I S C O R D E R FREE IUTE K OGWAI ARHEAD NC HR IS1 © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicited drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send e-mail to DSCORDER at discorder@club.oms.ubc.cd. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC. V6T 1Z1. CANADA, 1 printed in Canada ,,,,,..,, MUfMP grumpy and all that goes down is a sandwich? Can I only stom- th stinks. Tha . Why so hi encouraging others blind eye, and hea Your Man," is available in and by mail from Blood of the Young Records! Buy it! Turn spineless! Mope all day! (Blood of the Young, PO Box 14411, Minneapolis, MN 55414) Now, while Bright Eyes' single was, to me, unlistenable, most of the other releases were, thankfully, merely unremarkable, uninteresting, uninspired... un-Julie-friendly. I'm just a cranky rat-baby-bastard these days, and you'll have to words for weighty in almost Example: I suggest not purchasing the STEREO/ULTIMATE FAKEBOOK split. You, however, will do you that Ultimate Fakebook is actually pretty good, with a strong first track (good guitar licks, well-realized vocals). You all power-pop-with-bitten-lip and he's powerhousing it in a fine '80s style! This is middle of the road, people: What are you going to do about it? Support it? 1 suspected as much. (Pop Kid, 16 Raleigh Lane, Wayne, NJ 07470) I will tell you also not to hunt for the new BRMC double 7", but only because, being major label material, this'll all be on the full-length album anyway. That's due out any day now. I like the band a little less with each listen; perhaps it's because I found out where the band got its name. Marlon Brando is no Jimmy Dean, let me tell you! I do still think this band has more to offer than most new bands on major labels today, but why the heck am I reviewing major label stuff anyway? Excuse me while I ie "Indie Qu badge from my sash. At least I can keep the "Bitter Bee" one! (This is on Virgin, how hard can that be to find?) TENNESSEE TWIN might brighten some of your days with their supposedly gloomy Wolfe, twin of the Bratmobile Wolfe and ex-lady of that Zumpano/New Pornographers guy who kicked me repeatedly at a Smugglers show who I'm holding a grudge on for good. But I digress. So she's, like, this singer, and, like, her voice isn't the strongest around, but she gets the job done. She has a really strong backing band, featuring fiddlers, accordionists, and a pedal steel player, what- that entails. I saw th( band's debut back at the Pic with the Nardwuar-less Evaporators and Bratmobile back in the day, and I'm glad to say they've improved immensely. For you who love the country, or the unwavering support of local acts, get thee on this! (Mint, PO Box 3613, Vancouver, BC V6B 3Y6) Sub Pop's a funny label. They're not quite from around here, but we : love them. At least their bands the border for THE MAKERS here from time to time and usually put on a pretty entertaining show, full of tambourines and catchy choruses. The band's "Tiger of the Night" single, released as part of the Sub Pop Singles collection, is not the best ever, but it's still pretty good. Everybody made fun of the band's last full-length (or, at least, The Stranger did, and they're the only paper I believe), but I don't think the Makers have lost it yet. Sure, the band may be a little too big for its collective britches, but they can still make any fool dance! (Sub Pop, PO Box 20645 Seattle, WA 98102) People, I'm going to end this column with a cry for help. You of discerning taste, you who laughs with pleasure at my chopping of artist's works and hearts, send me tapes of your favourite singles! Or send me lists of the best si there! Lead me in the din of good times, if you can... Send your own band's 7"s, or tapes of your best stuff from collecting days gone by, and you'll make my summer (and, if this works, my n as well!) Thank you muchly in :e, due to those who will Svage my si Send DiSCORDER 1*233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 Canada! The Eunuch Or Repetitive Symbols of My Time This is my last article from Kuwait. Outside, it is 50 degrees and dusty. The lake/large puddle that grew over the "winter" months in the depression at the end of my desert-backyard has begun to dry. Forming in the evaporating water, there are nodules of salt the size of castrated gorilla testicles. This world has suddenly and again become a place lonelier than the moon. I am reminded of my first weeks here, the air like someone holding a hair dryer to my face. It makes a circle of my year, a loop. No snake eating its tail, more like a beige desert lizard outside my window, head held high, his spiny tail curled in an almost circle around the simian testicles of salt. There is a swirling mass inside me that I cannot figure out. It does not