Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-09-01

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/BOMB RECORDS - Los Angeles]
FLEX Presents
PRESHA & TSR Presents
(2) f tve-O Q §&GRANDE
Progressive house
R&B, Reggae, Hip Hop
© pmsha 0 f=LGX
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«■> E CZ R E   1
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Check out more of his stuff at
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Street), Sept. 5 to Sept. 30.
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c L e s
someone recently asked me if i'd ever do another column on the contents of my wallet,
because they had enjoyed it when i had gone through what ends up there, i suppose i
could do that some day. this month i have decided, though, to give an account of what
surrounds me as i write this and other writings, including a novel entitled catch that,
the good lord willing, you will never have to read, first, even though for the time being,
i have decided to give my lungs a well-needed break, an ashtray full of spent Winston's
sits next to me. people who write, and i suppose i fit in there somewhere, like to smoke,
almost all writers i know smoke and have no plans on stopping, why bother? next to me
sit piles of letters yet to be answered, a calculator that works (sometimes), spent pens,
pennies, old nuts and bolts, a couple of old lottery tickets (unchecked as of yet), my
resume (not very impressive), film negatives from some party, bills for odds and ends,
books i have never read, baseball hats, a football, dirty clothes grace my floor, a bulletin board hangs above my computer and hosts a wide variety of things that sum up my
life for the moment, a picture of my friend lara that i took a few years back makes me
smile everytime i look at it because somehow it signifies a simpler time, at least for me.
two issues of the hockey news are hung on either side of the board: one from 1995 that
has the year 1955 printed on it in large bold type -the year the red wings last won the
Stanley cup; the other from 1997, the year stevie y. brought the cup back to motown.
i almost cried as my friends shook my hand ending my long time suffering, several
other pictures grace the board: one of my friend dave holding out a pack of camel
lights; another of john before he borrowed my car one day; two of my car outside a gas
station in falcon lake, Ontario, where hhad just seen a rat the size of both of my fists put
together and where i discovered i was down two quarts of oil; an autographed picture
of the hanson brothers given to me by my friend bill; a picture of my mom seconds
after she graduated from sfu with a masters in something -i really should know; and
last, a picture of me next to the grand canyon taken by my best friend fawn, it was
seven in the morning and we had just begun to see the sun come up over the horizon;
i could have used a little more sleep, but fawn made it all worthwhile, two new york
subway tokens also grace the board as well as a subway map i hope to use again one
day, soon, a u.s. one dollar bill hangs tacked by a pin, business cards given to me by
friends and others, a red wings pennant given to me by my good friend rosa del
chihuahua, a movie stub from chasing amy -liked it, still dislike director kevin sm th.
my glasses prescription, a shiny patent leather/vinyl valentine's day heart, a small
tattoo design on tracing paper, a bill for food from some sushi place on denman street,
a yankee's ticket stub, my rear gate key for my car hangs from a hook, a free pass card
for the railway club, a couple of never to be used key fobs from beer companies that
wish i would use them, a letter from cosmopolitan magazine in new york inviting me to
a party there - i went, maybe i shouldn't have, last, a quote from the lou reed song
"street hassle." i have this because it means something to me, as i'm sure some lyric or
songs mean something to you. "love has gone away/ and there's no one here now, and
there's nothing left to say/ love has gone away/ took the rings off of my fingers, and
there's nothing left to say." thanks for listening.
e_ :  J
from the diary of jor
e oo>ete
beef* n -
6   September 1997
nosed «^°'A 1o**wo"^«oOor Vancouver
by janis mckenzie & dale sawyer
o <o|
',ii iii mill
Real BC Homegrown
(Midnight Owl)
Compilations con be the greatest things If you find one where
the artwork on the cover is absolutely screoming out the sort of
theme (or thing) you've been
yearning for, you can be pretty
sure that there will be enough
good songs for you to get your
money's worth and you might
even discover a new band that
will become your next big favourite. The problem is sometimes you
can't tell what kind of music might
be on the CD, and Real BC
Homegrown might just be one of
these With its rather herbal cover
art and warm and fuzzy liner
notes, it could possibly lure you
into expecting some world-beat
or maybe folk-tinged, laid-back,
sunshiny music. Guess again!
With the exception of one
acoustic guitar (accompanying
some pretty anguished vocals on
the Grace Road track), this album is full of rawk guitar riffs and
turn-it-up>-to-l 1 intensity There are
14 bands playing on these 16
tracks, including Hissy Fit,
Cirkus Mind (who get more
than their share, contributing
three songs), and Dog Eat
Dogma (formerly Dogzilla and
Dog Eat Dog) Eight of the
bands are from the Lower Mainland, but Kaslo, Kelowna, Victoria, and Grand Forks are also
represented, proving once and
for all that Vancouver doesn't
have a monopoly on youthful
(and loud!) BC rock.
Okenspay Ordway I
(Her   Royal   Majesty's/
Just in case your pig latin is rusty,
Bif has a little warning on the
back of the CD: "Hey! This is a
talking record! I'm not singing at
all\" (I guess I should also tell you,
in case these things make you
nervous, that there's another
warning inside about all the
swearing. So now you don't need
to crack the plastic to find out!)
And talk she does, in 34 pieces
ranging from a few seconds to
nearly ten minutes long — pieces
which are often funny, cutting,
personal, entertaining, and only
once (by my count) overtfy political.
While some of the pieces,
especially the rhyming ones,
sound like the sort of thing you
may have heard in a club or coffee house at a poetry reading,
my personal favourites are more
like those delicious (and all-too-
rare) monologues that might be
overheard on the bus. I confess
that I do enjoy hearing that Bif
suffers from "Gig Tits" (contrast
Redd Kross' reported "rock
neck" symptoms after particularly
energetic shows), and I found her
story about the million dollar TV
and her credit card hardships
very satisfying All in all, there's
a nice mix of non-music stuff here,
which has made me warm up to
Ms  Naked quite a bit
Hot Loser
(Divine Industries)
Luke Doucet, the apparent mastermind behind Veal, is certainly
a talented guy, or at least that's
what I kept hearing at Music West
last spring, where Veal got quite
a lot of attention. Listening to this
CD, you con tell why the critics
would love them: the songs range
from dreamlike to quirky rock to
a tiny, little piece you could
samba to, if you knew how The
lyrics are interesting (my favourite line: "I'm so much happier
now 'cause I live near a beer
store and I have a girlfriend"),
and there are rhythm section
parts that are spookily reminiscent of Led Zeppelin and surf
bands of old
In spite of those bass and
drum bits, there isn't much here
that sounds familiar or used-up
My only complaint is that when I
saw them live, Veal's set seemed
crammed full of long, acrobatic,
wailing guitar solos, and listening to Hot Loser I kept my hand
on the volume knob, afraid that
one might come along again at
any moment. Mercifully, it didn't
So I Have Them
(Poncy Rocket/IMD)
Here's a CD full of energetic,
straight-ohead, aggressive, pop-
edged rock, played very competently and very quickly by what
one might expect to be a bunch
of adolescent boys. Yes, the
songs sound appealing, and the
three young men pictured inside
do look like grown-ups, but when
they're playing a song called
"Michael Hunt" (get it? get it?),
what is the listener to make of
this? Just close your eyes and
enjoy it, I say.
The entire Vancouver summer has
come and gone (I believe it fell
on a Tuesday this year) and nary
a word about local and BC-made
cassettes in the pages of this venerable rag. That's changing right
now. See? That's 44 words already.
ceived two tapes from this two-
piece (the six-song Beekeeper EP
and the six-song Serious About
Lunch Hour) although I've seen
their stuff distributed about town
in different forms Their songs are
loaded with catchy hooks and
basement studio production tricks
— just the things I like about
Guided by Voices Their GbV
influence likens them to
Saturnhead, a new band consisting of half of Cinnamon who
have just released a CD with no
less than 43 songs on it. Phew.
Next, there's MIZMO, who
has given me a three-song sampler of a planned fall CD EP.
Mizmo take you for an epic rock
ride in "The Little Mermaid," with
its explosive finale; they conjure
up gritty reminiscences of Mama
Moe in "My Other;" and they twist
you around with the Breeders/
Amps-ish pop of "Sprite." I'm still
working my way through the cryptic lyrics, but I'm given the impression this is a thinking woman's
band. There is first-class playing
by all involved, including drummer Randy Bowman, who has
done stints in legendary groups
as the Enigmas, Subhumans,
and the Scramblers The leader
of the show, however, is golden-
throat-blessed Karen Moe, but as
if that ain't enough, harmonies are
belted out by another Karen doubling on rhythm guitar. You get it
The SPITFIRES will appease
your hunger for STP-fuelled rock,
eschewing such unnecessities as
melody and subtlety for power
and guts. I find their Rocket
from the Crypt-styled punk rock
goes well with the music of
Malachi Crunch, except the
latter Drive more like Jehu with
MC5 playing on the dashboard
Only then do I dare put on IGNITION'S five-songer. They, too,
are powerful and gutsy, except
that they remind me more of the
much-overlooked Ruts. Check out
"Bay of Pigs," "Run with the
Hunted," and "Viva Las
Heathrow" for a good time.
There's been some activity of
late over at Hive studios. This recording outfit boasts such new up-
and-coming acts as the buskery
Ids (acoustic slow pop with heavy
chunka-chunka beat, as if Beck
went lounge) and Kym Brown,
whose hi-tech rhythm patterns and
soaring guitars are attracting
major-label attention. The Hive is
also connected to Belle Bete, a
solo artist with a tape that rivals
Destroyer for awkward
grace and inventive song
structures. I get the feeling,
though, that the artist with the
hat would beat the artist with
the dots hands down in a pint-
off at the 'Hoe. Maybe it's just
me who hears that.
the taste of ambient bass/guitar
dub. Holf of CotC is Jon A , the
fingers behind Crimson Finch
and the guitarist for defunct progsters Cosmonaut. Thei
tape is a
mix that occasionally
ventures into
ritory, using soft and
velveteen textures as
This is different
than the slash-and-
burn guitart terrorism of LONDON
PARIS, featuring
BUSKERVILLE deliver jumped-
up ska with plenty o' party potential Tunes such as "Coffee Coffee Beer Beer" and "Blowing Off
Some Steam" have
Hounds, or Busker Du as they
have yet to be called, have
shared the stage with
Skawwassen's Malchiks, and
Frank from that band has just
handed me a 1 2-song demo of
his side-project SLOPPY where
up with friend
Annaliese Kelly
to produce, not
"™ ska, but pretty
four-track scribbling with lyrics
that made even a
jaded journo like
myself chuckle,
such as "Kill Folk
Stars" or "Spring
Break Girls' '
pie lyric:  "I look
back on the week/
When nc
was a geek"). Encouraging.
So I hope everyone
had as good a si
as I did and that the rest
7    ®^°5£I3__ Who are you? (Names, ages, instruments
Walter Moreira, guitar/vocals, 21 and full of fun
Rob Danyluk, bass, 27 and made in heaven.
Sandy Hyde, drums/vocals, 29 and holding
Sorry, but what the hell happened to The
Sandy Well, we have sort of become The Pet
Shop Boys of Punk We record but don't play live
or tour al the present time We still have a few 7"s
out, one with MXPX and another that I can't recall.
Plus, there will be a live album coming out in the
fall that was recorded in Madrid, Spain That will
be on  One  Louder  Records  in  England.   The
^**-*r_^> ji"*2'»"T
y -%s
Retreads ore our main focus now, though
You (McRackins) guys played on the John
Peel Show in England and then broke upl
And what was John Peel like, anyway?
Rob: We were supposed to play on his show but
he was sick or something to that effect So we
didn't get to do it — although we did do several
BBC shows playing live in the studio, which was
cool Where did you hear we broke up?
Walter, were you a punker in Kitimat?
Walter Punk music was all I wanted to play and listen to while I wos living in the armpit of British
Columbia I was never in a band there that I really
liked. I went from Motley Crue GiHs, GiHs, Girls to
Operation Ivy. In my home town you can't cut the
cheese without everybody smellin' it There wasn't a
huge punk scene for me then, so I guess I wasn't a big
punker I was a flunker but I'm much smarter now.
What's the punkest and 'metalist' thing
about Kitimat?
Walter: I can't really think about a punkest thing
about Kitimat. Punk and Kitimat don't mix I'm more
focused on The Retreads and listening to new punk
bands for now.
Would you ever consider 'selling out' and
wearing more punker'-looking clothing?
Rob: Selling out? Wearing more 'punker'-looking
clothing? What could be more punk than the hush
puppies and French cut jeans that we wear not?
Punk is an attitude nof a fashion show, or that's
what I think, 'cause we wouldn't be able to wear
what we do if it wasn't?!?!
Or are you internet geeks (with tattoos) at
heart? And (long question, eh?) ya might
as well plug your website that has
received 'over 2000' hits. Thanks.
Sandy: I guess you could say we're internet
geeks — there ain't no shame in intelligence. We
love the internet. Don't you, Nardwuar? Your
webpage is quite fascinating! The best part of it
is we can get our music all over the world without
even having to release a CD. It's quite awesome,
actually — over 2000 hits in less than six months
and tonnes of good responses from people from
everywhere, all by e-mail.
Any comments on the state of the scene
now in Vancouver versus when you, Rob,
played in Adversity a few years back?
Rob: The scene now is a lot different but still the
same. There's a lot more shows in the suburbs
now. Back then, there wasn't many in ploces like
Surrey, Delta and Langley The youth centres are
more open to it now so they put on a bt of shows
The best thing about punk that's never really
changed is the all-ages aspect. You don't have to
be over 19 to go see some of the bigger names,
whereas before, a lot of the big shows (besides at
the York Theatre and John Barley's) were at bars
Why is the suburban scene better than the
downtown music scene?
Sandy It seems like the kids in the 'burbs appreciate fhe fact that you're playing in their area, their
corner of this massive world. It helps that there's
tonnes of good bands from the 'burbs (Gob,
Another Joe, Wisecrack, Storebought, The Cretins,
Brand New Unit, Damaged Goods, to name a
few). Everybody supports and helps each other by
helping out at gigs, in recording and in the releasing of a product, etc.
What are The Retreads' plans for the rest
of this year?
Walter: To get our initial recording released on
CD and to hopefully tour the States or Canada or
both by the end of the year. We're also in the
process of recording six new songs for a four band
CD being put out on Kyle from Wisecrack's label,
Spawner Records. It'll be us, Wisecrack,
Storebought and The Cretins. It should be out sometime in September.
four-band split/six songs (Spawner)
One Size Fits All compilation/three songs
California compilation/two songs
Contact name and address:
The Retreads, 8841-132B Street, Surrey, BC, V2V
2V2. Bookings (604) 813.4541.
*N$t£o Fo*tH • LOCATED
VAN • E c • CAN« Got - 688*546+
ttraES• fig:
INSIDE   tf£l&j
8   September 1997 London Paris is the best kind of rock band: costumes, confused fans, secret record
labels, noisy guitar, spastic drumming and a knife wielding falafel cook trying to
kill them. And they UONT jam —ever! I asked former Torontonians Brian and
Bunni some silly questions and they were kind enough to answer them,
by Miss Twin Stars
Why the name London Paris?
Brian  We were going to call ourselves Expo 67
And that actually gave birth to a song called 'Man
and His World.'
Bunni   'Man and His World' was this exhibit at
Expo 67 at Montreal
Bunni We got these class photos in grade two and
they gave us these booklets At the beginning of ihese
booklets, there were these photos of these exhibits al
Expo 67 That's how old we are! But, how does lhat
lead lo London Pans?
Brian   I don'l know  I |ust went off on a tangent.
What is 'Man and His World?'
Bunni An exhibit. It's like a big building
Brian   It's a World's Fair. And it has ... you know
how Science World hos that big ball? It's the first one
of those lhal I ever saw
Bunni   That kind of environmental sculpture as
Brian They probably got one of those modern classical composers to write a score for it.
Bunni There was all of this talk of the year 2000 in
ihe '60s. And I remember thinking thai in the future
we'll all live m buildings lhat look like 'Man and His
World.' It was the '60s idea of the future.
Brian Bul London Pans, that was your name?
Bunni   II was something I saw,  a translation
company called London Pans Translation. I always
found the words London, Paris, Rome, to be really
loaded words, especially together. I always think of
the '50s — like a Suzanne Plachet [sic] film — where
ihey're going to London, Pans and Rome and ihey're
doing it in five days And you hear all of this music,
people running in piazzas, stuff like thai
How did you two meet or start playing
Bunni We met a long time before we started playing together. Brian was invited lo play out in
Vancouver and he thought he would come oul wilh a
beatbox and then he decided he should come oul
with a drummer and he asked me to do it. He insisted that I could learn all the songs and that I'd be fine
I'd never been on stage before and I had never
played a musical instrument before, so I just thought
I'd try il and be really nuts and go for it. I had bought
a drum kit a couple of months before. I just started
banging away on it, and the first thing I ever did
somehow got recorded and he really loved it. I knew
it was kind of meant lo be, 'cause I always admired
his playing.
How would you describe your sound to
the uninitiated?
Brian: I jusl think that we're a rock band.
Bunni: But if we play for a rock audience they usually don't know what it is.
Brian: We did some weird shows in Toronto. We did
this alternative radio show once and ihere were people ■
there from the Barenaked Ladies and Blue Rodeo.
Bunni: And they laughed.
Brian: Some people actually liked us and they asked
for an encore and someone overheard one of the
Barenaked Ladies saying, "I can'l believe this! I can't
believe they're actually getting an encore!" It was a
really straight, corporate audience. It is really hard to
say — to some people we're really weird, bul to others it's just rock.
Bunni   To a real experimental crowd, we're too
Brian: It's too straight forward
Since you've moved from Toronto to
Vancouver, have you noticed a big musical difference between the types of bands
you're playing with? There doesn't seem
to be very many experimental ... er ...
rock ... whateverl
Bunni Well, ihe way we approach our music is
pure silliness We have a really light opproach lo it,
although we are very picky about ihe way we play A
lot of it is very chaolic sounding so il mighl appear as
that is totally strange and weird and there's this polite
applause at the end. And everyone's very serious
We're informed by ihis avant-garde styling, where this
person wilh this ego comes out and does somelhing
that they hope will be something lhal has never been
heard before and incite people to feel really shocked
But at the same time nobody really knows whether
they like it or not. They have to make a choice on
how they want lo be viewed do I wont to be viewed
os a person who likes this or doesn't like this?
Or that they 'get it.'
Bunni  I like those psychological mind games and
twists   And it's such a great arena for a con arlisl
if it is very improv, but we have a certain sense [of
how] we want il lo sound. Bul when we initially
approach it, il is pretty fun and silly.
Brian: We both don'l really pride ourselves on our
musical ability — how well we con copy other people's styles. If we try to play someone else's songs we
jusl get it wrong, bul we are left wilh something, so
we just do it that way.
Bunni: We really like the '50s experimental style A
sort of a '50s avant-garde style where the artist is
really taking themselves seriously and they come on
slage .. there's this show on CBC where they have
some of this stuff sometimes.
Brian: It's called Two New Hours.
Bunni: Someonewill come out and do something
Everyone's so afraid!
Do you wear different costumes at every
Bunni. Actually, I think we're going lo do more minimal costumes 'cause it's really hard lo play with a
mask on. We don't want to wear coslumes at the
expense of the music. We lend lo do different costumes for all of our shows 'cause we want our audience to have fun
Brian: And we like the way it looks.
Brian, how did you hook up with Justice
and Trakshun?
Brian: I don't know, I was just mailing things. I think
he bought or got a hold of that one record on
Stomach Ache Records And then he gol in touch with
me to do the Vile Recipe [compilation 7"], and lhal
was it. And then he *usl said, 'Oh do you want to do
a longplayer?' Over time I |ust kept sending him tapes
and he finally liked one and it came out
Bunni And you both admired each other's music for
a few years
Brian: I really like the Pork Queen stuff a lot.
How did you get hooked up with Stomach
Bunni A mystery!
Brian Charlie Ward! [Bunni laughs]
[lots of confusion] Who is ... there is no Charlie
Wardl [Bunni laughs again]
Brian I don't know who Charlie Ward is.
Bunni. Half the people who contacted him for
Stomach Ache are not real people.
But, would it be the same non-real person
or different people?
Brian [secretive] I'm not sure This guy wrote me a
letter and it said Charlie Ward will put out anything
lhat he says I think I jusl sent him a lape I said,
'Okay, you can put il out,' and then I gol 30 copies
in the mail six months later,
[talk aboul Brian playing in San Francisco]
Brian. Il was one of ihose classic things — we
played m some blues club in Berkeley I guess we
were kind of loud or something, and there was this
guy who came on slage lo lum down my amp. And
ihey pulled ihe plug on us.
That's like when Harry Pussy played up
here at the Niagara and they wouldn't let
them do an encore. And that guy who's
Bunni Yeah, that's an amazing video. 'Don'l ever
play lhat song againl' And the guy [from Harry
Pussy], 'We will play lhal song over and over and
over again!'
Brian Thai actually happened to us al one of the
shows in Toronto.
Bunni: Oh god, we played a falafel reslauranl!
This guy came out of ihe kitchen with a knife! He
said he was going to call the cops if we didn't stop,
and we had just started! It wasn't very flattering
When we played the Sugar Refinery, we were
doing our soundcheck and we had planned the
show for months and done handbills. At sound-
check the owner said, 'I don'l think this is goin' to
work tonight '
Brian: 'This isn't the right thing for my clientele.' Your
clientele? I don'l think this is going to be your clientele, I think it is going lo be people who want lo see all
the bands
That's funny, 'cause at the Niagara it's
supposed to be this punk rock/alt. thing,
but in reality, when something doesn't fit
the genre, nobody can handle it.
Brian  They always say you're loo loud, but you're
not really too loud.
It just doesn't sound normal.
Brian  It's just the notes that you choose. We don't
even really play lhal loud.
Bunni: It's like when people say a movie is too long.
That is another way of saying they don't like it. It's the
same with music. [When people say] 'It's too loud,' it
is a sound you just don'l want lo hear so of course it
is going lo seem too loud • UAhcouucr mm. ala ft/tiuAL
©ne ep Canada's pi0N£Ering shswcases tor independent cultural EmpewERmENT by Chris Chen
n he question must be asked: why is it lhat in
lf^ North American films, almost every ethnic
^^ group has been portrayed with a strong representation that fights against their rocial or ethnic
stereotype except for the Asian communities?
Asians form a large segment of the Canadian and
American populations and yet remain the most
marginalised in terms of how they are portrayed in
television and motion pictures. It's with this barrier
in mind that independent Asian filmmakers have
been trying to fight what seems to be an old-school
mentality with independent North American Asian
film festivals
Organizers of the Vancouver Asian Film Festivol
— Barbara Lee, Cyndi Laval, and Anthony Wong
— have been trying to bring the independent Asian
film fest to Vancouver for close to a year now
"Having been really successful in Seattle, New
York, and San Francisco, Vancouver is the obvious
choice for this in terms of a first Canadian site
Albeit Toronto is making a pitch for it and is putting
one together now," says Barbara Lee, "But we're
the first on the scene as far as Canadians go "
Lee first attended the Seattle Asian Film Fest two
years ago and was left with a deep impression
"As an independent filmmaker myself, I was excited about the opportunities to show my small films
I know they'd never be occepted by ony large festivals such as the [Voncouver] International Film
Fest. I missed the deadline for the Seattle date and
I couldn't find another But as there were several in
the States, I approached Anthony and Cyndi, and
fhe VAFF society was born "
She recently attended the San Francisco festival,
with both organizational ideas and personal interest
in mind. "I liked one called Shopping for Fangs, a
psycho-thriller by director Quentin Lee, which I'm
trying to show for ours It's obout on Asian guy who
thinks he's becoming a werewolf due to his weird
hair problem That storyline is then mixed up wifh
the separate tale of an Asian woman who has skewered relationships on top of a bad marrioge and
For more information, orlojoin the people who never
join anything, call...
Commodore Lanes 8- Billiards
838 Granville Street
mysterious blackouts The stories eventually cross,
of course It's horror and deeply psychological but
it's also art house, and you got to admire how Asian
filmmakers are pushing the edges of film "
Putting something together that, at its heart, is
based on the art of independent, low-budget,
almost non-profit, has proven almost insurmountably difficult. "There are probably easier ways to
do this, but independent is the way we want to go,"
says Lee "It's the only way that we, as the festival
organizers, or they, the filmmakers, can keep what
we want to soy real."
"I mean, look at the stereotypes we're working
against Asians have always been portrayed the
same way. If you're a woman, you're obviously
going to be portrayed os the object of some white
male lead's affections, just take a look at any soap
opera out there that just happens to feature any
Asian worrten. In that type of environment, any
Asian male is going to be portrayed just as bad,
either as some pillar of conservatism, like a stern
father or some racist jerk Actually, Asian males are
Asians came from countries where bicycles are the
primary form of transportation, thus aren't used to
mechanical vehicles. This, of course, includes
Japan, one of the largest exporters of cars in the
world When the station manager was confronted
by this, he said he had no copy of the broadcast
log as a storm had knocked out the electricity that
day (which doesn't explain how they were able to
Disney and Arab peoples, enough said.
