- Bit Sand Riders CD/LP Remixes by Mogwai. Matmos, NADA SURF- The Proximity Effect CD Flydaddy serves up their
Lee Renaldo, SND. High Llamas, Merzbow and more. return to the indie circuit!
SAMIAM- Astray CD/LP One of the better punk acts out there.
WM- Our Point of Departure CD Post-dub sounds from Doug Schari
PRAM- Museum of Imaginary Animals CD Multi-instrumental
Very cool.
IttrStWte r^enfofUKCUiC&L
at JS69 W. 4t&. rfvetue
Satuitdcitf& at 3futt-l
ami kyd e_n. 91


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