look like torn off gorilla testicles. It looks more like some Star Trek warp core, all blue and misty. The loneliness of this year has begun to crack, the walls in my monastery crumble like so many of the bombed-out houses in Old Kuwait, the ones left - rotting—as symbols and reminders of the Iraqi Invasion. I was not invaded by Iraq, however. I have had no dictatorship accuse me of stealing oil. I have not been violated by a desperate country, and so I have no reason to keep these dry and brittle houses, littered with bullet holes, as monu- But here, they have kept every momento mori of war. Outside a museum, there is a Mercedes, spray painted gold, red paint for blood dripping out the bullet holes—the size of gorilla testicles, of course. The car belonged to a member of the royal family who was killed escaping the invading troops. The bullets still remain imbedded, and I can stick out a finger and touch them. Out in the desert there is a graveyard of trucks and tanks, and the metal is cracking and caving-in, exposed to the perpetual desert heat. The dunes are eating them, and some have just become barrels sticking out of sand. I can also touch these hot metal monsters, stick my hand into the barrels of tanks: a hot metallic fisting, no testicles involved, gorilla's or otherwise. But me, I have not been in a war. Lately. I do not have need for remembrances of gunfire and the sound of a booming sky. I have merely spent a year in exile. I have spent the time with the desert, the sheep and an autistic budgie. Yes, in the desert, I have found the shells of Bedouin Kalishnakovs, seen the pistols that are hung freely from the belts of proud 15-year- old boys—symbols of manhood. Yes, I hear the shooting in the night, the tribal families who, during the day, drive the Jaguars fast and watch satellite TV in 15-bedroom mansions, and, at night, go to the dark, go the desert to try to remember their past that was pulled away from them by oil and money and the western men not 50 years ago. Parents and grandparents tell me they remember moving from tents and shacks to brand new houses with pools and air conditioners that rattled like dried gorilla's testicles in a hollow bamboo branch. And now, my air conditioned home-for-one-year has been packed up. I have rolled my shirts around delicate things and placed them in a heavy suitcase, too heavy to lift—perhaps some crumbling bricks of my insides were accidentally packed too. Last to go, my music and my computer to write this article, a sign of the dedication to CiTR and DiSCORDER, even now, nine nths s i the v Vancouver was exhaled into this oven-like heat, and nine months of dust settling in my wrinkles. Wrapped carefully somewhere in that hockey bag is a bottle of desert sand. And a dried gorilla's testicle of salt. And a piece of metal, and a piece of glass from a tank half- buried in moving sand and violent memories. The tank itself does not remember, nor does the encroaching desert. The lizards and their spiny tails do, perhaps, but they are not telling. I try to decipher their quick movements, try to understand their stories, but it is hot outside, and I am not as old as I cannot truly show you this world. I cannot expect a true representation of any world, only give you my feelings and my western imperialistic views. I can only show you the pictures, write about the upright shadows of women in black abayas. I can only tell you about the wealth, and the opulence and a certain castrated feel of the people walking in western clothes, spending western money. I can only show you the motorcycles travelling at 150 kmph, two teenage boys in t-shirts and shorts, no helmets, going fast, the wind in their hair and between their legs, perhaps trying to cool their hot impulses that are, by law, illegal. They zoom past me while I am in a slow taxi cab, then they slow down and wave, madly, at a westerner, shout through the wind broken English. One stands up, gripping onto the shoulders of the one driving, and they go faster, scream, and weave in out of the cars, the BMWs of the Kuwaitis and the boxy Lada's of the immigrants. For a while, I can see the boy standing, waving his hands above the roofs of other fast cars, and then he disappears into the blur of traffic lights and lonely highway distance at And this morning, I place my hands against the walls of my crumbling house, stare at the squares of dust outlining the place where photographs— people I have lost contact with and places I used to call home—used to be. I am coming home. Whatever and wherever that is. And I wonder, what is a world without a desert? Without the shells of gunfire to pick up on early morning walks? What is a world where I am not alone? What is a world without a man, standing outside his giant house trying to