In the already-cancelled sitcom Pearl with Rhea
Perlman, the racially unlikable character played
by Lucy Li just served to reinforce the notion that
Asians are inhuman, without personality, do inexplicably well in school, raise the class curve, and
play teacher's pet. It perpetuates the 'model
minority' myth.
"One of the whole points of this thing is to
make films where leads don't even have to be
Asians, but they ore The films don't have to be
Asian-Focused, but they are Making stories about
Asians shouldn't be regarded as so exotic that you
"There are probably easier ways to do this, but independent
is the way we want to go," says Lee. "It's the only way that
we, as the festival organizers, or they, the filmmakers, can
keep what we want to say real."
typecast as crooks or kung-fu fighters while women
are usually sexual playthings or dragon ladies In
both cases, whatever happened to them being real
people? Of course there are exceptions, but few
and far between."
"In films, Asian women and their relationships
are exoticized. One of our mission statements is to
promote realistic portrayals of Asian characters,"
explains Wong, "And this is our point: why can't
Asians be portrayed as real people? We're trying to
foster understanding of cultures, not reinforce what's
already out there ... and to tell some great stories."
When one takes a look at how Asian people
have been portrayed, historically, the past looks
dismal Asians have had to fight for the right to representation. In fact, currently, the realms of television have recently been trying to revive that classic
show, Hawaii Five-O, and there was a successful
lobby by Asian activists (MANAA, Media Action
Network for Asian Americans) to get the Asian
actor Russell Wong a role as one of the leads. In
fact, originally, there were plans to have only one
Asian in the central cast, specifically for the role of
the woman, Rellica Sun This sounds silly at first,
considering that the original TV show with Jack
Lord had two Asians. Who, after all, can forget
those credits: Cam Fong as Chin Ho? After confronting the producers, however, MANAA convinced them that in addition to the lead of Gary
Busey, there should be three Asian leads in the central cast of four. The main argument for this
arrangement was that in the 1990 census, the population of Hawaii is 58% Asian/Pacific. The police
chief is Japanese-American and the governor is
On the subject of attacking the Asian stereotypes in media-land, there were the following: on
August 6, 1996, NBC ran a Olympics promo for
the sitcom Suddenly Susan in which Brooke Shields
was dressed in martial arts garb, squinted her eyes,
made high-pitched screams and karate chops a
block of concrete. Tammy Bruce, a radio host on
KFI-AM Los Angeles, invited her listeners to call in
their opinions on Asian-drivers. She stated that
have to enter another world in order to grasp it,"
states Lee "But to keep this clear, the film fest has
entries from all over the Asian spectrum, from
North American Chinese, Korean, Filipino,
Japanese, Indian, etc The only thing we're limited
by is, well, of course, money, and time. The festival
in San Francisco ran for a week We've only got
three days "
The festival is set to tackle the images of the
Hollywood machine, to start the engines rolling to
undo the damage done. "There's only so much that
can be done," states Lee. "But this is a forum where
the filmmakers can take their films and talent and
reach higher. We are also fostering economic and
practical benefits. By offering a medium for exposure, the filmmakers and actors themselves can
hone their talents. Having a skilled domestic talent
pool can lure filmmakers from Asian countries,
choosing Vancouver for locations."
Asian films are not, of course, alien to many
North Americans now. Stars and starlets, directors
and visionaries abound from Hong Kong, Taiwan
and the People's Republic, from India, Japan, and
Vietnam. But home-grown talent has been passed
by the wayside. Thankfully, most people, Asian or
not, are already aware of the stereotypes, and
most are aware that it is negative. African-
American, Hispanic-American (or Canadian, for
that matter!) have already created footholds for
themselves and many filmmakers of note and notoriety are excellent representatives of their ethnicities. North American Asians have yet to catch up.
Director Wayne Wang [Slamdance, Blue in the
Face, Smoke, Eat a Bowl of Tea) does come to
mind, but one director does not a balanced representation make. During the 1970s and 1980s, it
was easy for Asians growing up in North America
to feel marginalized. "A forum to fight that feeling
is a start and it can go a long way."
The Vancouver Asian Film Festival runs September
12-U, 1997 at the Robson Square Conference
Centre, Judge McGill Theatre. For more info, call
Barb at 254.7739 or Anthony at 738.1030.*
10   September 1997 :D[TED(E_i]
+ o©
With a sound that displays a broad patchwork of influences —
from ambient groups, like Aphex Twin and the Orb to dream-
pop, a la My Bloody Valentine, and even hip hop. via Public
Enemy — circlesquare is one of the most interesting bands to
be heard in this city. Now. with a CD-EP /5tanding on Marbles;
and a website [www.theinfrastructure.com], circlesquare is easily
accessible. Recently. I had the chance to speak with Phil
[keyboards], Martin [turntables] Dan [guitar, programming] and
Jeremy [vocals, programming, "things! live on CiTR...
by Brian Wieser
Do you prefer steak or chips?
Phil  I like chips.
Martin Steal-
Dan: I don't touch the red, I'm a chip buddy.
Jeremy I eat chips.
Tell us about the gear that you use.
Martin: Guitars, bass, we've got a Korg analog
keyboard. I use two Technics 1 200 turntables, a
sampler, and we just got a mixing board. We
just give the soundboard [at a club] a little plug.
They love us at the Starfish Room.
The CD makes you sound more like a
recording group than a live band, but
do you see yourselves that way?
Martin. No, because anything that's on the CD
we can do live. We pretty much made it so that
we can play [live] whatever is on the CD.
Jeremy: There's no studio tracks on there that
we can't do.
You've got turntables — scratching!
That's not the sort of thing you hear in
your average, every day, indie-pop
kind of band!
Martin: I hope we're not an indie-pop kind of
band! It adds some originality to it 'cause not
many other people do it.
Martin, were you in hip-hop groups
Martin: No, I'm a house DJ so I dabble in hiphop and f really like playing beats and stuff. Phil
and Jeremy are the originators of the band. They
used to sit around with turntables and start to jam
over Tribe Called Quest Records. I started to spin
and they figured I was getting sort of good, [so]
they hit me up to join in — that's the way it
worked. We all progressed at the same level.
How much of it is making your own
beats versus taking others that you've
heard, sampling them?
Jeremy: Pretty much 5O50. Most of the beats
on the CD are coming off records.
Dan: Some songs are both.
Jeremy: It depends. It's leading more into making our own now completely, not even sampling.
Dan: It's hard to do live.
Jeremy: We're just not into sitting there with our
samplers and playing them all night. We really
program anything with layers and layers of
Tell us about The Infrastructure.
Jeremy: Ourselves and Wavestation formed a
collaborative called The Infrastructure in the fall
of 1996. It's a collaboration of Vancouver bands,
us and Wavestation Readymade is on the web
page now, and there's also a film and video sector and photography and whatnot It's a multimedia kind of thing.
Do you plan to put out stuff, or is it
more about information?
Jeremy At the moment, [we] just [want] to get
us known beyond Vancouver, and eventually it'll
turn into some kind of a larger scale thing.
You've got a website. Do you think the
internet will be a place where people
will go and hear about you? Do you
think it's an effective way to get your
music out?
Martin: Yeah, because people are just looking
around on there and they're stumbling through.
Phil: People who get the CD and want to
learn more can dial us up and check us out.
There will be sound clips and more information
and we've been getting e-mails and great
Martin. And hopefully we'll have the video section going soon.
Do you think it's more effective than
touring? In the past bands had to
tour, because how else would people in another city hear about a
Jeremy   I wouldn't say it's more effective. It
helps, but it's secondary.
Would you tour?
Jeremy: Most definitely, we just can't afford to
do that right now.
You put out the CD yourselves. How
did you find the process?
Jeremy: It was fun. We did it in a month.
Martin   It was pretty hectic because we had
conflicting schedules.
Did you know people who had put out
CDs, or did you just start by finding out
who would make it?
Jeremy We just looked for equipment to rent
We did it on a quarter inch eight-track that we
rented, but we just tried to do il as quick as we
could because we didn't want to get stale in
our heads
What about the process of manufacturing and mastering and everything
Martin We just sent it away and let someone
else deal with irt
Jeremy We |ust mixed it down once and thai
was it for mastering.
For the most recent live show, you had
visual backdrops.
Martin. That was our best visual.
Jeremy  That was a guy named Loopy Mark
Healy. He does visuals for a lot of raves and
nightclubs around town.
How would you describe the themes
of what he does?
Martin: Oh, he had no clue He just came
there with something — I saw burning UFOs! —
he wants to work with us more, so he'll make
visuals that'll actually go along with what we
made. That was just a makeshift, spur of the
moment type of deal
We'll definitely be working on our own
Do you think that's an important part?
Martin: It adds to it.
Jeremy. To me, it's an important part
Martin  It's not just hearing it, you see it as well
and if it actually goes with the music then it helps
If you were to make a video, would
you do it like that or would you even
bother with a video?
Jeremy Oh, for sure, but il definitely wouldn't
be your run-of-the-mill video.
Martin. Lots of neon!
circlesquare will be performing September 5th ol
the Web Cofe for a Ave show and internet brood-
cast along with Magnog and Pipedream. *
,«' ff'V:
| Scooters were not made to stroll,
they were made to zooml
Come see Mr. Atomos, his most recent series of
computer sketched paintings and much more!
king a scooter and win a patch. Patches are limited.
< Vin'f1,1, r,1,,1^,,,^,1,"^
11 iitft&Amsz [
We re not really a day band
Or much of an outdoors band
"llle hate playing outside, so we can t be a summer band
To hear the Dirtmitts talk about themselves,
one would sense that they are a bit
I maligned and a bit misunderstood, which is
I common to any new and unproven rock
I band To hear their music, however, one
'would know that the Dirtmitts are definitely a
I tno that has enough chutzpah to overcome
| such minor obstacles
"People have called us so many different
*s that we have to make fun of ourselves
Iwhat was a good one7" The Dirtmitts' bass
(player Jen Deon laughs, "The Clirtmils
Because we had our name written a certain
way and the 'd' looked like a 'c' and an T and
the T didn't look right, because Natasha was
drinking when she did the poster Once there
was the Dirt Mites That was the worst. And
everybody just spells it wrong "
Since adding Scott Radnidge on drums
I almost half a year ago, the trio has made the
I rounds at local venues and is slowly but sure-
I ly making the Dirtmitts a name. They have a
| cassette called Cafcn that was recorded almost
i year ago, which they released themselves
"It was recorded last summer, but then it
I took us almost a year to get it completely
done because we had to remix all the
songs," says Natasha Thirsk, guitarist and
vocalist. "Because I am really particular about
the way I wanted things to sound and we did
I the production ourselves "
"We have so many songs that we've writ-
n since we recorded that. Most of those
I songs are over a year old now. 'Wee Turtles' is
the newest of those songs All the other ones
area little bit immature "
"It took a lot of time because we didn't
have a lot of money to put into it right away
so we had to save up and do it gradually Do
one song at a time kind of thing," adds Jen
Although the songs on Catch may be a little dated, its rough, unpolished sound is easy
to like and refreshingly energetic This exu-
berence probably comes in part from the fact
that this band is the first serious stab at being
in a band for both women (Scott has been in
several other bands before, but declines to
name names).
"I never really sang while I was growing
up and stuff," says Natasha. "Jen and I just
started playing together and one day we
decided that I would be the singer So I sort of
fell into it with this band "
The tape is consistently feisty throughout,
reminiscent of the Breeders or Pixies, and the
highlights include "Chew" and "Sour
Lemons," a song that is also found on the First
Music Compilation put together by Fir Street
Studies, where the trio practices and records
The Dirtmitts plan to go on their first tour,
gigging around Western Canada, in early
September After that, they will head down
to Seattle to record their next full-length,
which they hope to have out by next spring
Until then, they can look forward to the
shorter days and indoor shows that fall
brings, and get their name spelled right on at
least a few posters*
by Andrea Gin/photo by Barb Vamazahi
±   __*    _*-
m        Sl'" *
The road
can be
when you
ride alone.
We a
Volunteers needed.
you an outgoing, spontaneous man or woman over the a
with a never-say-die attitude and a good sense of humou
re a non-profit society that helps young offenders and chi
ages 8 to 18 who are at risk of getting in trouble.
|e of
HeCA ^ jjj
kxudIkeH__ltr -CD/LP
Sonic Unyon Records PO Box 57347 Jackson Station, Hamilton, ON L8P 4X2
jerks@sonicunyon.com   ph 905-777-1223  fx 905-777-1161 www.sonicunyon.com
Sonic Unyon & Amphetamine Reptile Cd* / Lps in (tores or by mail... writ*, call, email, fax for catalogue
12   September 1997 =?ie c t rican>
uation.' Sure, but that's not what we were doing.
It was just giving a place to start from. We could
have also done it in a jazz festival, and subsequently we did perform in a jazz festival. It was
[initially] a project and then we went on to do
the jazz festival. [Another thing] about women
improvisers, I was little nervous about making the
statement that never before in Canada has there
been something like this, but I'm hoping that
every time I say this that someone will challenge
me: 'You're wrong!' There is Dianne Labrosse
who is in Justine, which was formerly
Wonderbrasse. They have a music festival out of
Montreal, Supermime, and they have run
women's festivals but not exclusively about
improvising. Dianne is an improviser, she plays
keyboards. Justine was actually out a month
before the Festival. So the next question is,
'Where do you go from here?"...
It was an idea, it was a good one, and next?!
February 1998, the upcoming Women in
View Festival, will there be more of the
V.I.E.W. Ensemble?
I'm contemplating including part of the V.I.E.W.
Ensemble, but to go in a different direction and
that would be more composed music with an
DiSCORDER: Let's start with a brief history
of the V.I.E.W. Ensemble. How did it come
into being?
D.B. Boyko: Well, I curate a music series at the
Western Front and for the last four years I've also
curated a series for the Women In View Festival
in contemporary music. Last fall, I was sitting at
the Glass Slipper — before it burnt down —
watching a fall series that Ken Pickering put
together called Time Flies, based on a European
model called The Company where a lot of improvisers come together and play. It's pretty well in
the moment — you bring together all sorts of
people who have never played together before
and see what happens. So I'm sitting there in the
audience — which is almost exclusively male —
and on the stage were about 13 to 14 men, on
and off, and the only woman on stage was
Peggy Lee. I'm sitting there going, 'What's wrong
with this picture?' I was really flabbergasted. It
was such a male situation. So I thought, 'We've
got to do something here.' In the meantime, I
was considering inviting Joelle Leandre, a bassist
from Pans who had been making music for many
years and who is an incredible inspiration, [to
play]. All of a sudden I got this sense of putting
things together. I started talking around and I
realized that in Canada there hadn't been any
forum for women to do much improvising
together. There are music associations, but I
started to ask, 'Why is it that women are not
improvising?' Women have been groomed for
classical piano or they may go into folk singing,
but this is not an avenue that women are taking.
What happened at the Festival itself, at the
Western Front? Who became part of the
We had three different programs over three
evenings: Joelle Leandre from Paris, a local trio
of improvisers including myself, Kate Hammett-
Vaughan and Moreen Meriden, and Beth Custer,
a clarinetist from San Francisco. As part of the
series, joining each artist each night we put
together an ensemble called the V.I.E.W.
Ensemble, which steals its name from the
Women in View Festival but it's aptly named. I
knew Peggy Lee was going to be in there, and I
talked to Lauri Lyster who is a percussionist. Lauri
has played quite a bit with Peggy in a group
called Standing Wave and is a consummate musician. She does a lot of new music, but she's
never been invited to do any of those improvising
ensembles with the 'big boys.' People were sug-
probably in grrrl bands — the younger population of women making music — but not particular to the new music and jazz idioms, that's
very apparent.
What do you feel are your limitations with
There are several limitations: one that I mentioned earlier is that most of these players are
very busy and the other two come from out of
town, so that leaves us with very little room to
practice. Now spontaneous music can just happen spontaneously, but some of the greatest
improvising ensembles play together a lot, a
lot. V.I.E.W. is quite a large ensemble, and
when we did play together, it's really hard to
listen and play at the same time. You're trying
to keep track, put your identity out there as an
individual player and listen to everything and
there's a lot of discussion about structure and
how to work with that. We would start out
'structured' and then by the end, we'd be [saying], 'Throw it away, throw it away!' That's the
huge pressure that comes all the time, you
have to be structured. There's a reason for that,
too. You could create really boring, noodling
music. You have to make everything hang
together so that everybody feels comfortable
D.B. Boyko and the Vancouver Improvising Ensemble of Women
by Sydney Hermant
gestmg Karen Graves, who I had heard about but
whom I had never had the chance to hear play.
She's more out of the jazz and blues and salsa
kind of music, a fantastic player. Earlier I had also
had a discussion with Lori Freedman who used to
live here in Vancouver and is very much a part of
the new music scene. She played with the
Toronto Symphony, the Winnipeg Symphony, the
Vancouver New Music Ensemble and Marilyn
Lerner, who is a pianist out of Winnipeg, [and
plays] jazz. Marilyn Lerner and Lori have a duo
called Queen Mab. I started to realize that this
had never happened before in Canada, a forum
exclusively for women improvising.
What were the dynamics once all the players were assembled?
The energy was there and once everybody
arrived and we had a chance to have dinner, talk
and play a little, there was a very strong energy
and I was very excited about it. The issue of affirmative action came out of the Festival, an
unwritten mandate. Kate Weiss, who puts the
whole festival together, believes that risk is supposed to be involved to give people an opportunity in its earlier years. There have been
women artists who have come out of the
Women in View Festival who have really been
given an opportunity to do something really different. There is a territory there that is about
affirmative action — you need that extra push,
so there is risk involved, but in the end I think it
was extremely successful. A criticism is when
you only come together for a short period of
time, you only scratch the surface, so we could
have taken bigger risks to really fall off or really
stink. When we got together we had some public talks and some forums about women improvisers and it was pretty clear that the women
musicians that were part of this didn't want to
be ghettoized in this kind of situation. I knew
that and I chose women that I felt very confident about, really fine players that were part of
the creative music scene. It was a calculated risk
and it wasn't about affirmative action in terms
of the individual players.
So it was a starting point, spending the
energy creating your own stage, rather than
penetrating someone else's already established stage...
Yeah, and certain male improvisers in town were
there on-looking and going, 'Well, you should be
able to invite the men next time if you actually
want to show the equality of women in this sit-
"l started to realize that this
had r\e\er happened before in
Canada, a forum exclusively
for women improvising.
opportunity to improvise. Perhaps but it's a little
early for me to make a total commitment to that
— it has to do with grants and funding and the
availability of people. In terms of getting Lori
and Marilyn here, well, it's not a huge problem,
we could work as a trio for a bit then invite
them in, [because] they are already a separate
duo, Queen Mab. I would hope that it's not just
limited to this ensemble, that other musicians
might come and play. As I said, it was just an
idea, and the strength is there while the people
are there. It's a seed and I don't know if I feel
obligated to carry something much further than
that. It was a shock to me that there weren't
many women doing improvisation. There are
enough to listen and play, so that's a limitation
in terms of a larger group. When we did the
jazz festival we tried to pare things down into
duos and trios, and that started to work, but
then again, we only had an hour to play. With
Kyal [sic] music, they start with an allap [sic]
and that takes 20 minutes before they even get
into the heavy music and the concerts go for
four hours.
The Western Font is presenting two concerts in
September: Guitarevolution: September 26,
with Ron Samworth, Greg Lowe and Alex Varty;
September 28, with John Oliver, Paul Drescher
and Wes Wraggett*
FREE    STUFF from Universal
Here's the scoop. We have this stuff
1 Age of Electric knapsack
5 Age of Bectric CDs & keychains
5 Gandharvas T-shirts & CDs
5 Holly McNarland T-shirts & CDs
To get the stuff, send a postcard
Discorder Stuff
c/o CiTR
233-6136 SUB Blvd
Vancouver, BC   V6T 1Z1
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13 &$&z®m \AiiTU
Carl Newman (vocals, guitar), Keith Parry (drums),
super Warren Wes,lin9 (9uifar)* Mlke KerleY (ba"l* Sc°n
conductor Gubbels (synthesizer), Sean Elliott (guitar, synthesiz-
r), David Carswell (guitar, fixer of things), John
Collins (guitar, synthesizer)
sing: Mike Rohaly (guitar, synthesizer)
Robert Pollard (vocals), Doug Gillard (guitar, vocals),
John Petkovic (guitar, vocals), Don Depew (bass),
Dave Swanson (drums), Pete (roadie, "beer tech"),
OCES     Dave Dohman (soundman, human beatbox)
So Miko insisted I describe the ins and outs of the
recent Guided By Voices/Superconductor tour for all
to read. Hitting the road with your favourite band
has its advantages, especially when you get along
with each other and they're popular. We usually
played nice, big clubs to actual crowds instead of
(half) empty, crummy little dives; were paid and fed
regularly, surrounded by plentiful beverages and
treated incredibly well. So, despite how this may
read, I assure you it was fun. Plus, we learned definitively to never go on a headlining lour again.
Since the Conductor strictly refuses to travel
together, I have no idea what at least half the band
was doing most of the time. As for photo documentation, Keith has a vast array of ugly city sights,
embarrassing sleeping moments, and an obese
woman riding a bicycle for those of you who are
interested. Sorry I can't remember where the "Say
No to Drugs" urinal mats were or when I looked next
to me in the van to see Scott smiling at me with his
shirt off. The worst part of the tour was that Mike R.
couldn't make it, but Dave and John (Smugglers,
Evaporators) were incredible stand-ins. Need I say
"You had to be there?" I thought so.
A 2600 mile drive to Pittsburgh and we leave late,
take the slow route, and make terrible progress.
Days two and three are a vast improvement as an -
early sighting of Herberger's in Butte is a good indication. Thirty-nine hours of straight driving for Carl
and Warren, since I don't drive, but at least I'm nearly constantly awake. In Spamfown the guy at the
desk in the Hormel plant directs us to the sports (?)
shop where we spend 30 minutes and nearly $40. A
drive through Chicago grants me the highlight of
cruising down Sammy Davis Jr. Blvd. In Pittsburgh,
Bob Pollard greets us and lets us know what's theirs
is ours, and seeing as there are at least 144 beers on
their rider each night, contrary to my word, I promptly consume some Bud Heavy.
The show is early and lacklustre on all fronts. Bob
blows out his knee during their first song but doesn't
let on 'til afterwards, potentially putting everything
in jeopardy and causing quite a stir on the anal GBV
web page. I can't tell if the blonde girl backstage
looking for action is foreign, drunk, or stupid.
Apparently, the latter two. She is clueless about both
bands. Worst of all, our accommodations, while welcome (first shower since leaving), consist of an empty
house blasting polka while an old man sings a constant medley of mostly Elvis hits. I'm going insane.
Finally it stops. Then two spins of "La Bamba" ... then
more polka! Who made this planet?
Our new secret weapon, Mark (Murderecords),
JULY 11   realizes that you can stand in the van while
moving, which creates a lounge atmosphere.
We arrive in Philadelphia 75 minutes before
showtime. We suck and the sound is worse, according to our favourite Latvian, Larris Dreslins. GBV
rocks with John GBV who missed the first show and
whose presence all around is most welcome for the
rest. Pete GBV delivers his first "We're going to kick
GBV's ass" pep talk after our set. Tom Lax (Siltbreeze)
ditches us so the van members (now me, Keith, Mike
K., Scoft, and Mark) work our way into fhe swank
apartment of Eric and Kim [Magnet magazine). The
tension is obvious.
Larris joins us for the trip to NYC and, upon
'al, he, Mark and I bolt for the subway to
catch the GBV/Sleater-Kinney Central Park
show. I solve our direction problems, which is a
!  miracle,    but    we    miss ^(M* ^M&W*    »
Sleater-Kinney. Persistence
pays off and we weasel
backstage just as Dave D.
comes  to our  rescue.   It
brings me joy to see that
asshole    Russell     (Blues
Explosion)     having     an
equally hard time getting
in. We're surrounded by
celebrity hipsters, cute riot
grrrls,   and   the   Dayton
Mafia.    Our    geekiness  g|       ^PC ^^» ■*■"*%
shines through. That night
we play at Brownies with Cobra Verde and it's our
first kick ass show. All is well, plus there's an S&M
bar next door with people sticking their near bare
butts on the window. Keith, Mike and I stay with our
friend Tracy in her Hoboken T&A deco apartment,
j  where she shows us her bizarre light up turntable.
No show, but we hit the Chelsea flea market
and ditch each other. Did I mention heatwave? I finally find some Ben & Jerry's (hippies bad, but Haagen Daaz worse) and do
e heavy record shopping. Later, fancy expensive Thai food, then drinking at Tracy's, which I
opt out of in favour of TV to see the L.A.P.D. getting called in to a loud and unruly Danzig concert. Oh, that man. Cold showers stop one from
k sweating before drying off.
