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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
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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?
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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
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"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
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1999
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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.
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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)
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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!
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All the hits ofthe week! 80's. hard-edged. Brit,
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27 [D PRESENTED BY:
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THE MIV€
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[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
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Loung'
Aro un ,
Fridays <
Saturdays
©The Arti Clop
Lounse
GranvUie Island
1o:oo~i:oo
r l NO
\ CO(/£R
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*V^ Hostel By
» \ OJ Lush
M <
\f>J fondue
lonely
kings
also available.,
lonely kings
what i
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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
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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
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) Dec 1, 1999
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