THAT "ALTERNATIVE OR MARGINAL" MAGAZINE FROM CITR 101.9 FM unuon <wem jomion o-ucc d mipe**? fur-*" _\mm__L_* liiiLLEnnium projecu i-or i-ou heal AlOITI AflD H2» PACCAGE MIAPCA^E CANADA'S LARGEST AND BEST KNOWN RECORD STORE FLOORS aFFUM VlslTDUR«RbAW^ 568 SEYMOUR ST. FLOOR www.samscd.com EEn________™_3_SS_i- Features Hot Hot Heat Millennium Project Snapcase Atom and His Package Chuck D Super Furry Animals Linton Kwesi Johnson the editing times: barbara andersen the ad times: maren hancock the art times: robert horsman the production times: tristan winch the design times: chad christie, rob horsman, mike josephson, ken paul, tristan winch the photography and illustrations times: rob brownridge, jason da silva, christine gfroerer, ann goncalves, patrick hemingway, wonder knack the proofing times: nick bradley, chris dryden, ann goncalves, hancunt, jannine lasaleta, dorerta lau, rowan lipkovits, duncan mchugh, christa i, anthony schrag, erin shaw, graeme worthy the contributor times: tania a, rob b, chris c, julie c, mike c, mike d, bryce d, robin f, jamaal f, christine g, John h, hancunt, alia h, john k, samuel k, Jamie m, christa m, luke m, gary o, gibby p, anthony s, mar s, erin s, tobias w, not x the dial times: anna friz the charts times: julie colero the datebook times: barbara the distro times: matt steffich the us distro times: g-baby resch the publishing times: aaron nakama Das Book Louder Than A Bomb VlDEOPHILTER Under Review Real Live Action On the Dial Charts Datebook I didn't want anything in this issue to make reference to OUR ARBITRARY DATING SYSTEM'S IMMINENT TURNOVER, BUT THE CONTRIBUTORS ARE THE BOSS OF ME SO WHAT CAN I DO. Nevertheless, i love this cover by local Stay As You Are creator Brad Yung. Design by Rob Horsman. "DiSCORDER" 1999 by the Student Radi rsity of British Columbia. All rights reserved. Ci $15 fore i, payabl* ke cheques DEADLINES: Copy deadline for the February issue is January 1 2. Ad space is available until January 19 and can be booked by calling Maren at 604.822.3017 ext. 3. Oi upon request. DiSCORDER is not responsible for loss, damage, any other injury to unsolicited manuscripts, unsolicited ai iding but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or ou and sports lines at 822.301 7 ext. 2. Fax us at 822.9364, http://www.ams.ubc.ca/media/citr or just pick up a goddi pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1 CANADA. printed in cascadia Dear Airhead #233-6138 SUB BLVD, VANCOUVER, BC, V6T 1Z1 Dear Airhead: In your November '99 issue, you printed a review by Gibby Peach of Agnostic Front's Riot, Riot Upstart. Who is this clown? And why do you give him/her space to write in your publication? Mr/Ms. Peach begins by labelling Agnostic Front as "posers" and then suggests they are "characteristic of the [Epitaph] disease that has ravaged the punk/hardcore community for too long " Nevermind that Agnostic Front predates the Epitaph label, and has been paving the way for NYC hardcore bands like Sick Of It All and Gorilla Biscuits since 1982, we're supposed to give a shit if they spell "mothafucka" with an O or with a U. I'm sure Mr /Ms Peach is an authority on spelling "mothafucka" because he/she grew up in the mean streets of the ghetto. Chances are pretty good that Mr/Ms. Peach is a privileged, white, piece of shit college kid who hides behind a flowery pen name and big words in order to compensate for low self-esteem and a lack of social standing. How else do you explain his pretentious ranting? Do you think that Mr /Ms. Peach would tell Agnostic Front (big, tattooed ex-cons, by the way), Rancid, and Epitaph to fuck off in person? Probably not And he/she says that "punk is dead" and "hardcore is on its way out " Again, who the fuck are you? Those pronouncements might be one like Iggy Pop or Joe Keithley, but from DiSCORDER bozo Gibby Peach? Give me a break. The likely truth is that Agnostic Front were playing solid hardcore when little Gibby was poo- ing his/her pants and listening to Sharon, Lois, ond Bram. Admittedly, like any other band, Agnostic Front puts out a mediocre album from time to time But stating that they are an embarassment to hardcore is like stating that John Coltrane is a jazz pretender. Now, I understand that a CD review represents an opinion. But when the review goes too far as to insult individuals and a whole label and then decrees from on high that two entire music genres are as dead as Elvis, well, that's a little much. So, DiSCORDER starr, do yourselves a favour and relegate Gibby Peach to the status of office gofer if only for the sake of your publication's credibility. And Gibby — get a life, schmuck! Punk will outlive your Yours truly, Jim Fraser Gibby Peach responds I want to thank you (from the deepest recesses of my soul, I assure you) for the pick-me-up. I thought, upon first glance, that you might be serious. It wasn't until the part about Joe "king of the acoustic guitar" Keithley (proud Ford Windstar owner) and Iggy "King of" Pop (great new album; MJ ain't got nothing on the Iggster) that I knew you were just joshin' me Meaningful pronouncements about the punk rawk scene coming from them- would be like the Rolling Stones commenting on the state of rock n' roll Your letter had me giggling like a pubescent cheerleader. Keep up the good work! See you at Warped Tour Y2K, Gibby Peach (privileged, white, ex-college kid) Palinkas Eats MAJOR CHUTNEYS 3432 Cambie St. Have you ever been riding the bus, totally lost in thought, staring blindly at the neck of the person sitting ahead of you? I found that I was in such a situation when considering what I would be writing for this month's review. Usually these bus thoughts follow a forking path, leading to a conclusion that has little relevance. At best, these thoughts end up sounding half- baked, and when I share them with others the looks I get are akin to the ones I reserve for late night drunken philosophers or my parents (which sometimes are one and the same). All I ask is for your patience while I try to make a point, which hopefully I will do. I have always known that the act of eating out at a restaurant is one that is based on certain values and privilege created in a class society. Growing up in a family with relatively little disposable income, I know that being able to eat out is based on the ability to pay. This seems obvious. Also, the decadent act of paying someone else to prepare your food is a sign of your class position, or your desire to attain or emulate one, and in many cases this is the closest we firmly believe this is one of the strongest motivations for people to dine out. Not only that, the restaurants that you choose may also reflect certain attitudes associated with the broader society. I am thinking in particular about "ethnic" restaurants. in truth it probably isn't and they probably don't. Many restaurants that we consider "ethnic" (assuming that hamburgers are devoid of an ethnic component), serve the "traditional" food from countries that are generally among the poorest in the world. That aside, what is "real" ethnic food anyway? As I am sure any student of the social sciences would tell you, the idea of an authentic experience with the "other" is one that has been seriously called into question. If we are willing to admit that cultures change and contain many differences, then it is therefore impossible to speak of an authentic Thai, Indian, or Mexican. To expect some kind of generic or authentic Thai, Indian or Mexican would amount to nothing more than racism. Why then do we expect an authentic Thai dinner? Thinking a Thai dinner to be authentic is like going to one of those tourist's Luaus in Hawaii, thinking "this is what it is like to be Hawaiian." Thanks to early colonialists bringing back the stories and spices of far off lands, we have developed cultured palates. To go out for Japanese sushi or Indian curry is a sign of a cosmopolitan urban dweller. To "go for Indian" and encounter different cultures by eating authentic ethnic shov .el of c e that a e poinl we have all said something to the effect of "that isn't real Indian food" or "they don't really eat like that in China." Well, breeding. We are able to show off our standing by thinking about Indian-ness being contained in a bowl on our table. All this came from thinking about what I would say about Major Chutneys. Major Chutneys is not what you think of when you think about a typical Indian restaurant. There are and not even any Indians eating there. Apart from the wonderful smell of the kitchen, Major Chutneys could be any other "non-ethnic" restaurant in the city. The rice even had a sprig of parsley on it. As vague as this sounds, I thought it had a real "West Coast" feel to it (whatever the hell that is). I ordered a chicken curry. You can tell that they use quality ingredients because the entire meal was quite simply awesome The chicken itself was sliced breast meat that my mom couldn't cook any better. The curry was spicy, but not to the point where the flavour suffered. As far as the rice went, it made me jealous that I never have and never will be able to make rice like that. A great meal. On the down side though, I really wanted a glass of wine, but Major Chutneys is not licensed. The bill for dinner for two was just over $25, not too bad. I can't believe that I used to live four blocks away and have never been to Major Chutneys before. I think that Major Chutneys serves quality Indian-style dishes without resorting to selling itself as an "Indian restaurant." Major Chutneys shows how a restaurant can specialize in a certain style of cuisine while still making doing, it gets away from "tourists" coming to see how the "Indians" eat. One footnote to add: I have overlooked the fact that there are Indians that I am sure would want to go to what I, so self-righteously, called "an Indian restaurant." Have I been a little short-sighted? More than likely. • 4 Jancember 99 RadioSyj!Jj| 1 n t e r§gmmk Live from Thunderbird Radio Hell can H_9 __H be heard Thursdays trom 9-1 1 | _____Bfc_____B^^^^M PANCHO % SAL DiSCORDER: Who are you? Pancho and Sal: Hi, we are Pancho and Sal. Pancho is 51, plays charango, guitar, flutes, drums, piano, a little of everything! Sal, 37, plays guitar, lots of hand percussion and vocals. Sal, please tell the readers how you and Pancho became "Pancho and Sal," musical duo bueno. I became Pancho's partner 15 years ago when we met in Cuzco, Peru. It was love at first sight and since then we have been making music, children and a life together. Pancho played his guitar and sang, and I began to join in with him, learning the songs. On a recent bio for Pancho and Sal, it was written that "love" and "life values" play a large part in your music. Tell us how these things influence and/or manifest themselves in your work. Love is very important for everyone. That's why we concentrate on all the positive aspects that love gives us when we write songs. Having played all over the world, how, if ot all, does Vancouver Special Well, this is the last Vancouver Special of the 1990s, and it seems appropriate to look back over the local independent CDs that have come my way over the course of the decade. Ten years ago, in this very space, I had the opportunity to do the same for local demo tapes (remember The Hip Type, Lost Durangos, Big Guns, or The Little Ratskulls?), and luckily resisted the temptation to make predictions. Never mind the idea of downloading music from the Web — who would have ever guessed that Alanis Morissette or new country, would be huge? And what about that punk rock thing — was it really supposed to last forever? Speculating has its pleasures, but I'd much rather rummage through the heaps of shiny discs I've gathered since taking on this job in '96, and the smaller stacks of treasures from earlier in the decade. It can be a little disheartening, being reminded of all the great bands that broke up, and the great CDs that almost no one heard, but I find pulling out the gems to be a refreshing antidote to the overwhelming shiftiness of commercial radio. Here are some of my favourites, in no particular order: Jungle — It's So Fuck'n Great to Be Alive (Porcelain God, 1997) So loud, so exuberant, such unapologetically 1970s- style fun! Daytona — Chicane (Zulu, 1 994) Audacious, swirly, catchy, and totally obsessed with British motorcycles. They should have been huge Oh Susanna — Oh Susanna (Stella, 1997) Another audacious debut, this one was an young thing who seems to have a direct line to the ghosts of the South's tragic balladeers. cub — Betti-Cola (Mint, 1993) All the albums are great, but this is the one with the Dan DeCarlo cover, all the earliest hits, and the original lineup, cub will live forever! Space Kid . — Cereal (Humongous, 1996) I'm surprised I still own this one, since so many people have borrowed it from me. Worth it for the 1970s-80s pop culture references alone, but a wonderful listen too. Ralph — Coffee, Jazz, Poetry (Bongo Beat, 1997) Everyone talks about cool Beat- era style, but only Ralph (a truly multi-talented guy) is actually doing something about it. Maow — The Unforgiving Sounds of... (Mint, 1996) Their playing shows in North America differ from those played elsewhere (especially in your native South America)? With a message of love and peace, music goes everywhere and audiences around the world have welcomed us It doesn't matter where we play, if the public is receptive, they give us energy and make us feel good. When we play in South America, of course, there is no need for translations You've also mentioned that you enjoy playing your shows with other musicians joining in. Undoubtedly, this adds individual flavour to each separate performance. Have there been any strange experiences of this nature? We truly enjoy playing our shows with other musicians and we are famous for inviting them from the last band to join us or even invite someone from the audience. Our music is simple which makes it easy to jam with us. It's very magic when someone gets up and plays with you like you've played together for years. So far, only How many instruments (including percussion) do you traditionally take with you? Usually we take the guitar, the charango (a 10-string little guitar), lots of shakers, chas chas (a percussion instrument), and the Bombo, a South American drum, harmonicas and flutes. As far as your songs go, are they all Pancho and Sal originals? Do you ever play any South American standard or traditional numbers? Most of our songs are originals, but we definitely have our traditional and international favourites. After travelling around the world, we have songs from many countries It's amazing how the crowd reacts when they hear a familiar song and can sing along. A couple of Spanish traditionals that we do are "La Bamba" and "Guantanamera," also "Jamaica Farewell" and others in English, some French and Swedish. It is always lots of fun to sing these Have you ever recorded any of your original music? In 1995, we took a serious decision to make some recordings and completed a "demo" CD called Vivirei. We learned so much about the industry and how it works. Our first full-length CD, which we are very proud of, is called: Cuando Saiga la Luna ("When the Moon Comes Up"), that has just been released a few weeks ago. So this is another historical moment in our lives. Collection, 1996) A tasty slice of Vancouver's scene in the mid- 905, this compilation includes Tonebursts, The Electrosonics, Readymade, Gleam, Squeeky and Speedbuggy Various — Dominic Radio (Transsiberian, 1999) An astonishing accomplishment: more than 50 tracks on two CDs that are worth repeated listens straight through. Includes The Beans, Citroen, The emptys, and July 4th Toilet BY JANIS McKENZIE & CHRISTA MIN fake-fur bikinis caused a scandal and this cheery/snotty CD rocks. My only complaint: where are "Boy Groupies" and "Kill Kill Kill?" Neko Case — Neko Case and Her Boyfriends (Mint, 1997) Drummer for Maow, sultry old- style country singer, apparently this girl can do anything. Saddlesores — A Fistfull of Hollers (Empyre, 1997) Yes, a goofy pack-o-noise with a hell of a gimmick and to-die-for costumes. Pity the bands who went up against them on that VTV contest series! Bossanova — Bossanova (independent, 1997) If you can find it, this organ-drenched 5- song EP will make you happy Have a hot drink and enjoy. Coal — OneTrackMind (independent, 1998) Buy this one or their early Zulu release for exquisitely lush, restrained, and sexy torch and twang. Blinki — Acid Mudd (Viva, 1999) You'll have to jump up and down and sing along with this one. Intelligent, catchy, and Surfdusters — Raincoast Rumble (Fireball, 1995) Everyone likes surf music, and here it is with a Northwest twist. Various — Tiddleywinks (Chester's Funtime Record Where do you go from here? Our dream, like so many other people have, is just to get one song going around the world In the meantime, we continue to record music, write songs and try to keep up with the daily needs! Anything else to add? Thanks for inviting us for this interview. Discography: Cuando Saiga lo Lur Contact: Pancho and Sal #3-3548 Victoria Di i ("When the Moon Comes Up") CD (1999) Vane r, BC V5N 4M6 Tel: 604.872.5409 Fax: 604.872.5426 Cel: 604.644.3953 E-mail: pancho_and_sal@latin Web: www geocities.com/Fas '80, Drlh redis: r;nng For some reason, the best demos are the ones that are recorded the worst. They only send a tape, no promotional stuff, and they probably spend less than five bucks on the whole thing, including postage. They just record themselves at home, no CD burning, no mixing, nothing fancy, and the result is so hon- g that it ,akes Reissues/Revivals: Forget The Beatles Anthology. I was delighted when The Dishrags' Love/Hate (Other People's Music) came out in 1997, loaded with previously unobtainable nuggets of first generation pop-punk, played by clever, petulant teenaged girls back in the late '70s/early '80s. The United Empire Loyalists released their own CD of old- school psychedelia in 1998, mostly recorded in the 1960s. But it was Zulu Records who dominated the field, putting out the amazing Last Call two-CD set back in 1991 (including entries from mostly forgotten local heroes like The Furies, Active Dog, Family Plot, and Cannon Heath Down, as well as early treasures from DOA, NoMeansNo, No Fun, and Art Bergmann). In '95, Zulu followed up with CDs from three big names of the past: the Modernettes, Young Canadians (formerly K-Tels), and Pointed Sticks. Hint to would-be producers: there's definitely more room in this field - lots of vinyl treasures from the me want to cry. ESTHER LEPATENAUDE s demo is one of these kinds. She plays piano and a badly tuned acoustic guitar while her pretty voice struggles to be louder than the tape hiss She's Barbara Manning esque. Thanks Ester, for stopping me from dumping all the demos out onto a busy street. (<umatil- laproject@hotmail.com> 3471 Lovat Ave., Victoria, BC, V8X 1T8) GLENN SCOTT, Glenn Scott... who the hell is he? I feel like I should know. There's something very familiar about him. I can't place it. His songs sound like he's just discovering electronic music and still doesn't know how to use the equipment. The recording is so bass heavy, I feel like I've gone deaf and I can only feel the music's pulse. Scott keeps talking about the future, but is the future really 1983? (Box 204- 334 E. 5th Ave., Vancouver, BC, V5T 1H4) I'll never understand things geared toward children. Really, they're not thinking about the kids, they're trying to convince parents (with all the money) that the kids will like it. The BLUES BERRIES are supposed to be a kid's band. I think that means a lot of major chords and rhyming lyrics. They're also trying to make you want to dance. Think of those festivals where random kids are jumping up and down like maniacs. The Blues Berries mix swing, country, blues and guitar solos. They sound really Canadian. (Barry Bergkvist, phone: 604.816.2684) I was hoping for some punk rock from JETWICK There's a picture of a bomb on the cover of their tape. But no. Just your standard indie rock band. The singing alternates between a girl and a guy, both of whom attempt to add a weird twang to their guitar strum they all use. Then in other songs, they try to suppress the urge to strum that rhythm, even though they really, really want to play it. I'm not being fair. Jetwick is not bad. They're not great. They hover somewhere in the middle. (1395 Evelyn St., North Vancouver, BC, V6K 1T6) If you're really interesting, I'd like to just listen to you talk. I get to the point where 99% of music sickens me, and it's nice when I get the occasional wordcore tape HUGH PHUKOVSKY s musings are funny, and his voice is neither dominating nor wimpy. He sounds like a normal guy. You might want to get a copy of this tape just so you can hear "A Love Note For Marcey." Phukovsky even takes the time to explain the piece. He writes, "just because the ideas of white heterosexual males monopolise the industrialised world does not mean that I arn being represented." Complaints? Just make sure you spell everything right. (P.O. Box 33-345 E. Broadway, Vancouver, BC, V5T 1M5) • 5__^g3j®E_I_ Kill Your Boyfriend COMIC REVIEWS BY ROBIN feels as he falls in love with Palomar. Another great thing is santly. Usually a muddling gimmick, but Hernandez works it to his advantage to the point where you can pick up the story from This was possibly the hardest column I've ever had to write. Big deal, right? Well, YOU try to come up with your favourite comics of all time. I also want you to remember that these are MY favourites and will be subject to change within 24 PREACHER by Garth Ennis and Steve Dillon (DC Vertigo) A series that spawned 66 issues (yes, it's intentional and there are only 9 issues left) and never lost steam. Dillon's art is functional but distinctive and develops a familiarity needed for you to care for 66 issues about a small group of characters. It's Ennis' writing that grabs you and makes you wait apprehensively for the next issue. It's a western with a '90s feel revolving around Jesse Custer, a former priest with a horrifying past. He is infused with a power from heaven called Genesis which provides him with two things: the word of God, and the knowledge that God has bailed on humanity in general. (If it's not obvious, Kevin Smith was influenced by this comic.) His companions for his quest to find God and make him face up to his responsibilities are Tulip, an ex- girlfriend he's still madly in love with, and Cassidy, a vampire who once saved his life. The villains are too numerous to list, bul the main characters. And the story just doesn't quit. Not once does it stop pounding you, time and time again: from Herr Starr almost being eaten by redneck retards to Cassidy's heroin addiction, from Tulip's death and resurrection by God to the friendly serial killer they run into. I suggest you start reading it as, like every other comic, it's in the process of being made into a movie. Besides, half the fun is waiting every month for the next THIRTEEN GOING ON EIGHTEEN by John Stanley (DELL) A 29 issue series I just discovered thanks to Trina Robbins' book from Girls to Grrrlz. With utterly stylish art and marvey colours I couldn't say no. John Stanley used to draw for Little Lulu, so there is no lack of talent. Way more fun-loving and three- dimensional than Archie, Stanley's tales of Val and Judy remind me of how silly and dra- Mechar 3. Like when Val nd her new sleepwalk course, absolutely mortified and wishes that the earth would open up and swallow her whole; on another occasion, Val sees her best friend Judy with a guy she the dead. Just like any town, it's full of and conflict. Hernandez devotes time to various relationships and families, to the point where you know everyone and feel like you've known them all your life. You know how happy Luba feels when she can leave her life behind and dance for a little while. You know the Are your dreads Y2K compliant? Don't wake up Jan. 1 st with straight, smooth, normal hair! Get yi Mon/bo/ B?EAD 1 AX And hey, our wonderful beeswax / hemp seed oil dread goop, along with our new shampoo, makes a wicked-cool gift for that wanna-be dread head on your list. At hemp stores and salons near you! www.knottyboy.com Wholesale Inquires call 250-S37-0056* funkafied website for Kboy t-shirts, tarns, dreading combs and more! ing three years of weekly newspaper strips. I picked the work done by Goodwin and Williamson because almost every Star Wars comic since then has been vile tripe, especially the new ones. Classic Star Wars got me more excited than likes and collapses in tears, "WAHHHHH! MY BEST FRIENDI", when all the while Judy's telling this guy how great Val is. Mistakes and wrong conclusions abound in every issue. I especially like the honesty. I don't know about you, but when I was 13, I was boy-crazy and full of romance. It's nice to read a comic that reminds me of that without it being too old. HEARTBREAK SOUP by Gilbert Hernandez (Fantagraphics) I came into Love & Rockets rather late for a self-proclaimed "indie :d read Music for (yes, I'm young! So?) t too impressed. But Heartbreak Soup, by the other Hernandez brother, is enthralling. Starting with all the babies midwife Chelo has delivered, you're invited into Palomar, a small Mexican town. There is no action or adventure to grab you immediately, yet somehow you find yourself devouring each story. At times, the story can be a little Hernandez tells the tales of everybody of planets, creatures and Star Wars technology. My only complaint (and yes, this is nitpicky and silly) is that Williamson usually gets the image of Princess Leia bang on but, halfway through the series, she all of a sudden becomes this femme fatale with gobs of make-up, itly eyes and bones. Apart from tiki vith this t tion becc Good. Willia for the job. The three books are In Deadly Pursuit, The Rebel Storm and Escape lo Hoth. All three books are must-haves for all Star Wars lovers, not only for the art and writing, but also for the excitement of feeling like you're watch- n g befuddli ng in its majesty. MAISON IKKOKU by Rumiko Takahashi (Viz) My boyfriend got me into this comic. It's a funny, tortured, silly, love comic, kinda like a Japanese Three's Company. It's about Kyoko, the lonely, prematurely widowed landlady of the boarding house Maison Ikkoku. She has two suitors: Godai, a shy student, and Mitaka, a tennis coach whose advances towards Kyoko are consistently foiled. There are also the other tenants, who always manage to interrupt and misconstrue everything and anything that happens. Not once did this 70 issue boring, and I never failed to smack my head and groan, "Oh Godai!! Just tell her already!" at the end of each issue. I have to warn you, though, there are only two issues left after the current one, and the last five have ended in tears. CLASSIC STAR WARS by Archie Goodwin and Al Williamson (Dark Horse) Three trade paperbacks compil- between Star Wars and The Empire Strikes Back, the three books chronicle the tales of Luke, Leia, and Han Solo and their adventures. It's interesting because there is still that tension that existed after the first movie. Goodwin is such a great writer that the < with the n Mot to the fanta of the Stuff that made me jump up and down like a kindergarten student while reading it or waiting for it. Stuff that wasn't in the sec- ru. neve* focwve \OU AS U0N6 H& 1 UVS, sow/ tedious and reiterating style of the weekly strip to book format, and he does it deftly. The art is utterly beautiful, and the page layouts add to the ambience of S Ihe pane -vith ! detail and colour, yet never too much to distract from the story line. With the density of every black brush stroke, he creates a darkne ; that is ond holf of my collection. (Come on, if I looked at my whole comic collection, I would've never gotten the column done.