Providence. The most boring city on Earth and run
by Dunkin Donuts by the looks of things. We play the
small dingy side of a big two-clubs-in-one joint. After
eight years in a band with Mike, he finally makes a
decision when, for the only time, we're asked what
beer we'd like: " ... Budweiser!"
This is probably the best show. Both bands are
JULY 14   on* '''T, a foucn more "animated" than people
yare accustomed to. I miss the guy backstage
who quite seriously-pulls out his wallet pretending it's a tape recorder to interview Bob. What are
these people thinking? This is the only club that delivers on the post-show pizza and everyone is plenty
nice. J. (Six Finger Satellite) is a constant source of
amusement and he puts all of us up in his spacious,
cheap, and hot place. If "Black Finger on the
Nuclear Trigger" sees the light of day, it's his fault.
The heat.  The humidify.  I'm nauseous and
drenched in sweat — a cold shower and many
***   glasses of water help briefly. Dunkin Donuts, on
the other hand, does not. Don't touch their faux
Frappuccino. Highlight: falling asleep on a park
bench.   Somehow   the   /fi\]^{   & \<cQP\W\
weather cools on the ___________>
way to Boston. Mark,
Scott and I head to
Cambridge for more :
(good) record stores \
than even I have seen
before in only a few hours. The show is in a big,
fancy, uptight club and everybody in both groups is
having a blast, except me. Providence and lack of
food has taken its toll. There are girls backstage who
Mike calls morons, and I have trouble being friendly
to anyone. Eric (Dambuilders) puts us up and treats
us well. Sadly, no more Mark.
^^ The heatwave hits Boston. Eric shows us and
the female Haligonians (that Mike insulted)
around Cambridge. I'm still barely friendly but
at least I'm clumsy. More shopping, a very
smelly 7-1 1, and we get lost trying to leave town.
On our way south, we're late for a Frogs show in
NYC, so we head to Philadelphia.
The 9:30 Club in DC is an unbelievable oasis
in the middle of the ghetto. The nicest rock
club with the friendliest bouncers ever. Good
times and show. Usually backstage is a zoo
, but tonight it's a frat house, best well-avoided. The
n and Michelle (GBV t-shirt woman) head to Sam's
;  (ex-Nimrod) parents' place for swimming and sleep.
Things get ugly. I choose to read Eva Brown's biography instead of socializing.
14 September 1997 :
Dub/soul/pop weirdness.
PO Box 38024 King Edward,
Vancouver, BC, V5Z 4L9 (Tom)
12 Pointbuck
l2PB.isa hardhitting band that
pulls no punches. 80's punk/oil
music for the 90's.
861 Klahanie Dr, Kamloops, BC,
604.573.5869 (Scrawny Bob Buck)
Added Height
Joyful, grindy text files, electronic
beats... singing through harmonicas,
microphones ... melodic accordion,
though it's broken!
465 Craig St, Parksville, BC, V9P 1L2
604.248.5257 Pomes)
Coco Love Alcorn
23 year old singer/songwriter
#400-310 Water St, Vancouver,
BC, V6B 1B6
604.684.5812 (Dan Cimoroni)
604.331.1179 (fax)
all purpose
Upbeat, fresh, dynamically expressive, contains a high energy
eclectic blend of diverse moods
and traveling grooves.
Box 21532-1850 Commercial
Dr, Vancouver, BC, V5N 4A0
604.640.1027 (Candice Roberts)
604.650.0540 (Dayle Sunshine,
Another Joe
New school punk rock, like a kick
to the groin.
Box 63061 -6020 Steveston Hwy,
Richmond, BC, V7E 2K9
604.874.2878 (Jon)
Backroom Shag
297 54th St, Delta, BC, V4M 3G6
604.291.0978 (William)
604.943.9076 (Ryan)
Bates Motel
Tired of bubble-gum pop dressed
up as alternative? Now for something completely by Bales Motel.
101-8625 Osier St, Vancouver,
BC, V6P 4E6
604.267.6325 (Nearly Nude Music)
604 264.9984 (fax)
The Beans
Singers, players, lovers of life:
Boney Moroney.
604.943.1709 (Andy)
604.946.1535 (Tygh)
Alluding to answers of questions
which have yet to be asked ...
1761  Graveley St, Vancouver,
BC, V5L 3A9
604.733.0424 (Stephen/Mike)
604.733.0424 (fax)
Black Market Babies
The bastard sons of stivdators
playing high energy punk rock
and roll from beyond the valley
of the New York dolls.
#8-2425 Granville St, Vancouver, BC, V6H 3G5
604.738.0955 (Billy Hopeless)
Seer fueled 70's metal core. Oh
shit, the fire exit's blocked.
7353 Stride St, Burnaby, BC
604.873.9657 (Val Krusfy)
The grit and wit of The Replacements, the quirky pop songwriting
of The Pixies, with the energy of
The Descendents.
PO Box 4078-349 W. Georgia
St, Vancouver, BC, V6B 3Z6
416.762.2368 (Nanci Malek)
416.762.2368 (fax)
Blue Veil
c/o Arson Records, #342-916
W. Broadway, Vancouver, BC,
V5Z 1K7
Bored of Authority
Someone said we could open up
for eilher Neil Young or NIN.
1635 Ellesmere Ave, Burnaby, BC
604.299.0558 (Paul Steadman)
New-wave mall rock.
5055 Maple St, Vancouver, BC
604.266.9974 (Chris Storrow)
Both Legs Broken
Raw energy rawk fueled by
booze and buds. Straight outta
the 'wack.
46074 Bonny Ave, Chilliwack,
BC, V2P 3H6
604.702.0586 (Jim Nelson)
m tfie Transcenden-
Brand New Unit
Vancouver punk/hardcore.
604.874.5031 (Jinx)
604.596.9692 (fax)
Breathe Underwater
163 W Kings Rd, N Vancouver,
BC, V7N 2L7
604.988.7764 (Dino DiNicolo)
604.253 4957 (Frank Baker)
dinod@cybentore ca
Mark Browning
Acousitcroots   Published by
Warner Chappell Canada
PO Box 7351 1, Voncouver, BC,
V6E 1 BO
604.738.6989 (yd^TKirbMusfc}
604.738.6980 (lax)
The Bus
tai Truckstop.
405B Machleary St, Nanairna,
BC, V9R2H1
250.741  1771 (Bruce Kennedy)
Celestial Magenta
Four broads in a band. Walla
Walla State Penetentiery favourites.
#5-32 1 7 Heather St, Vancouver,
BC, V52 3A4
604.876 7331 (Undo)
cement@alternet ca
XTC meets My Bloody Valentine
and discuss recipes
#117-588 E 5th Ave, Voncouver, BC
604.682.4014 (Kevin/Mark)
604.654.1993 (fax)
markj@netfwerk com
The next, next big thing. Dust off
your K-Tel records.
PO Box 93559 Nelson Park,
Vancouver, BC, V6E 4L7
604.669.2385/{Terry Miles)
Circled words from square mouths.
2010 ParJcside Lane, N Vancouver, BC, V7G 1X5
604 929 4209 Ueremy)
Cirkus Mind
A high energy rock
Box 65-283 1  Shaughnessy St,
Port Coquitlam, BC, V3C 3H1
604 552.01 26 (Mark)
604.939.4816 (fax)
Closed Caption Radio
Kinetically-inclined automatons of
the now creating unrestrained
thinking-persons post-punk.
2784 W 20th Ave, Vancouver,
604.738 6051 (Shane/Jason)
604.876.8712 (Joe)
Burning golhic western lounge
48 E 6th Ave, Vancouver, BC,
V5T 4P4
604 871.0055 (AM Productions)
604.875 9971 (fax)    \
www amprodudions.com/ecoal hlml
The Corn Sisters
Huskin', buskin' female country
duo with a drum, a guitar, a
wing, and a prayer.
c/o Mint Records, PO Box 3613
VMPO, Vancouver, BC, V6B 3Y6
1997 Local Music Directory 604 669.6468 (Mint)
604 669 6478 (fax)
m i ntra ndOaol com
Tho Cornshuck Cowboys
Caught taking a piss on the Country Music Hall of Fame — now
drinking anti-freeze.
Box 144-1472 Commercial Dr,
Vancouver, BC, V5L 3X9
The Cowards
Gas chamber music for disenchanted Hanson fans
#41 2-774 Great Northern Way,
Vancouver, BC, V5T 1E5
604 873 6842 gorj)
604 435 7674 (Greg)
The Curtains
Indie pop punk made by 2 girls/
2 guys.   High energy & hard
4007 SW Morgan St, Seattle,
WA, 98136
206 937 6752 (Steven Knouse)
steve@ivyrecord s com
Dandy Raisers
Little band starting out want gigs!!!
2819 W 44th Ave, Vancouver, BC
604 263 6682 (Efecka Cute/Sunami)
604.266 3663 (fax)
Darkest of the Hfeide Thickets
2602 Campbell Ave, Abottsford,
BC, V2S 4A4
604 859 8291 (Warren Banks)
604 795.7465 (Bob Fugger)
604 792.8421 (fax)
steele@haven uniserve com
l»*en uiisere com/~puck/hck8h.l*ni
Dashboard Jesus
We groove like monkeys and
rabid farm animals
5576 Fleming St, Vancouver, BC,
V5P 3G2
604 323 2999 (Patrick or Chris)
604 925 4167 (fax)
Blatant examples of crass commercialism.
#308-1877 Haro St, Vancouver,
BC,V6G 1H3
604 669 8880 (Jenny)
604 669 8880 (fax)
daytona@direct ca
High energy teen punk rockers to
rock your world
#600-1027 Davie St, Vancouver,
BC, V6E 4L2
604.435.7563 (Marzie Damien)
604.430 5930 (fax)
The Deadcats
Voodoo-billy cowpunk surfers
Nervous[UK)/Flying Saucer Recording sluts
PO Box 408-1275 Haro St, Vancouver, BC
604 687 6138 (Mick Tupelo)
604 662 7725 (Scooter)
604 687 6138 (fax)
mdflysau@wimsey com
Contemporary music, two short
features portraying the spit and
bruises of human interaction.
PO Box 144-1472 Commercial
Dr, Vancouver, BC, V5L 3X9
604 253.0275 {Transsiberian Music)
604.253 027.5 (fax)
The Diddley Daddys
Mod, punk, noise  We are England's newest hitmakers
2456 Pari Dr, Chilliwock, BC,
V2S 3W2 (Mr Hands)
The Dunderheads
Hard hitting punk rock.
PO Box 3-1895 Commercial Dr,
Vancouver, BC, V5N 4A6
604 979 2878 (pgr)
The Electrosonics
Dynamic trance pop
POBox 215 #101-1184 Denman
St, Vancouver, BC, V6G 2M9
604 687 8157 (Heather or Eric)
electro@axionel com
Heimel influenced, heavy rock,
bud, energetic.
2860 Windflower PI, Coquitlam,
BC, V3E 2V3
604 945 8404 (Adam Kliewer)
The Emptys
1 826 East 37th Ave, Vancouver,
BC, V5P 1G1
604.327.2315 (Ken Beottie)
emptys@theindustry com
www rheindustry com
Orange juice and toothpaste just
#1-199 E 22nd Ave, Vancouver, BC
604.872.5810 (Selena, Chuck
& James)
In your face good time!
4723 248th St, Langley, BC,
V4W 1C9
604.306 6587 (Leon Lilley)
604 5340121 (fax)
enema@ropidnet. net
* Gig Info
i Interviews
4 Pics
4 Readers Feedback
^uAndlofso' sound
biles and full songs
from the CD/EP
p $^ available off-line too
at most major record stores.
Can't find the CD?
Call Turtle Records at (604) 270^878
Pure teenage zit rock angst.
PO Box 27021 -1345 Marine Dr,
W Vancouver, BC, V7T 2X8
604.254.0294 (Nardwuar the
Human Serviette Records)
cleoQcyberstore ca
griffin multimedia edu/-cleo
Experiencing Difficulty
Brass, reed and percussive jams
over appropriated lounge tape-
loops and casiotones.
PO Box 18142, 2225 W41st
Ave, Vancouver, BC, V6M 4L3
604.264.9958 (116 Productions)
kands@ranch org
pitch@ranch org
Noisy Vancouver 3 piece with a
4th on the horizon.
604 683 3539 (Cargo)
604.683 3631 (fax)
Faith & Disease
Three full-length CDs on Ivy
Records (a fourth due later). Ambient ethereal psychedelic folk.
1101-1904 3rd Ave, Seattle,
WA, 98101
206.682.8638 (Eric Cooley)
206.621.0282 (Jennifer Elliot)
info@ivyrecords com
Fish burger
ioopy, Kooky, Quirky,  Wacky,
Slippery,  Sloppery, Sillynoisy,
Trippy Chaos.
1823 E 8*i Ave, VancxxM**r, BC, V5N
604.251.1715 (Peter)
604 253.2542 (fax)
The Fool's Court
The Knopf Kumf brothel invites
you for some "vie concentrate"
RR#4, C6 Wyatt Rd, Armstrong,
BC, V0E 1B0
250.546.3346 (President Royko)
Speed punk trio slandering
cacophony's good name since '92.
1 1 55 Mason St, Victoria, BC,
V8T 1A5
604.381.4795 (S.Kenny)
604.383.6112  (fax)
fracas/fracas html
Fug Dub
Oven-fresh ice-filtered monkey-
humpin' paisley-dream-sequenced
lip-smackin' recycled funky chow.
720 W 19th Ave, Vancouver,
BC, V5Z 1X2
604.736.1921 (megan)
604.876 7358 (miko)
Girl food for pop-fuzz thought.
The Go-Devils
A fired-up, fuzz-box fuelled, dou
ble-dose of catchy, caHeinated
punk rock'n'roll.
1 143 E 28th Ave, Voncouver,
BC, V5V 2P5
604.871 9411 (Anita L. Binder)
604 662 8664 (Natalie Beoulieu)
604 251 7819 (fax)
Ex-Soldiers of Misfortune smiling
through clenched teeth
503-1345 Nelson S», Vancouver,
BC, V6E 1J8
We sound exactly like Unwound,
PJ Harvey, andAerosmith — only
we're Canadian, eh!
12705-114B Ave, Surrey, BC,
604.580.2175 UeffCathcart)
Haitch C Soundcraft
Sine jazz loop beep fuzz.
604.466.1717 (Haitch C)
604.466.1717 (fax)
hcee@vcn bc.ca
sine.ranch org/hc
"don'I bother asking ... you'IIget
no reply       in  15 words or less
.    eat shit & die..."
1701  Welch St, N Vancouver,
BC, V7P 3G9
604.733.0424 g. Gow)
604 685 7084 (fax)
Harvey Switched
We're better than  Queazy.
We're better than you.
PO Box 402-814 Richards St,
Vancouver, BC, V6B 3A7
604.623.2466 (Matt Brown)
604.231.9069 (fax)
Hazel Would
jointed, depressing pop songs
with a 2 minute or less guar-
246 Monmouth Dr, Kamloops, BC
604.372.2371 (Slap Shot)
604.372.8329 (fax)
Hell Caminos
Punk rock and rollers with
amthing shirts and big amplifiers.
6617 181 St, Surrey, BC, V3S 8E7
604.574.4228 (Mike Hawk)
Hissy Fit
Loud, fast and snotty — the way
good punk should be.
PO Box 3507, Vancouver, BC,
V6B 3Y4
604.687.6860 (Gisele)
604.687.6860 (fax)
The Hookers of Fire
High energy live rock and roll
band with a salty, white-trash,
metal, surf, punk influence.
#414-2225 Triumph St, Vancouver, BC, V5L 1L2
604.255.01 84 (Ryan Curt)
Hounds of Buskerville
Ska rhythms, funk horns, punk
energy — Oi!
2163 Napier St, Vancouver, BC,
V4S 2P1
604.252.9590 (Peter Vogler)
Mix 69 tons grind and a dash of
death: hurt.!
6474 Windsor St, Vancouver,
BC, V5W 3J5
604.324.GORE (Bryan)
604.951.2418 (Nelson)
Idiot Savant?
Happy, sad, mad, glad, loud
music, from the band that refuses
to die.
1131 Lily St, Vancouver, BC
604.251.1207 (Ken Paquette)
604.251.6354 (fax)
The Idols
Rock'n'roll. Tuff tunes reminiscent of
early punk somelhing like earfy 80's.
9230 Turtle St, Fort Langley, BC,
604.888.3803 (Chris Tail)
. All have SINNED. Are YOU willing? Love for the sinner... 'new
drummer wanted*
2558 Oliver Cres, Vancouver,
BC, V6L 1S7
604.731.0862 (jiF)
Pre-apocarypse experimental pop
for ages 6 and up.
RR#5, S33, C5, Gibsons, BC,
604.886.2719 gonLipton)
Deep Detroit techno/house.
c/o Lowdown Records, PO Box
72022, Vancouver, BC, V6R 4P2
604.874 7578 (Thomas)
Jacob the Baker
Experimental, melodic, D+B/trip hop
I?} on worldfamousorangedrink.
Cubes of sub-orange water
22-1895 Commercial Dr, Vancouver, BC, V5N 4A6
604.215.9848 (Andrew Power)
orange@bc sympatico.ca
Peter Jackson
He is a rocker from Surrey who
is seriously related to singer and
dancer Janet Jackson. (Leave a
message when you phone.}
11779 72nd Ave, Delta, BC,
V4E 1Z2
604.572.9550 (Christian)
604.572.8994 (fax)
Palatable, affectual, indelible,
blues-based pop/rock.
PO Box 327-810 W Broadway,
Vancouver, BC, V5Z 4G9
604.980.4427 (Tony Brinks)
Undanceable musk. Stay in your seats!
502 E 1 lid Ave, Vancouver, BC, V5T 2C9
604.876.6451 (Ryan)
Shag dragin' piss tanks with on
unconlrolable urge.
100-1353 Jervis St, Vancouver,
BC, V6B 1E9
604.708.6368 (Gerry & Jenn)
Dave Karius
Western imperial magnetics audio/video tape mfg/dist.
#7-12840 Bathgate Way, Van-
1997 Local Music Directory couver, BC, V6V 1Z4
604 270.8682 (Dave Karius)
604.270 2745 (fax)
Kiss the Ground
Song driven acoustic rock, lush
vocals, eclectic keys, alternately
sweet and snotty guitars
2233 E 44th Ave, Vancouver,
BC, V5P 1N3
604.327 9310 {Ted Hamilton)
604 327 9310 (fax)
griffin multimedia.edu/~psa
Devilishly unconventional pop.
Happy, sad, confused, horny,
angry Passionate, always. Guitars and four part harmonies.
#400-310 Water St, Vancouver,
BC, V6B 1B6
604.684 5823 (Dan Cimoroni)
604.331.1 179 (fax)
Sook-Yin Lee
c/o Zulu Records, 1869 W 4th
Ave, Vancouver, BC, V6J 1M4
416.591.5757 (Sook-Yin Lee)
Lex Fulgore
Brooding, industrial into Skinny
Puppy-esque mind-rape tunes.
Dark. Hard Creepy.
1 843 Knox Rd, Vancouver, BC,
V6T 1S4
604.224.4267 (fax)
The Mach Ill's
Instrumental surf slop and covers.
16891 28 Ave, White Rock, BC,
V4P 2K9
604.538.0626 (Ryan)
604.276.2130 (Fern)
The Malchiks
Ska/pop/ball bustin rawk.
1 899 W 36th Ave, Vancouver, BC
604.650.7724 (Marc)
604.266.7278 (fax)
Running the gauntlet between
Monopoly and more interesting
PO Box 144-1472 Commercial
Dr, Vancouver, BC, V5L 3X9
604.253.0275 (DanielV.Jones)
604.253.0275 (fax)
Three tough women, a sack of
rock V roll, no cologne.
c/o Mint Records, PO Box 361 3
VMPO, Vancouver, BC, V6B 3Y6
604.669.6478 (fax)
Marcos X
Multi-instrumentalist, composer/
arranger, live/studio engineer,
juggling, stage/road managing,
lessons, versatility and experience.
Box 3777 VMPO, Vancouver,
BC, V6B3Z1
604.873.DRUM (Marcos X)
"Indecipherable caterwauling."
(G. Lawrence) What more do you
604.879.5895 (guess)
Mean Reds
Frdhy pop with triple cleansing action.
154 W 13th Ave, Vancouver,
BC, V5Y 1V7
604.879 0558 (Carb)
604 325.3802 (fax)
meonreds@cafe net
www cafe nel/meonreds/
Dark-acoustic melancholy with a
timeless feel Played NW Folklife
101 1-1904 3rd Ave, Seattle,
WA, 98101
206.682 8638 (Eric Cooley)
206.621.0282 (fax)
chandra@ivyrecords com
www.ivyrecords com
Multi-flavoured heavy rock 3
former members of Another
While Male
PO Box 88057-523 Main St,
Vancouver, BC, V6A 4A4
604 878.0465 (Lisa)
604.878.0465 (fax)
www conspiracy.com/midge/
Mini Hum
Hey, that's the one thing I adore.
Now you've got something more.
2600 Belloc St, N Vancouver,
BC, V7H 1J1
604.929 2693 (Michael Andrew)
Minimalist Jug Band
Washed-up guy on a washtub
bass-scowling howling beatnik
#21-1190 W 12th, Vancouver,
BC, V6H 1L6
604.732.9671 (Al Mader)
Less political than Rage, more intelligent than Kom, these local hardcore
boys have power & insight.
PO Box 4, 199 W Hastings St,
Vancouver, BC, V6B 1 H4
604.873.3765 (Helen Siwak)
MK Naomi
Dreamy, ethereal trance
c/o Lowdown Records, PO Box
72022, Vancouver, BC, V6R 4P2
604 874.7578 (Thomas)
The Molestics
657 Prior St, Vancouver, BC
604.253 2447 (Mike)
The Money Hungry
A twister sound to decipher, we
will milk your ears & burn your
471 E 49th Ave (basement), Vancouver, BC
604.730.0090 gason)
604.228.1040 (Wendy)
604.228.1040 (fax)
Morning Gold Fix
Utilizing technology to exploit
trends-past, present ond future.
Mutant Starfi$h
Powerhouse rock quartet. These
men are the High in Energy and
showcase better than a Hollywood hooker.
604.254.0207 (Sarah C)
604.432.9204 (Paul & Chico)
Neko Case and her Boy-
A voice to bring Nashville to its
knees, and a band that hits it and
c/o Mint Records, PO Box 3613
VMPO, Vancouver, BC, V6B 3Y6
604.669.6468 (Mint)
604.669.6478 (fax)
Funk, celtic, Afro, Latin, ska, reggae, rap, Arabic, psychedelic, international touring, hot stage show.
PO Box 3777 VMPO, Vancouver, BC, V6B3Z1
604.873.3786 (Marcos X)
604.438 0152 (fax)
nothing but trouble
Don't wanna change the world,
just give you a break from it for
a while.
104-441 E 3rd, N Vancouver, BC
604.985 0008 (Norman Thomas)
604.984 2101 (Klaus Bach)
Oddio Climate Project
Animate musing sounds via guitar (and changing equipage) for
conceptual audio molding
(thanks thesaurus).
893 E 21 st Ave, Vancouver, BC,
V5V 1 S3
604 874 0075 (Jonathan S.)
oddio-cliamte@usa net
Pace says it's "alright." Best example of it's kind known to man.
#307-151-10090 152nd St, Surrey, BC, V3R 8X8
604.601.1 193 (Mike Felstein)
604.589.7195 (Pure Madness)
Oh Susanna
Solo female artist sings twisted
rural laments.
1 363 Fountain Way, Vancouver,
BC, V6H 3T2
604.734.9251 (Suzie)
Entrancing, romancing, worth-
dancing folks/pop/roots/rock
604.980.4427 (Tony)
604.254.5316 gulie McGeer)
People Playing Music
7 piece funk jozz outfit.
#400-310 Water St, Vancouver,
BC, V6B 1 B6
604.684.5823 (Dan Cimoroni)
604.31 1.1 179 (fax)
Perfume Tree
soundscapes, pounding dub and
c/o Zulu Records, 1869 W 4th
Ave, Vancouver, BC, V6J 1M4
604.254 9603 (Bruce)
604.736.9836 (fax)
Pigs in Space
Kryptonic noise syncopation.
2039 Grant St, Vancouver, BC
604.255.0621 (Colllin)
604.988.6298 (Matt)
The Plantains
A lean, mean, indie-rock and roll
11623 90th Ave, Delta, BC, V4C 3H5
604.594.2134 (Ryan Bigge)
Procter and Gamble
Noise-synths, tape, computer.
wfreno@vcn. bc.ca
Female fronted politico-stompcore.
Box 21552-1850 Commercial
St, Vancouver, BC, V5N 4A0
604.215.8314 (Meegan)
Bass/drums instiumentals: ethno/
industrial minimalism
948 Keil St, White Rock, BC, V4B 4V7
604.538.7203 (R.C.Johnston)
604.517.0379 (fax)
Coffee, jazz and poetry.