pull a sheep out of his Mercedes? The sheep, woolly and scared, refuses to leave the backseat comfort of the car. The man has tied a rope around the animal's neck, and yanks, his foot against the racing green paint. This animal is for a feast, a traditional meal. And it sits, stubborn, on its hind legs, testicles exposed and unmoving, a piece of their cultural past that refuses to be budged. And the man curses in the hot Arabian morning, but is laughing. And I walk past, smile, and walk towards home. Whatever and wherever that is. • TRANSVESTIMENTALS Difficult Loves (Independent) The Transvestimentals, comprised of former and present members of No Fun, Coal, Gaze, The Mach Ills, cub, and other bands, play mainly in drag, and write songs that are kind of glam, kind of English punk, and quite noisy. Given the costumes and the self-deprecating sense of humor that comes with them, you might be surprised to hear just how good these songs are. "Trashed by Love" is as loud, catchy, and sweet as the Stiff Little Fingers' "Barbed Wire Love," with more overdriven guitars. "Meat Boy" could almost be a previously unheard track from the Rocky Horror Picture Show, and "She's Got Culture," ought to be sung in sports arenas (although if it were, that would mean that no one was paying attention to the lyrics). Then, of course, there is the "Incidental Transvestimental Song," which traditionally opens and closes the band's live sets. Be sure to listen through to the end for the guilty pleasure covers, recorded in their practice space. MISHIN IMPOSTICLE The Sad Sad Sadness of The Cigarette Girl (Independent) This is a proudly lo-fi solo outing from Valeria Fellini, perhaps best known as a one-time drummer for cub. But with the possible exception of elements of "Good Cement," recorded with former bandmates from Gaze, there's nothing here that will remind you of cuddlecore. Instead, Valeria sings sharp- edged poetry in an often quavery, digitally delayed, high whose si range from the groovy-quirky to ska and slightly twisted traditional English folk. Alas, it's hard to hear most of the lyrics, but the bits that jump out are tantalizing ("The plastic-coated pussy and the vinyl-covered dick... it's all the rage," for instance, from the last track). All proceeds go to the Positive Women's Network and Everywoman's Health Centre. SORESSA GARDNER Scabs And Dressings (Independent) Soressa is plenty stylish, as she demonstrates on her CD artwork with her cool shoe collection, round glasses, and magenta hair. She , clear- well-s 3 the very spare arrangements of the music, which is a kind of east- side coffee house nouveau folk. Perhaps most satisfying is a song about skating around on prescription drugs, "Rollerblades and Ativan," which includes the tasty lines, "Double scotch in my hand/The other held my Ativan." Don't try this at home, kids! www.cosmopolis.bc.ca TIM READMAN Into the Red (Big City /Festival Distribution) Probably because of Tim's association with a band called Fear of Drinking, I was half-expecting this to be a folk record somewhere on the more drunken, rollicking, Pogues-ish end of things. Instead, Into the Red is mainly arranged with pretty acoustic instalments, including guitar, whistle, flute, fiddle, and harp. Bits are Celtic- flavoured, and there are indeed some serious lyrics. Others might just be meant as ironic or faux-naif, or at least that's all I can make of, "They say the people are polite/I like them that way myself/When you fall in love with Canada/She won't leave you on the shelf," from "Oh Canada." www.tmtreadman.com JOEL Trains Are Fast (Interactive Liquid Creature) This long (72 minutes) CD is a noisy conglomeration of speedy dissonant noise, often incoherent vocals, schizophrenic beat-inspired lyrics, frantically- played guitars, and spoken word bits from fictional characters called The Announcer, The Fool, and The Drunk. At times, such as in the last (instrumental) track, Joel manages to create a mood that is somehow both hyper-energetic and incredibly moody, apparently with nothing more than an acoustic guitar. www.angelfire.com /id /ILK FIDGITAL Spyglass (Independent) This one's a bit of a jolt after a couple of hours with Soressa and the Joels. Fidgital might be every bit as socially relevant, but they come at it from a different, more electronic, direction. There are echoes of James Bond themes, Pizzicato Five, semi-ironic soundtracks to '70s car chase movies, Planetarium music, Tangerine Dream (and other synthetic/psychedelic types), '80s dance music, and even first-generation swing. The group thoughtfully lists the beats per minute for each song, www.fidgital.com » s im&mm i dre with rugged sports activities, beautiful people are flaunting what they got, sun worshippers are soaking in the