} Stuff that made me really, really happy. Stuff that made me really, really sad. Stuff from all ages, for all ages. Stuff for boys and for girls. And stuff I had nothing bad to say about, that was so good I had p*-> *-«<"- plaints. I know there c remarkable imagination by way anyway. plaints. I know there are a ton of things I neglected to mention. But this is my list — for now, mm We're looking for outgoing volunteers to help us get our information to youth. CONPOMANIA is a youth directed program to help prevent SlTs (Sexually Transmitted diseases) and promote personal safety. We provide the training. If you have two evenings a month to attend fun local events, call us 7 inch Overload!! Who let all these bands near the vinyl factory? I have had an onslaught of hot platters this monlh, and am tired from all the flipping of records and changing of speeds and hunting for those deelies that go in the middle of them records with big Quality pop with handclaps me this month from a band called GOING STAGG. This band is hot stuff. It's got the pop "love"/"love lost" songs down pat, and the guitar dynamics achieved are something lo applaud I am looking for more of this sweet action. (Kittridge, 9801 Geyser Avenue, Northridge, CA91324) I played the new MISHIMA 7" twice on my radio program before I listened close enough to notice that it wasn't the band I thought it was. I was thinking I had something new from the Toronto math rock enthusiasts who put out a CD last year, but T* :-:■••.■■ :.w ■?■■■ . v mm this is actually some emo band from Massachusetts Dang I thought I had more Canadian stuff to play! And since it's so darn boring, you won't be hearing it again! (Dahlia Records, PO Box 852, Jamaica Plain, MA, 02130) Good Canadian stuff did show up in the form of the DESTROYER ond KEPLER 7*1 The Destroyer release features one new song, "The Temple," and a band mix of a song from the last album, City Of Daughters, "Loves Of A Gnostic." Somebody told me that the "Loves..." track got wrecked by the band, but I think that everything Destroyer does is a-okay. "The Temple" is my new favorite pop song For now, that is I'm bad that way, but maybe your attention span is longer. Keep an eye out for the new full- length coming out soon, too! (Endearing. PO Box 69009, Winnipeg, MB R3P 2G9) Oh yeah, and about lhat Kepler 7"... This band sounds a BY JULIE COLERC sounding I liked Team Dresch a bunch. Kaia left that band to do her own thing, and her first album, despite being absolutely nothing like Team Dresch, ruled. I'm not so down with her current band, the Butchies, but Kaia's solo stuff still warms my heart. She's got the strong folk songs little bit like Bedhead, and I can't think of any band better to borrow a sound from than that one. This music is quiet, sparse, gentle stuff, a little post-rocky, but tastefully so The vocals are barely audible, and work perfectly with the songs' dynamics. (SpectraSonicSound, PO Box 80067, Ottawa, ON K1 S 5N6) LAMBCHOP and DUMP have put out a nifty little split 7" to keep everyone warm this winter. Lambchop's "Up With People" is a repetitive, polished pop track with horns and a very upbeat vibe. It sounds like Jim O'Rourke's easy listening trend is spreading. Dump's "Dive For Your Memory" is more to my liking, a very lo-fi, jangly, peaceful pop song. It's a cover of a Go- song, care.(Third Gear, PO Box 1 Royal Oak, Ml 48068) Another split arrived courtesy of SARAH DOUGHER and KAIA Records like this make me feel good, even when both songs are awful depressing the great wonders of the folk-pop sad song with sharp lyrics world (Smog Mountain Goats) on his two-song release. This is definitely my favourite "no handclaps" record of recent months. (Southern, PO Box 577375, Chicago, IL 60657) Some more listenable tones arrived at my fingertips c lesy of PEDRO THE LION down. So does Sarah Dough* for that matter. Thes deserve large and loyal follow- ings More releases like this one should help that cause. (Mr. Lady, PO Box 3189, Durham, NC 27715-3189) GEOFF FARINA is my new best buddy. He's in Karate, who I don't love, but his solo stuff rules the world. He's got that well-thought-out sensitive male song styling wrapped around his finger, and makes me think of (Homemade Recordings, PO Box 1234, Coquitlam, BC V3J 6Z9) Ther this label :alled Stones Throw, belonging to Peanut Butter Wolf, a very important fellow in the hip hop scene. PBW has done a good thing by bringing some hip hop onto the 45 rpm circuit. The DJ A-TRAK release I got, "Enter Ralph Wiggum," is super. A-Trak is that little powerhouse scratch- and-mix master from out east, the i ripping up a storm t age 1 and i soned veteran at 17. Holy smokes Both tracks on this release show where the mad skills are at. I really like this, because it's jusf long enough to remain enjoyable. Too much scratching drives me a bit batty. Other things that drive me batty are bad funk and soul bands. Unfortunately, that's what Stones Throw sent me, along with the A-Trak. BREAKESTRA have a funky soul sound, but the singer gets on my nerves. No, you are not James Brown I am not being snarky, I saw this band live, and I can honestly say lhat what u lakes the band. Too bad. The other bit EL CAPTAIN FUNKAHO 7 What the fuck. This is a painful ings, and should be smashed to bits. I don't need to hear about his quest for a "Space Slut," or hear his crap female vocalist croon on about the Captain's Atari obsession. Yuck. So, to sum that one up, go A-Trak, leave the rest at the station. Better luck next time, stick to the hip hop scene. (Stones Throw, 530 Divisadero St #208, San Francisco, CA 941 17) • Das Book GRANT BUDAY White Lung (Anvil) ROBERT KROETSCH The Man From the Creeks (Vintage) geographic regio e find o planted in the middle of, has always had a fascinating economic history. The interplay between citizen and economy here has more than once found itself as the backdrop for a novel Witnessing a flea-sized character pursue his or her economic interest on the back of an ever-moving dog can be fabulously entertaining; a lot more so than one might think. This issue, I've got two local (one really local, one sorta local) examples which illustrate the myriad ways that people on the left coast have pursued their economic endeavours as the area has blossomed. Some have struck gold. Others have worked themselves to the point of exhaustion, ending up with little more than table scraps. 8 Jancember 99 Others still hav their respectiv companie: vith them ill of their eco Bob id Grant begins and e Kroetsch ai Buday a tellers They that econoi made up pri people (a nc corporations, gove ments, and their la forget). I'd read enough Saturday Mix "Grant Buday Grant Buday Grant Buday" in the Vancouver Scum to make me puke up my toast. And, to quote my boy Flava Flav, "Don't believe the hype." But I just had to find out why Van City was so excited about Buday, so I snagged his n< book White Lung. The prem was strong enough: guy woi for mass production bake bosses fight union, workers c fucked. I gotta admit, thouc that after the first few chapters I was agreeing with Flav. The hype, to me, seemed based on little more than fantasy. Buday's style was, I thought, unrefined at best. I certainly didn't recognise any significant talent. And then, whoa, like a lung-full of bleached flour, the book just got surprisingly terrific. I don't know if Buday intended this, but all the characters became profoundly interesting after about page 50. His writing, as well, got more flowery and colourful (without lacking in substance). White Lung became, as I progressed further into the read, one of my new favourite books. It's so shit-hot I might even buy someone a copy for whatever Hallmark holiday comes up next (maybe you should, too... hint, hint). Buday, as the cover image suggests, puts a human face on your morning muffin. After reading White Lung, you'll never again eat a slice of factory-produced bread without coughing up a little dust for Epp and Klaus and Stahl and the rest of Buday's semi-fictional "Bestbuy" crew. I should admit, now, that I picked up Robert Kroetsch's The Man From the Creeks knowing that I would dig it. Bob Kroetsch makes me spin like a top. I dig almost everything he's ever done, but I didn't think I'd enjoy his tale of the turn-of-the-century Klondike gold rush as much as I did. Using Robert Service's "The Shooting of Dan McGrew" as his seed, Kroetsch grows a novel of Cascadian proportions. The characters are vigorous, viva cious, vibrant and so full of money-lust that the reader can smell their calamities from around the corner. The book itself is resplendent with our rich Pacific Northwest history... a captivating history that shines like a fist-sized nugget of gold. Polishing the nugget is a golden ending that only Bob Kroetsch is capable of. It makes me think that, maybe, his version of the shooting of Dan McGrew deserves to be remembered right alongside Service's. The prairies are first in my heart, but the Pacific coast has become my home over the years and I can feel a sort of connection to the economy here thot isn't really present in Manitoba. Here, from the gold-rush economy to our current, shitty, downsized production system, an underlying social history has always connected the reader to the worker to the economy. It almost makes me proud to re in Cascadia. Here, in Vancouver. When I ride my bike down Powell I can picture the droned-out workers inside their noisy factories, possibly telling their co-workers about the j tumultuous events that H shook up their weekends. But I can also picture the Stampeders, 100 years ago, boarding ships where the factories currently stand, telling each other about the tumultuous events that would soon shake up their entire lives. Riding along, I can't prevent myself from thinking that never be greater than the si its parts. • Louder Than A Bomb Two months ago, the very scary right-wing group Genocide Awareness Project was invited to the UBC campus by certain pro-life students. The GAP uses images of the Holocaust, the Rwandan genocide, and racist lynchings to promote their reactionary agenda. GAP travels around North America intimidating public and private institutions into allowing them to set up their offensive displays, deliberately inciting reprisals, then using these confrontations to present themselves as helpless martyrs (while reaping a tidy profit from lawsuits levied against institutions for not providing "adequate security"). Their line of argument links women who have abortions with the perpe- quickly and efficiently as possible for some unstated evil purpose. What their analogy fails of the wledge is the :t that *s of ti the cidal Rwanda, and "ethnic cleansing" in the former Yugoslavia. What is more offensive than their practice of intimidation is their wholesale exploitatic the suffering of e ,fhnic/m >l/r« groups as a marketing tool. Trivializing tragedy by exploiting these images to further an essentially unrelated political agenda (thinly disguised as a "fetus' rights" platform) is not betrays a fundamental lack of understanding or respect for the victims of these atrocities. Even he genocidal acts to which they compare abortion were committed for political and material gain: Blacks have been tortured and killed to maintain white domination both during and after slavery; Nazis targeted and massacred Jews for political leverage; the Rwandan genocide was motivated by hunger for political power as were/are the conflicts in the former Yugoslavia. My point is that ted to silence and establish absolute power over another group. Abortion, on the other hand, accomplishes no such feat. It is physically and emotionally traumatic, and I challenge GAP to demonstrate any way in which the "wholesale massacre" of fetuses serves to benefit women politically. What is really in question here is not fetus' rights; rather, it is women's rights. Does a woman have the right to control what happens to and in her body? The right to choose does not mean abortion as a "convenient" method of birth control nor enforced abortions; it simply means the right to decide for oneself whether or not to go through this difficult process. GAP and others like them would take away not only that choice but also the ability to , thei S OppOSlth 3 their agen- s based c supportabl* premise: there is a global con spiracy of "pro-abortic women and nasty abortior da. What GAP is truly focuse on is power: the power to trol others, to enforce i agenda on a populatio Fortunately, the Students for Choice group successfully lobbied the Alma Mater Society to impose strict conditions on the GAP to ensure that their actions sed the il damage to subjected to their brand of hate- mongering. The rules were strict enough that GAP realised their jlised and they decid- *. How, it the ed not end of November, a GAP display appeared suddenly outside the main entrance to the Student Union Building. The whole fiasco was so infuriating that it compelled some activists from Students for Choice to physically tear down the offensive display. The students now not only face legal action and academic censure, but slander. AMS President Ryan Marshall reportedly said that these students were "no better than Nazis." The attitude Marshall demonstrates not only flies in the face of the AMS' official position on GAP, but also demonstrates the same crass attitude towards the victims of atrocities as GAP itself. Marshall's tacit support of GAP's hate-mongering is unacceptable: he owes Erin Kaiser and Students for Choice a public apology at the very least, and, had he a conscience, he would issue a general apology and step down as President. You can register your support for Students for Choice and Mai beha eptable <feedback@ubyssey.bc.c Ceeebkate Ko^iMii Day with Bryce d ©IFF everytmiiuc; IM THE STORE 3296 Main St. @ 17* 876.9233 MON-SAT 11AM-7PM SUN 12PM-6PM GARAGE, Oil, SKA, HIP HOP, HARDCORE, EMO, ANARCHO-PUNK LPs • 45s • CDs New & Used COME VISIT VANCOUVER'S HEADQUARTERS FOR NEW VINYL TOP $ PAID FOR PUNK VINYL Video Philter The progressivist mantra, made possible by our friend Martin Luther and his delightful split from the backward medieval church wilh its priestly privileges and scant honours for the honest men of science, has been chanted with fervour throughout the past three centuries. All good North Americans know that it is our Protestant work ethic that has vaulted our continent — the one lhat used to be uninhabited — to the forefront of good living In our technological Utopia, there has been no unhappiness, no sorrow, only cell phones and PCs for everybodyl And now all we can talk about is how it's fucked Why? For one, because this continent wasn't built by WASPs, only tenuously controlled by them For two, because underneath, despite all our atheistic bravado, we're all painfully superstitious. And for s that Mm mg <* rhre be. c are laziness and order. We all secretly want to be billionaires who live in a perfectly organised society and can spend all our time golfing or reading or drinking Manhattans or pogoing to the Beastie Boys at the Fabulous Commodore Ballroom Two thousand years ago a man was born ("Ouchl" said his mother, "why couldn't I just huve a baby like everyone else. .") whose only recorded words speak of love, selflessness and harmony. 1967 years after his death, he's the inadvertent centre of a lot of talk about guns and tinned corned beef. How Jesus and computers ever got together to tango through this flirtation with catastrophe is one of the strangest, funniest things that's ever happened in my life (she said only days before the unknown event and with great optimism). When I was 1 1 years old and asked by my Grade 6 teacher to envision my life at the millennium, Y2K was not the fantastical future world I conjured up. Not yet old enough to enjoy a refreshing dip into paranoia, I thought maybe there would be flying cars. The fact that there aren't flying cars, that instead we have ugly, pre-molded clone- cars, is but one of the ways that the makers of science fiction films were so right about the future and I was so wrong. Knowing that the millennial Video Philter was at hand, I turned my collar up and set out into the cold reaches of space 10 Jancember 99 rent obsessions, I only chose for my viewing and reviewing pleasure films made by people of a similar psychosis: each one had a number featured prominently in the title (This of course does not include sequels; much to my former-nerd friends' dismay, Star Trek II: The Wrath of Khan was nixed ) In a number of experiments conducted with the utmost adherence to scientific method, thing: unlike the millennium, space movies are very silly Heading the list of riotously rious Plan 9 from Outer S^ace Often billed as the "Worst Movie Ever Made," this Ed Wood gem was purportedly financed by a Baptist church who required that the entire cast be baptised (also known as the first sign of the apocalypse). The film opens with a narrator seemingly hopped up on speedballs, who intones: "Greetings my friends. We are all interested in the future, for lhat is where you and I are going to spend the rest of our lives. And remember, my friends, future events such as these will affect you in the future." From there, he goes on to say that what we are about to see is a dark secret long hidden that will only now come to light. Past or future, it only gets better from there. According to the plot, aliens have come to earth to destroy it in order to save it from destroying itself. If I say more, it will ruin the astounding surprises that the film holds for the first-time viewer — like how it could ever have been released My only word of advice is to keep your ears open for the scene between the General and the Corporal in which they discuss the army's position on the existence of aliens. A masterpiece of surreal satire, it predates Dr. Strangelove by six years, though Kubrick intended, Ed Wood unwitted. Moving back 12 months (to 1957), yet light years ahead in production value, is the ultra- cheesy, Sunday afternoon special Twenty Million Miles to Earth William Hopper, known to Perry Mason freaks as Paul Drake: PI Operative, plays the to Venus. The project is kept from the public until a triumphant return can be assured. Of course, things go awry and the giant spaceship crashes off the coast of Sicily (where apparently everyone talks in broken English with Chef Boyardee accents) The only survivors are >nda ild life for which (c it be any other way?) goes missing. Falling into the kindly hands of an Italian zoologist and his pre-med, babe-alicious granddaughter, the Venusian life form begins to grow with startling rapidity The essentially harmless creature is provoked by ignorant man (mostly of the species Italianus) into a snarling beast, with all the horror that a clay- mation figure spliced into the film can engender. While Twenty Million Miles to Earth succeeds in its goal of thrilling small children, and those who wish they still were small children so they didn't have to go to work, I couldn't help but wonder why we were never given a glimpse of Venus which, according to the lengthy testimony of William Hopper, was a fabulous place to visit. In the spectrum of govern- kept secret from the public more or less criminal than one which the public witnesses, but which does not actually take place? As it was advertised when it came out in 1978, "Capricorn 1 The mission was a sham. The murders were real." Starring James Brolin, Sam Walerston and OJ Simpson as astronauts who are forced to take part in a faked mission to Mars, Capricorn I is the least silly of all the films I watched for two reasons: it doesn't have aliens and it doesn't take place in space. As such, the filmmakers didn't have to waste their money crazy special effect monsters. They could actually afford to hire a scriptwriter and some actors. And OJ Simpson. The all-star cast — including Elliot Gould as a reporter who smells a set-up, Hal Holbrook as the NASA poster boy for two-faced bureaucrats, and Brenda Vaccarro as the Capricorn I. Saturn 3 The similarities end there Made in 1979 and released in 1980, Saturn 3 has lavish space sets, post-modern space outfits, a robot of complex design, a tiny cast, terrible acting, and a crappy script. Who are three people who should never be in a claustrophobic space movie together? Kirk Douglas, Farrah Fawcett and Harvey Keitel. Though I can't really say that Douglas is bad in his role as the leader of a two-person colony on a Saturn moon, he is a little old to be strutting around in beige poly- with white and off-white tunics in the future? Are we all going to pathologically fear loose-fitting clothing and bold colours as signs of our dark, slightly flabby past?), fucking the baiely 25 year old Farrah, and wrestling naked with a (fully clothed) Harvey Keitel. (In fact, I'm a little old for some of that naughtiness.) Throughout the film's 80 minutes, Harvey Keitel looks like he's stuck in can't-get-out-of-my- contract hell, and it sounds like he literally phoned his part in. His voice always seems to be coming from a speaker just off camera, as he mouths the words. And what words they are. Ever the smooth talker, inside five minutes of meeting Fawcett he drones, "You have a great body. May I use it?" Despite all the shocking revelations I have just imparted, I have yet to mention the most startling fact of all. Saturn 3 was the last feature film directed by Stanley Donan, director of Singing in the Rain. See it to believe it. If you really want to see a good space movie, just get it over and rent 2001: A Space Odyssey (and maybe this time Videophilter Top Ten Moving Action (TV - "I think you're really qualified for this job, but I think I'm going to hire that hooker instead.") 2. Get Real (Film -1 knew that "fag" thing would get them in trouble.) 3. Praise You (Music Video - Subtlety maVes a comeback) 4. Shack out on 101 (Video - Snappy dialogue, bizarre gay undercurrents and Lee Marvin. B-movie heaven.) 5. Being John Malkovich (Film - Malkovich!) 6. Go (Film - These boots ARE made for walkin...) 7. Show Me Love (Film - Lesbian Coming-out Primer) 8. Ultraviolet (TV - Best British series since Prime Suspect, plus cheese!) 9. White Heat (Video - Cagney melts down in a Freudian Atomi nightmare.) 0. Run Lola Run (Film - It doesn't have to be art, goddamn it!) forgo the trip) If you're looking for a healthy dose of paranoia and numbers, do the Pi thing. But if you're looking for a rehash of the paranoiac future-fantasy where we're all given numbers instead of names and everything is controlled by a supposedly benevolent dictator/ruling class/machine, then rush out and get THX-1 138 As anyone who was silly enough to go and see Star Wars I: The Phantom Menace this summer knows (she said sheepishly), George Lucas hasn't many new ideas in that billion-dollar brain of his. The guy audacious enough to rip off Jesus for his middle-aged sci-fi myth-and-money-maker had balls enough to rip off George Orwell's 1984, and a little of Aldous Huxley's Brave New World, as a first-time filmmaker. Even by 1971 standards, there are no new ideas in THX-1138. Even worse, and despite a decent performance by Robert Duvall, it's really dull. According to Lucas, as cited in Peter Briskind's Easy Riders Raging Bulls, the studio "cut the fingers off his baby" by re-editing it for public consumption Perhaps a masterpiece was left on the cutting room floor. Perhaps George Lucas should stick to special effects and leave the filmmaking to people who have a talent for it. As a gal with a talent for mixing a cocktail and watching a flick, on January 1 I'm going to eschew sci-fi and settle in with a delicious Manhattan and a lengthy Thin Man marathon. There are no better companions to wipe away the pessimism of the millennium than a little rye and a lotta '30s chic. If you can't look forward to something, why not look back? • Images I've Seen This Year astro-wife — thankfully shoulders the bulk of the action. Though this isn't the taut thriller it wants to be, the snappy dialogue and numerous sub-plots keep the action moving. Besides, what other movie are you going to rent that stars two Mr. Barbra Streisands? oppiness by Miyu You check your messages four times a day, and you feel little lost when there aren't any, so you send off a few ills because maybe they'll send you one back, e's only bills in your mailbox, but you wouldn't know t a letter looked like anyway, so you send off twenty Christmas cards thot oil look exactly the same stamped and sealed, red envelopes, and you're horn- alone and you con't find your god-damned cot, so you g< ) walk and you run into that girl you know, and you stand there with nothing to say, ond she has to go, oi wonts to go, ond she says "Take care," and you remember thot you have nothing, nobody to take care of, so you dro* a few coins in the plastic boll beside the person with thi bell, ond you put your hands in your pockets, your foce ii your scarf because suddenly you feel how cold it is. !