Write for a free sample
PO Box 505-1288 Broughton,
Vancouver, BC, V6G 2B5
604.654.2929 (Ralph Alfonso)
604.654.1993 (fax)
The Readymade
If we had a war time concierge,
Vancouver wouldn 't be in this mess
#901-1 101  Pacific St, Vancouver, BC, V6V 1T3
604.730.4816 (Readymade)
#8-2313 Victoria Dr, Vancouver,
BC,V5N 4K8
604.254.3058 (Marlies
4 guys, 7 eyes, special pop rock
#380-916 W Broadway, Vancouver, BC, V5Z 1K7
604 261.0497 (godspeed)
604.325.3802 (fox)
1996 Shindig winners  wilh
cowpunk appeal play crunchy
and western to the hilt!
PO Box 4-1 99 W Hastings St,
Vancouver, BC, V6B 1 H4
604.873.3765 (Helen Siwak)
empyre@axionet com
Low-fi indie pop.
PO Box 93559 Nelson Park,
Vancouver, BC, V6E 4L7
604.669 2385 (Terry)
Shadow Light
Synth/guitar based horror rock
with deep dark male vocal accompaniment.
1011-1904 3rd Ave, Seattle,
WA, 98101
206.682.8638 gohn Clough)
206.621 0282 (fax)
The Shellycoats
Melodic cute pop
604.669.7566 gane Avery)
Skankin Cowboys
1 899 W 36th, Vancouver, BC
604.650.7724 (Marc)
604 266.7278 (fax)
Melodic jazzy angst pop trio
moody & moving / loud to lounge.
204-617 3rd Ave W, Seattle,
WA, 98119
206.270.8872 (Marcel Feldmar)
Slingin' Zingers
Guitar from I KILLED MY CAT and
electronics by MORNING GOLD FIX.
425 Lamonte Terrace,  South
Bend, WA, 46616
artsindu@skynet net
4-track sly pop. Will dub you a
free demo if you call or e-mail.
810 English Bluff Rd, Delta, BC,
V4M 2N5
604 943.5091 (Frank)
The Smugglers
Rubber boots, suits, sweat, kissing (teenagers), trophies ... we're
the Kings of the Local Scene!!!
c/o Mint Records, PO Box 3613
VMPO, Vancouver, BC, V6B 3Y6
604 669.6468
604 669.6478 (fax)
Pop rock—four piece.
1899 W 36th, Vancouver, BC
604.650.7724 (Marc)
604.266.7278 (fax)
Solution to the Problem
Lo-fi rock with harmonies and
melodies all over the place.
604.437.7688 (Greg)
Contact: 604.608.0973 atomos@planeteer.com
1997 Local Music Directory arnerOsmortt com
Space Kid
Our records indicate your account is overdue  To avoid possible service interruption  .
#1-1222 Horwood St, Vancouver, BC, V6E 1 S2
604 689 0225 (Dennis Pyo)
spocekidx@hotmail com
Spiritual Heroine
Swirling, mythological images
and an edgy "street sense "
#7-203 E 6th Ave, Vancouver,
604 708 0430 (Camille Baker)
604 939 8003 (fax)
The Spitfires
A rock'n'roll tornado
A-3551 Main St, Vancouver, BC,
604 708 1500 (C C Voltage|
604 859 7994 (fax)
Fat Wreck Chords meets Slayer,
we're pretty much the best band
to ever exist
3372 Duvol Rd, N Vancouver,
BC, V7J 3E6
604 980.5257 (Brian)
604 980 9399 (Chris)
Strong Like Tractor
ffie music will make you damn
thristy, itchin' to groove out, and
deafer than Grampa
4558 Beatrice Si, E Vancouver, BC
604 877 0745 (Morrison, Lewis
or Cornelius)
Substate Reactor
Experimental subsonic induslrogolh
Box 715-1001   W Broadway,
Vancouver, BC, V6H 4E4
604 253.1503 (Richard Miller)
604 874 3084 (fax)
subs'ate@intouch be co
West coast hardcore
330 Keary St, New Westminster,
BC, V3L 3L3
604 540 5061 (Adam)
604.532 5975 gay)
super8@bc sympatico ca
Alternative rock
c/o   Scratch   Records,   109
W    Cordova,   Vancouver,
BC, V6B  1EI
604 687 0499 (the Gubbler)
604 687 0488 (fox)
scratch@mail van hookup net
The Surfdusters
Surf V western  instrumental
4337 Percivol Ave, Burnaby, BC,
604   298   3322    (Rich
Cargo Records
Independent lobe), import/export
#204-402 W Pender, Voncouver,
604.683 3539 (Ke#t/SheryW)ar»)
604.683.3631 (fox)
Cross Canada distro and mailorder. No rock star wanna-bees
need apply Pvnk/HC/lMO pre-
7110 Westminster St, Powell
Evan Symons
Drum machine illumination
4595 Commercial Dr, Vancouver, BC, V5N 4G8
604.879 8748 (Evan)
T minus Nine
Modern hard rock
PO Box 71191, Seattle, WA,
206 292.5090 goe Adams)
Ten Days Late
PO Box  162-916, Vancouver,
BC, V5Z 1K7
604 872.8674
514 285 2423 (21 12 Records)
-crushworthy/tendayslate html
Terra Incognita
River, 8C,V8A1C6
604.485.7232       (Ja&oft
604485.0187 (M
Scratch Distribution
Canadian and international
distributor for 300 'quality"
109 W Cordova St, Vancouver, BC, V6B IE?
604 687.0499 (Mel, John,
Keith, Omar)
604,687.0488 (fax)
"ISOLATE"     Available now at
Sam, HMV, Zulu
tight arrangements
#7-3345 Sophia St, Vancouver,
BC, V5V 3P4
604 708 8767 genny)
jennya@direct ca
Early Black Sabbath undergoing
a lobotomy while reworking the
K-Tel blooper catalog.
PO Box  144-1472 Commercial Dr, Vancouver,  BC, V5L
604 601 4962 (pgr Paul Doot)
Thrill Squad
Guitar-pop as it was meant to be:
loud,  fast and melodic,  with
enough tunes to kick your ass
around the block.
#4-984 E Broadway, Vancouver,
BC, V5T 1Y4
604.876 1058 games Sensible)
604.986.8530 (fax)
The Tonebursts
pop pop pop pop pop pop
2590 W King George, Vancouver, BC, V6L 1T6
604.732.3642 (Brian Wieser)
brian_wieser@mindlink bc.ca
Touch A Gos
Yes, we're still together
604 294 9332 ganis/Dove)
janismck@unixg.ubc ca
The Vinaigrettes
Kitty Wells drunk on wild turkey
toting a 12-gauge
954 Mason St, V.ctoria, BC
604.384 4183 (Carolyn Mark)
A sweet and nasty duo
604 294 9332 ganis/Dove)
Wandering Lucy
K records galextraordinaire-with-
PO Box 3171, Vancouver, BC,
V6B 3X6
360 786 1594 (Hollie)
360.7865024 (fax)
Jiftp:// www.olywa.net/kpunk
Dynamic pop/rock with catchy
vocal melodies.
604 738.4711 (Derek)
Agree to Disagree
Punk rock 'zine with columns, reviews,    cartoons,    free   40
classifieds,  i/v's.    48 to 80
pages, newsprint with  1000 to
2000 copies per issue and reasonable ad rates. A completely
DIY money losing effort.
Box 56057, 1 st Ave Post Outlet,
Vancouver, BC, V5L 5E2
604.596.3 794 (Andy Gronberg)
604 273.31 79 (Brian Disagree)
Elan Media
Songwriter, guitarist, guitar
teacher, arranger and demo producer
2887 W 15th Ave, Vancouver,
BC, V6K 3A1
604.731.7075 (Shony
604.731-7075 (fax)
JC/DC Studios
7 6/rode dig/7a/.
604.926.3343 gohn)
604.922.5842 (Dave)
Don Lehn {Lane}
porter & commercial voice.
195.3/650 CISL Radio.
3666 Perth St, Abbotsford, BC,
V2S 7A7
604.859.8745 (Don)
PC-DAW (Digital Audio
Cassette (Dolby, b, c, s)/vinyl/
DAT to CD transfer Pop and hiss
removed. Budget CD-PM. Low
noise D/A.
604.264.9958 geremy)
Denise Sheppard (freelance
Denise likes moonlit strolls, dining by candlelight, and writing
for RayGun, Huh, Exclaim, Details, Rocket, Chart & more
c/o exclaim!, PO Box 99-1 895
Commercial Dr, BC, V5N 4A6
Jonathan Simkin
Alternative entertainment lawyer.
#501-207 W Hastings St, Vancouver, BC,V6B 1 H7
604.681.1410 gz. Simkin)
604.681.1415 (fax)
Performing rights society.
1201  W Pender St, 4th floor,
Vancouver, BC, V6E 2V2
604.669.5569 (Kent Sturgeon)
604.688.1 142 (fax)
Summit Media Ltd.
Wholesaler of multi-media packaging. I.E.: CD boxes, C-o
housings, Norelco boxes, software packaging.
8-12840 Bathgate Way, Richmond, BC, V6V 1Z4
604.231.0797 (Nigel Scott-Brown)
604.270.2877 (fax)
Western Imperial
Magnetics, Ltd.
Pro tape & equipment distributor
* Ampex * Basf * Mackie * AKG
7-12840 Bathgate Way, Richmond, BC, V6V 1 Z4
604.270.8682 (Dave Karius)
604.270.2745 (fax)
Tristan Winch (freelance
3920 Ortona Cres, Vancouver,
BC,V6R 1X8
604.228.0708 (fax)
1997 Local Music Directory PHOTOGRAPHERS
Ralph Alfonso
ads, stickers
7 6 years experience as des
- writer - photographer 1 do
#505-1288 Broughton St,
Digi Boy Multimedia
couver, BC, V6G 2B5
Graphic design for the under
dog .    Fanzine   Factory
604.654 1993 (fax)
604.662 3221 (Peter)
Pop Art and Dr. Pepper
little Monkey
604.608 0913 (Mark)
Graphic design by Ken Paul from
concept to finish, type to print.
Posters, CD covers, ads, stickers,
Craig Stuckless
bowling companion.
Graphic design and illustrations
604.708.3623 (Ken Paul)
with pop! Posters, CD co
longhaul@intergate bc.ca
/ quit my job at Sears to
do this?
Suzanne Goodwin
Band photos - from the subtle to
in your face. No hassle and no
#213, 2496 E Hastings St,
Voncouver, BC, V5K lZt
604.254.5513 (Suzanne)
604 253.1921 (fax)
XXX Photography
/ take pictures of bands
Box 80067, Ottawa, ON, K1S 5N6
613.237 6863 (Shawn Scollen)
613.237.6863 (fax)
Barb Yamazaki
Look for her shots in this here mag.
10114-172 St, Surrey, BQV4N4H9
barboray@unixg ubc ca
Helen Siwak
Management for hardcore act
Minority and cowpunk kings the
PO Box 4, 199 W Hastings St,
Vancouver, BC, V6B 1 H4
604 873 3765 (Empyre Productions)
S. L Feldman & Associates
Booking agency.
#200-1505 W 2nd Ave, Vancouver, BC, V6H 3Y4
604.734 5945 (Steve Blair)
604.732 0927 (fax)
Whitefoot Entertainment
Booking bands of all sorts &
5763 Oak St, Vancouver, BC,
V6H 2V7
604.266.7145 (Stephen)
604.266.1519 (fax)
r show a CiTR presentation! With 1800
:o back you up, your show gets
sure and airtime creditability.
We're cheap
and we're good.
233-6138 SUB Boulevard, Van
Nanaimo's news and entertain
couver, BC, V6T 1Z1
ment magazine.
6048223017x3        (Miko
Box 471, Station A, Nanaimo,
Hoffman (editor))
BC, V9R 5L5
604 822 9364 (fax)
2507160003        (Blaise
MacMullin (editor))
The Province (City Desk)
250 754 5562 (fax)
Province columnist: 20-something
mail@pier be ca
pop culture.
2250 Granville St., Vancouver,
BC, V6H 3G2
That monthly magazine from
604.732 2030 (Mike Roberts)
CiTR 101 9fM
604 732 2099 (fax)
Harvey Switched
Studio Pimps EP
featuring single "Supervise"
live in store HMV Robson Thursday
September 11, 1997 8pm
CD release party Brickyard Thursday
September 11, 1997 with BMG
recording artists Subtractor opening
Box #2 402-814 Richards Street Vancouver, B.C. V6B 3A7,
1997 Local Music Directory PROMOTERS
Coastal Jan & Blues Soci-
Developing the jozz, blues and
world music scene locally, nationally and internationally Produce
Jazz Festival
435 W Hastings, Vancouver, BC,
V6B U4
604 682 0706 (John Orysik)
604 682 0704 (fax)
Helen Siwak
Gig bookings, special i
publicity and promotions for Van-
Box 4, 199 W Hastings St, Vancouver, BC, V6B 1H4
604 873 3765 (Empire Produdions)
If you have a band, we'll probably book ya
604.879.7240 (Jenny)
604 879 7240 (fax)
daytona@direct ca
Punk Ass Productions
All-ages shows promoter, including annual Rock For Choice ond
604.215 8314 (Meegan)
Taco Promo
Good gigs, good places, good fun.
604 856 3038 (Chris Airey)
604 306 6587 (Leon Lilley)
tacopromo@rapidnet net
Under the Volcano Festivals
Producers of annual festivals in
the Kootenays ond Vancouver.
Stir the shit up!
Box 21552, 1850 Commercial Dr, Vancouver, BC, V5N
604.738 2885        (Irwin
Oostindie/Meegan Maultsaid)
volcono@netidea com
www.audience com/volcano/
Universal Concerts Canada
Major national concert promoter
— everything from club stuff to
stadium stuff
353 Water St, Vancouver, BC,
V6B 1 B4
604 683 4233 (Mark Norman/
Ian Lowe)
604.683 4298 (fax)
Session Square
Free, about you, music, literature,
events, outdoors, technology,
4723 248th St, Langley, BC,
V4W 1C9
ssmagazine@rapidnet net
CAPR (U of CB)
Sydney, NS
902.539 4090 (Tony Deveaux)
capr@coperl uccb ns ca
CCRS (Cambrian College)
Sudbury, ON
705 566 8101x7872 (Steve St
ccrs@venus cambrianc.on.ca
CFBU (Brock U)
St. Catherine's, ON
905 688.5550x4537 (Dawn
CFCR 90.5 FM
Saskatoon, SK
306.664 6678 (Theo Kivol)
cfcr@broadwaynet com
www lights com/cfcr/
CFLR 96.7 FM
Sudbury, ON
705 675 1 151 (Glenn Turner)
CFRO 102.7 FM
Vancouver co-operative radio
337 Carral St, Vancouver, BC,
V6B 2J4
604 684 8494 (Claire Kinder)
604.681.5310 (fax)
cfrocoop@vcn be ca
"Vancouver's answer to -lo-fi revolutionaries, sebadoh and
EriCs Trij/' - Vancouver Courier
"straight from 4-track and on to silicon, so if you dig the
lo-fi trip and noise enhanced songs, Blue Veil is well
worth checking out" -  DiSCORDER
Zulu, HMV, a&b
and Virgin
or available $12 ppd
aRsOn music
chuofmQuottowa e
CIMN 104.5 FM
Charlotte'own, PEI
902 566 0417(KodreKass)
CiTR 101.9 (U of BC)
Sixty years of UBC Radio
#233-6138 SUB Blvd, Vancouver, BC, V6T 1Z1
604822 3017x1   (Siobhon
McCracken (CD))
604.822.9364 (Dale Sawyer
www vcn.be ca/cfro/
CFRU 93.3 FM (U of Guelph)
Guelph, ON
519.824.4120x8191  (Magali
CFUV 101.9 FM (U of Victoria)
Listener powered community rodio.
Box 3035, UVic, Victoria, BC,
V8W 3P3
604 721 8702 (Ari Knazan)
604 721 7111 (fax)
CHMA  106.9 FM (Mount
Allison U)
303 University Centre, Mount A
Sackville, NB, E0A 3C0
506.364.2221 (Matt Holmes)
506.364 2233 (fax)
CHMR 91.7 Cable FM
Hamilton, ON
905 575.2175 (Ryan Ferguson)
chmrsked html
CHSR 97.9 FM (U of NB)
Fredericton's only campus/community rodio station.
Box    4400,     SUB,     UNB,
Fredricton, NB, E3B 5A3
506.453.4985        (Andrew
506.453.4958 (fax)
chsr@mi net
www unb.ca/web/chsr/
CHUO 89 FM (U of Ottawa)
The only bilingual campus radio
station in Canada.
Suite 227, 85 University, Ottawa,
ON, K1N6N5
613.562.5965 (Warren Price)
CIUT 89.5 FM (U of Toronto)
Broadcasting on 15,000 watts in
a 120 kilometer radius of Toronto.
Toronto, ON
416.595 0909 (Mopa Dean)
www.ciut.utoronto ca
CJAM 91.5 FM (U of Windsor)
401 Sunset Ave, Windsor, ON,
N9B 3P4
519 971.3606 (Chris Gagnier)
www uwindsor ca/cjam
CJLX 92.3 FM
Belleville, ON
613.966.0923 (Adam Wilson)
cjlx@loyalistc on ca
CJSF (St. Fraser U)
TC 216, SFU, Burnaby, BC, V5A 1S6
604 451.8458 gohn Clark)
CJSR 88.5 FM (U of AB)
Rm 009, SUB, U of Alberta, Edmonton, AB, T6G 2J7
403.492.5244 (Craig Elliott)
403.492.4643 (fax)
cjsrfm@gpu srv.ualberta.ca
CJSW 90.9 FM (U of
Rm    127,   MacEwan    Hall,
Calgary, AB, T2N 1N4
403.220 3085 (Rusty Gragg)
517 University Centre, Ottawa, ON
613 520.2898
CKDU 97.5 FM
The little station that does!
6136 University Ave, Dalhousie,
Halifax, NS, B3H 4J2
902.494.6479 (Kasia Morrison)
902.494.1110 (fax)
ckdufm@is.dal ca
is2 dal ca/ckdufm/
Toronto, ON
416 595.1477 (Joanne Gairy)
CKMO 103.1 FM'Camosun
3100 Foul Bay Rd, Victoria, BC,
V8P 5J2
250 370.3658 (Clint Lalonde)
250.370.3679 (fax)
i bc.ca/ckmo/
CKMS 100.3 FM
200 University Ave, Waterloo,
ON, N2L3G1
519.886.2567 (Eva Rucki)
519.884 3530 (fax)
ckmsinfo@watservl uwaterloo ca
watservl uwaterloo.ca/ckmsinfo/
CXUL 99.7 Cable FM(U of Leth)
RmSU 164,4401 University Dr,
Lethbridge, AB, T1K3M4
403.329.2335 (Paul Hudson)
403.329.2224 (fax)
ckul@hg uleth ca
www uleth.ca/ckul/
CKUT 90.3 FM
Montreal, PQ
514.398 6787x0842*
(Gordon Krieger)
CLCR 101.5 Cable FM
Camrose, AB
403.672.1571 (Lowell Dahlman)
CSCR (Scarborough College)
1256       Military       Trail,
Scarborough, ON, MIC 1A4
416 287.7051 (Pietro Mazzucco)
Scarborough, ON
416 287 7051 (Larry Nimjeh)
Radio Sonic
7pm to 12am Saturdays,
6:30pm to 10pm Sundays.
Hosted by David Wisdom and
Leora Kornfeld.
Box4600, \fancouver, BC, V6B4A2
604 662.6732 (Ross Albert)
604.662.6096 (fax)
radiosonic@cbcradio2 com
Wired for Sound
An overnight radio escapade,
with rotating hosts.
Box 4600, Vanoower, BC, V6B 4A2
604.662.6732 (Ross Albert)
604.662.6096 (fax)
/^Sidja miss the deadline for this year's"
it's never too early to send us your listing
for the 1998 directory! send your
info to #233-6138 sub blvd,
Vancouver, be, v6t lzl or fax us at
^604.822.9364! thanx and happy reading^
1997 Local Music Directory Map Records
Canadian West Coast label specializing in the mutating forms of
electroniculture, concentrating on
music produced by Vancouver's
most prolific Beat Hedonists
608-1027 Davie St, Voncouver,
BC, V6E 4L2 (Robert Shea)
604.602.1038 (fax)
www.mapmusic com
Midnight Owl Records Inc.
A new small label trying to help
the growing local indie scene.
PO Box 65-2831, Shaugnessy
St,    Port Coquitlam, BC, V3C
604.552.0126 (Mark Owens)
604.939 4816 (Dawna Yardley)
Mint Records
Duotang,  The Corn Sisters,
Maow, Neko Case and her Boyfriends, The Smugglers
PO Box 3613, VMPO, Vancouver, BC, V6B 3Y6
604.669.6468 (Bill Baker)
Nefer Records
Vancouver-based punk label with
international roster: dbs, Sweaters, Pinkerton Thugs, Antiflag,
Superchiefs and Fat Chance.
600-1027 Davie St, Voncouver,
BC, V6E 4L2
604 435.7563 (Marzie Damien)
604.430.5930 (fax)
Scratch Records
Specialists in goth, comedy and
317A Cambie St, Vancouver, BC,
V6B 2N4
604.687.6355 (Keith Parry)
604.687.0488 (fax)
Step and a Half Multimedia
Theme music for astral projection
4595 Commercial Dr, Vancouver, BC, V5N 4G8
604.879.8748 (Evan Symons)
Zulu Records
Helping local artists since 1983.
Current roster includes Perfume
Tree, Daytona, knock-down-ginger, Sook-Yin Lee.
1869 W.4th Ave, Vancouver,
BC, V6J 1M4
604.730.1 107 (Nicolas Bragg)
604.736.9836 (fax)
A relatively new pop, rock, punk
label with a Rheostatics/Mrs.
Torrance split 7" coming soon.
Suite 380-916 W Broadway,
Vancouver, BC, V5Z 1K7
604 261.0497 (Chris/Rob)
604.325.3802 (fox)
god speed@i star, ca
Arson Records
342-716 W Broadway, Vancouver, BC, V5Z 1K7
Bugno Records
We've got Harvey Switched and
you don't. Send demos of taste.
Box 402-814 Richards St, Vancouver, BC, V6B 3A7
604.623.2466 (Matt Brown)
604.231.9069 (Mark Richards)
Indieland Music Services
Indie BC & Alfa distribution-radio
& press servicing — CD manufacturing.
102-2000 West 12th Ave, Vancouver, BC, V6J 1S8
604.733.3472 (Gino Pezzani)
604.733.9752 (fax)
Ivy Records
"Genre-fest Vol. I" comp-elation
out now (Chris & Carlo, Diamond
Fist Werny, Faith & Disease,  13
101 1-1904 3rd Ave, Seattle,
WA, 98101
206.621.0282 (David Goebel)
206.621.0282 (Eric Cooley)
Lifestyle Records
Hard music since '96. The Harpoons, Custom, Infernal Majesty on
roster to date. European distribution.
3-712 Robson St, Vancouver, BC,
V6Z 1A2
604.688.7487 (John Yates)
416.591.9028 (fax)
Misfortune Records
Ex-Soldiers of Misfortune smiling
through denched teeth (NewCorps).
503-1345 Nelson St, Vancouver,
BC, V6E 1J8
CDs, records, magazines and dj
217 W. Hastings, Vancouver,
BC,V6B 1H6
Se//ing local and indie music
and zines as well as gaming
cards and comics and assorted
3972 Main St, Vancouver, BC,
V5V 3P3
604.875.9858 (Gabe)
604.875.9153 (fax)
Imports, cheap prices, basketball,
good times ... mail order too.
109 W Cordova, Vancouver, BC,
V6B 1G1
604.687.6355 (Cathy)
604.687.0488 (fax)
For smelly punks who like smelly
records & videos. Send $1 or 3
stamps for big catalog.
Box 1234, Coquitlam, BC, V3J
6Z9 (J. Wilson)
Nettwerk Productions
We're notbig fans ofthe music industry.
1250 W. 6th Ave, Vancouver,
BC,V6H 1A5
604.654.2929 (MarkJowett)
604.654.1993 (GeorgeManiatis)
Sinusoidal Records
A plethora of local talent
604.466.1717 (Rich)
604.264.9958 (Jer)
604.466.1717 (fax)
Spectra Sonic Sound
We put out records.
Box 80067, Ollawo, ON, Kl S 5N6
61 3.237.6863 (Shawn Scallen)
613.237.6863 (fax)
spectrasonic@hotmail com
Transsiberian Music
The 'Lost Classic' re-issue label of
the future, here for you today.
Box 144, 1472 Commercial Dr,
Vancouver, V5L 3X9
604.253.0275 (Robespierre)
604.253.0275 (fax)
Embracing the addition of technology to musk. A pedistal for sounds
lhat surpass categorization.