■■■< open jazz jam session hosted by the james forrest trio mondays open mic night hosted by dino dinicolo toonie tuesdays with dj mike alleyne (funk, etc.) special $2 menu _sro "funk with a facelift" featuring various funk groups ___£ "jazz with an edge" featuring various jazz fusion groups new year s eve at the cellar jazz cafe SPACIOUS COUCH DJSHORTFUSE *S Saturday dec. 11: pearl django the John roper trio Saturday jan. 8: libeatos Jan. 14 ■► 18: brad turner quartet bunco & the single malt quartet friday Jan. 88: chris tarry trio 3611 west broadway 7 3 8.1959 cafe opens at 8 pm S. In terms of records? / I heard about a •certain label going U oiler, Hand hopes and aspirations going with it? v ^ A' house, drum _ bass, techno, hip hop, dub, trance, ambient, jazz, rare groove, progressive, breakbeat, new i used, import i domestic, Ifs, magazines, BOOMTOWN WW is Un Do vibe, dub, metru, echo, honey drop, lithium, TPHS, extra strength, TIP BOOMTOUJN 7WE 102-1252 BURRARD ST.(SOUTH of DAVIE) -893 8696 BOOMTOWN VICTORIA - 105-561 JOHNSON ST. -(250) 380 5090 ing a non-perishable food item for our christma and recieve a special discount on your pure ii E Millennium Project « ^ d release on Vancouver's Mo' Funk Scort Tucker on bass, John Raham DiSCORDER: How did you hook up with Mr. Bill Laswell? JP Carter: The producer [Ian Menzies] thought it would be a good idea, so he called him up We were pretty stoked I know that there's a mixdown that has to happen with any album, but that's not something that is usually highlighted with regards to a jazz album, you know, 'the mixer.' What did he do to it? How did it change after Mr. Laswell got his hands on it? JPC Well, first of all he made it sound good. It didn't sound good before? John Raham: I think he has his stamp on it, but without taking so much liberty that it turned out like a completely different record. I think he did a great job, listening] to what we were doing and not faking away from that do to his own magic tricks, but just to support and augment what was going on It's scary to send a project away and not know what's going to happen when it comes back. I felt confident about sending it to him, but still, not knowing what you're going to get sent back is scary I was happy when I got back to hear what he had done. So do you get to go to New York and play at the Knitting Factory, now that you're down with Bill? JR Sounds good. JPC: Set it up. This is your second release. The first album was also done for Mo' Funk, what was the response like from the first album? JPC: Better in other places than in Canada. Who are your favourite Canadian jazz musicians? JPC: Um, um, um... You can just cheat and say Oscar Peterson if you want. JPC: Well, there are lots of local people whose stuff I love, like Brad Turner. What plans to you have for the millennium? JPC: We're going to play, tour fhe West Coast, do jazz festivals, and then go fo Europe. Why do you call yourselves the Millennium Project? Why don't you call yourselves the Millennium Band? How is a project different from a band? JPC: I guess when if started out if was more... that, and then it just became... a band. So, no intentions of cashing in on the whole Y2K trip? JR: [Millennium Project] formed a while ago, in 1996. It came about at a time when we all finished school, or sort of stopped going to school. It was time to figure out how to do the work of building a band; get some things in your head out, and that's a project in itself, to find a bunch of people to make music with. All the songs on Simulasticity are originals. How do you come up with the titles for songs in jazz? Rumour has it that one well-known jazz band watched pornos during breaks in recording and used that as inspiration when naming songs. Do you guys do that? How do you come up with your titles? JPC: No, we don't do that. I'm not, like, a writer, so it's tough to go through that experience of naming something, and most of the time when I do it doesn't translate into some easily accessible word in my vocabulary. It doesn't really spawn one particular idea that I can work with. You know, you have to write a title. You do up some charts for the guys and pass them out, and if there's no title on it... You're in trouble! JPC: Yeah. There was this one I just couldn't do, so I just wrote this little shape on it, and I got lots of flak for that too. I'd say, 'Let's play this one,' and make a little hand symbol. So I had to contemplate what the tune is all about, and then I had to make up a word for the tune, 'cause I couldn't find a word that fit. JPC: And that tune is "Simulasticity," the title track. Naming songs is hard when it's instrumental. You know, I was really drunk one night at this lounge, and the DJ was spinning, playing the record On The Corner by Miles Davis. And the manager asked the DJ not to play 'any of this contemporary jazz.' Of course, On The Corner was released in 1972, so I asked him what his definition of contemporary jazz is. He had no idea. What is contemporary jazz? JPC: I don't know. Maybe it's like, Kenny G. But that's not contemporary jazz, because it's not jazz. It's like, adult contemporary. JPC: With regards to contemporary and traditional jazz, some people think those are two opposites, which they aren't. Traditional can be done now, but that doesn't make it contemporary. I don't think that 'contemporary' is a necessary label or moniker to stick in front of anything, because it is what you hear. So how are people trying to define Millennium Project? JR: It's back to the whole category thing again, it seems like consumers need to have a tag on it to consume it. If you say, 'This is crazy fucking new shit and you'll like it!' they won't go for it. How can we make jazz have a sexier reputation? JPC: That's what we're trying to do here. • BROS COASTA] GRECOR EPITAPH • GREENTC ESTDON S ■» HOI CELLAR THANKS TO ALL OF OUR ADVERTISERS: WITHOUT YOU WE COULDN'T SUBSIST IN WiiSSiiS^tSISSSi^ all our glory. HAPPY HOLIDAYS AND FUCK THE WTO! INDIE IS THE WAY TO GO! FebruarvDeadlines I » — Book: January 19th j mar Art; January 25th Streets: January 28 DiAlMS, HANOXK # 822-3017 X 3 H« All Y«JR A0\ PUFF • PU ULJ.Co -' lv*i/v Al.LMANRECORDS • SONAR N • STARFISH • SUGARREFIN- 1DWIDE • TOPQUAUTY • TONI- AGE • UBCBIKEK1TCHEN IGINMEGAS- jLuHcCGRDS 12 Jancember 99 by Mar Sellars & Rob Brownridge If you visit the Victory Records website, you'll see a banner ■ displaying a countdown to the release date of Snapcase's new album, Designs for Automotion, on January 25th, 2000. This will be their third full length, following up 1997's Progression Through Unlearning and 1994's Lookinglasself. Like a lot of people who are into hardcore, the members of Snapcase have a love-hate relationship with the scene that has helped them become what they are today. It is a scene dominated by aggressive, mostly white males who like to strut their stuff by dancing hard in the pit. Anyone who's been to a hardcore show has probably the seen the very, er, creative hardcore dance styles such as floor-punching, windmilling, and spin-kicking. Instead of taking an in-your-face, youth-crew approach to hardcore and its philosophies, Snapcase focuses on more universally accessible messages of individuality and self-realisation. As might be expected, this allows a broader range of people to be affected by their music. Snapcase are renowned for their powerful and emotional stage presence. That, combined with their less exclusive style of hardcore, has made them a favoured band to tour with. On their most recent tour of duty, they got to play shows with The Misfits and 7 Seconds. Last year they ended up on such high profile bills as The Vans Warped tour and The Deftones' US tour. Despite this, they remain true to being an independent, all-ages band. Mar and Rob caught up with Snapcase when they played a matinee show with Buried Alive, Kid Dynamite and 7 Seconds at the Commercial Drive Legion Hall in Vancouver on October 30th. DiSCORDER: Can you tell us a bit about the new album, and how it compares to previous ones? Daryl It's more of an interesting sounding record than previous albums. There's more diversity from song to song, and within the songs there's more intensity changes. Do you guys consider yourselves a hardcore band? I guess. The hardcore scene is where we come from and what we owe everything to. Without the hardcore scene we'd be pretty much lost; we wouldn't be where we are right now. But people have different conceptions of what hardcore is, and we don't want to be pigeon-holed into what some people might think hardcore is. So what do you think hardcore is? I wouldn't try to define hardcore. I don't like defining different genres of music; I think it just limits what people think. The best thing you can do is just check out a band live, and I think, especially for hardcore, the best way to witness what it's all about is to see a live show. That's the most important thing. A lot of hard dancing was going on at tonight's show and a fight even broke out — what do you prefer to see a crowd do? I've never been a big fan of the windmill arm thing and the kicking, because you can't see where your arms and legs are going. If someone's watching a band, they don't want to get kicked or pounded in the head by someone else's fist. It's not fun, it's not cool, and it proves nothing. I'd like to see more kids smiling at our shows, just kinda bouncing up and down and enjoying the music. What's your view on the ongoing issue of hardcore being male-dominated? Aggressive punk and hardcore have always been dominated by aggressive males, and mostly white males. As I've gone through life I've met people of different backgrounds and cultures, so it can be kind of embarrassing having them witness the hardcore scene I'm a part of. Hardcore tends to be a very exclusive scene. It's not that girls need to be more aggressive and fight their way in at shows. The guys that are already there need to help other people feel comfortable to be up front singing along — and that's what it comes down to.... Straight-edge is one of those things that an individual has to define for themselves. Strangely enough, straight-edge has become something that kids get into because of peer-pressure, to be cool or to fit in with certain kids. That's a terrible way to get into something. Do you guys consider yourselves a straight-edge band? Snapcase has never been a so_alled 'straight-edge band' although the members in the band are all straight-edge. It's not an important thing for us to go out and say 'We're straight-edge' and 'Be straight-edge.' Our lyrics are about finding yourself; digging down deep and finding the genuine individual that you really are; doing things that you're truly comfortable with; thinking about your weaknesses and making yourself better; and overcoming everything around you. It's unfortunate that most kids try to identify themselves within a group, a scene, or a crew — something larger than themselves. We've had a lot of people come up to us and say 'Through your lyrics and your music you've really helped me out. I had really bad drug/alcohol/depression problems and your lyrics have really inspired me to better myself.' I think that's more effective than a band coming out and saying, 'Let's unite and be together! We're all straight-edge and we're a big crew!' For someone who has drug problems that doesn't work for them; they're isolated from all that. Is there an ideology behind being independent and playing all-ages shows? Yes! We've been on the same label, Victory, for the whole existence of the band. The kids that like Snapcase for the most part are all ages, so we would never play a non all-ages show. We're not here to play 'drink special night' or 'nickel-draft night' or whatever they call it. Does touring with big bands like The Deftones ever frustrate you, make you want to stop being independent? No. I think a lot of people have misconceptions when it comes to major labels versus independent labels. A lot of bands on independent iabels are making tons of money. Everybody knows that Ian MacKaye and Fugazi have made tons of money, and that Dischord has racked up substantial profits. That's not a bad thing because when you're playing shows someone's making the money, be it fhe club or the promoters or whoever. There's nothing wrong with making money as a band — what's wrong is if that's the purpose of being a band. We've been touring for so many years now that we're kinda nerdy — just reading, or everyone's in the van sleeping. We're kind of a jock band, so we made up a game called bagel-ball where we wrapped a bagel up in duct tape and made this sort of soccer game with it. We'd play in the parking lots before shows and even involve kids that were waiting in the game. It was a lot of fun! I really like your Donnas pin, by the way. Have you guys ever played with The Donnas? No, but I'm a big fan. Rock V Roll Machine, and Get Skintight I really like too. I haven't even seen them, but I really wanna see them play. Well hopefully you'll get to see them live and maybe play with them in the future! Thanks a lot for the interview! Well, thank you and thanks to everyone out there for all their support. It's always inspiring to see so many kids out al o show, especially at a matinee show like this one, and on Hallowe'en weekend as well! Sadly, though it was Hallowe'en weekend, Daryl and the boys in Snapcase had nothing special planned for All Hallow's Eve. They were scheduled to play in Portland on Hallowe'en day, and although their booking agent suggested they dress up as the Backstreet Boys (which Daryl was quite confident they could pull off), when we spoke to them they didn't have anything locked down. Hopefully Snapcase will be back in Vancouver appearing as themselves some time soon. • 13__- Iff If if III IS if Iff if Iff Illfffill Hippies in Bellingham sure know how to make some damn mean grub. Me and the crew went to see that crazy bad-ass Atom break out the QY700 and rock it to a crowd of a-whole-lot-more-than-l<ould<ount. And rock he did... ten times harder than your average punk rock band! But the highlight of the evening wasn't the punk rock. It wasn't the hour-long conversation we had with the smartest, funniest man alive. It wasn't even the pit stop at 7-Eleven on the way home (American sponge slurpees, don't you know); it was the free victuals, courtesy of the hippies at Bellingham's food Co-op. Hummous, celery, bread, carbonated beverages... those fucking hippies served up some tasty, tasty chow and it highlighted an otherwise outstanding evening of entertainment. By Gibby Peach, with Tesla Van Halen and Roberto Brownridge DiSCORDER: Today is the 20th of October which means there's only two months until the big day. Seeing as how the millennium is about to end and countless people have proclaimed a new world order for January 1 st, can you shed any light on your plans for this year's Christmas? Atom: I'm starting a new world order with other Jews. We Kill Everybody, [laughter] Tess: Tou should ask him what he's doing for Chanukah, then. What are you gonna do for Chanukah? Kill Everybody. Okay, so far, on the 'Making Love 1999' tour, have you run into many right-wing assholes who've come to your shows looking to be dickheads, or have most of the people been pretty cool? Yeah You know, every once in a while people will come and yell at me and fuck with me, but I can usually hold my own How's the love-making been going so far? Have you been making lotsa love? No. In theory, this was a pretty good idea but, really, it's been pretty boring. I mean I basically drive, eat, play shows, and go to sleep. That's why you should come to Canada and do a Canadian tour. If you toured Canada it surely wouldn't be boring. [sarcastically] Yeah, I've heard that Manitoba and Saskatchewan are incredibly interesting drives. They're so awesome. It's just one thing after another. The Yellowhead Highway Tess: Teah... the Yellowhead. Now, back to reality. Do you honestly think that fat goalies would be really good, 'cause I used to be a fat goalie myself, and I sucked. No. No. It's not just fat. The calibre of fatness has to be Guinness Book of World Records. I mean I was a BIG fat goalie. 'Cause I'm tall, too. Not big enough. I guess not. It kinda broke my heart because I was going for the NHL and they just didn't want me. Really? Yeah... well, not really. Rob: Have you got any response from the NHL? Like, have any GMs called you saying, 'That's a really good idea'? I actually did try to call the sports radio station in Philadelphia once, but they wouldn't take my call. I was, like, 'If you want the Stanley Cup in Philadelphia...' and they were just, like, 'We're talking football tonight, buddy. Sorry.' Tess: If you were in New Jersey, though, they would've bought it. [offended] I can't give it to Jersey. They're rivals! Speaking of sports: with the sad, tragic death of the Wilt 'the Stilt' Chamberlain the other day, was your heart broken? 'Cause I know you've been reading his autobiography on the tour. My family and I, every year, go away to this place in the Catskills where, I guess, Wilt worked as a young Wilt Chamberlain and, every year, he goes there for a charity basketball game. I just saw him this August. So I was one of the last ten, or twenty, or thirty thousand people who saw him alive. Do you have any nutty Wilt Chamberlain trivia. Besides the twenty thousand... And one boy. Everyone; Hhhuuuuuhhhh??? Who was the boy?!? I never heard that! [to Tess] Did you hear that? Tess: What? Wilt Chamberlain fucked a boy?!? Rob: Was this in the biography? Nope. But I know. Tess: Were you the boy? Well... Tess: Shut upl You did not sleep with Wilt Chamberlain! Did you sleep with Wilt Chamberlain? We want an answer! We're gonna print this in our magazine. That's the part that you can have blown up really big We're gonna put that on the cover! Atom — 'I Slept with Wilt Chamberlain!' I'd read it. I'd be, like, 'WHAT?!' Okay. Okay. Back to the interview. How do you feel about 'Package backlash'? You know, people like Maximum Rock 'N Roll, and Todd from His Hero Is Gone, and people saying mean things about you. Do you just take it with a grain of salt? Well, the MRR thing, I understand their opinion. You know, they want to cover music that they want to cover. I mean, they cover guitar punk, and I am not guitar punk. Their decision is fine. Some people write me and say things like, 'They suck. I'm gonna write them a letter.' And I'm just, like, 'relax.' I mean my type of music is probably not for everybody. But, actually, there was this band in Wyoming, recently, that got one of my shows cancelled because they hate me so much. That sort of thing is maybe stepping over the line. Tess: I could understand if it was some really crappy band... like, what's that really shitty vampire hardcore band from New Brunswick? Ink and Dagger? Rob: New Brunswick? Tess: New Brunswick, New Jersey. I mean they deserve it, if anyone does. Rob: Kinda like how Backstreet Boys don't get the shitty press that N'Sync gets. That's a travesty. I kinda like that new Backstreet Boys song, [singing] "Tell me why..." Tess: You wouldn't if you had to hear it eight hours a day. I don't know, I think I have more of a problem With some fucking hardcore whitey boys going '\ud jud jud jud' than some boy playing with himself. I can usually handle the criticism. Tess: Yeah, well, you can be a tough kid. But we can still kick your ass. You may not know this, but Gibby and I are professional wrestlers. I'm 'Turntable Tess.' And I'm Gibby, The Georgia Peach. You ever seen Abdullah the Butcher? He was, like, this six hundred pound guy from the Sudan and he actually bit people. He was a complete fucking maniac and I think he used to wrestle in Winnipeg. Really??? Tess: [sarcastically] Oooohhhh. Well, Bret and Owen Hart are from Alberta. Yeah, well, Bret Hart is in the new Rascalz video. Tess: Yeah, well Bret Hart could kick your ass. Yeah, well the Rascalz could kick your ass. Tess: Yeah, well my mom could kick your ass. Are you gonna edit this so this big, long tirade that just went on will be, like, 'Atom is the smartest, most Rob: 'He's a sound-bite machine.' I'll arrange it so everything you say sounds completely fucking intelligent. All right. Now, for the question that all the cool kids want answered: Is the Package Y2K compliant (seeing as how this is the official interview of the millennium) and if it's not, what are you gonna do? If the package is not Y2K compliant, I'm completely fucked because if I have to upgrade, I'll lose all these songs that I have programmed in there. If it doesn't work, I'll just have to get a QY1000. I don't know what I'm gonna do. Tess: Well, the world's ending anyway! If anything does get fucked up, I think that it will just have to be Atom and I'll sing a cappella songs! • 14 Jancember 99 UP YOUR ASS WITH A CAN OF GAS OUT YOUR NOSE WITH A RUBBER HOSE CHUCK D DiSCORDER: Chuck, do you think the shift in r demographics frc irily Black and urban to white and suburban that happened somewhere in the late '80s/early '90s was at least in part responsible for a decline in conscious hip-hop in the mainstream? I mean, quite often when I'm DJing and people ask for hip-hop but don't get specific, and I suggest like PE or Paris or something, they say, 'Nah, man, I don't wanna hear any of that conscious shitl' I get that all the time. Chuck D: What? Do white kids tell you that? I've heard variations on that from people of many ethnicities. I don't necessarily think a major shift happened because of that, 'cause., well, the arenas of exposure might have decided lo play something else as opposed to what they were playing. So, those are exceptions to the rule, the people saying that I don't wanna hear that or whatever. But I will tell you this: the overall focus in the United States' popular media has always been on some 'killer goes against the grain would probably not be as favoured as something that follows that formula. So the formula of negativity or Niggativify rests comfortably in the minds of a lot of heads. So that's one of the ways in which positive rap really went against the grain: it's really what you could call 'edge music' as opposed to something that would make everybody feel comfortable, but it [Niggativity] doesn't make people that run the Black communities comfortable either. So, I don't think it necessarily translates into white kids bought the De La Soul, and the Tribe Called Quest, and the Public Enemy, and the Paris as well. Okay, cool. But I wasn't really suggesting that rap became more popular because of the whole Niggativity thing; rather, that the primarily white corporate system which marketed the artists chose to promote one more comfortable image in the mainstream (to suburban white teens) than another less comfortable one. Well, I won't necessarily argue with that.. I mean if any kid says 'I don't wanna hear that consider those kids racist? Yeah, I probably would because it's a matter of what makes you feel safe or comfortable. Especially if it's a white kid: if all you enjoy hearing is that 'nigga/bitch/ho' shit... I'm sorry, but if that's what you're comfortable with, and that's how you see Black music and Black people then I've got a real fucking problem with you. I mean what you have to examine is why the jiggaboo thug image is an appealing image of us Black people to others. Furthermore, why is it that so many people in the Black communities have been indoctrinated into thinking that this constitutes rebellion when they are simply replicating age-old white stereotypes? Alright. Yeah. Actually that's part of my next question. I know you don't like to criticize other Black artists in print and that's fair enough, but I'd like your opinion on this. Do you see the explosion of real white- guy-in-a-suit corporate marketing support for gangsta rap as a way of promoting a certain image of Black people in the mainstream media? I know in Fight the Power: Rap, Race & Reality you talk about [gangsta rap] being potentially a kind of call for help, and that the imbalance in media coverage has really exacerbated the problem. By reinforcing stereotypes that white society hold very deeply and promoting these icons as desirable to Blacks through media saturation, are they just recreating and reinforcing the 'bad nigger' image as a way to justify continued oppression and inequality? Yeah, in a way, right. I think the thing you have to remember is that the music industry is not independent of politics The money all comes from the same places. The leaders of the industry, with their gigantic teams of lawyers and marketing strategists, have found a way in the past to manipulate that system and project this and still get what they had to get without being accountable to the communities they were portraying, that these artists came from. I mean, regardless of what anyone says, the bases of these artists come from the Black community. Now these artists from the Black community have voices and they speak, but they have something behind it undermining it and co-opting it to be one way instead of a whole balanced point of view across the board. That onesided projection can skew people into stereotypical thought, thinking this is who they are; that they're wild and gangsta, and once things like that are repeatedly projected and broadcast who knows how deep the influence can go. I was recently reading bell hooks' Outlaw Culture, and in her interview with Ice Cube she repeatedly talks about being labeled 'anti- white' because she attacks the white supremacist patriarchal power structure; I've obviously heard similar criticisms being laid against PE. So, do you think these criticisms are a deliberate silencing tactic or are these people so deeply integrated into the system that they can't differentiate between targeting power structures and attacking people? Most of the masses of America and even in different parts of the Earth have been programmed to think on a very limited basis; they're not thinking about fighting the powers that be when they're supplied by those powers. So, yeah, that's the reality in that respect. But you know, our whole thing has always been fighting the structure because it's the structure that controls the minds of the people. When push comes to shove, you know, it's very convenient for power structures — I mean I'm just talking even the music industry here cause I have a situation like Public Enemy — but I mean for example for radio stations not to play our records and video outlets not to play our videos... it's very convenient for a nineteen-year old youth to come along who's never seen us, who's judging on those limited standards conditioned by the media, and say, 'So who are Public Enemy? What's all' the attitude about?' 'Cause, you know, they follow MuchMusic and MTV and they're-not seeing us and all that, and they just go through life trying to get a buck, and poppin' their acne, and shit like that and, you know, that's outside our realm. So, the production credits on There's A Poison Goin' On exclude most of the old Bomb Squad. I mean I've heard criticisms about the departure from the so-called 'typical' PE sound. At the same time I think that there are many elements which reflect classic PE and, well... what's up? Those criticisms, do they matter? It doesn't matter. But I would say that Public Enemy's always done different albums: Public Enemy's never done two albums that sound alike, so the idea of a 'different sound' is academic. You can't take two albums that we've done and say 'this is like that.' If you look back and say there's a Public Enemy sound, well, you can you can't find two albums that sound alike. That was part of the whole premise of making it. I mean, Vol Bum Rush the Show was as different from // Takes a Nation of Millions... as this record is from anything we did. And Fear of a Black Planet was totally different from It Takes a Nation of Millions. This album seems like lyrically one of your angriest projects (along with Apocalypse '91): I like that. You can't be angry for no reason, but I've found some freedom to express certain things and some things that need to be addressed, but our whole thing is like, yeah, Apocalypse '91 hit on some important points but I don't like to talk about the same points twice. So, Muse-Sick-N-Hour- Mess-Age took a different approach, and I can't say Greatest Misses took any real approach rather than getting some things out of the vaults, but even the Mistachuck record was a whole different approach; it was the funk grooves and a more laid-back style The measure of anger happens to be 'did I nail a topic?' and topics were to be nailed on this one. This record seems much more contemporary than other PE projects in that it isn't so much a pioneering or radically "But you know, our whole thing has always been fighting the structure because it's the structure that controls the minds of the people/' 16 Jancember 99 new musical approach. While, as I said, I hear many elements that clearly mark it as a PE record, stylistically it sounds very much like a more credible and creative reflection of a lot of contemporary hip-hop. How do you stay on top of the music scene so consistently? Well, the goal was to actually do something that we can perform well, to make a muscular record. Also, to explore a different feel. We say with this album that what we wanted to accomplish was a project whose goal was to be like Redman bumped into the Chemical Brothers, stayed at Pink Floyd's crib, and ended up getting a ride from, like, Rage Against the Machine. So, we thought that coming up with that sort of a combination do you feel about that? I didn't feel good about it. I mean my whole thing is that artists should speak and not be censored; I think they should igated. But < bound to become big better and you're goin , for , and r with somebody else's juld not be artistically ited. You know, a lot of Jo things for popular but then at the same time they claim that they're not trying to be mainstream. To me mainstream is all about doing things for popular reasons. My whole thing is to lead by but the artist is only a slice of the man, you know what I'm I'm involved here in Vancouver in the effort to free Mumia and I'm getting really worried what with the new death independent TV statio shit. I know what you're saying about media control. I mean I didn't even hear about this case until '93, and I heard about it when I was in Europe. It was all over the place in many different countries; every street corner had 'Free Mumia' posters of some kind and I was like, 'Who the fuck is that?' Then, 'holy shit! This is out of control.' Yeah you took lines right out of what I was about to say because the first big coverage of Mumia was on posters and walls in Naples America refuses to admit has political , but at the useful for performance hip-hop, but I don't like the fact that a lot of artists have not taken chances. You classic artists like Kool Keith and Prince Paul to see that. A lot of people aren't making records based on performance; they're making records based on a car or a radio. That's cool, but if you have ten records that sound the same you have to ask 'why the fuck are you doing the album?' That's something that really bothers me, that people really want to make safe music. So, what's up with Confrontation Camp? Is that coming up soon. Yeah, coming up in 2000. Is that going to be on Atomic Pop as well? No. Right now the distributor has yet to be determined. You've said many times, quite explicitly in fact (especially on Muse- Sick...), that you're 'not down with callin' my Brothers and Sisters Niggers and Bitches just to sound fly,' but on Autobiography of Mistachuck some of the guest artists are tossing around 'nigger' and 'bitch' quite indiscriminately. How "I think the thing you have to remember is that the music industry is not independent of politics/' warrant and shit. I know you've been working on this issue quite a bit: what do you think is going to happen if Mumia dies? Do you think the anger that would surround his killing is going to fade away like it has with so many other assassinated Black leaders, or are people going to get angry and aware enough to actually do something this time? Out of sight and out of mind is a terrible thing that's happened to a lot of people in America, Canada, whatever. That only happens when you don't have control over media outlets. That's why I think the Internet is so important for us, 'cause we can continuously, consistently build our own media and have a lot of people flock to it. It's always complaining about human around the world, but they never address issues like, for example, the way Native Canadians are treated here and the way in which they deal with Native political protests like the confrontations at Oka and Gustafsen Lake. I think what we have to do with the Mumia case is to set a precedent for the next millennium saying: 'Okay, we're going into a new realm but don't forget who's in charge here.' That's why this gnific • ill i ! fre vill it be the illusion and the jura of freedom, and it night even pivot around this Yeah, nd we are livin .rid the freedoms so many of us take for granted are proving to be more and Right. It's like someone gives you 'freedom of choice,' but they only give you two mention this ad and 10% offall{ waterpipes ___r W Colour Changers Detox Products Glass Pipes Hookahs Rolling Papers Waterpipes Downtown Location 684-PUFF (7833) r ^ Puff Pipes Outta Sight Smoke Shop 712 Robson Street upstairs @ Granville Uptown Location 708-9804 Puff Pipes Smoke Shop 4326 Main Street streetside @ 27th • BASSIX turntables needles headphones slipmats cases/bags house club downtempo breakbeat jungle/drum n bass hip-hop progressive breaks & beats trance techno rare groove videos mix dj tapes mirror balls gift certificates ortofon G604J68&7734 fx. 604^89.7781 mail orders available, e-mail: bassix@netcom.ca 217 w. Hastings st [at cambie] r,bc,c EVERY SUNDAY NIGHT ON CfTR 101.9 fm cfeep house 2:OOam-6:3C).am WITH facft faesday /s I00fl/f n/gftf 0 file Palladium night club Bee. lth Dec.Uth Bee.21st Bee.28th tllen ferrata. Release/BPltt. SF Ddiini) tl. (J. Bros. Udncouver Inter Lewis. Eclipse Prod/Bassix Robert de ta Gauthier. Bmsterdam with tht sweet Http house heats tl DJs Shinny, J.Hills ani Hatwen along slit our tnct a ninth resident DJs nil-Cat ani Delacey trom 16.Urn ani 191.91m. ladles fret h4 II. Stnitnts with IB cari til pass lineup ani free cam b4 II. 19* with IB . located $1258 Richards. Merry Christmas anti Happy new Year MJPE-? FURRY AniiiiAL} "Blur are shite!" exclaims Guto Pryce, the bassist for Welsh purveyors of pop extraordinaire, Super Furry Animals. It seems that Mogwai aren't the only British band on a hate mission against Damon and company's chart success in North America and the recent reinvention of their sound from Bril Pop cabaret hi-jinks to arty self-expressionist composition. "Actually, we don't hate them," he hastily adds. Perhaps Blur just brings back bad memories of when the Super Furries were neatly squeezed into the category of Brit Pop with countless other bands during its explosion in the mid '90s. The guitarist, Huw Bunford (just call him "Bunf), further comments, "The reason our band was formed was because we hated Brif Pop. It was disgusting how it all came across, The writers for the British music press are infamous for inventing ways of labeling every new band so they can eventually lump them all together under one heading. The best one yet is the one that was created only this year, supposedly spearheaded by our Furry friends themselves, called "New Psyche" (that's short for "psychedelic" —• a scene that occurred in the late '60s whose adherents liked to ingest ISD, played their music backwards and had on unhealthy lyrical obsession .for Lewis Carroll}. Bunf explains, "that wasn't us, it was the NME — we never claimed to be the New Psychedelic movement and we never even heard of it. It just happened io be convenient that the Flaming lips, the Beta Bond and us came ouf with albums close to each other. The NME jusf took that as an advantage fo sell more papers, it's entertaining that in British journalism they make up o new scene every six months. It's all bollocks." Bunf is correct in his opinion: the "New Psyche" scene lasted only the duration of the issue af NME which conceived it, never to be mentioned again by any one. Through the surreal, smoky haze of fhe illicit substances the band is partaking in, they continue to talk about how preposterous it is to be connected lo the word "psychedelic." Another band lhat was apparently part of that short-lived scene, Olivia Tremor Control, is brought up in conversation. Conveniently fhey, like the Super Furries, put out a new album this year as well, and are actually label-mates with them. Back in the UK, SFA are on Creation (home of Oasis, one of the few bands who still like to be called Brit Pop), but in North America their latest album, Guerilla, is distributed by Flydaddy, a label run by two humble guys from Rhode Island. "Olivia Tremor Contra! supported us on a British tour a few years ago, that's how we connected with Flydaddy," says Guto. "We used to be on Sony in North America, but they weren't releasing our records because they've got Gloria Estefan and bands like that ta concentrate on. Sony just didn't know what to do with us, so w© decided to start from scratch again. Flydaddy have done better disfrib- . uting us than Sony ever did." Ah, the ago-old problem of a UK band getting poor distribution from their clueless North American major label. Thank God for the hard-working indie labels continuously puffing out good music for selective listeners. Guerrilla seems fo be a bit of a departure in that it has some electronic elements added ta their usual stunning array of quirky guitar based melodies. There's even the tiniest bif of drum 'n' bass added fo the odd song, as well as blips, . bleeps, samples and vocoder. When asked how this came about, Guto replies, "We're sort of getting suddenly into technology, we've got our heads around it now. It's been two years since we did our last album and we picked up a bt during that time. We bought a sampler when we did Fuzzy logic and it stayed in the box during the rea [andi by the ti we really start. of it. It started com- i recorded Radiator, recorded Guerrilla Into it and u mg But Guerrilla is very organic as well." Bunf adds, "Ii has always been our intention te use electronic equipment and experiment with it, but we consider ourselves more non-purists than experimentalists. After all, we are a guitar-based rock and roll band and not a techno band. If we were purists, our sound would be all guitars, but we don't follow any specific rules. Quality is really our only criteria of the genre. We recorded twenty-five songs for Guerrilla and most of fhem were guitar-based, buf the ones thot we chase work well and we thought it would be rjiore exciting to put a digital slant fo the record." The topic of the band being from Wales had fo immerge sooner or later, seeing that at the moment in ihe UK there seems fo be an influx of Welsh bands gaining a fair bit of popularity, most notably Catatonia, the Manic Street Preachers, Gorky's Zygotic Mynci, and Stereophonies. Bunf sighs audibly and comments, "There's hundreds of bands in Wales, there always has been. But there's only about five that people have heard of." ^^^Ml "In Wales, most people used fo call England 'the old enemy,' and ihe English used to say the Welsh were sheep-shag- gers, We've been victims of those kind of generalizations ourselves. It's hard fo have an abjective opinion based on previous tension between Wales and England, as well as the press writing about Welsh bands as if it's a scene. You can't lump a whole country into one musical scene. We ly," sniffs Guto. That would be scene number three to which fhe poor Super Furry Animals have been unfairly linked by the evil Britsh press. Despite these facts, the band remains on good terms with journalists. 'We've had about three albums and we've never actually been hyped, but we did get good press. You could say the press Is sympathetic fo us," asserts Guto. Perhaps it doesn't jusl come down to the British press aiding SFA's ascent into celebrity status in the UK, but some of their own surprising publicity stunts. One was a military tank painted with their logo, and another was a bevy of giant inflatable dolls displayed prominently at al! their live gigs, "When you have limited resources ways of getting your message across, you know. We try not ta go for the obvious, i great 1999 poster campaign," says ml with a ofs< Probably the funr ur de for ■ind most r< mbinin 3 for European football and self-promotion, is Super Furry Animals' sponsorship of their home football team so their name appears on the football uniform. Guto laughs, "It's another one of our bargain basement publicity stunts. The team is Cardiff City, it's our hometown and it's cool as fuck. The players have to go ouf on the field wilh Super Furry Animals on their chests!" The band will always have a select audience In North America based on the sheer integrity and the creativity of their music, but their widespread popularity back home also includes a large number of football aficionados. Bunf considers, "I suppose we could alienate rival fans by having our name on one specific team shirt, but that's football 'innit?" • M&^fe^; GOOOOOOOQ OOQOQOQQ DECK** 1999 Conseqo?fK£ @)S*lo r«>05V C6lor;f,/VD (5) o*^**- -VU* J)*>/ery SoivW ^•'l*n*UM frozen ®^e slcW [yi^ortaUoa"*jv J) Sau| p0cK @<WsAe_& **per;ivt?nT aewonS \oc-oA v/\ny *o W^\ sfonstfA W oT*.s lrecoriS6 v*o\j\c\ yo-j tOan\ \o viorVcl v "or aniito?i\\" o\.O\.0O— SOir* 19 E A ft WYHAIX* ,J|HI 1 T 20 Jancember 99 DiSCORDER: I know you don't like your art associated with rap but... LKJ: It's not that I have anything against rap, it's just that I work in a different medium. I work in poetry. Rap has an organic historical relationship with Jamaican music in so for as it has appropriated the techniques of dub poetry. What they really have in common is the ascendancy of the spoken word. Actually the early American DJs were influenced by fhe Jamaican context. Yes, I understand that. I mean you're often described as the progenitor of rap. But what I am really trying to get at is do you think the strength of the West Indian community's influence in British musk and popular culture, especially hip hop, acts as something of a barrier to American musical cultural _ldub •tie and No, I don't think so. British rap is really influenced by American rap. Most of the British rappers sound like J American rappers. The American influence is alk* pervasive: if you look at some rappers from, for''. example, France, like MC Solaar; what differentiates them from the American tradition is the language. This allows for a somewhat different sound and some small resistance to the influence of American culture. British rap on the other hand is actually fai because of the language. What about the lyrical content? gangsta image seems far lesjf prevalent; artists seem much more consngpis and less enthralled by the whole American rappers. Well, the gangsta thing is very related to fhe dancehall style g rudely] Yes, mt vehicle for the voicele: A experiences. It allows the culturally marginali; expbre their experiences in a public forum. I think the greatest rap of all tae is Grandmaster Flash': Message.' JH Nke! J|| Wtr Hancunt. What were your poetic influences? * j probably wouldn't have heard of them. ts like Kamu Brailhwai'o (Barbados), la) — of the jpmerican poets Amiri lican spoken word d Bongo Jerry in the '60s. y has a well established music and is a predominantly Black muskal idiom, but what about jazz poetry? There is a common perception that jazz poetry is primarily the 'domain of white Beat poets like Kerouac who have appropriated the music and the image. What about artists like Ntozake Shange? I would say there has always been a strong tradition of Black artists in jazz poetry. When you speak of that I think of poets like, well, Langston Hughes, Amiri Baraka and Jane Cortez especially, and a host of others. Hancunt Poetry was originally a progenitor of song far before things were written down, yet we seem to have lost sight of this especially in the North American and European contexts. Why is it that the oral tradition flourishes so strongly in Jamaica? Jamaica has historically been an oral culture; one of many societies where the spoken word is important. It's not ju_.t there; if you look all over the world you'll see that oral culture is predominant in many countries. Jamaica is a country with Iwo languages; English is the official language but we speak something totally different. Academics often speak of a 'language continuum' wilh the 'Queen's English' on one end and. Jamaican dialect at the other. So, do you see the use of dialect or Patois and the reshaping of the language of the colonial power as an act of resistance? Well yes, what Jamaicans have done is to subvert the English language to suit their existential needs. You see poetry scene for over 20 years now. His combination of subtle hypnotic music with poignant biting social criticism and direct confrontation make him one of the most powerful and respected poet of the late twentieth-century. With four books, eleven albums anc countless performances under his belt, LKJ has secured his place as \h world's finest Reggae-poet. So, you can imagine my horror when I arrive at Sonar for the press conference and there was no one there. Can yc imagine? A press conference for one of the major international figures late twentieth century poetry and when he arrives not one member of I reactionary Vancouver press (besides myself, Hancunt, and a nice your fellow from BCIT) shows up! I mean it's cool to have an exclusive uf close-and-personal interview with one of your most revered artistic icons, but what the FUCK!?! This is LKJ! They were out in droves for mindless drivel like the Spice Girls when they came to town! How humiliating for Vancouver! I was so embarrassed that I wanted to crawl back into the womb and never come out again. To make it worse, I was expecting a rather more crowded press conference so I this in °nly prepared a couple of questions; I had to make most pervasive many other 0f jf _p as | Went alonq. Fortunately, pissed off as he that •* ,s places too.^H ,„, r i ■ i <*l*ji,e often for example WCIS' ^ WQS QS lOFgiVing OS he WOS artlCUIOte; pojntless to pidgin [English] in SO, although it took O while tO get OVer the differentiate: our ta^ndts^the SPOck Qnd chaOS' We Proceeded en^littandslo colonizer's language to with the interview. follow the trends of our reflect their experiences southern neighbours whether There seems to be a greater we like to admit it or not. popular/artistic commitment to anti- Not in cultural politics but in mvie politics there is a shift racist struggle in Britain than in North to the socalled'centre.'Eveiyone -vants to be'centrist.' America. If this is so, to what would The New Labour party is si mply a slightly liberal version r/0ou attribute this gap? of old Conservatism. They have appropriated the Well, there is a long history of anti-imperialist struggle in the Caribbean and that struggle continued when we relocated to Britain 50 years ago. The tradition necessitated itself, and has continued for 50 sense if you compare this to North Ameri have been here for 400 years and fhey alr< a long history of accomplishment and struggle Britain it has been only 50: we are making So is the same disturbing shift to the nflH occurring in British cultural politics happening here? Do you mean America or Canada? Well, unfortunately the American influence in our culture and politics especially is so policies of the right. It is the same package, simply different language. Yes, that's the same predicament we face her*. Our politicians' policies are essentially interchangeable. OK, as a formerly active •mber of the British wing of the Black the Party's been defunc eoh, igm *_ Yeah alright, ifs just that Bobby Seale's still kicking about and he maintains an active Panther web page, and people keep I popping up claiming affiliation so ifs never certain if things are still really running or not. Anyway, as an ex-Panther what is your opinion on the imprisonment and persecution of writer and former Panther sopkesman Mumia Abu-Jamal? It's disgraceful! Absolutely disgraceful! America likes to pretend it's an evolved country with a liberal tradition, yet it's involved in legalized murder for reasons of pure politics. I think what international organizations like Amnesty International need to do is focus more on human rights violations in the United States than in so- called Third World countries. Hancunt: Why do you think that is? Is it because the funding for those organizations comes largely from the US? No, I would be surprised if it did. They [the US] have their own human rights organization; I think it's called Human Rights Watch or something like that; I don't remember. They come down to the Caribbean quite often and complain about human rights violations and police brutality, but when the same thing happens in their own country they are silent. a Is the case as publkized in Britain as it is in the rest of Europe? I mean we hear very little about it in the mainstream media here for obvious political reasons, but the coverage is huge in Europe where the media owes less fealty to American racist corporate interests. No. Most people in Britain don't know about it. Hmmm. Thafs really too bad. Yes. Tragic. On a different note, do you have any poblicatfoffikcoming up? No, there's lifflng in the pipeline. You mentioned Amiri Baraka as one of your influences. What do you think of some of... [leaning in ominously] Amiri Baraka is a comrade and a good friend of mine. I think very highly of him and his Of course, I am a big fan of his work too but, -what I wanted to ask was: you use similar tactics in some of your work, but what is your opinion of some of his more inflammatory and violent poetry? I mean lines like 'smash the Jew-boys in the mouth' i the white women in their fur .rally. He's specrs or i sexism, comfortable No. I do a show incorporating spoken word and music and I sometimes get complaints when I broadcast radical political music and/or present poetry or essays that question certain unpleasant aspects of society, like the links between i racism and capitalism. Yes. It's a matter of choice. If they an with what they are hearing they si examine their own reactions or tune out. That is what art is all about! Art and poetry should make you uncomfortable; [they] should wake you up. Hancunt. There has been a lot of talk these days about MP3 technology and the Internet spelling the end of the record industry. Yes. When people finally start releasing albums and marketing them there it will be very good for the Yeah, actually Public Enemy just released their entire new album on-line through an independent Internet label and they have managed to keep a significant portion of the royalties as well as retain control of marketing, content and distribution. It will be the best thing for the makers of fhe music. The profits and control