22-1895 Commercial Dr, Vancouver, BC, V5N 4A6
604.215.9848 (Andrew Power)
orange@bc. sympatico co
Yap Recordings
One guy who got tired of waiting for everyone else.
Box 38024 King Edward PO,
Vancouver, BC, V5Z 4L9 (Tom)
315 Carroll St, Voncouver, BC     1895 Venables St., Vancouver, BC
604 685 3978 (Sandy/Linda)    604.254.9578
Purple Onion
15 Water St., Vancouv
604 6029442
Web Cafe
Vancouver's only fully licensed,
all-ages multimedia venue, all
events are webcast.
390 W. Hastings St., Vancou-
Starfish Room
Original live music ven
1055 Homer St., Vancouver, BC, 604.443 1314 (David Peariman)
V6B 2X5 604.608 8723 (fax)
604.682.4171 (Keith Buckingham) berlieboy@thewebcafe.com
604 682.1331 (Charlotte Smith) wwwthewebcafe.com
Zulu Records
New and used CDs, vinyl, cassettes. Imports, domestic and Ions
of local music. T-shirts, magazines
and Ticketmaster.
1869 W 4th Ave, Vancouver,
BC, V6J 1M4
604.738.3232 (Kevin (Manager))
604.736.9836 (fax)
Sloth Records
Label/store in Calgary dedicated
to independent music, local talent & DJ style records.
#1 A-1304 4 St, SW Calgary,
AB, T2R 0X8
403.265.6585 (fax)
Nubian Music
We represent urban American
music in Canada.
#501-1255 Pendrell, Vancouver, BC
604.687.8535 (Darren Staten)
604.687.8535 (fax)
Otis Music
CD ■ Vinyl - Tope - Buy - Sell - Trade
-Techno - House - Hip - Hop
- Funk -Jazz - World - Dub - Punk
604.669 5414 (Todd)
If you write songs that are broadcast or performed in public and
you're not a SOCAN member, then you should know that you
might be losing out on some cash
SOCAN is Canada's performing rights society. We collect licence
fees from music users, like radio stations, TV broadcasters,
concert halls and clubs, and pay royalties to our members —
songwriters and music publishers — based on public
performances of their music in Canada
Don't miss out.   For more info, contact.
• of Composers, Authors and
Music Publishers of Canada
#400 - 1201 West Pender Street
Vancouver, BC  V6E 2V2    —
(604) 669-5569 or I 800 93 SOCAN    Fax (604) 688-1 142   SOCAN
1997 Local Music Directory  We buy a cooler. We get lost. We turn the heat
on to keep the van from boiling over. The Cat's
Cradle in North Carolina is friendly and packed.
Good show. I'm hooped. Bob gives Mac
(Superchunk and Merge Records) the hard sell on the
Conductor — we're still awaiting our contract. Carl
lays into some halfwit bugging Bob with his self-
decreed list of important overlooked bands by which
my mom wouldn't be stumped. The quality of humanity backstage is, as a rule, really the dregs. There
are good folks around and we find them. Driving,
we get confused, find our way and soon pull off for
sleep. I get to lie across the front two seats and the
cooler. Ah, first class.
Wake up at 7:30 feeling like shit and get going.
q   In South Carolina, we meet Dondra. Dondra is
a foremost example of white trash, works in a
^•^S gas station/convenience store, is some indiscriminate age between 18 and 35 and when we
enter she makes an effort to appear to be working,
then tells us how she isn't too keen on her job before
going back to smoking. Keith claims the bathroom as
one of the five worst ever with a toilet and urinal filled
with shit and vomit. We take his word for it. Later, I
use a bathroom where it also appears that getting it in
the toilet was a problem for most. What's with this
state? We finally find our way to the hipster section of
Atlanta after making our way into different ghetto
neighbourhoods. Good record shopping. Then Scott
and I fall asleep in the busy open square and don't
wake up when we're to be picked up. I assume there
are photos. I stink like a bummy Joe Quebec welfare
f punk, so I'm delighted to find showers at the club. The
show is workmanlike but the club is packed and we
sell, relatively speaking, lots of stuff. Bob is given a
poem and again surrounded by hopeless fanboys.
We are to stay with a fool in a toilet he calls home. I
leave within a minute to sleep in the sweltering van. I
1 miss out on stories about his band, his amplified shopping cart and "antique" (junk) instruments. We should
have fed him to his dog.
Wake up in a pool of sweat.  Hang out in
Atlanta after ditching the imbecile immediately.
•* Drive towards New Orleans while listening to
southern  rock on  the  radio.   Scott  predicts
Grateful Dead. I say "Wango Tango." Soon after,
unbelievably, there's an entire Grateful Dead hour
which forces us to search the dial again. I finally
find peach soda. We sleep an hour outside of town
and I get the front again.
,-»    New Orleans is a dull tourist trap by day and
ii V 91    *00,cs •••<-e '■ would be a rather horrifying tourist
j sex trap by night. The key to one of GBV's hotel
■nfl*""'^  rooms means showers and relaxation. After a
\ nap, it's TV with Pete and Bob, then Don GBV and I
check out some fine New Orleans food and he
buys. The show is surprisingly good on all fronts.
The premier "rock" moment of the tour comes when
Dave D. brings a tall, tanned, blonde girl in red
patent leather pants and black tank top backstage to
meet us and introduces her as "Ingrid from
Sweden." Dorky guy who interviewed Bob gets on
stage during GBV's encore, jumps around, takes off
his shirt, and commandeers a mic for the last song.
Painful. The humidity is brutal. Half the band stay
with Ingrid, we stay in Quintron's humungous cockroach emporium basement.
Mike awakens me to a giant roach near my
foot. I have painful, big bug bites around my
ankles. Mississippi, however, has cheap and
plentiful soda. It's Peach Nehi time. They even
have three litre bottles of pop there. Memphis is hot
and dull and so is the club — small, too. Just plain
depressing. Keith passes out and babbles incoherently when people wake him. We all stay at Scott's
(Grifters, Hot Monkey) and the GBV party train
arrives, but we sleep.       $co\X$10,4
Tons of flea bites,
jain around my
ikies. Same for Dave
C. The car goes to
Graceland. We watch
Cable Guy, shop at
Shangri-La, and Mike and
I eat some long-awaited
Memphis BBQ, which is
delicious. The rib sandwich is worth the price and
trouble and the ladies of Payne's are most hospitable.
Drive to Festus, Missouri, a half hour from St. Louis
and stay at the Holiday Inn. Fright Night sucks. Keith
buys Mike a 40 of Bud Light.
See dragonflies mate in the Holiday Inn parking
lot. St. Louis reeks, not a little, a lot. Maybe it's the
river. The arch is quite a sight — just be sure to
learn from our obvious mistake and don't go up
inside it. What a screw. At the show, Bruce Cole
(Screemin Mee Mees) regals us with tasteless humour
and anecdotes from his life which, thanks to drugs
and alcohol, looks a lot longer than 46 years. Bud
Heavy okay, Everclear nasty. Bob takes us all to post-
show dinner and the van gets hotel floor space.
Long, hot, boring drive to Cincinnatti and we
make it just in time. The Dayton Mafia are all
" out in force, wives included. The club is a metal
hellhole with the worst graffiti ("Fuckbucket?"
"Latex Penguin?") and most obnoxious staff, but the
show goes well. We get lost following cars to a post
show barbecue in Kentucky and head back to one of
GBV's hotel rooms to sleep. It turns out to be an
.11Jl Y
Taco Bell has n
"fire"   sauce  that
you    can    finally
taste. In Louisville,
we shop and play
video games at the
club. I'm burned by
Outrun but I get the top
scores anyway. The show is OK but people seem to
like us even more than before, which was already
more than expected. GBV rocks out. Tearful farewells
and the easy life is over. Dave, John, Carl, and I hit
a hotel before the trip home and we fall asleep to
the full glory of "Lap Dancer."
All-you-can-eat breakfast bar at Shoney's is near
JULY       sickening. I can't tell if it has created a terrifying
27-29      breed of people or is just furthering their tragic
existence. I drink loads of peach soda, we drive
through at least three hours of violent electrical storm
in Kansas/Colorado, and are wrongly accused of
dine and dash in Wyoming. We suffer mechanical
difficulty in Montana — that we're told to drive with
— and after 50 hours we arrive home, where the
hot water tanks in both Warren's and my building,
respectively, are being replaced. Vancouver is a
cruel mistress.•
15 m&mm flEfflh
15 WATERst. (gastown) 602-9442 www.purpleonion.com
stuff tr
I have tried very hard not to rant in these essays I have consciously
avoided unconstrained, pure angstful bashing Instead, I have attempted
to sketch out a related, and hopefully substantive, critique of various
topics So far, okay For me, in order to be constructive, critique should
be conducted patiently and intelligently, and with useful intent Otherwise, critique, as simple naysaying criticism, can be really fruitless and
productive, potentially cbsing discussion down, disallowing il Even
iff that is scathing, basic and belligerent can be conducted with a
productive critical sensibility And here I mean "critical" not as being or
acting censurialry, but rather as critique — as dialogue inducing, as a
directed practical endeavour, working towards the promotion, development ond deployment of critique as a challenging, flexible and conditional farm/forum of knowledge It should move, grow and odvance, it
should be responsible, aware and historically grounded Anyway, this is
my working theory of critique (al this point, al least)
All this is not lo imply I am somehow detached, disinterested, or
endowed with greal ob|ective distance with my liltle thoughts and writings, and thus able to tell you precisely whal critique really is, or whatever Nope, no authority here, but I am going to write aboul critique this
month, just the same As you know, I am quite personally involved with all
the opinions I've developed in the DiSCORDER so far Right or wrong, it's
whal I think aboul and how I think aboul it I am not afraid lo be incorrect
or sloppy, I just do my thing, that's all — no big deal But now oh-boy,
hold me back You see, Hollywood has plopped oul a whopper of an
"obfuscalory apparatus" and I can't resist the bail Yes, I am talking aboul
Conspiracy Theory, that shameless lale summer thriller starring Mel Gibson
and Julia Roberts
First, a little background information: I DID NOT PAY TO SEE THIS
MOVIE, but I could not resist the opportunity lo see it for free I justify
myself in this way: I was interested in examining how a huge, "mainstream" picture dealt with conspiracy theories, I wanted to see how and
why they were represented, by whom, and to what effect I am deeply
suspicious of any popular cultural production that is conducted al a level
such as Conspiracy Theory obviously was, and still is There are many
huge businesses al work here and a lot of money involved. I have a knee-
jerk scepticism of the critical commitment or benevolence of the culture
industry, particularly at this scale of operation: their activities seem too
premeditated. The companies involved like to be in complete control, or
as much as possible; ihey hate surprises To them, this level of calculation
and direction is normal business. Profit must be secured, and it's all done
for profit. This aspect is not unusual In ihe case of Spawn, il is easier to
see the mechanisms ot work: violence, special effects and young males =
good investment. But when the chosen theme is so topical, involving —
however abstractly or remotely — the discussion of ideas critical of the
United Stales government and associated semi-secret bodies, and specifically their unconventional operation and conduct, then things seem
awfully curious to me; the final product here is worth examining. Il is
unlikely that anything of substantial critical acumen will result by this production. Why is this so generally true for Hollywood? And it doesn't in
this case But what does seem lo be found is a demonstration of the
continued capture and engulfment of the constructively negative function
of critique — the capacity for open and critical examination and discussion — as conducted through popular culture by the multi-billion dollar
entertainment industry (big capital).
Whal I find most beguiling about Conspiracy Theory is that Mel
Gibson's character is proven to be correct in his "conspiracy" theories
several times over. On closer inspection however, this validation is a very
successful way of taking authority away from any genuine implications
presented by the proposed conspiracies, while also facilitating the general containment of a particularly American form of popular critique, for
good or bad, "conspiracy" theories do enable some form of reflective
criticism — they lend lo stand or fall by their own merits. In this regard,
Conspiracy Theory is a conscious, and blatantly manipulative, conjoining of historical fact, fictional narrative and outright bullshit into one
smash-bang textual packoge. This inclusion and apparent discussion of
"conspiracies" serves to complete them lo a significant extent. They take
on the character of a public ond addressed issue — like old news. And
their inclusion also potentially levels all affiliated issues of actual or possible concern by placing them under the guise and added symbolic leeway of fantasy, and into the sanitized safe zone of mere entertainment
Relax, it's just show business, bul if it is real, you already "know" about it
What an ingenious way to air your dirty bundry: make il laugh-off-able
And this is more lhan just the surface appropriation of such "conspiracies," it is also the assimilation — the attempted, total taking over — of
their functionality, and subsequently also their political capacity. They are
recast with a new anchor, given new conditions of conduct, re-qualified
and re-enacted The teeth are replaced. Schindler's List performed a similar function in terms of retelling German wartime atrocities through a
narrative focused on the private success of business — implicitly affiliated
with America here — at achieving human rights-inspired intervention
However, a more representative history of development of the political
economy before, during and after World War Two would surely portray a different scene; this narrative would be indubitably far less
celebratory. This is not to exaggerate an absolute and totally effective propagandist-type aspect of movies such as Schindler's List or
Conspiracy Theory, bul to suggest something of their not quite ancillary political function; they do have a complex constitutive impact on cultural reality. This can quickly become philosophical —
a direction I'll be heading, shortly.
But what of the movie in Conspiracy Theory, Mel Gibson plays a
seemingly paranoid schizophrenic man, obsessed with conspiracies and
Julia Roberts Bul actually, he is a failed "sleeper" (noi the term they use,
but whatever ,..). In this case, a sleeper is an assassin created by the CIA
through the use of hallucinogenic drugs and hypnosis And this was actually attempted, in the real world loo, and maybe successfully, by the CIA
in an operation called MK Ultra — look it up, and ihen think aboul the
benignity of Timothy leary Curiously, ihis actual historical fact is admitted
to by the villain character, played by Patrick Stewart, who claims that he
was simply conducting good "government-sanctioned science" at the time,
and lhat poor Mel was one or his sub|ecls Whal the then confused Julia
does not know at the time — as it is to her lhal Patrick makes this slightly
spurious confession — is lhat Patrick is now a mercenarytype figure working
for some unnamed business or government agency, and that he is actu
ally trying lo manipulate her inlo helping him trap Mel Ooooo, intrigue.
So, Mel's failure as a sleeper was the result of an unsuccessful assassination attempt of Julia's dad, who was doomed anyway Patrick still had his
sights on him, and shortly dispatched another sleeper lo do the job By
this time, Mel had confessed everything lo Julia's dad, an important lawyer, fallen in bve wilh Julia, also a lawyer, and sworn lo protect her from
black helicopters and bald men (which is the bulk of the movie) Anyway,
Patrick desperately wants to tie up all the loose ends, and so on, and so
on ... and we've gol our movie Bang, crash, ka-boom
There is a lol in Conspiracy Theory to draw your attention lo, maybe
too much for this essay But I found the opening scenes — the ones during
the montage of credits and surreptitious product and brand name placements — particularly interesting During this passage, Mel's character is
introduced lo us he's found driving people around New York City, in his
cab, while exposing yet not expounding on his "crazy" theories Oh, he's
so adorable These first scenes are meant lo be funny and snappy: the
edits are brisk and the shots are erratic and agitated, while the music is
light, |azzy and up-tempo, and the many "conspiracies" Mel lists off are
delivered like one-liners For example, Mel informs some nuns that the
Vatican is a festering scab that needs to be pulled open, ha-ha Bul hey
Mel, that's not a bad idea, actually — ask lhat lawyer who recently look
on the Swiss bank, and who is now apparently interested in the Vatican's
Nazi ties. And, funnily enough, Mel Gibson is a Catholic himself Other
topics briefly referenced by Mel include the classic fluoride in the water,
more nefarious possible meanings of "the new world order," and George
Bush's affiliation with the CIA and the Freemasons So, in this "silly" context, Mel is allowed lo be quite transgressive and critical Or is he? The
context — the depiction — is not particularly conducive for the actual
examination of any of the ideas Mel's character suggests. On the olher
hand, it is very easy to gel caught up in the momentum of the scenes and
laugh along with Mel and the producers, as they all walk lo the bank.
However, I do think lhat it is worth looking al George Bush's CIA past
This point seems pretty serious to me. It definitely says something about
the nature of the administration during Bush's term as president, as well as
his terms as vice-president, and maybe somelhing about the American
political system and all of its complex constituent parts I hardly find it a
conspiracy theory, or in any way paranoid or unusual, to attempt lo
critically examine this history of connections While some of the claims
Mel's character makes are obviously outlandish, some more serious issues, like the reference to George Bush's past, become just as pointless
and ridiculous to consider as the most extreme.
Yet, again, it is important lo note lhat some serious topics are being
raised and addressed in Conspiracy Theory. The X-Files does a similar
thing. (Interestingly, aliens are never mentioned by Mel, not even Roswell;
too much "alien" market saturation this summer, I guess.) This is not so
much an example of exclusion or simple propaganda Rather, it is almost as though a joke were being told, one lhat we are informed we
are all in on, yel one that we still fall for, although we remain convinced
otherwise (and this previous reference serves as a handy metaphor for
false-consciousness and the instrumental influence of ideology in the
constitution thereof). But even this is not sensitive enough to describe the
technique that is al work here Obviously, it is simply not that questions
just need be raised unconditionally, il does also matter how and why
they are raised, and by whom. There is an issue of control and participation involved with all this, of description and explication Furthermore, serious claims can get lost in all the ironic inside references that
are increasingly prevalent in the products of the entertainment and advertising industries; used tactfully in this way lo de-stabilize the critical
reader. Conspiracy Theory is loaded with them. For example, Mel's
character claims lhat Oliver Slone is a government agent and lhal is
why he is able lo say the things he says. The functional capacity of
irony is superficially well used here, and commonly in popular culture
more generally, with the subsequent effect lhat serious claims no longer
need to be assiduously encumbered or buried Contradiction is so completely the name of the game, why bother to hide anything any more -
-after Watergate, for example, what for? Thus, contradiction and irony
are found supporting a silent narrative, silent bul manifest and spoken.
What can you do when you "see" both sides of the card?
There is something lo be said of ihe effect of pure "information" overload — that is, of being presented with too much data, and therefore
overwhelmed Although this implies a curious process of equivalence —
through an encompassing dispersion of noise vs. meaningfulness — this
presentation is an epiphenomenon. Information overload is also still a
condition that can be enlisted and navigated. There is a complex and
differentiated register of positions — of "haves" and "have-nots" — lurking
within this condition II is not a total free-space Rather, il is stealthily
totalizing, providing stability m so far as it is an armature of a more
prevalent narrative pattern capitalism Moreover, whal [uslly and plainly
counts as information in the first place, lhat is, as an item of knowledge?
And once the designation has been made thai something qualifies as
information, then how is il to be dealt with? And, looking back over
previous steps, does this designation and subsequent process of handling
also call whichever structuring process into question? That is, because
they are pursuant and constitutive of the category and actual components
of information, do the interconnected processes of designation, handling
and structuring reveal themselves as somewhat fabricated, as almost arbitrary in their operation, because we can observe whal we can do by
ihem Thereby also rendering the system in doubt by making its function
obvious, and by virtue, therefore, maybe castigating all of the products of
its operation as well, like a serpent swallowing its tail So there it is: stark,
abstract, complex and seemingly removed — deconstructed — like beholding an image of a maze in a glance And if so, so what All this
occurs in as much as any claim whatsoever seems to move towards falsity
and truthfulness simultaneously, and in this way, of also having the character of indifference or indeterminacy Certainly, this implies something of an
absolutely open context, or maybe a fractured and uncertain context, or
even, dare I say it, a void Bul is this just toying with necessary appearance?
Unfortunately in practice. Power is usually biased towards ihe powerful (politically, economically, socially) and not the heroic re-reader (culturally! Although culture is often a battleground, it is only such for the articulation of armaments which travel through it II is an important site for
demonstrating resistance, yel insubstantial as a barrier And this is whal
poses the present challenge developing practical critique in so far as it
dialeclically corresponds to Becoming into Being: lhat action of always
already entering into lived existence, lhal is also constitutive of its own
generation This existential praxis seems necessary and somehow fundamental to me And I feel lhat il is a capacity taken advantage of, not only
individually-psychologically, but also inslitutionally-externally (this can happen for good or bad). All this is troublesome and obscure because it
seems lo take place mostly within culture — Power becomes shadow
play A central problem for this perspective is examining how it is that
whoever has the most resources, in relation lo conditioning whatever
Becoming onto Being is and how it functions, has the most sway or
influence, the most Power Allhough this tendency appears simultaneously
absolute and dependent — and il is neither transcendent nor wholly
conditional — it is a paradox only lo the extent lhal a paradox is lived It
is not an impossible question, it is |usl complex Don'l be fooled by just
spectacle, |ust word-games oi just style-fun While contingency is certainly "lived," it is not ex nihilo For example: is openness truly open if it
doesn't ensure some form of sovereignty, and thus control, subsequently
requiring an ironic compromise — I need to know freedom lo know my
freedom, lo live it Within ihis ironic, unavoidable compromise, participation produces placement and renegotiation, fluidity can just as quickly
become rigidity, and what is previously open can be consolidated and
ihen "newly" reopened Change itself appears a priori here. But if ihis
appearance seems overtly promising — an inversion wailing to happen
— remember that the condition of change, in terms of Becoming into
Being, is not outside of possible guidance, nor are the conditions for such
change.-Although everything is al play, il doesn't restrict the imposition of
rules. But what can be done with this sel of observations and the slippery
slope they describe: give up? Roll-over and say that critical, political
ideation is dead, or that the self is dead? Or more simply, state that the
system sucks, anyway — which everyone knows, right? And if we all
cynically agree — without saying so openly, or without examining why -
- that these last assertions are "true"     ?
A tacit recognition of such complications, as listed above, can be
easily manipulated into a powerful distancing tool — as an imposed
influence or through accessing an internalized tendency. I believe that
capitalism has this level of external and internal recognition in its repertoire of self-knowledge strategies, influences and effects; il has internalized this criticism, it has become a tool, a technic. Capitalism paces
Becoming into Being. Conspiracy Theory is indicative of this capacity, in
this respect, il is structured to enable the politically motivated, advantageous use of its lextualily To deny Power here is to be insensitive lo this
issue, while also under-appreciating capitalism as a powerful consolidating influence Certainly, capitalism has a generous appearance, one
savvy enough to promote identity freedom and lo take on the language of
its delractors, al least in terms of a cultural narrative In part, capitalism, in
its historical development and capacity as an empowered form of knowledge, and as an accumulated, material project of human choice and
action, has obtained such "critical insight" from whichever avanl garde,
indeed, from the whole history of radical critique - and more lhan just the
vocab. And why not? It is just a topic, after all, a portion of history, a text.
Consequently, the active manipulation of the capacity for texts lo distance
themselves from themselves, and from everyone and everything, has become standard business practice lo the exact degree that it is also an
effective capacity through which lo develop "private" readings — the
same goal is commonly sought. What can be done? ESeware and be
aware. Critique should not stop at past points of generalion. Re-invent the
negative function and value of critique. Challenge how it has come lo
pass lhal the "material" has become so uncertain — how is il that we fail
to understand unequal relations between people for what they are? What
is the conspiracy? More to come, hang on ...»
mr kilty poulm
Artificial Respiration
(Duke University Press)
The Ogre
(Johns Hopk^ University Press)
The Tunnel
Chump Change
(Random House)
Failures. All the protagonists are
failures of one sort or another.
A couple fail in ordinory society, while three fail as writers.
All four books act as confessions, whether for the character
or society. If there was to be a
general theme for these works,
William H. Gass's aphorism
on  page   1 87  must be  it:
"Never underestimate one's insignificance in the eyes of others" (p. 187).
Richard Piglia's Artificial
Respiration seems to contradict
Gass1 statement. Written during
the Gallieri Junta in Argentina,
it exposes the incredible moral
and spiritual corruption that has
bankrupt Argentine history
through two separate but
equally scandalous family histories. Renzi, an unimportant
writer, decided to profit from the
story of a scan-
and secretary to (and spy
against) 19th-cenrury Argentine
dictator Rosas.
The resulting postal communication, informative of personal
histories and that of Argentina's
place in the world, is under the
of a po-
uncle who took a large portion of his wife's considerable
portion to exile himself with an
adventurous woman. The uncle,
Marcelo Maggi, offended by his
never-before-met nephew's factual errors, writes to Renzi beginning an informative correspondence. Maggi is, after all,
aware of the complications with
family histories having been
commissioned by his ex-Senator
father-in-law to research the dissolute past of Enrique Ossorio,
great-grandfather to the Senator
ithin. Failure upon failure is revealed, enlightening the uninformed (such os myself).
Throughout the text, tension
evinced by the occasional dorsal fin and aggressive nudge —
just as the possibility of being
disappeared on slightest pretext
had at the time. This was terrifying enough for military censors
to force the work underground.
Thankfully, Ihis translation has
plenty of notes on important
smoke ,- ^
It's time you tried      & ^ <
3l§cK Sheep BooKs
names and events in Argentine
letters and history
The Ogre considers exile
through passive circumstances
rather than actions Abel
Tiffanges, half-blind and immense (six foot five, 280
pounds), suffering from the incurable microgenitomorphism
(as the army surgeons later declare), becomes more sensitive
to symbols within everyday life
afler an accident within his go-
rage obliges him to temporarily
write left handed. This facility, as
well as his ogre-like characteristics, appear as evidence of the
reincarnation of his boyhood
idol, Nestor,
within h
than one first suspects. Redemption follows, with oil the allegorical threads — to St. Christopher
to Goethe's "Erl-King," and to an
anthropological find given the
same name as the faerie ford —
twined together This translation
has a few glaring flows which can
be overlooked
Another book dealing wilh unsavoury elements in German history is The Tunnel. Il is the story of
a Midwestern American history
professor unable to complete on
introduction to his mammoth
"Guilt and Innocence in Hitler's
Germany." The professor, William
Frederick Kohlerm, is well-acquainted with the subject, having
been a student in that society
and obscurity and
reveals the mystery of St.
Christopher to his novice:
Christopher, an ogre himself,
searching for the most powerful
master, stumbles from king to
devil and finally to God and redemption. All this affection cannot save Tiffauges from his bumbling — almost stupid —self. The
Second World War does that.
Unable to succeed with women,
he becomes fascinated by children, a fact which lands him
quickly in a signal regiment at
.var's start. There, an affinity and
skill with animals (carrier pigeons) is revealed. Soon captured during the fall of France,
he is sent east to a POW camp.
From there, he is "hired" as a
park warden in Rominten,
Goering's hunting reserve.
Tiffauges follows the path of St.
Christopher further by becoming
a servant at an SS Napola — a
military training ground for boys
where at, upon the advance of
the Red Army, like Christopher,
learns the Devil to be far weaker
ulty, students, family, and m i s -
tresses are certain he is a Nazi,
which is a belief Kohler seems desirous to confirm. He seems to exculpate himself declaring, "I'm not
really German," bul like Lady
Macbeth he's unable to remove
the gore. These incompetent justifications fall noiselessly under the
accusations of his wife, students,
and mistress as well as his
patrilined repertoire of racial epithets. It is a voyage of self-discovery for Kohler who finds his failures
now haunting his every minute. To
escape all, he begins a tunnel in
his basement. There are no apologies, but plenty of regrets.
This attitude might be hard
for some sensitive folk to bear
with its overt bigotry and misanthropy which is unfortunate as
The Tunnel is one of the best
works — fictional or otherwise
— in understanding the fascist
or Nazi mind (Especially "Being a Bigot," p. 522-533). Also,
there's a good laugh here and
there: about his sins he writes,
"Brothers, after all, have been
given by life many reasons for
hating one another Where, one
wonders, are all those welcome
causes for love?" (p. 226). It
would be a good idea to have a
German dictionary at the ready
and a familiarity with Rainer
Maria Rilke would help (unfortunately, I've neither)
Ah, lighter fare. Chump
Change by American expatriate
David Eddie follows the disastrous
empbyment and sexual history of
David Henry (makes one wonder,
dunnit). Perpetually drunk, stoned,
or on Ihe make (sex or substance
abuse alike), he manages to make
everybody's life miserable, especially his own, until his bckadaisi-
cal manner succeeds... enormously
But failure and self-exile beckon,
with hilarious results. Intellectuals,
profiteers, slackers and the general
public are satirised with skill.
Failure and redemption unite
these works: Piglia's Artificial Respiration understands that failure
itself is a form of salvation;
Tournier's The Ogre considers failure as part of fate or purpose
while true spiritual recovery, although priceless, is unattainable;
Gass's The Tunnel compares the
failure of acceptance (resignation)
with the acceptance of failure (redemption); and Eddie's Chump
Change examines the bizarre
axes of failure and success, and
damnation and redemption —
that what society judges to be correct mayn't always be so for the
individual. Only one title investigates the modern conception and
identification with failure —Chump
Change— though all give insights
into how failure in its various
forms is perpetuated. The first
three are dark tales replete with
subjects guaranteed to make one
uneasy, which is only right because they deal with dictatorships.
In any case, one can be pleased to
remain distant from the protagonists' suffering, save the occasional
bout of sympathy, which must bring
some relief in and of itself. •
f\ % • COUPON IN
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—©GkdfG     ■;■££.
18   September 1997 basslines
by dj noah (djnoah@cyberstore.ca)
I   pie
I   wo
'housands of people all over the
world were being
drawn to music stores by
some inexplicable force. For
some, their pilgrimages took
them halfway around the
world to Lotus Land, home of
the head Pilgrim. In a matter
of months, the number of
followers increased at an
alarming   rate,   wi
tees being inducted daily by
the DJ Prophets who were at
hand." Years from now, this
could be what a reporter
might say about Vancouver's
latest electronic offering,
What's Your Shrine?, by
Pilgrims of the Mind.
At 29, Stephane is well
on his way to becoming an
internationally known artist.
He has contributed tracks to
several compilations that are
held in high esteem by the
electronic community, as well
as  his own  EPs on  Map
Records and Interchill.
Now, with the release
of his first full length
CD, musical connoisseurs all over will be
able   to   indulge   in
Stephane's    smorgasbord.
For a couple of years, all
that he listened to was electronic music. However,
Stephane is far from being a
one-dimensional person. His
tastes in music also include
jazz (he enrolled in the jazz
program at Capilano
College), pure ambient, rare
groove, ethnic international
and theme songs from children's television programmes. The idea for
What's Your Shrine? came
about primarily from his own
desire to release an album
— by signing with Map
Records, Stephane was able
to facilitate this concept. It
was about 1 1/2 years in
the making, with the most
recent song having been
completed a mere three
months ago. It may sound
like there have been several
members in the band to create such complex tracks in
such a short amount of time.
What's Your Shrine? is an
emotionally stimulating piece
that acts like a sponge, drawing the listener inside the
songs. Once there you will
find basslines that flow like
underground streams through
limestone — carving smooth
passages that follow a natural path — and silky synths
that bend like a field of golden wheat in a warm summer
breeze. But don't take my
word for it. Seek it out yourself and play it for the first
time, from start to finish, on
a beach at sunset. Don't fear
the unknown that will be
drawn out of you, but
embrace it and learn more
about your inner self.
Another new release is
the latest anthem created for
the annual Mayday party in
Germany. Sonic Empire by
(Westbam and Jankuhn/Low
Spirit/Logic US) is a pulsing
techno platter that serves up
a healthy dose of feet food.
This year's anthem comes in
a close second only to the
original "Mayday," also written by the Low Spirit duo,
along with Westbam's brother DJ Dick. Of a more experimental nature is
Ni-Ten-lchi-Ryu by PHOTEK
(Virgin/Science). Rupert
Parkes' brand of drum V
bass is far from the traditional form (can we say that after
only four years?). He puts
more of a cold, steel plating
on his twisted breakbeats
that put him on a separate
level from the pure junglists
and the original breakbeat
tek-heads. Rupert's five
record deal with the Virgin
sublabel Science will mean
greater accessibility to his
unique brand of biting
Last is the re-release of
More Beats + Pieces by Matt
Black and Jonathan Moore,
better known as COLDCUT
(Ninja Tune). This song was
originally released in 1987
and has now been twisted
beyond recognition. With
remixes courtesy of Q-bert,
DJ Food ♦ Kid Koala +
Tho Herbaliser, and
T Power, the original
"Beats + Pieces" gets a
marathon workout with time
stretching, atomic scratching
and digital manipulation. I
am usually skeptical of remixes that come out years after
the original, but put the
"deknological masters" of
Ninja Tune Records and the
mind numbing creative juices
of T Power to work and what
comes out is pure sonic meltdown . •
RMM 37
Bkj Sh"pC
  -/Follow The Lead VP
Nuff Got/Oh Jot- Jad Greenslee*
And Sammy Walled In
135* St Theme/Bock Into Time
"    Old Man/Still Standing Tall Blackberry
Poppo Stopper/This Is The Thing Contemporary
,       (Remix)
Mode Up (Soul Up Mix)
What If
Talking Blues/Lively Up Yourself
Senor Blues, Mbulo Enoka
Little Sunflower/ Joshua fit The Battle
es Works
In The Wrong/Losing Battle
U Gn't Sing R Song/Madness In Tho
Train Song
Soulhslreet Shuffle Ware Jazz Zon
Until You Come Back To Me i.e. Musk
Sleepngki Someone E_)'iBed/W_ It teional   ACE (US)
Jusl Wanna Be/The Man Star Trail (UK)
living Water/Hiding Ploce Midwest
Kumbaya/Been So Good Gospocenrhc
Right On/Inner City Blues Blue Note
C/O AM 1470
Coco Tea
Fire No Guns/Room In My Fa*her*s House
Rock of Gibrallar/Th,s Could Not
Guess Who's Bock/Lei's Seltle Down
Come Again Tonight/Try If You Want
Tosho Holiday
Can't Fight It/Don't Go Away
Dianne Reeves
Old Counlry/Besame Mucho
Gerard Naulet
Migralion/Tierra Ro|a
Helen Baylor
Amazing Groce/Love Brought Me Back
Crime (Orig. Reggae Mix)
This Is The Day/Hold On To Your Faifh
Norman Connors
The Captain's Choice/One For Mr C
Teddy Pendergrass
You And 1
Dianne Farm
Ohio Baptist G C M Choir
Al Home At Lasl/i Give   Praise
African Elation/A Ploce Called Afnca
Loving Peter To Pay Back Paul
MonenW/Grosin/Rilenciur Captain Bacardi
The Dramatics
Trv Love Again
Israel Vibration
Chant Of The Psalms/Moses Dub
Ernest Ranglm
Papa's Bag Juice/Fode Away
Patterson        Soul Fit
Buckshot Lef onque       James Brown Pt   I & 2/Samba Pop
Phil Woods Noda Sera Como Antes/Dois Pra La
Beres Hammond Warriors Don't Cry
Lincoln Adter V.sions/Badogudu
Roy Hargrove's Crisol Una Mas/O My Sen Yeh
Venessa Bell Armstrong Something Inside So Strong
Avis Nixon (Norman Connersl Every Time I Fall In Love/Do I Dare
Gonzalo Rubolcobo     Concierto Negro
God's Property Stomp (Orig Mixxl
Lucky Dube IsThisTheWay/TakeltToJah
Gregory Isoocs Wah Dee/Come Make love To Me
1U«o Houston |$a*H«l<n**n| Same As You
kmolWSCMesBanil    GetHere
Krosfyah Jamming Practice/Doing Dis Again
WJWhedon (Lincoln Aier) Show You The Way lb Love
Michcel Rose (Mono 4 Fluxyl Dub Well Happy/Mind This Yah Dub
Cubomsmo Now In Marianao/Monruno Alegre
Dave Grusin Halari/Peter Gunn
Yami Bolo War Monger
Cholca Khan Everywhere/Never Miss The Waler
Hilton Ruiz The Gids In Love/Body & Soul
Urban Knights Urban Paradise/Stop By Step
Me'Shell Ndegeocefflo Poison Ivy
Rome Do You like This/feelin' Kinda Good
Mo Money
Plys Three;
Yellow Jackets Savanna/New Rochelle
Abubokor   ElMaodi/DaughterO'The
19 s^gsesss inch
by barbara andersen
The Marvel that is Stu has
handed the duly of lauding
and lambasting wee
records back to me after a half-
otus I hear she's gone to
lintuol fulfilment in ihe hard-
drinking, rugged environs of Australia The best of luck to her Although I have neither Stu's journalism training nor her superstar
qualities (hey, how many people
offer stolen lemons to the Messiah? For details, refer to back
issues of The Vancouver Sun), I
do, however, have an
unquenchable love of vinyl that
borders on the perverse So allow me lo wipe the drool marks
off my speakers and begin ...
Evil hasn't looked this good
in years THE gendery bendery
NEED has created a sound that
frightens in the same capacity
that it thrills: bouncing, creaking,
shrieking, clattering surralisme
nouveau I saw The Need live
over a year ago and have been
haunted by their untouchable energy ever since My soul is saved
several short vinyl releases, precursors to their impending
Choinsaw Records CD, have materialized in this world. The only
one, so far, to penetrate the evergrowing CiTR library is a fetch-
ingly attired Outpunk disc that
sticks in your head like a black
rubber bullet. "Jacky O'Lantern"
is an outlaw dance hit. I wonder
how Rachel manages to make lyrics like "liver in the freezer on
the bottom rack" sound sexy
"Lamp," on the B-side, turns out
to be a spooky noise collage —
is this Need or Nurse With
Wound? And finally, "Pony 4
Honey" is another creepy, exhilarating rock and roll sculpture.
(Outpunk, PO Box 1 70501, San
Francisco, CA, 94117)
*ill n
• sell!"
exclaim Full Size Hut recording
Of course it won't It completely
locks our era's most prized sentiment, irony The Unit 7" is two
sides of extremely enthusiastic
funk with a strong brass presence, but it will probably be ignored by the young "uns who
learned at an early age to be
wary of all things earnest
are two bands — two entities —
that just happen to contain the
same musicians The Ultra Dynamic "split" EP is a charming
look at two sides of a single
beast. Transonic's side of the
record is a sweet, lucid dream,
excellently produced and remi
niscent of a warmer New Order. The lyrics to "We Will Not
Die" and "Reality" hint at pop-
mysticism   Swim's two offerings
grier, but I like them equally well
Canary yellow plastic bliss! (Por-
tobello, 165 Greenwood Ave ,
Winnipeg, MB, R2M 2T6)
Do I hear the sound of death
drums pounding o
skulls? Why, it's a split heavy
metal single from Lifestyle
Records INFERNAL MAJESTY turn the bass up to 13 and
sends the guitar on a broomstick
ride out of control on "Where Is
Your God?" a speed metal cranium smasher CUSTOM'S "F
Pick" is swathed in what sounds
like the competitive efforts of 20-
something grinding guitars, with
vocals buried deep in the mix
for that wonderful stadium effect. My (understandably) minimal testosterone-level skyrockets
when I play this record, and I
frequently have to go break
things before my endocrine system returns to normal   Oi.
Destined for AM radio 20
years hence, Murderecords'
THRUSH HERMIT recalls genu
ine 1970s rock complete with
knee bends and tight trousers.
The guitar on "Giddy With The
Drugs" whines and moans over
a vertiginous beat, although not
entirely unpleasantly. Rock on
the front porch with a lukewarm
beer to the tune of "The Ugly De
tails:" blues misery with a well-
placed sprinkling of organ. In
2017, I'll top my hands on the
steering wheel when these
fellas burst forth in glorious
punk nafs of the tenor I've come
to expect from Peek-A-Boo Industries: shamelessly energetic,
capricious, and addictive A
strangely political pop song,
"Sophie's Choice" has the girl
chirping and the boy yelping
about pills and hypochondria -
- a baby-talk soapbox sermon,
catchy and silly. Sketchy guitars
decorate "Last Week's Recording," an excellently played song
whose vocalist sings like someone trapped, albeit cheerfully,
at the bottom of a well.
Trebly fuzz and girly crunch,
wall of sound pop and skipping-
rope rock. A hearty welcome, if
you please, to PLANTE ZEN,
francophone specialists in all of
the above. I freely admit that,
were it not for the fact that
"Deux" and "Telecryptage" ore
both sung in my favourite Romance language, I would probably not give the otherwise
standard Plante Zen more than
the obligatory shrug and nod.
C'est magnifique, mais ce n'est
pas la guerre. (Motorway, 3-2-
18-26 Shioyaki Ichikawa,
Chiba 27201, Japan)
Both the departed Stu and I
have complained in the past
about the suspicious amount of
garage rock that gets slipped
into the 7" review envelope Not
thot car songs, Hawaiian shirts,
and unshaven necks aren't entitled to their place in the musicol
world — they are; however,
most of the time I would prefer
that place to be far away from
me and my art-foggy sensibilities.
"Dancehall Music," a rough-
edged and soulful song from garage punks the MURDER CITY
DEVILS, is not banned from my
elitist crypt, but "Johnny Thun
n the rt
krock idol worship. "Take the Train" finishes off
this three-songer with a slow, sly
battle in on urban swamp Rasping yells are what passes for
singing in Murder City, and fortunately, the Devils pull it off
pretty well. (eMpTy Records, PO
Box 12034, Seattle, WA,
Dreamcakey easterners
JALE are still cranking out their
usual fare, as evidenced by the
lovely new single "True What
--You Say" b/w "From A Still "
Oh, the adjectives impress, as
usual: mellow, honest, comfortingly morose, polished, sweet.
"From A Still" features the vocals of new band member Mike,
who fits right in with the talented
ladies of Jale. Both songs evoke
the half-content, half-miserable
feelings that arise while staring
at a meaningful photograph
from happier times. (Sealed
Fate, POBox 9183 #120, Cambridge, MA, 02139)**
POBox 7495. VanNuys,CA91409
Available: 9/23/97
Also available:
The first two videos
in the series
HR603-VHS       HR608-VHS
HR623-video/cd soundtrack
Punk/Ska/Hardcore video/cd compilation
20 September 1997 I
VANCOUYri? rout
/MUSIC festival
The 20th Annual Vancouver Folk Music
Festival was a joyously skin-frying
event this year, as the sun blazed on
the thousands who flocked to Jericho Park to
wallow in music, spoken word, spectacle and
dancing. Every year the Fest draws its usual
contingent of hippies — young and old —
families, tattooed and pierced hipsters, and
a visible dyke population. This year was no
exception. The Fest is evolving too, celebrating local multiculturalism by featuring First
Nations voices, adding more queer performers like Kiss n' Tell, and dub music with the
Twilight Circus Dub Soundsystem Event
organizers deserve kudos for being community minded, providing bicycle lockups, recyclable plates, sign language interpreters, and
excellent disabled access. There's something
for all folks in this three day buffet of performers from around the world.
This year's focus on First Nations performers provided an opportunity to see
Buffy Sainte-Marie in action. She was a
powerhouse on the mainstage Friday night,
strutting onstage in platform boots, and
singing favourites like "Indian Cowboy in
the Rodeo," and "Bury My Heart at
Wounded Knee." Possibly her best was playing mouthbow and singing "Cripple Creek"
— a one-string guitar in action. She is an
awe-inspiring woman for her honesty, blunt
politics, commitment to native self-healing,
and incredible, earthshaking voice. Other
great First Nations acts included Keith
Secola and Wild Band of Indians from
Arizona, S'pak'wus Slulum Dancers and
Tzo'kam from North Vancouver, Nisga'a
Ts'amiiks Dancers from Vancouver and Art
Napoleon from Moberly Lake, BC.
Blues and blues-roots music were a huge
component this year. Two walking archives
of blues were Howard Armstrong and
Robert Lockwood Jr. Both men are well
into their '80s — Howard Armstrong,was
recording swing blues in the '30s, while
Robert Lockwood Jr. is the stepson of the
Robert Johnson. The strongest workshop
I saw all weekend was "Deep are the
Roots" with these two masters, gospel
singer Jane Sapp, and the a capella group
Linda Tillery and the Cultural Heritage
Choir. Armstrong started off with an apt
introduction: "This here workshop is about
blues. An' I'm gonna play some low down
dirty Black blues." They then proceeded to
play traditional moans, hollers, spirituals,
and blues music that expressed the oppression of African-American culture and people, as well as their strong cultural identity.
There were a number of white folks playing blues too, like Ontario's swing fiends
the Whitely Brothers, Marcy Marxer and
Cathy Fink, and Oregon's slide guitar mas
ter Kelly Joe Phelps  Colin James and
Colin Linden were on hand to promote
their so-called acoustic project Sunday.
Though Linden's country-blues influence
really tones James to palatability, their set
on the mainstage Sunday night quickly
turned from acoustic into a big electric
wank-fest, and Colin James' white-under-
shirt, rebel-without-class look was hard to
take. Too bad Robert Lockwood and
Howard Armstrong were cut short so that
the Colins could spend an extra half-hour
on stage.
A great trend at the Fest is the promotion
of women and queer performers. Ani
DiFranco played Saturday night, which
resulted in floods of young groupies trampling over blankets and feet to mass in front
of the stage. Locals Kinnie Starr, Veda
Hille and Oh Susanna proved that women
can be sexy, smart, articulate, political and
play guitars. And while Bill Richardson's
rhyming innuendos continued to titillate the
crowd, Kiss n' Tell (Persimmon Blackbridge,
Lizard Jones and Susan Stewart) proceeded
to read all-out lesbian smut stories on
Saturday afternoon.
In the mid-'80s, they invited DOA to play
... this year the Fest introduced dub and
rave-style music, complete with live mixing,
drumming, and guest appearances by maniacal percussion clown Tippy Agogo and
Toronto's Maza Meze. Even Kokoro
Dance's Jay Hirabayashi was grooving to the
beats, distinctively white-painted and mostly naked. Agogo also hosted one of the best
kid's workshops of the weekend, continuing
on his mission to release 5 000 kazoos into
the world.
My favourite non-sequitur of the festival
involved Kokoro Dance, the local butoh
troupe whose white-bodied antics peppered
the weekend. During the opening jig from
the Irish band Dervish, three bald (with the
exception of one with brilliant pink hair)
dancers began moving slowly from the front
of the stage to the back, picking their way
through the crowd while engaged in a private dance at half the speed of the frenzied
crowd. Suddenly a fuse blew and all power
was cut on the site. The crowd ground to a
halt, groaning, but the butoh dancers continued, dancing to unheard music with arms
high — whimsical and macabre.
Of course, a folk festival requires folk
singers, and they were there too, ranging
from "loved and disrespected" to unapolo-
getically crass. Dan Bern came up from
California to sing sarcastic songs about rednecks and to protest homophobia, while
Utah Philips got the last word on Sunday
night: "In a mass market economy, any song
you sing yourself is revolutionary. "•
(JULY 48-20> 1907)
Featuring brand new musk front:
JEWEL-V-12 Cadillac
PENNYWISE-| Get Around
DICK DALE - Misirlou '97
PATO BANTON - Ocean Warriors
Plus rarities from:
MOBY - The Blue Light Of The Underwater Sun
DISHWAUA - The Other Side Of The World
JIMMY BUFFETT - Trouble On The Horizon
And great tunes irom:
THE OFFSPRING - Dirty Magic (Previously Released)
311" Hydroponic (Previously Released)
SUBUME - Paddle Out (Previously Released)
COUNTING CROWS - Angels Of The Silences (Previously
BEN HARPER - Excuse Me Mr.
THE BEACH BOYS - Summer In Paradise
SUNCHIID - Giver Man
ROYAL CROWN REVUE - Barflies At The Beach
lly priced i
SEPTEMBER 30, 1997
Live Bait
The Arrogant Worms has
been doing the rounds of festivals in Western Canada this summer, making friends as they go
ond converting those who looked
upon them as a B-teom inlo fans
Don't know these guys? If you
think lines like: "Me like Sergei
Federov/ Me like him more if
head were off are hilarious,
you'll doubtless love this album
Cuts include "The Mountie Song,"
"Carrot Juice Is Murder," "Canada's Really Big," and my fave,
"The Last Saskatchewan Pirate "
This is a comedy album, however,
which means thot the spoken
word portions don't bear repeated listenings quite as well os
the songs Good yuks lo go with
yer favourite cold brewski, eh?
Val Cormier
Work and Non Work
(Drag City)
Transatlantic atmospheric pop to
fill the hearts and ears of every
diehard Anglophile, guaranteed
to sate any lover of Slowdive,
Seefeel, etc — well-apt to moke
you relax Please note, however,
thot Work and Non Work is a
collection of previously released
European singles and EPs plus
one heretofore unreleased track:
"Accidentals"/"We've Got Time"
are on Wurlitzer Jukebox, "Living
Room"/"Phantom" and The Book
Lovers EP are both Duophonic
Super 45s, ond "Lights Out "
The arrangement of these
nine fine pieces is sloppy, however, as Drag Cily decided to scatter the Iracks rather than leave them
in chronological order This cruel
attempt to blind the witless or forgetful — like myself — into believing that, but lor the occasional
renders obvious the discordant and
highly discernable production differences between Wurlitzer Jukebox and Duophonic Still, this grotesque error does not mar the quality of the songs themselves, which
would be superb in ony context
Brandon Pierce
6 Blocks
(Handsome Boy)
The first song on this album is
such a bass-heavy, sassy tune
with a catchy pop beat that I had
to check the album cover again
This is Meryn Cadell?!? But it
is, and as the label on the cover
warns, the CD does not contain
spoken word Instead, wifh the
help of vorious musicians (including Mary Margaret O'Hara
on a few tracks), Meryn Cadell
delivers a tough sound with Liz
Phair-esque vocals Her songs
are poignant os ever, like
"Cristina," about a woman living
on the street My favourites, however, are the faster, nastier tunes
like "Slippery" and "Joe Roth."