will be in the hands of the artists instead of the industry middle men. That's the only way to do it. I've been doing it [with LKJ Records] for twenty years now. It's tough. Mr. Johnson, thanks for your time. We really appreciate it. You're welcome. • 211_. Under Review ALBUMS • ZINES • RECORDED MEDIA AIR Premieres Symptomes (Source) Everyone has certain days. I have mine, you have yours, and some of ours overlap. This disc of Air remixes and singles days, the days that groove. They don't come along often, but these are the days I get dressed up real nice, the days I close my eyes and see black and white pictures, and the days when I can sit downlown waiting for a bus and reading a newspaper. These songs can be beautifully relaxing and floating if played on the right days, but if you listen too closely on the wrong day they can get quite repetitive. chocolate baby ANTARCTICA 81:03 (File 13) Here comes the new wave of new wave. This kind of stuff is really getting the push in the indie rock scene these days, with bands like the Audience, Radio Berlin and the Rapture getting quite a lot of the local and not-so-local spotlight. Unlike the aforementioned bands, Antarctica goes for much less of the rock, and a whole lot more of the atmosphere on this double CD. Their songs are all very long, melancholic epics complete with mopey, melodic vocals, layers of keyboards, synths, and electron- effects than you could shake a stick at. These kids definitely know what they're doing with their songs; it definitely seems like they've sat down and listened to their cool older brothers' or sisters' record collections. To be completely honest, however, after listening to the first CD I couldn't really take any more Antarctica in one sitting. This isn't a terrible effort by any means, but after all the hype I had heard concerning this band — it features ex-members of Christie Front Drive — I was disappointed. I might recommend this double CD to you if you're really down with this type wave, but if you're just a part time shoegazer, buying two long CDs full of the stuff might be a bit of a waste. If I were you, I'd stick to listening to the new Radio Berlin CD, because Antarctica ain't got nothin' on those boys. Chris BILLY BRAGG Reaching to the Converted (Universal) Let's get one thing straight here: I am extremely biased in reviewing this CD because I absolutely adore Billy Bragg and have for quite a while. Reaching to the Converted is a collection of 17 songs from 10 previously released singles spanning the years 1985 to 1995, and includes a previously unreleased track. Unlike a whole lot of other "rarity compilations," this CD is worthwhile whether you are the most avid Billy Bragg fan or haven't yet been exposed to the sound of his Cockney accent over top of that clean Telecaster guitar. The best thing about the album is that no two songs share any similarity other than his distinct voice and sharp, poignant lyrics. The songs range from the sweet and sad "Ontario, Quebec, and Me," to pretty ballads such as "Wishing the Days Away," to straight-up pop numbers like "Shirley." Although there are only a couple of political-commentary-fueled numbers on this disc, I am a fan of Billy Bragg's more sensitive side (my favorite "lovey-dovey" lyric from this record; "Who cares about the weather, we'll dance in the town till the sun goes down and push our beds together"). Only one man could write love songs as perfect and sappy as these without reeking cheese, and yes, his name is Billy Bragg. I love Chris WALLY BRILL The Covenant (Six Degrees) Okay. So everything in my life is about Judaism these days. I have no idea why I am being attracted to it, nor why it is permeating everything in my life. But it is. I am not questioning it. Such is life. Anyway, on to the review. The movement to blend "tra ditional" music with electronic is becoming a little annoying. It's all I seem to be reviewing. With the likes of Joi doing South Asian electronica, and Talvin Singh spinning it up with South East Asian music, why not traditional Judaic music mixed with modern technology? Hey, why not? It's actually a neat concept that comes off quite well — and quite moving, for easily moved types like myself. This album's sound is based on Rabbinical chanting infused with ambient electronica and the occasional sample. And it's not just another Enigma rip off, thank God, or some light-weight attempt at something deep. It is, at times, absolutely chilling. The inner cover of the CD contains what looks like a William Blake print. Song 2 begins with a sample of a woman telling you of her typical day in Auschwitz. It's good to listen to, but not for pleasant background dinner music. It's the kind of thing to listen and learn, to put on and concentrate on a sometimes terrifying and sometimes humorous history put to music. Kudos to Wally Brill for making a smart recording. Get out and buy it. Besides, proceeds go towards the Holocaust Education Anthony Monday a few cop ten lists from the folks ot citr an discorder. more to be found elsewhere... The list that Anthony spent too much time on; the top ten things he loved/hated about the year. ® Being single ® ST. ETIENNE ® Racket Pig — I'm sorry ® MAGNETIC FIELDS ® The many random boys that never amounted to much * My Cowboy phase ** Good sentances [sic] and words * Heroin, crack cocaine, and God... no, really -**- My bicycle, Henrietta 8 The people I love/hate Gibby Peach's Ten Favourite Emerson, Manitoba sayings (translated): -*- "Schende Deevil" (the baddest Mennonite cuss- word) ® "Baisat Deevil" (slightly less naughty Mennonite cuss-word) * "Back Deevil" (like telling the devil to take a hike in low German) ® "Damne Schende" (weak; about as daring as "oh, crap!") ® "Blame it on the Boogie" (thank you, JACKSON FIVE) A "Fcuk off, McClown" (fcuk is a company with a funny name... McClown is a lying Fcuker) ® "Suck my dog's dick" (courtesy of WESLEY WILLIS) 8 "Christ Astie" (French; extremely offensive to the old-timers at Barney's in Letellier) ® "Grab them cakes" (taken from an old Junkyard Dog song on a WWF compilation) * "We like to Party!" (the name of my new favourite album by the VENGA BOYS. I play the title track at the Emerson Inn and, like magic, the place starts hopping like a bunch of "grenouilles" at the annual St. Pierre Jolys "Frog Follies" frog-jumping competition) THE EDGE ON FOLK Saturday, 8am-Noon * LA BOTTINE SOURIANTE X- ieme ® HABIB KOITE Ba Ma Ya A TARIKA D ® CHRIS SMITHER Drive You Home Again ® TOM RUSSELL The Men From God Knows Where ® STAN ROGERS From Coffee House to Concert Hall ® MAD PUDDING Grand Hotel ® LOUDON WAINWRIGHT III Social Studies ® KATE RUSBY Sleepless ® NATALIE MACMASTER In My Hands ® Highlight of 1999: Manchester United — the Treble! PSYCHEDELIC AIRWAVES Monday, 36am ® ELECTRIC UNIVERSE Meteor ® YUMADE Switch off ® H0LD0LIUM Q Sympton ® ATMOS The Only Process ® EARTH 77ie Quest ® SPACE CAT Invasion ® INFECTED MUSHROOM Tommy the Bat ® TALAMASCA Alien Tribe ® MINDFIELD Valentine's Day Massacre ® TOTAL ECLIPSE Are You Abducted SHADOW AT DAWN Friday, 6-8am ® THE ORB Little Huffy Clouds (Danny T's mix) ® DREADZONE Dream Within A Dream ® HEMISPHERE Scetch (UFO mix) ® ART OF NOISE We Never Promised You A Rose Garden (12" Remix) * SQUAREPUSHER Swifty/Winscale ® LTJ BUKEM James Bond Theme ® MIX MASTER MORRIS Nepalese Bliss ® FILA BRAZILIA Bovine Funk (F+B mix) ® SECOND VISION Italian Job ® ROB + GOLDIE The Shadow Process Mix BRICKYARD Thursday 9th 9.30p ZENCEURRILLA FIREBALLS OF FREEDOM THE GIMMICKS Friday 10th 9:30pm THE TRAIL OF DEAD CLOSED CAPTION RADIO KAREN FOSTER Saturday 11th 10:30pm THE CARTELS BELVEDERE DOWNWAY VICTORIAN PORK Wednesday 15th 9:30pm THENEWWAVE-AOKE CHRISTMAS PARTY Thursday 16th 9:30pm BAD TASTE ART SHOW WITH SATINA SATURNINA Friday 17th 10:30pm MIDCE THREAT FROM OUTERSPACE HONEYSUCKLE SERONTINA Saturday 18th 10:30pm DSK THE ORIENTALS THE RIFF RANDELS i Wednesday 22th TBA Thursday 23rd 10:00pm DICK AND JANE THE VELVETEENS SOLARBABY wednesc THE HILL the DAYGLO ABORTIONS DARKEST OF THE HILLSIDE THICKETS PLUS GUESTS 22 Jancember 99 BULEMICS Blurred Vision and Twisted Thoughts (Man's Ruin) Continuing the fine tradition of hate-rock anthems spewed forth from their previous effort Old Enough to Know Better, the band which has been terrorizing Austin, Texas for the past couple of years spit forward six more vile blasts that'll have you pulling out those old Dwarves records and reminiscing about the good ol' days of punk rawk. The Bulemics are keepin' it real, baby, but not before they ransack your house, kidnap your little sister, and torch your car. You have been warned. Bryce Dunn CUL DE SAC Crashes To Light, Minutes to its Fall (Thirsty Ear) I first encountered Cul de Sac via their collaboration with avant folk-blues iconoclastic guitarist John Fahey on the their third release, entitled The Epiphany of Glenn Jones, a couple of years ago. That album found them clearly in a kind of frustrated explains the title) of their musical hero coupled with a brave willingness to step out on to a sonic edge with him. The result of this collaboration sounded perplexing, at times, but more often than not strangely beautiful. On their latest release, Crashes To light, Minutes to its Fall, Cul de Sac find themselves with composer/guitarist, the aforementioned Glenn Jones, leading the quartet through several instrumental pieces that can be best described as mid-period Can in a Moorish mood. Jones' compositions are steeped in a dark-hued romanticism without ever becoming carried away. The quartet itself (gui- tar/bass/percussion/electronics) functions more like an improvising jazz ensemble: ebbing and flowing, anticipating each other's intentions while remaining open to serendipitous unlike Can at their peak). Standout tracks include "Father Silence," "Far Off," "The Fabulous Iron Serpent Whistles," and "Sands of Iwo Jima." The results lend themselves to impressions like driving down a long winding country road during interesting weather. Is it post-rock? Prog-rock without the usual weighty pretensions? Perhaps these are questions best left for trainspot- ters to muse over. Crashes To Light, Minutes to its Fall deserves to be heard on it's own merits without these limiting definitions. PC FLASHLIGHT Running Season (double'A) Some days I wake up wondering redoing the overdone. Today is not one of those days (well, it was, but keep reading). Here to rescue me from the monotony that is modern pop-punk, Toronto's Flashlight offer a breath of fresh air in a musical dutch oven. Nothing crazy here; no funtastic revelations; no tributes to Big Star; no reinventing the chord progression; just straight-up ska/punk/pop with absolutely no Barenaked Ladies influence. "Don't Look Much Like a Girl" is probably the funniest song I've ever heard in my life, "Fatso" takes me back to the mockery of my youth, while "New York City" sums up what most Canadians know about the great American excess: sweet fuck all. What can I say? These guys are great. So many hooks. They just toured Canada with Chixdiggit. Convinced? If that don't get you, you probably don't like this kind of music. Jamaal FREAKWATER end time (Thrill Jockey) Christa Min is a big goddamn liar. Joel R.L. Phelps isn't the best songwriter in the world... the three folks in Freakwater could write circles around Phelps each day of the week (and twice on Sundays). End time is chock- iere! full of rich, sultry alt.country™ tasty enough to make the Dixie Chicks eat their hearts out. The disc is so good, in fact, that its appeal spans across multiple generations. Lemme explain: I recently jumped an aeroplane back to the golden splendor of Manitoba (keeping my Freakwater close to my heart the entire time). Whilst there, I introduced it to my ma who, after hearing it once, insisted that the CD was now hers. Her argument was that because it's on Thrill Jockey, she wouldn't be able to find it in Win A Pig. "I'm sure everybody and their mother has a copy of end time in Vancouver. You shouldn't have trouble finding a new one," she informed me as she tried to tuck the disc into her purse. Thinking quickly, I gave her a karate chop to the head and followed it up with a terse "Fuck thatl" so she'd know that I meant business. But my ma ain't no wimp, so she picked up the cat and flung her at me. With protracted claws stuck in my neck like the song "Queen B" stuck in my brain, I slipped and dropped the Freakwater disc on the floor while my beloved mother darted forward with lightning reflexes and kicked it into her waiting hands. The gig was up. I would have to depart for Vo, vitho. favourite CD, all thanks to my stupid mom who feels that I owe her something for giving birth to me. But fear not, my dears: using the oldest trick in the book, I pointed heavenward and gave her the ol' "Look, it's the Goodyear Blimp!" routine, pulling the disc from her loosened meat-hooks. I was soon aboard Canadian Airlines flight 629 to Vancouver. Upon arrival in Raincity I called my loving mama, laughing maniacally while shouting "the disc is mine, the disc is mine, you nutty cracker!" Her response: "Guess who went to Into the Music on Osborne today, you little bastard? Keep yer goddamn disc, Peach, I got my own. And tell that Christa Min, whoever she is, that she should ditch the Phelps and get in tune with the times!" gibby peach HEFNER The Fidelity Years (Too Pure) On Hefner's second North American release, The Fidelity Years, the band has gone for a much more "produced" effort than on their previous works. For those who haven't yet heard from this British act, they have a pretty simple, catchy, and straight-forward indie rock sound with a bit of Britpop thrown in for good measure. The songs on this CD are quite memorable and tend not to bore the listener with repetitive instrumentation, a trap that many bands of this genre fall into. Along with the regular drum/bass/guitar lineup, pedal steel, piano, horns, some record scratching, and even a theremin bestow a very full, nice sound to each track. The one thing I absolutely HATE about Hefner is the vocals. I find the lyrics to be incredibly pretentious and stupid, and the out-of- tune, Jarvis Cocker-type singing could cause fans of Steven Malkmus to plug their ears. If it weren't for the singing, I might actually be able to listen to this record a few more times. Chris HOOKERS II Black Visions of Crimson Wisdom (Scooch Pooch) Since I'm no expert when it comes to metal, I can't find the words to tell you how brilliant this is. What I can tell you is that this five-piece from Lexington, Kentucky has finally exorcised its demons and let loose with the dark rock forces only glimpsed on their last record, Satan's Highway, or their 10" on Man's Ruin. I gotta tell ya, this is pretty powerful stuff, but with song titles like "Black Magic Stallion" and "Ride the Dragon to the Crimson Light," and when your guitar players' names are Stoney Tomb and the Blizzard of Hoz, how serious can they be? Serious enough that therein lies the brilliance of this band: they keep you guessing and me listening. Looks like I found the words after LAU PUNA Tridecoder (Darla) Wow! This has been in our stereo ever since I picked up the slightly boring looking CD two weeks ago. Both my roommate (Hi Margie!) and I have been sent into the wonderful easy listening realm of ambient background music. It's like Stereolab, but more engaging — less poppy and more electric. We spent the first couple of hours trying to figure out what language the excellent (and damn talented) singer, Valerie Trebeljahr, is speaking. Sometimes English, sometimes Romanian (my guess) and sometimes Korean (Margie's guess). They're actually German. I cannot say enough good things about these guys. They will do amazing things with their aesthetic. Amazing. Good. Watch out. That is all I have to say. Anthony Monday MAKEUP Save Yourself (K) Attention all adherents of the gospel yeh-yeh movement: the Make Up has not forsaken you. They have returned, bringing the ■ critic. the of mankind. This being perhaps the fourth or fifth installment from America's sexiest, growth is in the air. Production quality is up, "baby"s and "yeh"s are down, and on the whole things seems ubdued than past reiec ,. I M that this one's going to take some getting used to, but I've slept on it now, and I'm comfortable revealing to you (the believer) that the prophet was with me all thought the night. When my groove began to wane in the wee hours, the Make Up did appear as my sav- the image of the prophet has not left my field of view. There is no doubting the Word. I have seen, and I believe. Jamaal MONKS Five Upstart Americans (Omplatten) Those of you who have heard the Evaporators' version of "Higgly Piggly" probably think that you know what the Monks are all about. Hate to break it to you, but you don't. Upon first listen, the original, nearly all-instrumental Monks version is almost unrecognisable in comparison. The Monks formed in Germany in 1965. Quickly learning to create a healthy amount of feedback, they developed their unique barbaric sound. As part of the Monk get-up they wore black cloaks and shaved the crowns of their heads bald. Their "pre-Gregorian Punk Chant" was generated by a typical garage guitar/organ line-up along with the strong presence of a banjo. However, the best description of the Monks would be a mixture of German folk anthems gone bad and manic garage stomp. Also included on this disc are two tracks by the pre-Monks, Five Torquays. While this album was not what I was expecting, it is nonetheless an excellent testament to '60s garage craziness. Pick up a copy of this recording now and doppelganger. Mike Davis ONE LAST WISH 1986 (Dischord) It would disappoint me to think that Dischord only put out this record to make money, so I tried hard to believe that it was good. Really, One Last Wish is up against itself. The band existed after Rites of Spring and before Fugazi. In comparison, OLW sounds pretty mediocre. Guy Picciotto's vocals are intense, but the music can't keep up with him. The music sounds quite tame, and the guitars are wanky. Ed Janney (also of Faith and Happy Go Licky, another Dischord band that only lasted for a few months) sings lead on more top tens! ■ LIPGLOSS AND CIGARETTES alt. NEEDLES ® PLANET SMASHERS Life ofthe Party Sundays, S€ pm Wednesday, 10:30am-Noon ® TRAVIS The Man Who ® FUR PACKED ACTION The Dull THUD Evan Symons' Top Ten Carts ® SUEDE Head Music of Fur ® THE RADIO Kinder Surprise ® SUPER FURRY ANIMALS Guerrilla ® JUNGLE Long Time No See ® FRIDGE ART TIARA ? ® SUPERGRASS Supergrass ® SATSUMA Hello My Name Is... ® FULL SKETCH Soundtrack ® DAVID BOWIE Hours ® FORD PIER 12-Step Plan, 11-Step ® CLOVER HONEY 3/4 ®BLUR 13 Pier ® SEX IN SWEDEN Bridge and Tunnel ® CHARLATANS Us and Us Only ® GAZE Shake the Pounce Crowd ® ALL SEEING 1 Pickled Eggs and ® JOHN SOUTHWORTH Sedona ® MARK Don't Make Me Sorry Sherbet Arizona ® POLO CONVOY Vincent's Victory ® THE BETA BAND The Beta Band ® GAY DAD Leisure Noise ® JAZZBERRY RAM That Sound We Make ® CAGE Cujo Cat ® DADDY'S HANDS Statistic Wigs ® WOODEN STARS 77?e Moon ® TRANSVESTIMENTALS The Incidental SPIKE'S MUSICAL PINS AND ® OH SUSANNA Johnstown Transvestimental Song a few tracks and he sounds straight-up boring. One Last Wish only stayed together for three months I don't understand. If this recording wasn't worth releasing thirteen years ago, why is it worth it now? If not for money, then it's to show just how good Rites of Spring and Fugazi are. Chris iMm BUD OSBORN Hundred Block Rock (Get to the Point) Here Osborn, joined by David Lester on guitar and Wendy Atkinson on bass, speaks poems from his latest collection Hundred Block Rock. I'm not sure which was recorded first, the music or the words, but il seems like Osborn is trying to suppress the urge to between strained yelling and toneless singing. Someone told me that this album was funny. Someone else said that there's nothing funny about the Downtown East Side. They're both right. Osborn's poems are dramatic and hopeful. Positivify is almost always funny and drama is difficult to take seriously. The music is the strongest part of this recording. Lester's abilities are amazing. Ideally, the music would support and not overshadow Osborn's lyrics. It's unfortunate because while Osborn's experiences and intent are undoubtedly important, the result is not as effective as it should be. Christa Min THE SADIES Pure Diamond Gold (Bloodshot) Ebert: Good evening and welcome to "At the Movies." Tonight we'll be reviewing a number of new features — mostly American, but the odd international one, as well. Siskel: That's right folks; we've got a wonderful show lined up so don't touch that dial. E: Well Gene, now that we're through with all the perfunctory blah-blahing, I'd like to start off with a look ot the new album from Canada's Sadies. It's called Pure Diamond Gold and, like the title suggests, it's a S: I'm in full agreement, Roger. The best back-up band in the world takes center-stage with this nugget of surfarollacoun- trybilly madness. Fresh off a hot tour with dirty old man Andre Williams, the Sadies get down to business and promptly kick Andre (and their former matron Neko Case) to the curb with an album so good the mullet- heads in lovely, downtown Whalley'll be blasting the sped- up numbers from their Camaros 24 Jancember 99 while the emo kids in Kits'll be wiping their tears to the slow cuts before you can say Chibougamou, Quebec. E: Well put, Gene. I think we're gonna have to give Pure Diamond Gold our patented "Two Thumbs Up" salute. S: Come on, Roger, let's get those thumbs way up. Way up, E: Certainly worth the old "TTWU"! S: Wait a second, though, Roger: I thought we were only supposed to review movies! E: Yeah, well, look at you, Mr. Smarfy Pants. Aren't you supposed to be dead? gibby peach SELINA MARTIN AND THE VERTICAL BROTHERS Space Woman (Selma) The first time I ever heard Selina Martin, I was cruising along, listening to some politi- ty radio, when they played the song "Mad World" off her new CD with the Vertical Brothers. It was unbelievable. I'd never heard anything like it. I pulled the car over, wrote the name down, searched for it, found it, listened to it, loved it again, e- mailed, mail-ordered, received and am now the proud owner of (and, yes, I paid for this one). Ever heard of Bob Wiseman? Well, he produced this album, so take that as you wish. Did you know she's from Toronto? That's something to think about. Oh, the music... It's folky, jazzy, weird. Very compelling. Do give a listen. Seriously, why would I fuck with you? What do I have to gain? Jamaal SOLEX Pick Up (Matador) Amsterdam's arty Solex is really named Elisabeth Esselink, and each song on Pick Up evolved from imagi- engaged in whilst on the toilet. I am a potty mouth myself, and I love Solex. I mean, the original title for the record was Bathroom Desires. Like, tell me about it. Both Pick Up and her first release Solex Vs. the Hitmeister were recorded in the basement of Esselink's music store, located in Amsterdam's red light district. Her first album relied on samples from CDs lingering in the bargain bin. To avoid the hassle of clearing each sample, she found musicians to mimic the sounds and recorded that. On Pick Up, the instrumental elements are comprised of bootleg recordings that Esselink made on her DAT recorder. She went to jazz shows, classical shows, pop, blues, hip hop... all was pillaged. The result is indescribable and really, really fun. The music is fun and twisted, the lyrics are fun and twisted, and the song titles are really fun and twisted (my fave: "Dork af 1 2:00"). Solex is exploiting the glory of musical technology, where the identities of audio- philes and instrumentalists are fornicating hard in basements across the world to create wonder and joy. Pick up Pick Up, and slap my ass and call me Sally for making that fucking stupid, yet irresistible pun. Hancunt & Mr. Hanky JOHN SOUTHWORTH Sedona Arizona (Water St./Outside) Pure genius. Every once in a while a singer/songwriter comes along that smashes your preconceptions about their kind to bits. John Southworth is, in my opinion (and I know this could stir up some major controversy), the first Canadian singer/songwriter to accomplish this feat in this decade. The late Jeff Buckley is the only person I would currently classify above Southworth in this aforementioned category. Perhaps time might alter this perception, but I doubt it. The Rheostatics are closely affiliated with Southworth both artistically and as friends. It is easy to see why: Southworth is like-minded and astounding ease and complexity of lyric. Southworth's musical ingenuity, which was hinted at in this 1997 debut, belies his current 26 years of age. Sedona Arizona adds a new dimension to his musical genius through tunes so catchy you hum them for hours afterwards. Think solo Lennon meets Bowie in a disco hall on E with a whole bunch of '90s sensibility. Big things are in Southworth's future if he stays the course. Spike SPYGLASS Spyglass (Spyglass) This self-titled project is the debut EP from a promising up and coming indie band from Seattle. The band combines its pop sensibilities with dark and introspective moments. David Einmo's contributions on guitar have a strong presence throughout, and I can't help but feel that he borrows some of his tricks from some world- famous Irish rock group. Barbara Trentalange's vocals sit comfortably beneath the washing guitars, and her lead piano parts add to the laid- back atmosphere prevalent throughout the album. Trentalange's placid vocals help establish the introspective mood at times, but I found this same placidity failed I 1 for the Thei clam *e EP. that sound matures for their full length release. Samuel Kim ADRIAN UTLEY AND MOUNT VERNON ARTS LAB Warminster (Ochre) It's another one from Bristol, and from Adrian Utley even. This EP/single consists of one 22-minute track, and I don't know about you, but I think it had better be good in order to justify such a length. tricks throughout, and you can definitely