Have I overplayed this olbum already? Yup And it still holds up
on the 100th listen
What Were Flames Now
It was love at first sight I've been
lucky enough to see The Crabs
(drum and guitar duo) o couple
of times this summer, and both
were worth the rude and indifferent, coffee drinking,
donut eating customs officers
The nicml>crsj and staff of
DiSCORDER Marine and CiTR
Radio would like to wish John Rusldn
a Iiappy retirement as CiTR's volunteer
coordinator, Well miss you, Jolin! Doot
dootle oot doo ...    ^f f|A     ^
Thanks to these cinephiles at the Vancouver
International Film Festival, we have two prize
packs to give away of 1 programme guide,
1 poster, and 6 tickets to 3 films.
Send us a postcard with your name
and phone number by Sept 19th to
Discorder Film Contest
233-6138 SUB Blvd
Vancouver, BC v6» lzl
All prize packs must be picked up in person!
at the 49th parallel
This time I had only an aural
experience, which forced me to
be more sensitive to the details
of the music and unfortunately did
not parallel my previous
multisensual experiences Although the music is still the same
ol' folks-next-door harmonious
pop, as a whole it doesn't stray
much from the A-B-A-B pop song
formula, nor does it explore many
octave ranges
I may, however, just have to
own the CD for fhe first ballad,
"Confess " And as much as I hate
to admit that I am a sentimentalist and a romantic, I would tend
to like the first five songs, which
are brimming with love — lost
and found; they may actually be,
much to my surprise, an overflow
for my generally sappy tastes
Nonetheless, I still wouldn't miss
a Crabs' show and I would still
gladly add to my Crabs' collection in the future.
Oh ya, cool cover art by
Optic Nerve illustrator Adrian
Whisper of a Secret
(Green Linnet)
Young, predominantly female,
from Northern Ireland. Look like
a recipe for a political band?
Not on the traditionally-based
label Green Linnet — but if
you're a fan of traditional Irish
music, this is a record well worth
checking out.
Traditional Irish instruments
(fiddles, whistles, flute, bouzouki,
bodhran and uilleann pipes) ore
complemented nicely with cello,
keyboards and sax. While the
instrumentals are mostly penned
by band members, they are written in the traditional form and
include the usual jigs, reels, and
waltzes. All the songs are traditional — some in Gaelic — and
vocalist Mary Dillon's delivery is
sweet and pure.
I had the good fortune to see
this band play live in a small,
smoky pub in Belfast two summers
ago, and this CD does a remarkably good job of evoking their
live set. During the troubles in
Northern Ireland, the playing of
traditional music in public became a political act. Thankfully
this whole "Celtic Revival" has
helped bring bands from lesser-
known areas of Ireland to our
attention If you're looking beyond the Celto-fusion thing that's
so big lately and searching for
the straight, pure dram — seek
no further
Val Cormier
Elevator Music for Non-
Claustrophobic People
(Sonic Unyon)
At first listen, it's real confusing,
but the more you listen to it, the
more it makes sense It grows on
you in a weird way and starts to
lure you into the unique world of
The Dinner is Ruined
They've crafted an attention-
riveting flow of sounds, with each
song different from the other in
dynamics, tone, choice of instru
ments, and sound sources Within
every song there is almost an
audio collage, like musical cut
and-paste. The album feels unstructured and sporotic, but well
thought out (not to the point of
being stale or contrived), with
moments of brilliance It has an
amazing cohesiveness despite its
wide range of ideas
The first song throws me off,
though, with its relative
structuredness Otherwise, Elevator Music ... is an excellent album for the music listener who's
tired of listening to music ond
anyone else who needs a dose
of the good stuff.
Harry Cot
Memories of Love
(Slow River)
Keyboards. Many keyboards.
Cheesy programmed beats.
Weird fishy sounds Dark, morose
lyrics ("But you're so beautiful/
You make me want to cry/ And
you're so sad and hopeless/
Waiting 'round to die").
This isn't just new-wave-goth
Nosiree Sure, the music conjures
up images of OMD and
Stephin Merritt's ultra-deep
and monotonous vocals are retro-
sounding enough, but I wouldn't
be so dependent on this album
to wake me up every morning if
it were just a new-wave-goth re-
Maybe this is simply my way
of getting back at my parents, but
in my defense, I've always liked
the Magnetic Fields and this
doesn't really stray Memories of
Love is perhaps a little more consistently "cheesy" and not so
eclecticty weird as most MF albums, but it is just as good. This
time 'round, Stephin shares vocal duties with MF "manager"
Claudia Gonson — hers are my
favourites She keeps Stephin's
derful lyrics sincere with her
soothing voice.
And darnit if the album "artwork" doesn't provide the most
fun I've ever had whilst listening
to a record (it's a see-it-to-believe-
it thing)!
Mya Low
Poly distortion
Yuck. What went wrong with this
band? The idea is good ... the
music isn't so bad ... but the singing ... yuck. I tried out every single track, hoping to find one with
t, but it
Something about this CD just
doesn't work for me, although I'm
sure there are people out there
with better luck (judging by the
turnout at their August 1 st show,
somebody must like them). Hopefully I'm one of a minority on this
one, as there seems to be so much
to like about this crazy Icelandic
collective ... I guess they're just
not for everyone
Julie Colero
After Hours
(Concord Jazz)
When tenor saxophonist Scott
Hamilton finally "arrived" on
the jazz scene, he hod been playing for a pair of decades using
the vocabulary of Ben Webster,
Lester Young and Zoot Sims. Recently, Hamilton himself has be-
After Hours finds Hamilton in
a relaxed setting that showcases
his worm and melodic phrasing
Veteran Tommy Flanagan provides his, os olways, delicate and
refined touch on piano Lewis
Nash, Flanagan's '90s colleague, chaperones on drums
while former Sonny Rollins
sideman, bassist Bob
Cranshaw adds his steady bottom to Hamilton's outing
Although Hamilton is in the
spotlight, Flanagan gets near
equal billing. A decidedly quiet
album, Hamilton and Flanagan
play off each other with tasteful
symmetry. After Hours is subtle
and reflective, designed for the
hours when the cily slides into a
peaceful slumber. While verging
on mainstream (in particular, a
rendition of Dizzy Gillespie's
"Woody 'N' You"), Hamilton is
in expressive command of his
to enter the saccharine zone.
Consisting of mainly ballads
and restrained blues, the album
smoulders at an ideal temperature. Of note is Benny Carter's
"Blues in My Heart" and a bossa
nova reworking of "Some Other
Spring." Another fine addition to
Hamilton's excellent catalogue.
Pieter Hofmann
In contemporary American pop
music, Rickie Lee Jones is a
little like cartoonist Lynda
Barry. Both will speak in the
voice of a young girl to conjure
up a world that can seem quirky,
but underneath can be stifling,
cold, nasty or heartbreaking
(And for some reason, neither
woman gets the ink they deserve.)
Jones has a crate full of songs
and stories, often about the isolated, the lonely or the just plain
damaged. She's acted as kind of
an intersection between Joni
Mitchell's wanderlust highway
and Tom Waits' broken-dream
boulevard. Despite making some
of the better albums of the 1980s,
such as Pirates, The Magazine
and Flying Cowboys, she was
largely forgotten after her 1979
debut. Often waiting years between releases, she has continued to plug away with generally
fine results.
Ghostyhead is her latest, but
it's a departure and likely to drive
off many admirers. Gone are the
jazzy R&B shuffle-steps — which
are replaced by a bit of hip-hop
funk — and there are no sad piano ballads or bright, juke-joint
horn shots. Instead, Jones and collaborator Rick Boston rely more
on electricity, with lots of guitars
and drum loops. On first exposure, it all seems a little cold or
brittle or just plain weird. But
don't be fooled. In the past, she
has almost always thrown one
cryptic mystery song on her
22 September 1997 records. This time around, the
whole record — to varying degrees — is in this vein.
Imagine yourself being stuck
in some strange old lady's dusty
attic It's both frightening and fascinating Still, Jones stays true to
her vision, particularly on songs
like "Matters," "Sunny Afternoon," and "Howard," about a
little boy who kills everything he
finds. Musically, Ghostyhead is
a sharp turn. It may be her
Swordfishtrombones and it will
likely leave some fans lost. But
it's still the same sad and disturbing little voice in Danny's Diner
or at the last chance Texaco that
most people have not heard for
many years.
Michael Chouinard
Glory Hole
(Secretly Canadian)
Whilst scouring the review box, I
came acros** a fine gem that had
probably been sitting there for a
while. Glory Hole was released
almost a year ago, but the world
needs to know about this batch
of wonderful tunes.
I gave this a quick listen a few
months ago when a friend played
it for me, but now I've had a
chance to give it a proper listening. Glory Hole is 28 varying degrees of pop songs corresponding to the 28 categories of ancient Tibetan yogic precepts. The
tunes range from feedback blasts
to quiet acoustic numbers. At the
forefront of most of these songs
is some of the most honest and
emotional lyrics to be sung in a
long time.
Highly recommended and
with 28 numbers, there's bound
to be one for any mood.
Charlie Church
Sometimes it's safer not to believe
the hype. Yes, electronic music is
on the way in; no, not all of it is
good. Take, for example, Keoki
He's on Moonshine, one classy
techno label. He's been around
for some time and has built up a
decent following. But is he actually any good? I think not This
might sound silly, but the CD is
just repetitive and dull It lacks
any heart — where's the art?
Even the singles, "Majick" and
"Caterpillar," are barely enjoyable in a club atmosphere I think
I'll keep looking for good techno,
as, unfortunately, it's not to be
found here
Julie Colero
OK Computer
In a world which seems to dignify the "We're the best band in
the world — no, we're the best
band in the world" banter of
Oasis and Blur, it's refreshing
to hear a band like Radiohead
Maybe it's because they haven't
had enough success to be placed
under the British press' magnifying glass, but I've always sensed
a little more humility and humanity from Radiohead.
On OK Computer, the range
from vocal wailings to whispers
and broad dynamic changes
easily compares to its fabulous
predecessor, The Bends. This recording does not attempt to
break new ground, and why
would it when the band already
has an easily identifiable
sound? With such a successful
and influential formula, why
change? Music is supposed to
be about feeling. OK Computer proves that brooding can be
a good thing.
Brian Wieser
Do It Yourself
Warning: this CD contains some
painfully catchy Brit-pop hooks.
If you take the time to listen to it -
- even just once — you may find
yourself singing along, maybe
even enjoying the songs. If you're
the kind of kid who can handle
music like that, then grab Do It
Yourself, and quick. If you're the
kind of kid who is a big John
Squire (ex of Stone Roses)
fan, then you'd better get it even
The Seahorses are another
good band with nothing too special about them, but their songs
are fun, clever, and good enough
to keep you distracted until the
next big thing takes their place
Julie Colero
Songs  From  Northern
My faith in this Scottish combo
persists, despite their inability to
floor me since Bandwagonesque.
Their sound, now a mature take
on the early Byrds catalogue,
puts them in competition with The
Wallflowers, Counting
Crows ond other such homogeneous Adult Post Modern radio
acts which, in comparison,
they're neither as "cute" nor as
"charismatic." However, it beats
the faux-horror of Prodigy and
the lame angst of post-grunge
modern radio.
That (virtually) every song is
steeped in sentimentality lends an
about the proceedings, although
I'm glad they're, you know,
happy and such. Still, I've found
myself putting this on the turntable at home on a regualr basis to
hear some instant hooks and
pleasing melodies. Sure, there's
the obligatory '90s moog bits
which are annoying and the last
song is just sort of sitting there,
but plenty of these songs spend
time floating around my head
with their simple, comforting
ways. And for that, I'm thankful.
Sean Elliott
The Mysterious Tale of
How I Shouted Wrong-
Eyed Jesusl
(Luaka Bop)
This guy's got religion. Angels,
devils, bibles, heaven, Satan,
and Jesus are all stuffed into this
album and leaking out the sides.
What makes all this palatable
and even interesting is the bad
hill blood quotient Jim White
hails from hicktown, Alabama,
and his take on the religion that
must have been shoved down his
throat every Sunday is pretty pagan. His sound is a little Tom
Waits and a lot Neil Young,
with its ethereal guitar riffs and
wistful voice on "Still Waters,"
followed by growly low vocals
and percussion on "When Jesus
Gets a Brand New Name." The
story of how he shouted "Wrong-
Eyed Jesus!" fills 14 pages of liner
notes and makes a really entertaining, insightful read. This is a
slick album, produced by David
Byrne —Jim White is definitely
a growing favourite in the countrified alternative music scene.
Anna Friz
The Freestyle Files (Vol.2):
Germany vs. England
In some circles, electronica has
become a dirty musical blot that
should be erased. The underground scene that spawned
beeps, blips, and bass and drum
rhythms may have been fresh,
initially, but as it moved from the
cracks and hit the pavement of
accessibility, it has suffered saturation — and mediocrity. Spend
your dole cheque on equipment
and voila, your apartment is
transformed into a mini recording studio.
As always, there are exceptions to the rule. Case in point:
the second compilation in a series from K7 Records.
Compiled by Stefan Striiver,
Germany vs. England is a fine
example of innovators and record
labels dedicated to a genre of
music that places a premium
on being on the forefront. Like
stumbling upon a cool rave after
your favourite pub has long shut
the taps off. The Freestyle Files
provides a wide assortment of
On the double disc/3LP set,
Struver recreates Wembley
1966. As expected, the German
artists provide a frostier dimension to their digital delicacies,
while their English counterparts
approach the music with slightly
more warmth. The German disc
is highlighted by Shantel's "Bass
and Several Cars," while across
the water the queen's finest counter with Red Snapper's "Crusoe
Takes a Trip" and Funki
Porcini's "Carwreck (Wagon
Christ Mix)"
Depending upon your mood,
the compilation should satisfy
even the most jaded electronica
fan. Personally, Germany wins.
But then again, the name is
Pieter Hofmann
Gliicklich II
This album elicits a relaxed jazzy
feeling. All the music groups collected on this album are German-
influenced with a Brazilian/Caribbean touch.
The music is a throw back to
the '70s and early '80s. "Go for
the Others" by Sail-Joia and
"Vera Cruz" by Emphasis are
the album's standout tracks.
Gluckich II has light music
with a timely beat for snapping
fingers to. The lead instruments
vary from guitar to drums to saxo-
Markus Schmid
Pop Jingu Volume I
This California label sure knows
its indie J-pop: on Pop Jingu,
we're treated to 1 1 great examples of fun, chiruppy lala numbers
which are guaranteed to bring
you up, not down, for pure enjoyment's sake. It's been a while
since I've heard such a consistently peppy album; not since the
Sarah and Slumberland comps of
yesteryear have I dreamed the
night away in such a content
These bands may be Japanese, but they sound like they've
spent some time with Brit-pop
company. The jangly guitars and
retro keyboard sounds aren't
cheesy, just familiar — I have no
complaints, just comparisons
(Stereolab, etc ) My favourite
band on this is Plain Cream
Puff Spray, a one-woman
project from Tokyo whose two
tracks*, "Prizm" and "Forever,"
make me feel silly and happy and
good. Yummy.
(Beggar's Banquet)
Why is Gary Numan such a
fetish project? The uncool
android, with his deep soliloquies
on alloys, artificial intelligence,
and the sex lives of automata, did
what most "influential" artists
tend to do: put out a couple
of interesting and innovative
early works, then repeated the
again for years.
Seeing how most of Numan's
catalogue is superfluous, it's not
surprising that this 2CD tribute is
full of redundancies and repetition, with a few shining points of
inspiration and interest.
No less than three versions of
"Are Friends Electric?" grace this
compilation, Moloko's being
the best and Republica's (ironically enough, with Numan on
keyboards) the worst. Bands
frankly dismissible in their own
time (Jesus Jones, EMF, Gravity Kills, Posh, etc ) fare no
better in the early '80s, even with
the benefit of fancier electronic
gadgets and bombastic production. Also, a disturbing number
of the songs use samples and riffs
from other Numan ditties — to
fill up negative space, I guess.
The most interesting and likeable reworkings include Magnetic Fields' acoustic take on
"I Die, You Die," The Orb's ten-
minute dub mauling of "Jo The
Waiter," and Towering Inferno's strangely delicate goth-in-
dustrial version of "Metal."
Kenickie's "I'm An Agent" is absurdly catchy, but I'm still bitter
about them signing to EMI, so I
won't put them in my top five; nor
Bis, who, despite a perplexing
ska break in the middle of "We
Are So Fragile," are so deadpan
There are some genuinely
brilliant songs among the 27 on
Random, but you do have to dig
deep to find them.
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Sunday, May 18
Richard's on Richards
I hardly ever go to rock shows
any more, but I thought I should
check out one more before I
reach the untrustworthy side of
30  Being a fan in every way of
Kim Deal, it seemed The Breeders would be a fine choice for
me — especially since I've always managed to miss her in
town (This goes right bock to her
Pixies days.)
Anyway, I walked in a bit late
and caught only the toil end of
Paleface — a guy with a guitar
singing songs aboul things like
the PMRC  Whot year is this?
The second act, Lutefisk
started out promising enough
with some heavy, loopy, funk
grooves thot, for some reason, re
minded me of Jon Hassell
However, loudness prevailed and
they launched into an average set
of tunes that really held few surprises. If you've never heard
Nevermind, you might think this
was all new Not bad, but the
singer really did sound like Tom
The Breeders then took to the
stage quite early, kicking off with
"No Aloha " They played a mix
of new songs along with tunes
from Last Splash and Pod, while
the band was an amalgam of The
Breeders ond Tammy and the
Amps Musically, it was pretty
much what I'd expected: lots of
quirky, raw, post-punk hooks,
though I'd say the highlight was
the country-styled "Drivin' On,"
featuring Carrie Bradley on violin. The band has just the right
amount of attitude without too
much angst; in other words, no
riot grrrl teeth-grinding here.
With all the posing in alternative music, it's a relief to see
someone like Deal who doesn't
315CARRALLST.      Booking&lnlo: 685-3978
F~f._E_F   POOL
New Music Tuesdays
j Bands, No Cover
Swing With Slims
315 Club: Thursday Aug. 4th
Friday Sept. 5th
Evil Roy
& subtracters
Thurs. Sept. 11th
Saturday Sept. 6th
Julie DeiroSr*
(of Eric's Trip):
Sun. Sept. 7th
Friday Sept. 12th
Day Parly
& Slamfather
Tour Kick-off:
put up with any bullshit but still
seems so damn likable All night,
she was friendly towards the
crowd, telling bad jokes, and
casually chatting up the people
in the front row between songs.
Then when the hourlong set was
over, Deal started wrestling with
one of the technicians, who then
carried her offstoge, as she saluted the crowd in her own spe-
Monday, July 21
This soldout show was populated
by a breed whose love of plaid
was so overwhelming that it
threatened to blind those of us
who were new to the world of
ultro-preppy style Starting early
at 9:00pm, this triple bill of top-
40 wonders promised to thrill the
crowd with many tasty radio
soundbites the whole evening
long. Too bad it ran out of steam
at about 9 45.
K's Choice, the opening
band, was also the best band of
the evening. Tonic and Verve
Pipe managed to pull the
evening down by being just a little too contrived to be enjoyable.
Tonic seemed too forcefully energetic, while Verve Pipe took the
fine art of guitar wanking to an
all-time unendurable low. It was
exactly the kind of show the plaid
masses expected —exactly the
kind ol show to be avoided at
all costs.
Julie Colero
Wednesday, July 30
Crocodile Cafe (Seattle)
If you happen to be visiting our
neighbours to the south, I highly
recommend visiting the fine folks
at the Croc. They serve up a
Anyways, on with the rock.
Note to Inch: never start your
set with your show stopper. I wos
excited by their lengthy, mathy
instrumental but the joy was shortlived when they degenerated into
average San Diego punk rock.
On this night of international delights, the American burger and
fries seemed very bland.
The second course consisted
of a heaping bowl of haggis.
Teenage Fanclub was making
their first northwest appearance
in four years. My Scottish brethren bounced their way through a
superb set of tunes from Grand
Prix (their lost) and songs from
Northern Brtain (their recent). I
assumed thai when Brendan left
the drum throne they no longer
played older songs, but lo and
behold, second last they pulled
out with "The Concept." If that
wasn't enough, they finished off
with a stellar version of Yo La
Tengo's "I Heard You Looking."
I had just enough room after
the haggis to munch down on a
giant Dutch panekoek. Bettie
Serveert played about 2/3 of
their latest platter, Dust Bunnies.
They inserted splashes of "Tom
boy," "Ray Ray Rain,"
"Palomine" and "The Kid Is Alright." The Dutch youngsters
played a flawless bunch of songs
and showed we North Americans
how to rock out without getting
As always, a worthwhile trip
to the Emerald City for rocking
and rolling — international style
Charlie Church
Friday, August 8
Starfish Room
And I wondered why everybody
said they'd be late. Opening
bands Veal and Closed Caption Radio are well-established
on the Voncouver club scene, and
maybe they've lost their appeal
lo some. I saw both for the first
time, and here's my amateur opinion: Veal weren't as bad as I had-
expected. Their live show was
nothing spectacular, but they got
the job done
As for Closed Caption Radio,
they hurt. They were a bizarre
mix of Devo and oil things bad
and heavy-metal I was exceptionally glad when it was finally time
to get on with the Modest
Mouse aspect of the eve.
I love Modest Mouse During
Veal's set, my friend and I had
managed to keep ourselves
amused by spying on the boys'
backstage antics. They had all
managed to wrap their heads in
toilet paper and were running
around backstage causing excessive mayhem. They also got close
and personal with the female
busts which were a part of the
CCR stage-show. These delinquents were obviously getting
warmed up for their set. When it
came time for them to play, they
invited people on stage to dance
and play percussion for them,
which helped to gel the crowd
into the act. The band played a
few old tunes, but said that they'd
"forgotten" some of the songs
they were asked to play, and
continued on wifh new material.
The show was comfy — at times
it seemed that singer Isaac Brock
was making up his lyrics as he
went along. There were few
songs which lasted less than 10
minutes, but no song was tedious.
The set was strong, and made the
long night a worthwhile one.
Julie Colero
Monday, August 11
Starfish Room
I arrived at the Starfish ready for
some good ol' fun pop. As long
as you could stand the heat, the
Starfish had a big glass o' Mountain Dew ready for you.
The Groovie Ghoulies
rocked the already sweltering
crowd into a dancing frenzy. If
you were to walk into a room and
see the ghouls setting up, you'd
think you were in goth4iell, but
they played some of the sweetest
punk rawk you ever did lay ears
on. Thumbs way up for these
swingers and bonus points for
having someone named Kepi in
their band.
Cowtown's Chixdiggit were
next. After seeing them 776
times, I bought I was getting sick
of them, but hell no! They still rock
with reckless abandon Tonight
they were talking about penises,
Vancouver being the rockinist city
in the world, and their new drummer, young Dave. Both
Chixdiggit and the Ghoulies
played songs about the mythical
Chupacabra, so be on the lookout for blood-sucking, shape-shifting, sexual beasts.
The Muffs ployed a fine set,
although it was overshadowed by
their heaping cups of attitude. I
pity any band that has to follow
Chixdiggit, but The Muffs still
entertained — especially when
joined by a freaky woman wearing a diaper and shirtless members of Chixdiggit
Charlie Church
Saturday, August 23
Starfish Room
So "cute solo boy artist" Ian
Jones from the locol rock band
Pluto started the night off with a
questionable set of pared down
Pluto-esque pop songs with attitude.   First,   it was just Ian,
crouched on a chair, strummin'
his electric guitar, growlin' about
guys with  "balls" and  being
"hopeless in stereo." Then, itwas
Ian and the girl he writes all his
songs about, Rene from local
rock-verging-on-metal band Ten
Days Late. Rene kinda played
the keyboard and looked real
purty  It seemed like they were
having fun. And that's all that
really matters, right?
Formerly of the Seattle rock
band Silkworm Mr Phelps
was joined by his talented
friends, The Downer Trio He
never fails to bring tears to the
eyes. No pretension, simply
beauty. Yeah, the Neil Young
influence is obvious, but there is
so much more at work here: melancholic acoustic guitar; down
but nof wallowing lyrics; warm,
meandering slide guitar; and
minimalist, countryside drumming
(think of a pillow that doesn't put
you to sleep but just makes you
real comfortable). The spectacled
lads didn't let the disrespectful,
scenester crowd get them down
— they just played their heavenly
tunes, thanked us all (no, Mr
Phelps, we thank you), and set
the stage for the guitar assault that
is Superconductor
They were a nine-piece on this
eve, with some non-regulars (from
local garage bands The Smugglers and The Evaporators)
who joined them on their recent
tour with Guided by Voices.
Despite their size and the fact that
it wasn't always obvious who
was playing what, they were remarkably tight. Playing songs old
(yay!) and new, they proved that,
sometimes, more is better. Having heard possibly their best song
(although not a Superconductor
original), "There She Goes," I
left exhausted and completely
Myo Low
•24 September 1997 September'97 LONG VINYL September'97 SHORT VINYL septembef^BOTHOMEJOBS
1 pee chees
2 barbara maiming
3 brand new unit
4 the drags
5 neko case & ...