see Utley's love of movie soundtracks and exotic effects come through. Actually, it seems that most of the track seems to be a supplement to some dark movie that may never be. The track uses everything from Moogs, vintage analog synths, all the way to radio static, and electronic sound generators (whatever that means). The sounds are all scattered about, and fluidly flow into each other, so even when the strings and flutes float in, it all seems rather natural This EP was probably a chance to step away from the things that were done before, so it may leave the faithful fans of Portishead somewhat confused. I felt that the arrangement of the song didn't really justify 22 minutes, since I think they could have made the same point to a similar effect in half the time. No, I can't imagine putting this on heavy rotation on my stereo at home, but I think I'll keep it around to impress the friends and scare little children. Samuel Kim VARIOUS ARTISTS Everything Is Nice (Matador) Oh yeah baby, is it ever fucking nice. Out of the 31 artists on the collection, about half were bands I love, and the other half I had heard of but never heard. Now I love them all! And there's something for everyone! Hip hop heads can ness of new Matador signees Non Phixion, whose track pays homage to Chuck D and then some. People like me, who can't realize that 1992 is over and cry every time they remember first hearing about the Pixies breakup, can roll their heads ecstatically to Modest Mouse's "Heart Cooks Brain." Every garage rock fan can jump up and down enthusiastically whilst counting along with Cornelius. When you're coming down there are some gorgeous and haunting tracks from the lovely and talented Cat Power. The list goes on and on. As Matador grows and grows, it always remembers the reason why: you and I. That is why they release these great compilations, so you can hear lots of stuff for cheap and become an even happier human. Happycunt the music that kept us from dying of boredom this happy jancember... new flesh for old • beat happening • rezillos • le tigre • god is my co-pilot • beck • red aunts • c average • nation of ulysses • refused • can • parmela attariwala • guns n roses • li'l kirn • the mothers of invention • bruce haack and esther nelson • kukl • kate bush • the sound of our friends being tear-gassed down in Seattle • bob marley • millennium project • meshell ndegeocello • archers of loaf • french paddleboat • the slits • tiger trap WINTER LISTINGS SUNDAY, DEC 12 MARTIN SEXTON WEDNESDAY, DEC 15 SHINDIG FINALS! MANEATERS BEL RIOSE THE RADIO THURSDAY, DEC. 16 DEADCATS RALPH TRANSVESTl/BMIS FRIDAY, DEC 17 THE HANK WILLIAMS TESTIMONAL: LINDA MCRAE LUKE DOUCET JOHN FORD RICH HOPE DOUG ANDREW SUNDAY, DEC 19 MIRACLE ON HOMER: KEVIN MACKENZIE IAN SOMERS LUKE DOUCET MARK BROWNING DAN O'CONNELL FRIDAY, JAN. 7 JAZZBERRY RAM THURSDAY, JAN. 13 SEAM SILKWORM FRIDAY, JAN. 14 MP3 CONCERT: BIG COOKIE COZY BONES FRIDAY, JAN. 21 PUNCHDRUNK BRAND NEW UNIT Real Live Action LIVE MUSIC REVIEWS NOTES FROM THE LAB Saturday, October 23 "A. unique performance event incorporating urban beat along with movement and theatrics." A tough mandate. A very tough mandate, in my mind. But, luckily, the Video In people were both smart and brave enough to pull this one off. With snazzy (ULTRA COOLI) visuals and amazing Djing by some of our finest locals — Rocket Girl, Jeet Kei Laung and Jacob Cino — the night went off successfully. Performance art is not the easiest thing to sell, especially to West Coasters who are generally far too relaxed to put any effort into anything, let alone a "unique performance event." I think this was the failing of the project — but more on that later. The whole piece came together very smoothly, both the visuals and the music were greatly in sync and the "theatrics" (which I would have classified as "movement pieces," but that's because I'm pretentious) worked very well with both. I liked that there was very little narrative form to the whole evening, just an amazing flow of sections and ideas. The dancers were great to watch, and at times, were pulling my TV-addicted brain away from the flashing lights of the screens. Speaking to some of the performers afterwards, I had a better idea of the whole concept of the piece, which was pretty nebulous to me at the time I walked in. The one thing they wanted that didn't really work out so well was the blurring of audience and performer spaces and identities — which, in my mind deserves an ENTIRE event to itself. It's hard to break down those sorts of boundaries when we are continuously being pushed into those categories. "I am the performer. You watch me," is one of the many mantras of this century. I think that conundrum was further compounded by an audi ence that was fairly unwilling to engage in that sort of post-structuralist discourse. I don't think half of the audience realised they were part of a show (granted, it was at Sonar, on a Saturday night), which I think is really sad. Any sort of performance art piece is not for the masses, I think you have to be knowledgeable about the subject othe nuch as you want. And if the majority of the audience is not willing to deconstruct and participate in an event based on those specific ideals and principals, then its not going to go very far. That's not to say Notes From the Lab didn't go very far. It did. I thought it was an awesome event that broached a lot of subjects, and was both stimulating and enjoyable. But the criticism lies with the apathetic audience. Anthony Monday LINTON KWESI JOHNSON DENNIS BOVELL DUB BAND Monday, October 25 Sonar Dub poetry. Johnson is a legend in this field of oral recitation and improvisation that combines poetry, dub beats, and a political ethic into a sort of prototypical rap Beat poetry The crowd for this show was incredibly diverse, reminding me of a folk festival meets 199 1 Lollapalooza meets 1992 rave. Hippies to suits, yuppies to young 'uns like me who weren't even born when LKJ was busy publishing and protesting the conditions in Britain for people of colour and the rights of workers. Yet he is not solely focused on his political message. It is, after all, his incredible skill as a poet, a crafter of- word-sound, that has earned him his legendary status. trip into meaning and reason. Meaning for life, reason to keep fighting. To try and keep up with the creative spirit of LKJ, like he was daring you to do what he was saying, to get out there. Poetry should change things inside. Music is a sort of poetry. LKJ combines these two elements to change a lot of things inside. It was a personal relationship. The Dennis Bovell Dub Band warmed up with their incredible talent, establishing a rapport with the crowd. LKJ talked to the crowd, explaining himself, open, calm, cool — but a fiery interior working its way out through words, finally revealed when he took off his sunglasses after the last... track? Piece? Experience. An experience it was, a night not to forget. Tobias SILENCE DESCENDS Wednesday, October 27 Western Front Silence Descends is a novel by George Case, set in the year 2500, which looks back at the decline ofthe information age, a descent beginning in the present day. Silence Descends is also a CD by several local visual & audio artists: a cacophonous plunge into our future. Silence Descends was preformed at the Western Front on October 27th utilising choreography, film, and music as a means of interpreting the novel's ideas and presenting the CD's auditory reworking of Case's apocalyptic vision. The evening began in darkness. Two performers emerged, headlamps shining from their brows, reading monotonously into steel buckets, solidly walking through the audience like new-age miner druids. Much to the attentive audience's annoyance, cell phones of inconsider ate watchers interrupted the speakers' sermon. Not only did these "patrons" have the audacity to leave their ringers on; they proceeded to talk over the text being performed. Before I could mute the nearest chatterbox with a swift kick to the larynx, I stopped and realized that this was in fact a part of the performance and an integral one at that. That the current cultural noise of Fido™ and all of its cohorts marks "the beginning of the end" difficult A scrim dropped to the floor. As different rhythms, colors, and ed through the sheet were intc nated by fours* captured their ing poses tablet of , behind the ■nittently illumi- 3nd flashes that ch and chang- ;erie shadow silent form. Downright beautiful. A lone figure wearing an accordion, a caricature fright mask, and garb that Leo Gorcey would be proud to don, voice the necessary failure and ultimate destruction of our crazed over-dependence on technology and information -y S^^V-(U^OW^roi proceeded another per time imagi delay. Wo oing the mask, she to play, assisted by former improvising wooden flutes. A let ensued, perhaps for our impending i rely on technology Behind the two, a screen showed real- ; of their movements th a multicoloured h, man. I thought I a looonnngg time jurth and final install- seven minutes or so of Silent images of fields, Is ethereally haunted Still, I managed to commit some hazy bits of the concert to memory for all those poor indie rockers who were unfortunate enough to miss seeing their god whine out his tunes to an adoring audience. After playing "count the horn-rimmed glasses" for about ,entym >, I v*. 2ved tc i The Birthday Machine clamber on stage. They were a good opener, providing the mildly responsive audience with background music which would have been appreciated as sensitive and creative if only the fools had been paying attention. The band members' sugary voices Bomb, by far the most captivating band of the night (sorry I). The entertaining duo rocked out; they genuinely looked like they were having ind, as a result, the audi- snce seemed to be really enjoying themselves for the first time ,t night. Joel Phelps took his sweet king time getting to the stage. A waiter even teased me about looking like I was just about prepared to pack it in. His set began well after midnight, and most of his devoted adherents seemed ready to die before their master appeared. Or maybe that was just me. Anyway, the screen. A hushed room watched these fluid images tensely, scared to breathe and break the taut fixity of the room. Then the air fell into darkness again while the "soundtrack" for the previous images jarred the audience with a hypnotic drone. The effect was a metaphor for complete societal disjointedness, an artwork out of synch, a divorce of sight and sound. Silence descends indeed. Note to Western Front: if, out of consideration for the health and enjoyment of other audience members, we have to refrain from smoking, could you ask people not to bring in giant dogs that bark along with the performance and seat them next to allergic people? Or maybe that was part of the performance? I'm kind of new to this "art" thing. Luke Meat JOEL R.L. PHELPS AND THE DOWNER TRIO JERK WITH A BOMB SLOW FRESH OIL THE BIRTHDAY MACHINE Saturday, November 6 The Brickyard When I got to the Brickyard that evening, I was so tired that even my very favourite band couldn't have kept my head off the table. complemented their flossy girl- pop admirably — I just wish I could have heard the backing vocals. I also wish that they had looked like they actually wanted to be on stage because I wasn't at all convinced they did. I was sorry to see them leave, not only because I enjoyed the performance, but because they were quickly followed by the atrocity that was Slow Fresh Oil "Oh... my... God" is a gentle euphemism. The arrogance of the band was palpable, and left me wondering "Why?" There was little to nothing for them to be proud about. Arguably the best or the worst "cowpunk," the most memorable thing about the fallow, abrasive noise which passed for their set was that one of the band members mysteriously donned a long shaggy wig which covered his face for the bulk of the performance. They were the only band that night, as my friend pointed out, who actually elicited audience heckling. And well deserved it was. Keep up the good work with those cow-bells, boys. At this point I closed my eyes, put my head back on the table, and actually tried to fall asleep. That move turned out to be a mistake, because I missed a good deal of Jerk With A despite the fact that I got the feeling the indie rock deify himself wouldn't even have faced the audience if the microphone hadn't been at the front of the stage, as well as the massive technical difficulties which scared the crap out of everyone around 1:30 am, Phelps put on a very moving show, somewhat reflective of his ethereal reputation. He whinged out his melodies earnestly for over an hour; we watched his fingers awestruck eyes, and most audience members, although exhausted to the point of cross- eyes, went home fairly satisfied after hearing the strains of the holy indie spirit. alia THE BORODIN QUARTET WITH LUBA EDUNA: The Music of Dmitri Shostakovich Tuesday, November 9 Vancouver Playhouse iring c mble The Borodin Quartet was a heady experience and the tightly packed audience was understandably action on poge 29... KE3S2___EE1 . --SVU8 * rUrttlT • SUNSXI * IIUIAN t KIMO . IIINY * IMIU lit * KM ed for me tegeodsry txjuir.g da> Nc m. MONDAY TOONIE MAYHEM with DJ Jeremy Warren A night devoted to past and present hits from the 80s and 90s. Free Pool. Cover $2.00. All you need is yourToonies! TUESDAY THE ORIGINAL KLASSIX NIGHT 23 years strong! Vancouver's first 80's and Disco night Cover $4.00 'Show up early to avaid Uni-up! WEDNESDAY YA LIKE IT HARD DON'T YA BABY! A new night dedicated to modern hard-edged music from Jane's Addiction to SlipKnoL Free Pool Cover $3.00 THURSDAY BEST OF BRITISH with DJ Jeremy Warren The longest running Brit night in Vancouver! Brit pop (Blur) dance (Chemical Brothers) Manchester (Stone Roses) 80s (New Order) Cover $3.00 — free passes available COSMIC CONSPIRACY with DJ Brian St. Clair Start the weekend off with electronica, indi. Brit pop. & other groovy vibes. Cover $..00 'show up arty to avoid lim-up! SATURDAY ADRENALINE with DJ Jeremy Warren The best music of the week with an underground tweak! Progressive house/techno and new alternative rock. Cover $6.00 SUNDAY SKOOL with DJ Jeremy Warren All the hits ofthe week! 80's. hard-edged. Brit, alternative rock and progressive dance. Free pool. No cover! Need we say more? ALL NIGHTS FREE BEFORE 10:30pm WITH THIS AD. Excluding special events. 1275 Seymour Street 685.3288 27 [D PRESENTED BY: Thunderbird Radio Hell ^5^^^a^^ry^aF Your tia-roe... Your -band... Our shirts CiTR ™R^ NewWus»j^0_ 101.9 fM»ETEJ»i«Ss^ THE MIV€ CH&PHtO VSStQN [row ^S ^gag awed by their brilliant, if < what mopey, performc Only cellist Valentin Berlinsky, the .al seemed happy to be there Perhaps they felt Shostakovich' specific Zeitgeist of Stalin is Russia would be wasted on ou comparatively tensionless Wesl Coast The onus was in fact on them, as storytellers of a sort, to render the atmosphere in question transparent. They succeeded. It was not a dramatic outpouring. The trap Joseph Stalin created. Beginning with Shosakovich's "String Quartet No.4 in D major, Op.83," gritty, melancholic accuracy pervaded the evening. From 1949, this quartet was short and simple, neither raw nor ele The idiom w radical, su. merely symptomatic of a feisty urban composer. If worked w blunt melot material, whi was reworked in different ways that gradually ascended from an unsophisticated, state-celebrating chamber work to something very ethereal. In the third movement, all the parts relinquished their conventional place in the quartet range to a high register, wherein a lyric canon modulated and seemed to ache with a primordial intensity that would not have met with unqualified state approval. Its ascent suggested a vision of than what the Russian state believed in The way in which this wonderful third movement was approached was probably part of what kept the composer (relatively) out of trouble. That, and the final movement, which fell like a brick into conventional modes of state controlled string quartet behavior. The stone-faced quartet did not give much away, failing to appear plus de top ten lists. studio recordings Evan Symons' Top Ten Local Shows ® SONNY ROLLINS At the Village Vanguard ® THE RADIO, DJ LAZLO @ the Good Jacket ® MILES DAVIS Live-Evil ® JULY 4TH TOILET© the Columbia ® LIONEL HAMPTON WITH OSCAR PETERSON ® Belinda's last show with Ml NOVIA Quartets and Quintets ® PET FAIRIES, New Year's Eve ® KEITH JARRETT, GARY PEACOCK, JACK ® VEAL @ the Railway Club DEJOHNETTE Tokyo '96 A JACK TRIPPER on Thunderbird Radio Hell ® ERIC DOLPHY Outward Bound Prestige ® FULL SKETCH @ the Lotus 50th Anniversary Re-Issue ® RADIOGRAM, FOND OF TIGERS @ the Sugar Refinery THE ETHER TABLE: Top Ten Musicians I'm ® UNCLEAN WIENER with blown amps @ the Going To Marry Anza Wednesday, Noon-lpm ® THERMOS @ the Railway Club ® Mike Paradinas ® Radio Tragedy THE JAZZ SHOW ® Jhon Balance Monday, 9pm -12 midnight ® Sharon Topper ® CHARLES MINGUS the complete Atlantic ® Andi Sex Gang recordings 1956-1961 ® Robin Rimbaud ® GATO BARBIERI Latino America $ Mick Harris MILES DAVIS Miles Smiles ® David Tibet ® CHARLES MINGUS the complete 1959 ® The cute one from NEGATIVLAND Columbia recordings ® Rachel Cams ® JOHN COLTRANE the complete Impulse transported to hopeful delight, which was no doubt necessary when the work was premiered in Moscow. To visibly identify with state subversion was to put oneself at risk. The second and final quartet of the first half, "No.8 in C I960, well after Stalin's death. While the influence of government on artists was still terrible, for Shostakovich the worst of state oppression was behind him This quartet worked with many more techniques, expressing a terrible sadness for all that had happened in World War II. Shostakovich first heard this quartet in his own home, performed by the Borodin Quartet. For listeners, this work was more easily appreciated because it was not written in a specific code to protect the players and the composer. Perhaps this was the sort of con- the mble appeared to feel would be lost on the audience. The second half included Ms. Edlina for the composer's "Piano Quintet in G minor, Op 57." Written in J 940, it represents a completely different preoccupation for Shostakovich: his love for the piano. It was awarded the Stalin Prize, a coveted award for c hindsight because Stalin was exactly the sort of culture thug Shostakovich disliked. It might have included some compromises (it did get him out opera he had written), but its sound was less political than the first half of the concert. It sounded like a brilliant young composer's infatuation with the piano. When it was done the audience leapt to tender a standing ovation, which seemed to annoy the players. It is not common for an audience to go away with a feeling that there's just no pleasing some John Keillor BUZZCOCKS DOWN BY LAW LUNACHICKS Friday, November 12 Starfish Room What do you get when you mix glam grrl NYC punk and straight-ahead SoCal punk with the best in Olde English punk- pop? Why, you get the 1999 Go-Kart Punk Tour, of course. And what a four it is. The Lunachicks, Down By Law and the Buzzcocks could all fill the Starfish Room by themselves (okay, maybe not the Lunachicks), and here they were on one bill. So throngs of astute Vancouver punks saved their hardly-earned pennies and filled the 'Fish in expectation of a rau cous event. Everything was in its place: screens were put up in front of the stage, security was bolstered, the merch booth teemed with over-priced goods, mohawks stood at attention, beer flowed, leather and vinyl glistened, and two generations of punks rubbed their hands in punkasmic glee. We were ready First up was the Lunachicks. The girls who steal lunch money from the girl next door, this fearsome foursome is notorious for its tight jams, its tattoos and its toxic shock humour. They arrived on-stage in matching screamed "Step right up!" a few times and then launched into a speedy set of high-octane pop- core. While Goddess Cleo belted out snotty up-tempo tunes like "Luxury Problem," "Crash" and crowd fave "Don't Want You," guitarist Sindi pogoed, bassist Squid snarled, and new drummer Helen Destroy banged the skins in relative obscurity. These New York dolls hollered, skanked, and clowned until lipstick smudged their teeth and mascara ran down their cheeks. If they looked ghoulish before, they looked downright terrifying now. And the crowd loved it; middle-aged punks bumped bellies in the pit while daddy's little grrls sang along in front. Great set. Up next was Down By Law. DBL has been around the punk block a few times; Dave Smalley and company have been playing angry mid-tempo political ' punk since 1982. So then why did their set suck? Well, terrible sound mixing had something to do with it. DBL's strengths lie in its smart lyrics and anthemic choruses, and with Smalley's stirring vocals drowned in fuzz, great songs like "Punk As Fuck," "Last Brigade" and "Gruesome Gary" were merely mediocre. Still, the crowd didn't seem to mind; they moshed, sang and waved their hands in the air like they just didn't care. The disappointing set was capped off with a disappointing version of the Proclaimers "500 Miles." All in all, disappointing. Maybe DBL's poor sound was designed to make the Buzzcocks sound even better, because the crisp, clear guitars, drums and vocals of the leg- heavenly than Handel's Hallejuah Chorus. Original members Pete Shelley and Steve Tiggle blasted through faves "I Don't Mind," "Why Can't I Touch It?", "What Do I Get?" and "I Believe," and the crowd went absolutely bananas. So fact, that they couldn't help bashing their fists into their neighbours' faces — the result being a steady stream of bloodied bizzos bounced from the 'Fish by their hair. Bassist Tony Barber, unimpressed by the drunken hijinx, jumped into the crowd — guitar and all — and did some pummeling of his own. Of course, the bedlam did nothing but heighten an already charged punk atmosphere. The few remaining songs took on an added intensity as Shelley wailed into the mic, Barber sneered and cussed, and Diggle trashed his guitar. After a brief encore, the Buzzcocks mocked the rambunctious Vancouver crowd by shadow-boxing their way out the door. Yowza! What Jamie Maclaren ARCHER PREWITT THE SECRET THREE Saturday, November 13 Starfish Room I must warn you that I have not looked forward to a show this much in about a year. I had high expectations that left me a little disappointed, but glad I went I hadn't seen the opening band, the Secret Three, before. They were quite smooth, scruffy and accomplished. Surrounded by conversing friends, the music made me feel alone. Seamless and energetic in the quietest way. Did I men- Dreamy and soundscapey, they were a fitting opening band. Which really is the only con about The Secret Three — their influences are blatantly obvious. (See Tortoise, Sea & Cake and splinters thereof.) But sooooooo nice to listen to. After a short intermission, Prewitt and his band came on with muted vocals and an overpowering wall of sound. Maybe it's because I've always listened to him during the quiet moments of my life that I found the live performance too loud. But after a wide assortment of technical difficulties, Prewitt managed to stay on track and wow the audience enough to receive fierce applause at the end of every song. The fullness and strength in the music was amazing. I long to see what he could accomplish with a full orchestra back ing up. The trumpet/keyboard player added so much to the set. With four or five rockin' tunes to blot out the dreariness of outside, Prewitt played with passion Most of the songs were from his new CD, White Sky, which was kind of unexpected. I love his first CD, In the Sun, and I action on page 31... yes, we're going kind of overboard. 29 top ten crazy THE SELFISH SHOW: The Only Good Things Friday, 8-10am About 1999 A THE LORD HIGH FIXERS Is Your Club a Tuesday, 12pm Secret Weapon? -L JOEL R.L. PHELPS AND THE DOWNER -»- APRIL MARCH Chrominance Decoder TRIO, live J- MOBY Play -»■ JOEL R.L. PHELPS Blackbird 9 THE SATELLITERS Shake! Shake! Shake! a FUGAZI Instrument OST 9 PRETTY THINGS (Reissues on Snapper) 9 Dave Carnie, Big Brother Magazine A THE GIMMICKS Dirty Little Lies A MARC RIBOT Yo! 1 Killed Your God! ^ THE CATHETERS The Kid Knows How to 9 Geist Magazine, Issue #33 Rock J- MARK Chocolate Covered Bad Things 9 Getting alcohol poisoning at Viva Las STHI EX, live Vegas Fest -L E Minor (the chord) 9 Garage Shock '99 A DJ SPLICE VS. DE LA SOUL DJ Splice/De -*- Hit List Magazine La Soul BREAKFAST WITH THE BROWNS Evan Symons' Top Ten Local CDs Monday, 8-Ham 9 ZOLTY Horny Astronaut A STEREOLAB Cobra And Phases Group... A MARK Chocolate Covered Bad Things 9 VARIOUS The New Latinaires A DESTROYER City of Daughters 9 DANIEL LE DUC Le Voyage d'Hiver ->- JERK WITH A BOMB Death to False Metal * VARIOUS Osmosis A VEAL Tilt 0 Whirl J- MAZEGUIDER Battle Songs For Babylon A VEDA HILLE You Do Not Live in this World -»■ NIGHTMARES ON WAX Carboot Soul Alone * LEGION OF GREEN MEN Floating in •»- MOTORAMA Rocket Powder Shallow Water J- CLOVER HONEY Clover Honey * UNITED FUTURE ORGANIZATION Bon J- THE SILENT TREATMENT Splitsville or Bust Voyage ■*■*■ THIRD EYE TRIBE Wub-Suffer -»« URSULA 1000 The New Sounds of Ursula 1000 CAUGHT IN THE RED A TO ROCOCO ROT The Amateur View GrooN/dtiCioa* Get fro wn o r Loung' Aro un , Fridays < Saturdays ©The Arti Clop Lounse GranvUie Island 1o:oo~i:oo r l NO \ CO(/£R I * *V^ Hostel By » \ OJ Lush M < \f>J fondue lonely kings also available., lonely kings what i ? O http://wmw.fearlessrecords.com 13772 Goldenwest St. #545 Westminster, CA 92683 digital downloads r^ nmnq\r availablefromemusic.com ^y t:lllU^,l' beefcake rejecte dynamite boy maers Keepers bigwig unmerry melodies 3 Of oot fall straight faced 30 Jancember 99 missed that tour, or rather 1 it. And 1 really screaming with slack jaws. 1 bar, we all started coughing and should say Prewitt missed us. It like turntablist mean, Mr Thing pulled off a feeling the urge to mewl and should've also been in a much skills, knowing a DMC beat-juggle set that made puke. At first we just assumed it smaller venue. And would bit more about tongues lap around wet ankles. 1 was the typical Brickyard cancer somebody explain to me why people go to shows to socialise? That's what clubs are ?^3 that. And 1 like good production, bit about that mean, Blu Rum 13 pulled off a freestyle that was imminent and on. 1 mean, Vadim played the bass with his pitch slider. 1 cloud causing our pain; but when out throats started to itch and our eyes began to burn we for Shut up already! Go home! And 1 don't know mean, Killer Kela — KILLER tried to leave the bar. We were Despite all these things, it anything about KELA — did a JUNGLE beatbox informed at that time that some was a beautiful set 1 didn't beat-boxing — track. He did DNB. With his one outside of the bar had been notice the time go by, nor did 1 but holy shit. Let mouth. 1 closed my eyes and pepper sprayed, and that we spend it wishing 1 were at home me gather my could not tell the difference. In were better off inside. That was listening to the flawless CD. The mind ... done. It's fact, when he and Mr. Thing just a whiff, shit, but it was our encore was acoustic and still reeling. Killer Kela and went head-to-head, real scratch- first taste of what may be awaiting those heading to Seattle to accomplished what it set out to do, its haunting memory ingraining its melody in my head so White Sky stays in my Blu Rum 13 got on the mics and started wanking jokes with their British accents. ones, it sounded like a DMC 2x4. Hang on, I'm getting shivers. All right. Let's just say Rahzel has a run for his protest the WTO. Fucking nasty. Nasty, nasty, nasty. Back to the music. The Ghoulies were relent CD player for a long time. money. Brilliant. The skills are less, rocking like Dennis hopped Robin Kela is this pimply-faced boyish world. If the Scratch Perverts up Frank Booth-style on a double dose of nitrous oxide — only a BIG BAD VOODOO guy, and Rum 13 ever come to town, drop every little more friendly-like. 1 serious DADDY is a dreaded thing to see them. Ditto for all ly enjoyed the Ghoulies, espe BLUE HAWAIIANS brotha. Some those hip-hop 'meisters. It's nice cially their brand new drummer. Monday, November 1 5 people were to see artists with skills. She hit hard and heavy with the Commodore Ballroom going, "What the fuck, not another Tobias power that comes from owning I've heard from a number of a pair a tits. Go Girl Go! And people that the swing scene in lame hip-hop show." Then 1 noticed Vadim THE MUFFS the Muffs! In between songs, Vancouver has pretty much dis THE GROOVIE GHOULIES they shared their impressions of appeared. That maybe true, but behind the decks HISSY FIT Vancity's Downtown Eastside you certainly wouldn't have with Mr. Thing, mouthing what Saturday, November 20 (they had never visited before) realised that if you were one the The Brickyard and expressed their surprise at 1 000 people who were at the the MCs were 1 suck so bad. Because 1 was sit not seeing Courtney Love try sold-out Big Bad Voodoo going to say, and ting in my sweetie's Honda with ing to score smack outside The Daddy concert at the new they both kept Meat and his companion, Muffers kicked ass. Meat and Commodore Ball Room. laughing at what singing all the words to Modest Mo and 1 danced around a lot; The show opened up with the two MCs Mouse's "Heart Cooks Brain" but 1 must confess, having never The Blue Hawaiians. 1 guess were doing. The crowd played along. And for and smoking pot, 1 only caught seen the Muffs live before nor you could best describe them as Chris Isaak from Hawaii. Now, that's definitely not a bad the last two songs of Hissy Fit's set. And 1 was sorry, because it sounded really good, like good studied their music in depth, 1 how they played compared to their instruments. While the total KILLER KELA because over the course of an thing. They were great. 1 just set was 16 songs, it seemed Monday, November 22 hour, complete with intense old fashioned girl rock n' roll, other tours, or what the new don't think the were the most like every few minutes there Sonar bouts of 2x4 madness from the the kind 1 know and love. Next album is like in comparison with appropriate band to open up was a solo. The highlight of the Holy shit. 1 pity da foo' who two DJs, Vadim and Thing, and time the local trio plays I'll make old. Basically, 1 am uninformed. for Big Bad Voodoo Daddy. The show was definitely "Jump with w issed this show 1 mean, 1 like tag-team freestyle rap versus sure 1 score ahead of time. But hey, it's a DiSCORDER tradi kids wanted to swing from the mv Baby". The horn section n p-hop, although 1 am not the beat-boxing from Rum 13 and Waiting for the Groovie tion!!! second they got in the club. decided to jump onto the most ^°w|edgeable sort about Kela, the crowd was literally Ghoulies to play, in line at the Hancunt Some even swung while waiting crowded dance floor and parade around for about five in line to get in. The Blue Hawaiians don't swing; if any minutes. The audience ate it up thing, they surf. and for good reason. The dancers got their first By the time the show came taste of swing during the inter to an end the crowd was still mission. The Blue Lizard rarin' and ready for more. After Dancers did a fantastic demon the band left the stage they all stration. This really got every et them know weren't done by one's swing motors going. shouting the signature "Go Big Bad Voodoo Daddy has Daddy-O." Within a few min ___r *** w come a long way since their last utes they were back, but with a nw J mm two appearances here in problem. For some reason there ■ Vancouver. They've appeared was no power. The emergency on Jay Leno, been in a few lights kept the stage lit, but that ___*"ji movies, even played in front of was it. Now some bands would 80,000 people at the half-time nave said sorry that's it, some Super Bowl show. So playing oands may have tried to do the Commodore might seem like something, but Big Bad Voodoo a step down for the guys, but Daddy seemed to use the power after talking with singer Scotty outage as an advantage. They Morris, he'd much rather play played a fantastic, unplugged, in a small venue. The one thing audience-participated encore they had over the last two that I'm sure won't soon be for Richard's on Richards shows gotten. was a larger stage. Of course If you're down at the all-new they all took full advantage of Commodore Ballroom in the that by parading and jumping next few weeks, I'm sure the around. The energy they all had loor will still be bouncing from was amazing. The only time this show. they stopped was when audi Gary Olsen ence members would buy Scotty Gin and Tonics. The nine members each took turns doing some kind of solo with each of DJ VADIM MR. THING BLU RUM 13 3i$j^M»m fc # * * *_# * l5r • & Kt * * * everything's working out perfectly, we're in the list-moking spirit here in the freezing cold DiSCORDER office.- hoeir Ten Things To Do When And if it does, you'll wonder LUNACHICKS, DIESEL BOY Blacker A TIGHT BROS FROM WAY mainland on the Caught In a Moment of why that cheap flight home ® GANG STARR Full Clip BACK WHEN Runnin' Musqueum reserve —just Mass Hysteria or Personal on New Years Eve was TRAGIC ANIMAL STORIES A NEW BOMB TURKS The Big Thru... try and spot a salmon. Reflection on the eve of such a good idea. Tuesday, ll:30anvlpm Combo A TURBONEGRO Apocalypse A Boon County in Maillardville just another day... 9 GODSPEED YOU BLACK Dudes — the cheesiest country (anonymous) SKATS SCENE-IK DRIVE EMPEROR Live @ Starfish RADIO SATYRICON bar of all time. You and A Ask yourself why there are Friday, lOam-Noon Room Thursday, llpm-lam Shaw's Top Ten Hot Date your date will soon realise [fill in the blank] in the 9 KINGPINS Let's Go To Work A DAVID HILYARD AND THE A SHELLAC Live @ Starfish Room A DJ CHEB 1 SABBAH SW Durga Activities in Vancouver how lucky you are to be world « you. S Note the choice of footwear ROCKSTEADY 7 Playtime ® BUILT TO SPILL: Keep It 9 DAVID SYLVAIN Dead Bees A UBC Martial Arts Exhibition within a 3 person radius A SKANDALOUS ALLSTARS Like A Secret On A Cake or any Muay Thai boxing about yourself Age of Insects A GODSPEED YOU BU\CK A FRYERTUCK Soft tournament. Trust me — A Realize that you forgot to 9 PLANET SMASHERS Life of EMPEROR Slow Riot For Favourites of Yesterday and HOT! flush the toilet at your the Party New Zero Kanada Today A A search for Stanley Park's boyfriend/girlfriend's house A VARIOUS Roots, Branch, A JAMES BROWN Live @ 9 DAVE DOUGLAS Charms Of rumoured lost cemetery. after a millennial dump and Stem Vol.2 Queen Elizabeth Theatre The Night Sky We dare you to find it. A Smile, because you may 9 THE CHINKEES Peace ® THE ROOTS Things Fall A CAETANO VELOSO Livro ® A free-paced game of never see so many Through Music Apart A BILL FRISELL Good Dog, "DESTINATION simultaneously smiling 9 FREETOWN Painless 9 THE BLACK HEART Happy Man RANDOMIZER" — you faces ever again 9 SKATALITES AND FRIENDS PROCESSION 2 9 THE CINEMATIC wS^^ need a car and rules (ie. * Kiss someone, anyone, it's At Randy's ® NORTH OF AMERICA These ORCHESTRA Motion Water means turn left, a a guarantee they'll kiss you ® PERSIANA JONES Puerto Songs Are Cursed ® LTJ BUKEM The park means head north back Hurraco ® THE RYE COALITION The Progression Sessions until you see the next * Fight someone, anyone, ® PIETASTERS Awesome Mix Lipstick Game ® GODSPEED YOU BLACK church, etc. A great way to it's a guarantee you may Tape #6 ® Dawson's Creek. EMPEROR Slow Riot For waste time and gas). start the riot 1998/99's extracheesy TV New Zero Kanada ® Finn Slough — Richmond's 9 Hope the world does come VENGEANCE IS MINE! season 9 MILES DAVIS The Complete ghost-town somewhere to an end because you'll Monday, midnight-3am ® 30 FOOT TALL Ever SHITMIX Bitches Brew Sessions (Reissue) near Steveston. Cruising never live down #8 for chicks. v* Fall into the fetal position, Revolving, Never Evolving Friday, Midnight-3am A Vancouver Airport for some you will either be ® THE LILLINGTONS Death by A SELINA MARTIN AND THE THIRD TIME'S THE CHARM Wayne and Garth-style PIRATE RADIO successful in shielding Television VERTICAL BROTHERS Tuesday, 9:30-l±:30am plane watching. Recline Monday, 7:30-9:00pm yourself or successful in 9 FOUR LETTER WORD Zero Space Woman A Buffy the Vampire Slayer and enjoy. ® PAN SONIC A getting yourself crushed, Visibility A WEEN Painting the Town ® Local Rock 'N Roll (BU\CK A The drive-in — bench seats A GOEM Dertig CM either way it'll be a surreal 9 RESET No Limits Brown HALOS, SPITFIRES, HELL are a plus for this hot A POLE 2 experience! ® A.F.I. Black Sails in the A MAKE UP Save Yourself CAMINOS et al.) activity. ® FLUXION Largo 9 Imagine what someone Sunset A SUPERSUCKERS How the ® THE FEVERS Show! 1" A UBC Observatory on a ® GAS Konigsforst who has lived in a jungle A ALL All Supersuckers Became... ® BULEMICS Old Enough to night it ain't open to the 9 PORTER RICKS/TECHNO their whole life is doing, A ENEMY YOU Where No One A JON SPENCER BLUES Know Better general public — lots of ANIMAL Symbiotics that's right, taking shelter Knows My Name EXPLOSION Acme A BANTAM ROOSTER live @ dials and knobs to turn. ® MIMIC + THE MODEL with their family, from the ® DOGPISS Eine Kleine ® FLASHLIGHT Running Pic A Shoplifting spree — Untitled rain, just like every other Punkmusik Season ® Las Vegas Grind '99 preferably at somewhere 9 PULSE PROGRAMMING night... 9 TEEN IDOLS Pucker Up ® G. LOVE AND SPECIAL ® TRICKY WOO Sometimes 1 like "Claire's." Untitled J- Hide, just hide. Maybe 9 VARIOUS Four on the Boor SAUCE Philadelphonic Cry/Live A The smallest salmon A LOW Secret Name midnight won't find you. A Runners up: ANTI-FLAG, A CHRIS ROCK Bigger and ® DONNAS Strutter 7" stream in the lower A BASEMENT JAXX Remedy *#^«#*#^^*^**<f*0***^*^ •*!* 32 Jancember 99 *#^«#*-»*^^*^**-^*o***^*a# NARDWUAR THE HUMAN SERVIETTE PRESENTS... Friday 3:304:00pm A People — the support I received during my hospital "visit" was absolutely incredible! All the cards, e- mails, visits and gifts totally helped me through a difficult time! Thanks so much! I'll never forget you! a Local Releases — tons of great stuff lots from bands such as THE CHICK MAGNETS, SPITFIRES, JUNGLE, JERK WITH A BOMB, HELL CAMINOS, VICTORIAN PORK, HOOKERS OF FIRE, RIFF- RANDELLS, WISECRACK, BURDEN, DISSENT, The Transiberian and Crusty Compilations, RADIO BERLIN, ELECTROSONICS, HISSY FIT, DBS, JP5, DESTROYER, SOPHISTOS, and way more! Go Vancouver Go! A FLASH BASTARD signing to Nikki Sixx's (!!!) record label and getting kicked off the MOTLEY CRUE/SCORPIONS tour! A THE SADDLESORES playing a song for Lisa- Marie Presley in Los Angeles! ® THE BLACK HALOS getting flown to England to play a party for legendary metal magazine KERRANG! A BIF NAKED on the Tonight Show! From the Cruel Elephant to Jay Leno! Wylde! A The Java Joint in Surrey — finally a club for all-ages rock action! A The Drippy Gazette — a super-duper new local rock/comics/culture/what ever you want it to be mag helmed by Rob and Blaine! A Seven Segment — keeping the all ages flame alive in Vancouver through many a happening gig. A CiTR winning the referendum at UBC! What does this mean? You'll be able to hear CiTR and read DiSCORDER for many years FOLK OASIS Wednesday, 9-10:30pm e and do your o without being a student o A Sex, baby, sex an employee A What else are you going to A Aldus PageMaker 5.0 listen to? a Adobe PageMaker 6.5 9 Nardwuar the Human a when someone stands on S GUY CLARK Cold Dog Soup a THE GOURDS Ghosts of Hallelujah A KELLY JOE PHELPS Shine Eyed Mr. Zen A OH SUSANNA Johnstown A BLACKIE AND THE RODEO KINGS Kings of Love A BUENA VISTA SOCIAL CLUB Presents Ibrahim Ferrer * CESARIA EVORA Cafe Atlantico ® RON SEXSMITH Whereabouts 9 SUSAN CROWE Pilgrim's Mirror 9 BRAVE COMBO Polkasonic BY THE WAY alt. Wednesday, 7:30- 9:00pm A AVOCADO BABY Voluptous and Supreme (not new, but new to me) A HOT HOT HEAT (demo) ® PETTY CRIME s/t A RADIO BERLIN (demo) a COUPON (demo) ®THE ALL-GIRL SUMMER FUN BAND s/t ® QUIX*0*TIC s/t ® BUILT TO SPILL/MARINE RESEARCH (split) ARONDELLES/SKINNED TEEN/ANGORA/KNOCK- UPS Battle ofthe Bands A the place where pirates and comic books meet Top ten reasons to love CiTR by Anna Friz, Programming Coordinator A No ads A We're the centre of news and gossip A If you hate this show, you Serviette — still absorbant after all these years A You won't get hit by the Venga Bus *You can say "cunt" on the air A The Lone Rocker A Mel DJ Hancunt's top ten jazz albums to listen to while coming down from an acid trip A BILL EVANS Live at the Village Vanguard ® BETTY CARTER Inside Betty Carter ® MAX ROACH, CHARLES MINGUS & DUKE ELLINGTON Money Jungle A MILES DAVIS Kind of Blue A FLORA PURIM Butterfly Dreams A ALICE COLTRANE A Love Supreme A SHIRLEY HORN You Won't Forget Me ANINA SIMONE After Hours ''r ATHELONIUSMONK Monk's Dream A BRAD MEHLDAU The Art of the Trio Volume III Top Ten Hated Things by Tristan A courier (the font) A poorly scanned images A the upcoming "millenium" ® type 2 errors A entropy A my most recent nightmare: ("Two words." "Hypenated." "Two words." "Hypenated.") A the realisation that i spend 60 hours a week at UBC a wheeled chair Top Ten Most Hated File Types by Tristan: A the GIF, JPEG, BMP and PICT A RealAudio ® the ARJ, HQX and DAT A the PRN A Freehand A the clipping file ® the XML, the PNG (irrational fear) ® fhe WRI A the fucking TTF ® the PDF Rob's Top Ten reasons to gi the heck outta Dodge... < Vancouver A Hippies A Junkies A Yuppies ATeetotallin' liquor laws ANDP a Rollerblades A Rain A Hippies A Surrey A Eventually it's gonna sink into the Pacific anyways Julie Cs top ten reasons why december will not suck as bad as november did. -1-1 now have waterproof shoes. a My grandma sent me christmas money, so i can buy comics again. AI got a talking Arthur doll who will ease my troubles on those lonely winter days. A My little brother's put off the wedding... for a while AI am learning to sleep through the night without waking up when people pee. AI got to play OINGO BOINGO's "Wild Sex In the Working Class" at a BZZR Garden (16 Candles is the best movie ever!) A People are learning that I'm not as "indie rock" as they'd like to think. A | have new friends who hang out other places than the citr lounge! A Barbara doesn't think my drawings stink. A Soon I will rule the station Production night essentials by Barbara A Bananas A Rasta hat, dorky winter coat A Forgetting where I put the fax sheet A Crying fit on the hallway floor A Printer malfunction(s) A Stupid layout ideas (see pp.32-33) A Vow to obliterate memory of night with some sort of debauched activity A "Sailors Board Me Now" by THE FROGS A Intense resentment of fellow volunteers A The realisation that not one but two ads were accidentally placed twice on the dummy and no one noticed until today *#^«#*#*^*A* 33 & OnTheDia 'OUR ON-AIR GUIDE TO CiTR 101.9FM SUNDAYS ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by its art. This show presents the mosl the world Ears open. THE ROCKERS SHOW 12:00-3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00-5:00PM Real .owshit caught-in-yer-boots country LIPGLOSS & CIGARETTES alt. 5:00 6:00PM British pop music from all decades SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your also Que «ili-,, Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of human interest features, bock- ground on current issues and great music from musicians of all sexual preferences and gen- der identities HELLO INDIA 8:00 9:00PM GEETANJAU 9:00-10:00PM Geetanjali features a wide *-••<■•: ol , ulur luding classical music, both nduslani and Carnatic, pop- from Indian movies 930s to the 1990s, ical music such as and Bhajans, and THE SHOW 10:00PM- 12:30AM Strictly Hip-Hop— Strictly Underground — Strictly Vinyl With your hosts Checkmate, Flip Out & J Swing on the 1 & 2's THE CHILL-OUT ROOM 12:30-2:00AM Hiphop and R&B with DJ Klutch, techno and house with DJ Decter. Lotsa greal tracks—come smell what we're cookin'l Stay up late and VIBE 2:00-6:30AM MONDAYS BLUEGRASS FOR BREAKFAST 6:30 8:00AM join your hosts Master T Rudolph and Joe McLeod of the clan McLeod for a skillet-lickin' good olde tyme. The best in bluegrass and down-home groove. BREAKFAST WITH THE BROWNS 8:00-11:00AM Your favourite brown sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delightsl Tune in and enjoy each weekly brown plate special Instrumental, trance, lounge and ambience. BLUE MONDAY alt. 11:00AM- 1:00PM Vancouver's only industrial- electronic-retro-goth program. Music to schtomp to, hosted by Coreen POP SCENE alt. 11:00 1:00PM SOUPE DU JOUR 1:00 3:00PM Feeling a Ii French-impaired? Francoph* music from around the globe, sans Celine Dion A WALKABOUT THE WORLD 3:00-4:00PM EVIL VS. GOOD 4:00 5:00PM Who will triumph? Hardcore/punk from beyond tile the grave BIRDWATCHERS 5:00- 6:00PM Join the sports department for their eye on the T-Birds. POLYFILLER alt. 6:00- 7:30PM AUDIO VISUAL alt. 6:00- 7:30PM Critical theory, debate and dialogue on art and culture, set to a soundtrack of breakbeat, worldbeat and other eclectic sounds. PIRATE RADIO alt. 7:30- 9:00PM Formerly "Love Sucks," now at a new time. BABYLON AFTER SUPPER alt. 7:30-9:00PM THE JAZZ SHOW 9:00PM- 12:00AM Vancouver's jozz program. Hosted by the ever-suave Gavin Walker. Features at 1 I. Dec. 13: One of the first attempts to fuse "classical" and feature tonight "The Modern Jazz Society" with soloists Stan Getz and Lucky Thompson and JJ. Johnson. Dec. 20: Another set by Lionel Hampton (vibes) with Oscar Peterson, Ray Brown and Buddy Rich... giants at play. Dec. 27: Ending the century with the famous "Jazz at Masset Hall" with Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach., more giants at play. Jan. 3: "Milestones" by Miles Davis with John Coltrane and Cannonball Adderley An album that drummer Tony Williams called "the greatest Jazz record." Jan. 10: Multi-instrumentalist Yusef Lateef in a live club recording with trumpeter Richard Williams and pianist Mike Nock "Live at Pep's." Jan. 17: No show tonight. Jan. 24: Trumpeter Richard "Blue" Mitchell in a fine quartet with pianist Wynton Kelly... "Blue's Moods." Jan. 31: Charles Mingus "Cumbia and Ja* Fusi. of the great bassist/composer's finest late period recordings. VENGEANCE IS MINE Sunday Monday Tuesday Wednesday Thursday Friday Saturday (e-ggae Vnku*? mb* MORNING SPORTS SHOW BBC «-.^iv_. _»A^««_. ■\.V\.\V__\ \ A Y t_9k*UM\ IHE M0RA//WG AFTER SHOW against a(( o</**/y SUBURBAN JUNCLE BREAKFAsTwiT"H The bi-owms ■ween) ■trAir ©MHIilBf EBS __S1 SIS) TV sATt>£<DAy R£R MUSIC are. you, Fool s Paradise "_____J_ IFMSg ___! ©KiABIM SPIKES NWS/CA. PINS MOUEEUES fTAHD AND BE CUHTED Dffi7-r BLUE MONDAY/ pop scene Tragic Aniw.| Stories GWAW/W LUNCH Rocker*, hi\cvv VWe eWivi \ *Y»Y«- rtit .st fifu T Mt HHt fih:. SARAGAHA SOVPEMJ THE SElflSH SHOW +iSe shake St£VE&N«K*£ ^S)WERCH©RO KIT OUT THE HUES bJln a coMa WOMATOPOflA little twin stars 3U»9 91T33 §__»__* ***■. *»i.K»teiir ths MtSWlElMWIolW KMYHt ^ I nt mm ons IMJ3I SS&&TS3 HIPS TITS LIPS POWER gSAU^AUR) EVII-VS. tfOOB BLACK NOIZ LiWUs*09ar.-_s H_&9__-M_-0 0K*U»U _______■_-_■_■__■ Queer FM POLYFILLtl?/ AUDIO VISUAL FLEX YOU* HEAD rochele song OUT FOR KICKS F«rE*»siSide Sounds /AT-W'CAH RADIO FREE AMERICA AA/£> S0MET/MES WHY/ BY THE WAY IBS MS WITSTS ®BSA§!1® EMS UriLO IMru RA0IO aUNIKATHIKO o*rnof_ttK_ eondu*=h frllTANJALI THE JAZZ /HOW *_•* BOtfEA route <9A«f s Live frorvu.. TtfWfc£RB/Rt> HELL — T r.e St.n u VENUS FLYTRAP/ WITCHDOCTOR H'^HBALL PF3€dr€ome _A_._,ill**r._*i-_AB HICHBRED VOICES/ RADIO SATYR ICON VENGEANCE tSrMtNE! Aural Tentacles HAAi$ KID$$' MISERY HOUfl SHITWX chill-out room Y»V\_Vm*\\-4Trt tiVw\\-*.V *v I fifi l t T IJKN/ /t flKNMX vibe psychedelic airvuaves Mt ***. T CfJfl.'T T f'OPf'IN «___* Wan. uund *uys.\»nt 7HB MORtfWG AFTER SHOW ^VGGM* U+l\}9 9 io ; ii 12p„ i 2 3 4 5 6 7 10 ' 11 ]2AM 34 Jancember 99 12:00-3:0OAM Hosted by Trevor It's punk rock, baby! Gone from the charts but not from our hearts—thank fucking Christ. PSYCHEDELIC AIRWAVES 3:00-6:00AM TUESDAYS THE MORNING SPORTS SHOW 6:00 8:00AM WORLD HEAT 8:00-9:30AM THIRD TIME'S THE CHARM 9:30- 11:30AM Torrid trash-rock, sleazy surf and pul- satin' punk provide the perfect scissor kick to your head every Tuesday morn. There's no second chance when Kung-Fu is used for evil with drunken fist Bryce. Kill-yaal! TRAGIC ANIMAL STORIES 11:30AM-1:00PM THE SELFISH SHOW 1:00- 2:00PM Poetry, piano and pretension. BELT OUT THE BLUES 2:00- 3:30PM Music for families and little people. HIPS TITS LIPS POWER 3:30-5:00PM Featuring That Feminist Collective from CiTR. 10,000 VOICES 5:00- 5:30PM Poetry, spoken RADIO ACTIVE 5:30- 6:00PM Activism, issues and fucking up the corporate powers that be. FLEX YOUR HEAD 6:00- 8:00PM Hardcore and punk rock since 1989. RADIO ELLINIKATHIKO 8:00-9:00PM Greek radio LA BOMBA 9:00- 10:00PM WITCHDOCTOR HIGHBALL alt. 10:00PM-12:00AM VENUS FLYTRAP'S LOVE DEN alt. 10:00PM- 12:00AM I'm currently on hiatus and will be back December 28the. See you then. <loveden@hotmail.com> AURAL TENTACLES 12:00- 3:00AM WEST COAST POPPIN' 3:00-6:00AM 1 00% west coast rap. Huge giveaways, vith your host like no other Shav i Pow, WEDNESDAYS SUBURBAN JUNGLE 7:00- 9:00AM A perfect blend of the sublirr ind absurd, * : hosts Jack Velvet and Carmen Ghia. FOOL'S PARADISE 9:00- 10:00AM Japanese music and talk. ELECTRIC AVENUES 10:00- 11:00AM Once a month, the folks from Avenues spin their favourite tunes. SPIKE'S MUSICAL PINS AND NEEDLES 10:00AM- 12:00PM Spike spins Canadian tunes accompanied by spotlights on local artists. THE ETHER TABLE 12:00- 1:00PM THE SHAKE 1:00-2:00PM DJ IN A COMA 2:00- 3:00PM ' MOTORDADDY 3:00- 5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat." RACHEL'S SONG 5:00- 7:30PM AND SOMETIMES WHY alt. 7:30-9:00PM sleater-kinney, low, sushi ... these are a few of our faveoh-writ things BY THE WAY alt. 7:30- 9:00PM FOLK OASIS 9:00-10:30PM The rootsy-worldbeat-blue- grass-polka-alt.country-cajun- conjunto show that dares call itself folk. And singer-songwril- STRAIGHT OUTTA JALLUND- HAR 10:30PM-12:00AM Let DJs Jindwa and Bindwa Bhungra! "Chakkh de phutay." HANS KLOSS MISERY HOUR 12:00-3:00AM Mix of most depressing, listenable lelodie s and v FIRST FLOOR SOUND SYSTEM 3:00-6:30AM THURSDAYS AGAINST ALL ODDS 6:30- 8:30AM REEL MUSIC 8:30-10:00AM Soundtracks and classical. STAND AND BE CUNTED 10:00-11:30AM CANADIAN LUNCH 11:30AM-1:00PM From Tofino to Gander, Baffin Island to Portage La Prairie. The all- Canadian soundtrack for your midday snack! STEVE & MIKE 1:00- 2:00PM Crashing the boys' club in the pit. Hard and fast, heavy and slow. Listen to it, baby (hardcorel. ONOMATOPOEIA 2:00- 3:00PM Comix comix comix oh yeah and some music with Robin RHYMES AND REASONS 3:00-5:00PM CULTURE CAVITY SEARCH 5:00-5:30PM REELS TO REEL 5:30- 6:00PM Movie reviews and OUT FOR KICKS 6:00- 7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30-9:00PM Roots of rock & roll. LIVE FROM THUNDERBIRD RADIO HELL 9:00 11:00PM Local muzak from 9. Live bandz from 10-11. HIGHBRED VOICES alt. 11:00PM-1:00AM RADIO SATYRICON 11:00PM-1:00AM flipped up, freaked out, full-on, funktified, sample heavy beat lain trip, focusing on anything with breakbeats. Versatile at any style. LITTLE TWIN STARS 2:00- 3:30PM NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM Have a good lunch! Back on the air once again! BLACK NOIZ 4:00 5:00PM Essays, poetry, social com- from a Black radical perspective. If you can't take the heat listen to Z95. NOOZE & ARTS 5:00- 6:00PM FAR EAST SIDE SOUNDS alt. 6:00-9:00PM AFRICAN RHYTHMS alt. 6:00-9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa & African music from around the world. HOMEBASS 9:00PM- 12:00AM Hosted by DJ Noah: techno, but also some trance, acid, tribal, etc. Guest DJs, interviews, retrospectives, SATURDAYS THE MORNING AFTER SHOW 3:00-8:00AM THE SATURDAY EDGE 8:00AM-12:00PM Studio guests, new releases, British comedy sketches, folk music Ja; ■nds Om W.S. PLUTONIAN NIGHTS 1:00- 6:00AM FRIDAYS SHADOW AT DAWN 6:00- 8:00AM With DJ Goulash. CAUGHT IN THE RED 8:00- 10:00AM Trawling the trash heap of over 50 years worth of r I debri: SKAT'S SCENE-IK DRIVE! 