6 miranda July
7 the delta 72
8 nothing painted...
9 calexico
10 geraldine fibl>ers
11 ec8or
12 lake of dracula
13 mouse on mars
14 broadcast
15 various artists
16 can
17 buffalo daughter
18 bil racrackin
19 banco de gaia
20 planet smashers
21 atari teenage riot
22 storm and stress
23 friends of dm
24 Joan of arc
25 songs:ohia
26 asteroid b-162
27 red stars theory
28 mountain goats
29 spiritualized
30 lung leg
31 fuck
32 lync
34 untamed youth
35 local rabbits
games people play
looking back again
stop rock and roll
the Virginian
10 million hours ...
the soul of a new ...
emotional discipline
all of us can \>e rich
lake of dracula
cache coeur naif
work and non work
letters to: aliens-west
socks, drugs, and ...
i am the eggman
big men cry
attack  of the planet
not your business ep
a portable model of
all new hits
kill rock stars  •
kill rock stars
touch and go
quart erstick
grand royal
skin graft
thrill jockey
drag city
grand royal
planet dog
grand royal
touch and go
sub pop
jade tree
secretly Canadian
lance rock
but sleep came slowly rx
full force galesburg trance syndicate
ladies and gentlemen ... arista
hello sir kill rock stars
pardon ray french matador
remembering ... (part 8) k
answer that and stay ... nitro
an invitation to planet ...        estrus
61 days murder
1 the need
2 various artists
3 murder city devils
4 jale
5 von zippers
6 the mants
7 the elements
8 discount
9 the let downs
10 catamount
11 reclusives
12 jumprope
13 the kent 3
14 the loudmouths
15 stump wizards
16 the ids
17 cornershop
18 bunnyfoot charm
19 thrush hermit
20 wash
jacky o' lantern outpunk
always wear an ... motorcycho zine
murder city devils empty
true what you sayready to break
hot rod monkey screaming apple
mant from iu_c.l.e. lance rock
the elements cabal
wonder pulled me ... liquid meat
atlanta 360! twist
mannequin of strength igor
more of the same empty
the pensive ep motorway
burl ives my fat ass
gone drinkin' new red archives
no brakes get hip
locked in a room hive
brimful of asha warner
friendly sex monster p.i.m.v
the tata line lx>ng load
top secret push
1 blue veil
she knows
2 manifold
rails, floatation, aerodynamics
3 hissy fit
4 colorifics
747 (now i see heaven)
5 gaze
preppy villian
6 kid champion
drugs & gurus
8 plumtree
in the sink
9 touch & gos
campus radio lx>y
10 blisterene
michael hunt
11 irving klaw trio
170 ways
12 the beans
italian vases
13 petrolia
sweet industry
14 dirtmitts
amaze me
15 violet
(i step on all the) cracks
16 eh team
the edge
17 thee goblins
golden tokens
18 mizmo
19 mk naomi
20 submission hold
ed anger
fop     feu
local     band
er         covers
/T d.b.s
2 smugglers
3 sparkmarker
4 wandering lucy
5 thorsen
6 kreviss
7 perfume tree
8 superconductor
9 mecca normal
^0 snfu
april 1995^\
february 1996
may 1996
august 1994
January 1994
July 1992
august 1995
January 1993
September 1996
december 1993   i
what    we   listened    foooo
ida  . yo la ten£o.  zumpano  .  the ton-
i • i i      i i
iture   bible   heroes   .   royal
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rhe tirst and  the gimme
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beth  or ton  .  me rirs.t and  the gimm
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crown revue
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mmes   .   b   eh I   .   danielson   family
i c .   . i .   .    ^ . .
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kinney".   crabs   .new,  bad   things   .
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rachel   s   .   mecca   normal   .   spent   .
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Sonora pine
.  white  hassle
With a jewelry purchase
you receive a free piercing by
[ Canada's most experienced piercers
PH: 688-6225
SUN - WED 11-7
THURS & FRI 1 1  - 8
» ®m&°s®Bz SUNDAYS
11-00AM All ol time ,5 measured by !h
art This show presents the most recent
new music from around tie world Eon open
ORA ll-OQAM-U-OOPM News, issues,
and concerns facing Muslims throughout
the world
Reggoe inna all styles and fashion
QUEER FM 6:00-8:OOPM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities ol Voncouver
and listened lo by everyone Lois ol
human interest features, background
on current issues and greal music
from musicians of all sexual
preferences and gender identities
GEETANJAU 9:00-10:00PM Geelon|ali
features a wide range ol music from
India, including classical music,
both Hindustani and Carnatic,
popular music from Indian movies
from the 1930's lo the 1990's, Semi-
classical music such as Ghazals and
Bha*ans, and also Quawwalis, Folk
Songs, etc
THE SHOW 10:00PM-12:00AM Stnctly
Hip Hop — Strictly Undergound —
Slridy Vinyl Wilh your hosts Mr Checka,
Flip Oul & J Swing on thei & 2's
4:00AM Drop yer gear and slay up late
Naked rodio for naked people. Gel bent
love Dave
11:00AM Your favourite brown-sters,
James ond Peter, offer a savoury blend
of ihe familiar ond exotic in a blend of
aural delights! Tune in and enjoy eoch
weekly brown plate special.
1:00 PM Wilh your hosts Ihe Gourd ol
Ignorance Whal will we play today2
Rog will put il away
Two shows became one! An hour ol
Mekamkal Object Noize (industrial/
nois/techno] aid an hour of Skintight
Buffoonery (lounge, |azz, britpop)
June scudeler^mindlink be ca
I endeavour to feature dead air, verbal
flatulence (onfy when I speak), a work of
music by a Iwenhelh-cenlury composer
— can you say minimalist? — and
whatever else oppeals to me Fog and
dyke positive Mail in your requests,
because I om not a human-answering
machine. Go* a quarter ihen call someone
who cares.
Join kirn & helen for another month of
travels Bring Confetti!
Usten for al CanaoVn, mosly independent
VcraWs longest rutting prime lime |azz
program Hosted by he ever-suave Gavin
Wdker Features a 11.
26 September 1997
Sept. I Alto saxophone greot Art Pepper
and company
Sept. 8 Drum master and bandleader Buddy
Rich, "Mercy Mercy"
Sept. 15   Julian "Cannonball" Adderley
narrates "An Introduction to Jazz ."
Sept. 22: Conadion born pionisl Renee
Rosness     "As We Are Now*
Sept. 29: Jamaican-bom Irumpeler Dizzy
Reece     'Blues in Trinity '
DRUM'N' SPACE 12*OO-2:O0AM Futuristic
urban breakbeat for ihose who know
11:30AM- 1:00PM Join forces with a
samurai warrior gone wrong Fill your
bento wilh feminist asian attitude
LICORICE ALLSORTS ak. 11:30-1 .-00PM An
edectic muse show Phone *n end request!
Meal the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Gel on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, ond Paulo os ihey shake il and
wiggle it to the latest in Salsa,
Merengue, Cumbia ond other fiery
fiesta favourites latin music so hoi
it'll give you a tan! jjRADIO
NAKED RADIO ah. 10:00PM- 12:00AM
From Thelonious Monk to Meridilh Monk
we'l ploy it Genre busting, cutting
edge jazz and olher experimental
sounds, plus informative label/ortisl
features Join Mike and Sean.
12:00AM Noise, ambienl, electronic,
hip hop, free jazz, christian belter living
Ip's, the occasional amateur radio play,
Warning: This show is moody ond un
predictable II encourages insomnia and
may prove to be hazardous to your
health Listener discretion is advised
10:00AM "Dude il you're playing pretty
giH music in my Comoro! Dude."
LOVE SUCKS 12.-00-2-OOPM If you can't
make sense of it, and that bothers you,
go somewhere else We use scissors
HELLO INDIA 2:00-3:00PM A discovery of
Indian culture, its music heritage ond
literature olong wilh a touch of the latest
MOTORDADDY 3.*OO-5:0OPM Never nde
a motorcycle without wearing an
approved safety helmet1
ESOTERIK oh. 6:007:30PM Ambient/
electronic/, ndustrial/elhnic/
expenmentd music for ihose of us who
know obout the Jlilhids
SOLID STATE oh. 6:007:30PM Featuring
the latest in techno, trance, acid and
progressive house Spotlights on local
artists, ticket giveaways, & live
performances Hosted by M Path
bible heroes, ido, miranda jury hese
oe a lew al our lo*ah-wnl 'hmgs. b la lo!
folk music in the rmdde of your week.
Focus on local and Canodoion singer
songwriters, regular features on other
regions with in house visits
12.-00AM Let DJs Jindwa and Bindwa
immerse you in rodtoactive Bhungra!
'Chakkh de phutay." Usten to dl our
fovounte Punjabi tunes — remixes and
originals Baaooah!
FIUBUSTER ah. 10*00-11:30AM Bod hil
blood, spy music and on accordion fetish
Caution: high in fibre!
MUSIC FOR ROBOTS ak. 10*00-11:30AM
Viva lo Robolica Revolution.
From Tofino to Gander, Baffin Island to
Portage la Prairie. The all-Canadian
soundtrack for your midday snack!
STEVE & MIKE 1KXJ-2.-00PM Crashing the
boys' dub in the pil Hard and fast,
heavy and slow. Usten to it, baby.
JUSTIN'S TIME 2:00-3:OOPM Serving up
your weekly dose of Shirley Hom and
other jazz-filled confections
HEX YOUR HEAD 3:00-5KX)PM Hardcore
and Punk rock since 1989. http://
mypoge direct ca/f/Hxyrhed/
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks, nohing polihcoly correct
We don't get paid so you're damn right
we have fan with it Hosted by Chris B.
Roots of rock & rol.
9:00-11:00PM Local muzak from 9
Uve bandz from 10-11.
Sept. 4: TARGfT
hours frolicks with Mrs Mills and the
gong. Tape loops, foul odours, and early
morning lawnmowing Cheers.
10:00AM Join Greg in the love den for
a cocktail We'll hear retro stuff, groovy
jazz, ond thicker stuff too. See you here
ond bring some ice XOXX
THESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live with physical
& mental challenges
12:00PM Tune in for onolher fun-filled
hour of ska with hosts Julie and Ska-T
Chadie Brown once said to Sdiroeder
"plink, plink, plink, all day long! Good
UTTLE TWIN STARS 2:00-3:30PM Jacuzzi
Spoce rock at its finest
PRESENTS... 3:30-4:00PM Have a
good brunch!
NATION 2 NATION ah. 6:0O-9:00PM
Underground sound system-style
maslermix radio.
David "Love" Jones brings you ihe best
new and old Jazz, soul, latin, samba,
bosso & African Musk around ihe world.
cerpls from Dave Emory's Kadio Fret
America Series
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver Hosted by DJ Noah, the
moin locus of the show is techno, but
also includes some trance, ocid, tribal,
elc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass
LIMP SWK 12:00-2:30AM Hosted by ihe
G42 players "The show iiat doesn't
hate you." wilh your friendy pals Friar
Fritter Abfackeln and Postman Pal.
Alternating wilh Dr. Killdare
Contact limpsmkf1 broken ranch org
LUCID SOUL 2:30-4:00AM Dr Killdare
plunders even further into the wee hour
doing what he can to keep secunly guards
and 7-11 clerks awoke. Waywayway
deep dance stuff and other hdlucinafying
Music you won't hear anywhere else,
studio guesls, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Report at 11:30 AM. 8-9AM: African/
World roots. 9-12 noon: Celtic music
ond performances.
Vancouver's only true metal show; local
demo topes, imports ond other rarities.
Gerald Ratlleheod and Metal Ron do the
LUCKY SCRATCH 3:00-5:00PM Swing on
the gallows pole aid git yer dose of bkies in
ihe (Aemoon Hosts Anna and Andy.
hosl Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed to make you think
twice Bring your tape deck and two C-
90s Originally broadcast on KFJC (Los
Altos, California).
UVE! ATTHE HI-HAT!! 11:00PM-1:00AM
"live! — shows and bands — admission
$6.00 — Performers ore subject to
EARWAX ok. 1:00AM- DAWN "Utile bit of
drum, bit of bass and a whole lot of
noize". Late-night radio soundclash
destined to fist you hard. Zine features,
phat experimental chunes, and the
occasional turntable symphony. "Money,
we'll rock you on'til the break of dawn."
• G. Smiley
Arte Allison Dunnet
Board Chair Harry Hertecheg
Business Thomas Hides
Current Affairs Sarah Efron
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Clinton Ma
Mobile Sound Ken Orchctd
Music Siobhan & Megan
President Ryan   Ogg
Production MarkConslantinescu
Programming Namiko Kuramoto
Promotions Justin   Ho
Secretary Chris Corday
Sports Slavko Bucifal
Station Manager Linda Scholten
Traffic Marlene Yuen
Vice President Frank HenvSe
Volunteer Coordinator    Anna Friz September
FRI 29 Orbit/Radish-Starfish Room...Sincere Lam &
The Ensemble-Dr. Sun Yat-Sen Garden...Lorna Crozier
(poetry)-Shadbolt Cenlre...
SAT 30 Propagandhi/Submission Hold-Seylynn
Hall...Tom Jones-PNE Coliseum...Mecca Normal/Puncture/Loud-Starfish Room...
SUN 31 Beck-PNE Coliseym.Reel Big Fish/Kara's
Flowers-Starfish Room...
SEPT MON 1 Farewell to Nightlines w/ Volumizer/
No Fun-Railway...Propagandhi-PittMeadons Recreation
Hall...Old Time Comfort-Naam...
TUE 2 Sister Hazel-Starfish Room...
WED 3 M-Strain/The Plantain-Starfish Room...
THU 4 Destroyer/The Beans/Mark Szabo/Unclean
Wiener-Starfish Room...DSK/Puncture-Gate...Leslie Spit
Treeo-Purple Onion...
FRI 5 Julie Doiron (of Eric's Trip)-Brickyard...Green
Room/Cozy Bones-Starfish Room...
SAT 6 Smak/Closed Caption Radio/Mother Trucker-
Starfish Room...
SUN 7 Daft Punk-Starfish Room... NRBQ-Gate...Gypsy
Soul-Norman Rothstein Theatre
MON 8 Counting Crows/Wallflowers-GM Place...
TUE 9 Mollies Revenge/Skunk Anansie/Rule 62-
WED 10 Pansy Division/Subtractor-Starfish Room...
THU  1 1  Alpha Diallo-Purple Onion...Gong-Starfish
FRI 12 Yowza/Third Eye Tribe-Starfish Room...Live/
Luscious Jackson/ManBREAK-GM Place...Herbie
Hancock & Wayne Shorter-Chan Centre...
SAT 13 Richard Buckner/P.W. Long-Starfish
Room...Ziggy Marley/Big Head Todd-Plaza of Nations...
SUN 14 Legendary Pink Dots/twilight circus-Starfish
Room...Charlotte Diamond-#18  Firehall  (38th &
Cartier).. Gypsy Soul-Capilano CollegeTheatre...
MON 15 Happy Enchiladas-Naam...
TUE 16 Eric Norman-Naam...
WED 17JazzFish-Naam...
THU 18 Larry Volen Trio-Naam...
Graceland...Vancouver Chinese Music Ensemble-Surrey
Arts Centre...
Room...Mad Pudding-W.I.S.E. Hall...Vancouver Chinese
Music Ensemble-Surrey Arts Centre...Bugwayji/The Urban Ghost Band-Vancouver East Cultural Centre...
SUN 21 Sleater-Kinney-Web Cafe (all-ages!)...Stephen
Fearing/Laura Smith-Vogue...
MON 22 Chieftains-Orpheum...Joel Lower-Naam...
TUE 23 Shel Neufeld-Naam...
THU 25 Social Deviantz/East Van Playa's Coalition-
Purple Onion...Luna-Starfish Room...
FRI 26 Guitarevolution-Western Front...Kenny Wayne
Shepherd-Plaza of Nations...
SAT 27 Terje Rypdal/Hemispheres/Wolfgang Fuchs-
SUN 28 Guitarevolution-Western Front...Wolfgang
Fuchs-Squish'd Knish...
TUE 30JazzFish-Naam...
F R 1 N OL E    FES
WKi i _______raW/
4 @ various
Glu 1 Tj^*£ V Op^Tjff^fl :
A three-day series of new music concerts for the elictdc gyitar, friaay,
eu/Wnt sTto* qkrcall the
■ m»  Tli i "■_■■_ >>jri-iiti _
ra>tUri$ for
B   U   Wlf^j^jfJ JHOOT
Friday, August 29-R/londa^ Septem-
iSSt^^Fm vj^,j%^Wnues'
Seattle.Yean,you're gonna have to
cross the border but how efle^I yflWll
gonjfli see bands likeThe Art Eraiwi-
ble   of   Chicago,   Sonic  Yduth,
Gogae&hop, Unwdunti, etc.?...
everythjug,, np^ tn jalow
Kill JUlV.
• • • • ••
I to go
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) 732 5087
The Brickyard 315 Carroll St. 685-3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)      873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Gronville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Crosstown Traffic 316 W.Hastings (downtown) 669 7573
Denman Place Cinema  1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Mora 6 Powell (Gastown) 689 0649
Gastown Theatre 36 Powell  (Gastown) 684 MASK
The Gate  1176 Granville (downtown) 688 8701
Graceland   1250 Richards (downtown) 688 2648
Greg's Place 45844 Yale Rd.  (Chilliwack) 7 95 3334
The Grind Gallery 4124 Main  (Mt. Pleasant) 322 6057
Hemp B.C.  324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pi. Grey) 224 8007
La Quena   1111 Commercial  (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Niagara Hotel Pub 435 W. Pender (downtown) 688 7574
Medialuna   1926 W. Broadway
Naam Restaurant 2724 W 4th Ave (kitsilano) 7387151
Old American Pub 928 Main (downlown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque  1131 Howe (downtown) 688 3456
Paradise 27 Church (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building  (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 681 6740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Raffels Lounge   1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W.Cordova (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
SouthhiH Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room   1055 Homer  (downtown)
Starlight Cinema 935 Denman (West End)
Station Street Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery   1115 Granville (downtown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
The Tower  339 W. Hastings (downtown)
Twilight Zone 7 Alexander  (Gastown)
UBC Grad Centre Gate 4 (UBC)
Vancouver E. Cultural Centre   1895 Venables  (at Victoria)
Vancouver Little Theatre  3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville  (S.Granville)
Varsity Theatre 4375 W. 10th (Point Grey)
Vert/Washout 2412 Main  (Mt Pleasant)
Video In Studios  1965 Main (Mt. Pleasant)
Vogue Theatre 918 Granville  (Granville Mall)
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
Waterfront Theatre 1405 Anderson (Gi
Western Front (303 E. 8th Ave)
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 (downlown)
Zulu Records 1869 W 4th (Kitsilano)
ille Is.)
681 8915
988 2473
682 8550
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232 m >____/
Indoor Living
At Z»l» we say "con do", ond so
here's a record that can do it all
(oi you! Reluming afler a much
loo lengthy hiatus, this Chapel
Hill, NC quartet lip off the summer with a b
ol bright rockin' songs  stomped, sealed ai
16.98 CD 10.98 IP
(Available Sept. 9th)
Various Artists
Before alternative rock become a rigid abstract cote
gory, a debased and awkward term, ihere was tons ol
Magic City CD/LP
Ti-aony has a delightful, thoughtful, unpreten
tious, very idiosyncratic musicol sensibility Odd, vogue
ly medieval like music, lush, unconventional 70s prog
and pop. Un ironic '80s hooks and melodies - new wave,
plus An overall very '90s indie style, yel an eye lor the
future. A di
Big Soup CD
LUKE VI BERT is resourceful and inge
mous in his music making, displaying on
intelligent, selective capacity loi both
subtlety ond dromaticism His music ref
ness, his interest in pushing limits and exploring new ground, while ah
consolidating without summariiing previous works; no genre is simply
__!j_____f_^^___?_l!__! I_   '^      devo,,d ,0* <" »P^«»"y -talUngid. by Mr. VIIERT Smart bwts,
"™      good music Another quality Me' Wei release
- and we could go on ond on In short, we like her, and we
Ihink that Ae meek CHy is a wonderful place.
16.98 CD 10.98 IP
(Available Sept. 9th)
16.98 CD
Scanner Remixes CD-EP
Ihe spooky HOVERCRAFT get thei
Last of the
Sharpshooters CD/LP
These guys know a thing or two obout punk rock
and punched by the even spookier leaner on thi
that offhandedly demanded a re-examined apprecia
tion: hey mon, this shit is good! Now you con relive
those tasteful, sincere and idealistic moments of
rocks' developmental urgings os though il were the
first time! And thank you Matador Records for
making il all possible! This fine compilation offers
one disc of unreleased Iracks by all the - new ond ol
history, that is. In particular,
lead singer and guitar player guy Dave
7od«nUire' AndapproVriately, HOVERCRAFT \ SmMuf hos* w,,l; b«M ar,oufld (,ormer Mm}*' of DY$*Do« M",Y ond
All, even). And this dedicated commitment, and reliably high quality musical
output, continues on Last er nW Skmpdnthn, DOWN BY LAW s fifth
recording for Epitaph. So punk, catch up with these high pedigree, hard rock
ing, Ion appreciating fellers, they're the real deal.
customarily dark and atmospheric, instrumental space
rock tokes on on increased presence ond intensity -
such bod vibes made good. The result: impressionistic
and intelligent modern music. You'll enjoy these "hee
bie-jeebies" - particularly lhal paranoid, big city-type     16.98 CD    12.98 LP
feeling - like never before. Hey, whal the hell was thot
foves, and one disc ol classic tracks by        ^ Oft £[^Q>
e This
mer's not over yel, summer babe.
14.98 2CD 14.98 2 LP
Made from Technetium CD |
Obsessed with quantum physics, these space rawkin' surfers
offer a great formula for non stop fun (energy ♦ vorious
instruments ■ hard rock action) And even though ihese
oliens' profusely claim ta despise the likes of us earth
dwellers human kind, thai is - their superior rationality has
determined that our entertainment is the surest (orm for their conquest of our little ho
- enslave me, robot men!
16.98 CD (Available Sept. 9th)
Slaapkammerts Mit Slagraam CD-EP/12"
These recognized New York no-wave pioneers are as sturdy as a rock  which is also what they do,
and as reliable as the sun and the moon you con count on 'em for quality. And so, what are they
up lo this lime: further instrumental madness. Come listen as everyone's friend - SOMIC
YOUTH - play weird chords, notes, melodies and textured noise, all in the way that we respect,
enjoy and hove come to know them by. We love ihese guys. Keepin' up the good work. Excelsior!
12.98 CD-EP 12.98 12" EP
The Lateness of the Hour CD
The follow up to his much adored orchestrated pop smash Its Heavy in Here, ERIC MATTHEWS'
Tke let—a of lie Hear is the perfect distraction from all the rigor of today's hustlin' work).
Lush, but not overwrought, ERIC's songs detour through all pop's greot melodies, effortlessly capturing the delicacies of the abstract splendor that mokes today's pure pop music! A triumph for all.
16.98 CD   (Available Sept. 3rd)
AUTECHRE • Cichili Suite CD-EP/12"
U-ZIG • Lunatic Harness CD
DJ KRUSH -Milight2LP
MOUSE ON MARS • Autoditacker CD/LP
CORNERSHOP • Brimful Of Asha CD-EP
(Parts 1& 2)
MELVINS • 1996: Volumes 1-12 CD
All Seasons CD
ELEVATOR TO HELL • Eerieconsiliation CD
GRANDPABOY (Paul Westerberg) • Soundproof EP
1869 W 4th Ave.
Vancouver. BC
tel 738.3232
Mon to Wed 10.30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Turn On CD-EP/LP
"Groovy* just doesn't say enough to describe
this swell and dreamy, off center masterworlc
Tim Cane (Stereolab) and Sean
O'Hagan (High Llamas) work quite well
together, as their past collaborations via
Stereolab will certainly testify, and this "little ditly" comes across as no mere side-project
(even if it is one). While these boys just keep
getting better ot whot they do, the guest assistance by the beautifully voiced Laetitia
Sadler only helps further smooth the edges
- we're like podding over this. Come hear
what's bubbling.
12.98 CD-EP 10.98 LP
Moonf lower Plastic
Having sprouted off from Guided By Voices
(sorry...), this extraordinary songwriter delivers
his sophomore solo album - loaded with hooks,
wise pop sensibility, and heartfelt lyrics. Like a
more Kinks influenced Robyn Hitchcock
TOBIN SPROUT, with his sharp observations
ond melodic sense, is set to be the new ambas
sodor to off-beat pop enthusiasts! Fall in love
again,and again.
16.98 CD 10.98 LP
MORE wUOD DEALS! we-velowerei


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