10:00AM-12:00PM Email your requests to Djska_T@hot- mail.com THESE ARE THE BREAKS 12:00-2:00PM DJ Splice and A.V. Shack bring you a ticket Afric 8-9AM: ts. 9AM- WWorl 12PM: Celtic formances. SAREGAMA 12:00-1:00PM POWERCHORD 1:00- 3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. LUCKY SCRATCH 3:00- 5:00PM From backwoods delta low-down slide to urban harp honks, blues tunesters and crooners in the blue degree. Blues and blues roots with your hosts Anna, Jim and Paul. RADIO FREE AMERICA 6:00-8:00PM SOUL TREE alt. 10:00- 1:00AM From doo-wop to hip hop, from the e' alt. Trip the * Micha- Ingram goes beyond the call of gospel and takes soul music to the nth degree. PIPEDREAMS alt. 10:00- 1:00AM TABLETURNZ alt. 1:00- 4:30AM EARWAX alt. 1:00- 4:30AM "noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/distort da force with needlz o fre da u mpan " Out. */my Guy Smiley REGGAE LINKUP 4:30- 8:30AM Hardcore dancehall reggae that will make your mitochondria quake. Hosted by Sister B. CMnaUMi M BWMau twilt W t. rhvuu ch "Radii knl BY ANNA FRIZ January 17 is art's birthday. You know art, it's always hanging around in galleries, parading across stages, and showing up on street corners. According to French artist Robert Filliou, art was born over a million years ago when someone dropped a sponge in a bucket of water. He decided art needed a good party, so he declared January ] 7 art's birthday and called for it to be an international holiday of feasting and celebration and making'presents for art. Eventually, there could be two days of international celebration, then three, four and so on until a mil- ion years ti *, every day is art's birthday. This year marks the 1,000,038th birthday of art. In celebration, CiTR has teamed up with the Western Front to celebrate art's birthday in style, with 24 Hours of Radio Art. "Radio art?" you wonder. And just what might that dubious category include? The soothing sounds of white noise and feedback loops? Someone gargling for half an hour? ■ jfe Ml ■ I It has been done and may be done again. But radio art is not merely an onanis- tic exercise designed to alienate listeners. It is a distinct artform that is fluid and immediate; you get one chance to hear it wifh no possibility to rewind. Radio art has no physicality, it happens in the space ofthe imagination: "I hear voices, but there's nobody there." And in that space, all sounds are possible. Most radio art operates less like theatre and more like cinema: a montage of sounds collaged and layered together. Sounds fade in and out, then cut suddenly to a new theme. But there might also be plays, readings, ambient mutterings, and blatant messages. Whole geographies of sound may come to life, or life may be reduced to minimalist tinklings. A performer might go loud, live and vicious on the mic, or they might sidle up to your ear and talk sweet. Radio by design and radio by chance. Non-sequitors abound.I m We are assaulted by sound every day — from the humming of your fridge to insidious muzak — so everything is raw material. But what makes this different is that audio art will not try to sell you anything. Radio art is free and public. So when you tune in to CiTR 101.9 fM on Monday, January 1 7, 2000, you will hear a host of local and international artists surfing the radio waves for 24 hours. Jam sessions using Internet audio-streaming feeds will let us send the sounds around the globe. It's a day to retune your ears and listen Up while you're making your own present for art. • B I Happy 1,000,038" iMkdaii, will CiTRflffl 121.9 fM WESTERN FRONT SCRATCH + CHRISTMAS = A TASTY ©ATE 'ti£ tlje $ea&tm for our giant BOXING WEEK SALE DECEMBER 26th to DECEMBER 3lst EVERYTHING will be 20 to 50% oK! other items further discounted well below cost mmmm PW" »■■'"■ ■■■•" ■■ ■ * ii^-^www^»iiJiiiiiiiiwwi«iuiwwii»»u«uu.i.iiinjii.. l999,|>ou be to FRENCH PADDLEBOAT Conversions In Metric CD Scratch # 30 Hey, don 1 trust our word for it "HI rm the RPM director at WTUL in New Orleans and . i just finished listening to the new French Paddleboat record and I absolutely adore it Keep up the good wort. It is so melodic and pretty; yet dynamic, like Oval meets Mogwai. It's great. Thank you. I love discovering new stuff that Is excellent" - Peggy G Wang, Music Director WTUL ID. MOEBIUS I Blotch CD I Scratch # 32 I Moebius. Founder of KlustertCluster. One of I the tethers of Kraut space rock. His name 1 said in the sane breath as Can, Tangerine Dream, Neu, Faust, and company. Moebius has always been more interested in straight forward motor or handmade rhythms and the use of electronic, eccentric and unpredictable machine noises. We are proud to release his second ever solo album. I JUNGLE I Long Time, No See CD I Scratch # 34 I Finally, a band for the people. Equally I spirited and infectious glam-pop/anthem I rock for all ages; Jungle's debut full length ' will restore your faith in the power of rock music. Proud and poised, unashamed and glowing; there is a joy here that is hard to deny. Dig the cowbell! Recorded by Keith Stein (Loverboy!) and Dave Ogilvie (Skinny Puppy!). Sent from above? Outer space or the heavens? MURDER CITY DEVILS Empty Bottles Broken Hearts LP/CD Scratch # 31 Lowdown, drunk, and dirty I tattooed kick ass flattening punk I rock from Seattle's finest. Think I Johnny Thunders, the Dead Boys, New York Dolls, Iggy & the Stooges...attitude and energy served with a swagger you haven't seen, heard, or felt in years. I BUGSKULL Distracted Snowflake Volume II CD Scratch # 29 Fifth and easily most exploratory album from j Portland's incendiary BugskuJL Tapeioops and odd instrumentation from the exalted i Portland bedroom of Sean Byrne. Sometimes intellectual, sometimes informed by abrasive and dfesonant experimertaism; BugskulTs music is always masterfuly orchestrated and infused with a unique and mysterious enthusiasm. LONNIE JAMES DEE-O CD Scratch # 33 Venerable former SuperFriend sings and writes great, heartfelt songs. Warm, focused, and passionate rock music. Impressive all star backing from talented folks from Change of Heart, By Divine Right, and Blue Rodeo.The bar for Canadian rock has just been raised. A co-operative release with Teenage USA. STOCKING STUFFER CORNER! We've got something for everyone. These sure bets for you AND your loved ones! 5IVE STYLE-Miniature Portraits CD ARSONISTS-As The World Burns 2LP/CD (instrumental 2LP and 12"ers too) BANE-lt All Comes Down To This LP/CD BOB POLLARD w/ DOUG GILLARD -Speak Kindly LP/CD BOTCH-We Are The Romans LP/CD BURZUM-all CDs and picture disc 5LP Box DEATH CAB FOR CUTIE -Something DJ SPOOKY-Subliminal Minded LP/CD DO MAKE SAY THINK-Besides LP FRENCH PADDLEBOAT sions In Metric CD HELLACOPTERS/GLUECIFER -Respect The Rock USA CD HOOKERS -Black Visions of Crimson Wisdom LP/CD JIM O'ROURKE-HalfwayTo AThreeway LP/CD JOE 'SHITHEAD KEITHLEY-Beat Trash CD KIDS OF WIDNEY HIGH Let s Get Busy CD LE TIGRE-self titled LP/CD (Kathleen of Bikini Kill) LOW-Christmas Ltd Edition CD MAGNETIC FIELDS-69 Love Songs 3CD Box MAKE UP-SaveYourself LP/CD MOGWAI-Mogwai EP CD MONKS-Five Upstart Americans CD OL' DIRTY BASTARD-Nigga Please 2LP Q-TIP-Amplified LP QUANNUM-Spectrum 2LP/CD (UK instrumental LP also in stock) RADIO BERLIN-Sibling CD RAGE AGAINST THE MACHINE -Battle Of Los Angeles LP ROCKET FROM THE CRYPT-Cut and Play 12" SAVES THE DAY •Through Being Cool LP/CD SOLVENT-Solvently One Listens CD SONIC YOUTH-Goodbye 20th Century 2LP/2CD SSAB-Songs CD tor Harmony Korine!) TRISTEZA-ln Sound Tour Support Series # 1 CD TWILIGHT CIRCUS DUB SOUND SYSTEM-Dub Plates Vol. II LP V/A-MASH THE PLACE UP •Ambush Records Comp 2LP/CD V/A-WARP10 +1,10 + 2,10 + 3 4LP and 2CD sets Some titles limited, while supply lasts. GIFT CERTIFICATES AVAILABLE! p^mmm OAR_ATS_.il 726 Richards Street, Vancouver, BC Canada V6B 3A4 ■ IVf _ffl?l_r"l Teh (604) 687~0499 Fax: (604) 687-0488 Email: spooner@scratchrecords.com W S3 "V m STORES: Get in touch. EMAIL ORDER: commerce@scratchrecords.com www.scratchrecords.com «* 726 is on the east side of Richards Street, between Robson and Georgia. CiTR Charts WHAT'S BEING PLAYED ON CiTR 101.9 FM HOW THE CHARTS WORK The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by our djs during the previous month (ie, "Jancember" charts reflect airplay over November). Weekly charts can be received via e-mail. Send mail | to "majordorno@unixg.ubc.ca" with the command: "subscribe citr-charts"* jancember long vinyl 1 stereolab 2veda hille 3 archer prewitt 7 sianspheric 8 les savy fav 9 bud osborn 10 rondelles 11 adri 12 flin Hon 14 various artists 15partsunknown 16 ihee michelle gun elephant 17 jerk with a bomb 18 icebreaker 19 various artists 20 di vadim 21 refrigerator 22 solex 23 by a thread 24butchies 25°ir 26»nsteza 27matmos 28 supersuckers 29 master faders 30moev 31 various artists 32 Ay pan am 33 jungle 34 clover honey 35le tigre cobra and phas you do not live... save yourself tilt o'whirl cat and the cobra hundred block rock the fox adrift boo-boo the days of our night* the new women's... rumble death to false metal distant eaHy warning projector u.s.s.r.: life from... glitter jazz pick up bst of Ihe daydreams population 1975 premiers symplomes spine and sensory the west greatest rock'n'roll... identity crisis suffer all points in s/t long time no see ...clover honey elektra independent carrot top k square dog selma sonic unyon frenchkiss get to the point teenbeat teenbeat dot-dash seven segment aesthetics shrimper matador revelation itralwerks makoto deluxe 1 all gi ^^^^ 2 tentacles 3 destroyer 4 spitfires 6dja-trak 7 magnetic fields 8 dump/lambchop 9huevos rancheros 10 tricky woo 11 wontons 12geoff farina 13 going stagg 14 smash up derby 15 bangs 16 north of america 17 kaia/sarah dougher 18 pedro the lion 19 various artists 20 readymade jancember short vinyl jancember band s/l the touch fhe temple slick black cat enter ralph wiggum i don't believe you split wild turkey surprise! extra spicy! steely dan sink and dream blow all the hell! maggie the cat bayonet point split helicopter bumping up and down the block alone endearing tones' throw third gear 1 coupon 2 spacerock2000 3thewoks 4radioberlin 5 hot hot heat 6 full sketch 8 team strike force 9 riff randells 10'he radio 11 swank o'hara 12 dreamy angel indie home jobs butnuster dad, the emperor and me distance tourist in your own town soundtrack hollywood calling bomb at the party sweet sixteen crystal blue no one has a clue but you laudromotte queen(never out of style!) don't make me sorry there'll be other rainy days the light changed before i could blink catch that summer breeze smiling memories green sheep carved out constellation independent i'V.crry Chris*t>*i<**i**r Qood Voity Cc IgAom 2)a £Uaa Datebook SUBMISSIONS TO DATEBOOK ARE FREE! when) to 822.9364, )K." Deadline for the WHAT'S HAPPENING IN JANCEMBER I SAT 15 Craig Baldwin's Spectres of the Specfrum@Blinding Light SUN 16 Megadeth@Commodore; L Double@Sonar; Craig Baldwin's Spectres of the Spec*7x*m@Blinding Light TUE 18 Craig Baldwin's Sonic Ou'/aws@Blinding Light WED 19 Craig Baldwin's Sonic Our/aws@Blinding Light THU 20 Rheostatics, VealOCommodore; BY08@Blinding Light FRI 21 Punchdrunk, Brand New Unit@Starfish WED 26 Mark Farina: San Francisco Sessions@Sonar DECEMBER FRI 10 Northern Lights Extravaganza (feat. Rich Hope Band, Brundlefly, Solarbaby, Waltz Darling)@Anza Club; Me'shell NdegeocelloOCommodore; Chameleon Christmas Schmooze@Chameleon; Under the Table, Howard Roark, Otaku@Sugar Refinery; And You Will Know Us By The Trail of Dead, Closed Caption Radio, Karen Foster@Brickyard; HP Lovecraft Film Festival@Blinding Light SAT 1 1 Evil Eddie RichardsOSonar; Alpha Yaya Diallo, Los MosocosOCommodore; Ivana Santilli@Chameleon; Big White Cloud, Full Sketch, Automovement@Ms.T's Cabaret; Peggy Lee Band@Western Front; Naughty By Nature@Alpen Rock (Whistler); Ideal Mini School Winter BazaarOldeal Mini School; Diversions@Sugar Refinery; Cartels, Belvedere, Downway, Victorian Pork@Brickyard; HP Lovecraft Film Festival@Blinding Light SUN 12 Martin SextonOStarfish; Dal Richards Orchestra@Commodore; Ivana Santilli@Chameleon; DJ Phantasy@Sonar; HQ Communications@Sugar Refinery; Klaus ■©Blinding Light Night@Commodore; Millennium Project@Sugar Refinery; Air Cries, Empty Warer@Blinding- Light WED 15 The Secret Three@Sugar Refinery; CiTR PRESENTS SHiNDiG FINALS: Bel Riose, The Radio, The Maneaters@Starfi$h; New Wave-Aoke Christmas Party@Brickyard; Air Cries, Empty Water@Blinding Light THU 16 e.space Entertainment show (feat. Terry Brennan, Locos Bravos, SPIKE)@Marine Club; Map Music Showcase (feat. Cooldown, Pilgrims of the Mind)@Commodore; the last BY08 of the Millennium@Blinding Light; Mortal Engine@Sugar Refinery; the Deadcats, Ralph, Transvestimentals@Starfish; Bad Taste Art Show@Brickyard FRI 17 Black Halos, Flash Bastard, Spitfires@Commodore; Kate Hammett-Vaughan Quintet@Western Front; Todd Verow's Addiction 7W/ogy@Blinding Light; Broken Record Chamber@Sugar Refinery; Hank Williams Testimonial@Starfish; Midge, Threat from Outer Space, Honeysuckle Serontina@Brickyard Kinski Marathi TUE 14 Disc SAT 18 Veloce@Chameleon; Colourifics@Marine Club; d.b.s., By A Thread, September, Burden@Langley Civic Centre; Not So Strictly Ballroom's Christmas Dance Party@Let's Dance Studio; Todd Verow's Addiction 7W/ogy@Blinding Light; Kyrestan Trio@Sugar Refinery; DSK, the Orientals, the Riff- RandellsOBrickyard SUN 19 Jingle Bell Rock (feat. UHF, Valdy, Kenny Hess, Tiller's Folly, etc.)@Commodore; A Miracle on Homer Street@Starfish Room, Soul Christmas '99@10th Avenue Church; Todd Verow's Addiction 7n7ogy@Blinding Light MON 20 13th Annual Blues for Christmas (feat. Jim Byrnes, Incognito, Powder Blues, Habs Stamer, F-Jam, etc.)@Commodore; FWUH 5 Year Anniversary (feat. Swollen Members, Moka Only, etc.)@Sonar; Saul Duck@Sugar Refinery WED 22 Dixies Death Experiment@Sugar Refinery THU 23 Vague Demons@Sugar Refinery; Dick and Jane, the Velveteens, Solarbaby@Brickyard FRI 24 Under the TableOSugar Refinery SUN 26 RascalzOCommodore WED 29 Dogfight ll@Sugar Refinery; the Hill@Brickyard FRI 31 New Year's Eve Debauchery Ball@Chameleon; Earthshakers Rhythm & Blues Big Band@Marine Club; Ray Condo, Colorifix, Inspectors, Spin Master Todd Tomorrow@Waldorf Hotel; John Ford, Andre Williams, Countdowns, Miss Kitty@Penthouse CiTR PRESENTS: THE CARRIBEAN MILLENNIUM CELE- BRATIONOHilton Hotel Metrotown; the Dayglo Abortions, Darkest of the Hillside Thickets@Brickyard JANUARY SUN 2 Heavy Metal Sunday@Brickyard FRI 7 Jazzberry Ram@Starfish TUE 11 Derrick Beckle's IV CarnageOBIinding Light WED 12 Derrick Beckle's 7V Camage@Blinding Light THU 13 Seam, Silkworm@Starfish; The Cabinet of Dr. Caligari with Eye of Newt Collective@Blinding Light FRI 14 MP3 Concert (feat. Big Cookie, Cozy Bones)@Starfish; raig Baldw s Spectres ofthe Spec/rum@Blinding Light Amsterdam Cafe 302 W. Cordova St. (Gastown) Anza Club 3 W. 8th Ave. (Mount Pleasant) Arts Hotline Astoria Hotel 769 E. Hastings St. Bassix 21 7 W. Hastings St. (at Cambie) Backstage Lounge 1585 Johnston (Granville Island) Black Dog Video 3451 Cambie St. Black Sheep Books 2742 W. 4th Ave. (at MacDonald) Blinding Light 36 Powell St. Boomtown #102-1252 Burrard (at Davie) The Brickyard 315 Carrall St. Cafe Deux Soleils 2096 Commercial (the Drive) Cambie 515 Seymour Caprice Theatre 965 Granville (Granville Mall) Celebrities 1022 Davie St. (at Burrard) Cellar Jazz Cafe 361 1 W. Broadway (downstairs) Chameleon Urban Lounge 801 W. Georgia (Downtown) Chan Centre 6265 Crescent Rd. (UBC) CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC) Club Vesuvius 1 176 Granville St. (downtown) CN Imax Theatre 999 Canada Place Columbia Hotel 303 Columbia (at Cordova) Commodore Lanes 838 Granville St. (Granville Mall) CNB Skate and Snow 3712 Robson St. Cordova Cafe 307 Cordova St. (Gastown) Croatian Cultural Centre 3250 Commercial Dr. (at 17th) Crosstown Music 51 8 W. Pender St. Denman Place Cinema 1030 Denman St. (West End) Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. DV8 515 Davie St. (downtown) Fifth Avenue Cinemas 21 10 Burrard (at 5th) Firehall Arts Centre 80 E. Cordova (at Main) F.W.U.H. Beatty 552 Beatty St. (downtown) 38 Jancember 99 683 7200 Frederic Wood Theatre (UBC) 876 7128 Garage Pub 2889 E. Hastings St. (downtown) 684 2787 The Good Jacket 225 E. Broadway (at Main) 254 3636 The Grind Gallery 41 24 Main St. (Mt. Pleasant) 689 7734 Hollywood Theatre 3123 W. Broadway (Kitsilanc 687 1354 Hot Jazz Society 2120 Main St. (Mt. Pleasant) 873 6958 Hush Records 221 Abbott St. 732 5087 Jericho Arts Centre 1600 Discovery (Pt. Grey) 878 3366 Jupiter Cafe & Billiards 1216 Bute (near Denman : 893 8696 La Quena 1111 Commercial (the Drive) 685 3978 The Lotus Club 455 Abbott St. (Gastown) 254 1195 Luv-A-Fair 1275 Seymour St. (downtown) 684 7757 Medialuna 1926 W. Broadway 683 6099 Minoru Pavillion 7191 Granville St. (Richmond) 689 31 80 Moon Base Gallery 231 Carrall St. (Gastown) 738 1959 Naam Restaurant 2724 W. 4th Ave. (Kitsilano) 669 0806 Neptoon Records 5750 Fraser St. Orpheum Theatre Smithe & Seymour (downtown) 822-3017 Pacific Cinematheque 1 1 3 1 Howe (downtown) 688 8701 Palladium 1250 Richards (downtown) 682 4629 Paradise 27 Church (New Westminster) 683 3757 Paradise Cinema 919 Granville (Granville Mall) 681 1531 Park Theatre 3440 Cambie (South Vancouver) 682 5345 Piccadilly Pub 630 W. Pender (at Seymour) 683 5637 Pitt Gallery 317 W. Hastings (downtown) 879 0154 Plaza Theatre 881 Granville (Granville Mall) 683 8774 Puff/Beatstreet 4326 Main (at 27th Ave.) 683 2201 Puff # 14-712 Robson (at Granville) 662 3207 Purple Onion 15 Water St. (Gastown) 682 4388 Queen Elizabeth Theatre Hamilton & Georgia 734 7469 Raffels Lounge 1221 Granville (downtown) 689 0926 The Rage 750 Pacific Blvd. South (Plaza of Natio 687 7464 Railway Club 579 Dunsmuir St. (at Seymour) 822 2678 822 9364 872 5665 322 6057 738 3211 873 4131 662 7017 224 8007 606 6665 251 6626 685 7777 685 3288 608 0913 738 7151 324 1229 665 3050 688 3456 688 2648 525 0371 681 1732 876 2747 682 3221 681 6740 685 7050 708 9804 684 PUFF 602 9442 665 3050 473 1593 685 5585 681 1625 Richard's on Richards 1036 Richards St. (downtown) 687 6794 Ride On 2255W. Broadway; 2-712 Robson St. (upstairs) 738-7734 Ridge Cinema 3131 Arbutus St. (at 16th) 738 6311 Scrape Records 17 W. Broadway (near Main) 877 1676 Scratch Records 726 Richards St. 687 0499 Seylynn Hall 605 Mountain Hwy. (North Van) Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864 Singles Going Steady 3296 Main St. (at 17th) 876 9233 Sonar 66 Water St. (Gastown) 683 6695 Starfish Room 1055 Homer St. (downtown) 682 4171 Starlight Cinema 935 Denman St. (West End) 689 0096 Station Street Arts Centre 930 Station (off Main) 688 331 2 Sugar Refinery 1 1 15 Granville St. (downtown) 683 2004 Theatre E 254 E. Hastings (Chinatown) 6818915 Thunderbird Ent. Centre 1 20 W. 16th St. (N. Van) 988 2473 Tribeca 536 Seymour 688 8385 Tru Valu Vintage Robson (downstairs) 685 5403 Vancouver E. Cultural Centre 1895Venables (at Victoria) 254 9578 Vancouver Little Theatre 3102 Main (Mt. Pleasant) 876 4165 Vancouver Press Club 2215 Granville (S.Granville) 738 7015 Varsity Theatre 4375 W. 10th (Point Grey) 222 2235 Vert/Futuristic Flavours 1020 Granville (downtown) 872 2999 Video In Studios 1965 Main (Mt. Pleasant) 872 8337 Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326 Vogue Theatre 918 Granville (Granville Mall) 331 7909 Waterfront Theatre 1405 Anderson (Granville Is.) 685 6217 Western Front 303 E. 8th Ave (near Main) 876 9343 Wett Bar 1 320 Richards (downtown) 230 6278 Whip Gallery 209 E. 6th Ave (at Main) 874 4687 W.I.S.E. Hall 1882Adanac (the Drive) 254 5858 Women In Print 3566 W. 4th (Kitsilano) 732 4128 Yale Blues Pub 1 300 Granville (downtown) 6819253 Zulu Records 1 869 W. 4th (Kitsilano) 738 3232 dje Zulu TDme? SONIC YOUTH SYR4 2CD/2LP This volume in the "SYR" sential American indie rock/noee outfit interpret a collection ot works by cc temporary composers including John Cage Pauline Oliveros Sieve Reich Takahisa Kosugi Chrislifu Wolff Yoko 0.0 and others Recorded with Jim O'Rourke William Winaut Kosugi Wolff and Ctuistiaii Mardajf Envisioned as their millennial sen ott. this sonically impressive package set9 the tone lo ■ i music notation Happy New Year ever*, on*! is SONIC YOUTH 2CD/2LP 26.98 Various Artists GIVE'EM THE BOOT 2 CD The second cheapo sampler trom Hellcat Records I contains 21 rock-steady, punk, hardcore and regg; songs trom HeHcefs finest bands, including unreleased tracks from Rancid, Hepcat and Joe Strimme as well as songs by the Dropkick Murphies The Piestasters Buj» Barton Buccaneer and many mo,^e8ant ANIMALS ON WHEELS Nuvol I Cadira CD Smoothed over stuff that owes much more to such laid back Germans as To Rococo Ht*. M such hyb American artists as Matmat, than to any other Ninja Tune act Really, it's unfair to describe this record as either so-called electronica or so-called post-rock, mil ence from both sides ol this facile equation is clear. II the point must be made. Ibis record proves once mor how close this particular circle is to being squared A CD16.98 Various Artists KINDERCORE CHRISTMAS 2 CD Combining the efficient Hair ol Bauhaus with the tree- teeling '60s West Coast pop designers. Kindercore B THE ALBUM LEAF An Orchestrated Rise to Fall CD Dreamy, advanced all mstniiYK Tristan main guy Jimmy LaValle TWsrei nicely along with the most recent oceanic guitar (plus well Tris alter ego, LaValle main lor deep-sleepers: fhe pace occasionally picks up, drawing nice dynamics out of an economy i music for a time when nights are long. CD 16.98 BOTCH We are the Romans CD 11 the Rocket Magazine is a true cultural indica I'new notse' within today's music circles, then Seattle punk/prog/metal cover boys are definitely on the cusp ot underground greatness! Spoken same breath as last years new punk rock JH employs monstrous and crushing guitars with equally ballsy street walking chee- 'ul electronics (to move the low end) and We are the I conquer!! CD 16.98 JIM O'ROURKE Halfway to a Threeway CD-EP The cast is gather. ' " I Prewrtt Sam Pri Gray Rob Mazurek The rutlled feathered this tap tap tap' — and shortly the musicians begin their gymnastic shuttling of thread bouncing effortlessly down the busy Chicago avenues. The gutters are blocked with mals. If It rains ttiere will be a flood, Stop by lora listen. CD-EP 14.98 KID LOCO DJ KICKS CD/2LP STAFF PICKS OF 1999!! A REVIEW OF OUR FAVOURITES THIS YEAR f 0% OFFAHT OF THESE TITLES TU. JAHJAPfY 3V2D00 S0UIK3 ol school Music is magic, and Christmas is the magic son so join 24 tweed pop contributors including: Richard Davies Of Montre Sik Cents And Natalie. The Ladybug Transistor Kincaid. The Essex Green Masters Of The Hemisphere, Busytoby Ciao Bella Junior Varsity The Gwer Mendoza Line loi this Misslul seasonal sing-a-l CD 16.98 «-T" NEW RELEASES: 'Bessy TUC urui <.*> I. l__o nf Fmnrnnnrv ntl EXTENDED HOURS THIS CHRISTMAS DECEMBER 16-23 OPEN Tit 9:00WI DECEMBER 24 9:3OAM-6;00PM DECEMBER 25 CLOSED DECEMBER 26 9:00AM ■6:00PM THE NEW 1-2 I* Case of Emergency CD Calgary's garage PHE Tba Elephant CD Pos CD-EP Very nice dynami Sinty stuff, TANK Upwards at 66' CD The new sound ol the London Truth Burns CD-EP Dual Bass ritts features men of Fudge ■tft CD Ok finally here, their DIMES! ORE HALOS Revolt into Style CD Leather Plenty ol Various SOMBRERO CD Siesta Records la comp Mmnn. BABY MAMMOTH Motion without Paiu CD Dark downbeats Irom this Pork Records duo. BUCK Buck In Black CD New songs trom this post-Cub outfit. FUNKSTORUNG Post Art CD-EP Their lull length is great. We've recently moved, so now you'll have "room to move" at Zulu! ^ Check out our new expanded digs, just one block up and across the steel from our old address. PS. ..At presstime, oar plan are open up a "SSteMte" Zula store at our previous 1869 West 4th address, by mid-December '99. It'll feature used/new clearance vinyl, CDs, etc... + Ms more items un come across (after 18 years la one location, things can accumulate!) How long will we keep it open? At least until Spring arrives, but " who knows? There's rm fixed time frame! While it's open, we'll be _ sure to keep it well stocked with m ever-changing selection of titles to rock you! "Satellite" Store Horns at 1869 West 4th: Monday-Friday 10:30am-?:00pm Saturday 10:30am-6:00pm Sunday 12:00pm-6:00pm
- Library Home /
- Search Collections /
- Open Collections /
- Browse Collections /
- Discorder /
- Discorder
Open Collections
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 1999-12-01
jpg
Page Metadata
Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1999-12-01 |
Extent | 40 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1999_12 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | c7426aa4-5bfd-432b-9b44-632ec1cbbca5 |
DOI | 10.14288/1.0050847 |
AggregatedSourceRepository | CONTENTdm |
Download
- Media
- discorder-1.0050847.pdf
- Metadata
- JSON: discorder-1.0050847.json
- JSON-LD: discorder-1.0050847-ld.json
- RDF/XML (Pretty): discorder-1.0050847-rdf.xml
- RDF/JSON: discorder-1.0050847-rdf.json
- Turtle: discorder-1.0050847-turtle.txt
- N-Triples: discorder-1.0050847-rdf-ntriples.txt
- Original Record: discorder-1.0050847-source.json
- Full Text
- discorder-1.0050847-fulltext.txt
- Citation
- discorder-1.0050847.ris
Full Text
Cite
Citation Scheme:
Usage Statistics
Share
Embed
Customize your widget with the following options, then copy and paste the code below into the HTML
of your page to embed this item in your website.
<div id="ubcOpenCollectionsWidgetDisplay">
<script id="ubcOpenCollectionsWidget"
src="{[{embed.src}]}"
data-item="{[{embed.item}]}"
data-collection="{[{embed.collection}]}"
data-metadata="{[{embed.showMetadata}]}"
data-width="{[{embed.width}]}"
data-media="{[{embed.selectedMedia}]}"
async >
</script>
</div>

https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0050847/manifest