rays. Bloody hell, I hate the sun. At least there's the comfort of the carcinogenic effects of direct sun- held on August 26th at Heritage Hall again this year. Last year ispect of the c< xpanded to include y works and there were plenty of swell zines and comics to see there. We expect to see our own local heros like Ralph Alphonso (Ralph), Brad Yung (Stay As You Are (the fresh #7 should be on shelves presently]), Netty (Queen of the Universe), and hopefully much more. Friends from Washington state such as David Lasky, Jason Lutes, and Randy Wood will be expected as well. Tables are up for rent even as we speak and will run about $30 for a full table (3x6') and $15 for half. Contact Leonard Wong at Add to my favourites list the name Tim Grant for inking skill and absolute otherworldly imagination. His comic OFF KILTER #6 has impressed me greatly indeed. The way-out storylines and bizarre twists mixed with jaded, modern day potty humour filled me with both delight and horror. You'll find frightening ass-scenarios as legendary cultural phenomenon (secluded good-ol'-boy and again abduc end to the side stories and wacky dialogue. Fabulous! Tying this tale together is Jimmy the Spitter, a recurring character from the deviant mind of Mr. Grant. Is it worth the $5 it costs? I say yes, absolutely. So contact jim- mythespitter@hotmail.com or try to find this at local comic outlets. If punk and zines are dead we can rejoice in tin- creativity that the anti-limelight always brings. Bringing some of the spirit back to us is a ratty little zine called SOD AWF #4, cele brating the joy of amateurism and the freeing power it wields. In this ambitious photocopied fanzine we find some refreshingly enthusiastic rendezvous with energetic, guitar swingin' rebels know as punk rockers, namely All Out, The Deadlines, AFI, The Planet Smashers, Speds, and St. Tibs Day. Admittedly interviews of obscure or even semi-obscure bands are relatively meaningless to media-drenched consumers, but for the fan, the "fan-zine" brings something precious. If the interviewer is a fan and is likely not getting paid for the interview, we get something quite passionate even if it may seem rough around the edges. This zine carries all the right ingredients of humour, humility, and enthusiasm. Hope Ivy keeps going and growing. Sod Awf, c/o Ivy, 9440 Glenacres Dr., Richmond, BC V7A 1Y7 : bullshit There's one sure way to find out if someone's insane. The scale of insanity is large. There's the scared-of-talking-on-the-phone kind of insanity, which is pretty low on the scale or the kill-people-and-eat-their-flesh- brand of insanity, which tops the charts. The insanity I'm talking about is closer to the low-end, but still, insane is insane, and you have to watch It is very likely that a person is crazy if they insist on drinking out of a straw. Now this doesn't mean that you're insane if you've drunk out of a straw before. Sometimes you have to use a straw. I'm pretty sure you have to drink a milkshake out of a straw because it's thick and cold and if you try to pick it up and drink it, first, your hand gets cold, and second, if you tip it too fast or too far the whole thing will fall on your face. But I'll have to check on that 'cause I've never had a milkshake before. But I've seen people drink them, so I figure I should know. When you're at a restaurant they always give you a straw. You can choose not to use it, but it's pretty easy just to go along with it. You never have to pick up the glass, you just lower your face and suck. Kids don't count because for kids straws are fun, especially the kind that bend. They like the colours or stripes or what- ever's on them. They like to blow bubbles. I'm talking about old people here. Well, not seniors 'cause they probably like to drink out of straws. Their teeth are sensitive and a straw's like a tube straight to the throat. They like that. So if a kid o you ALWAYS have to drink out of a straw, you're insane. The main reason why people want to drink out of a straw is because of cleanliness. Take a can of soda, for instance. If you drink it without a straw your mouth is going to have to touch the can which may have been dropped in a toilet by accident, dried off, then put back on the shelf. The appeal of the straw is that it's clean and sterile, right out of an individual wrapper, just like a condom. So the number one reason why people use a straw is because they're afraid they might catch gonorrhea. Drinking out of a can or bottle with a straw is insane. Have you ever seen anyone drink beer through a straw? Chances are that you haven't because straw-users don't drink beer. Beer doesn't come with straws. To drink out of a glass, decides to draw his own but they all look like a six-year-old did them. "Let the science begin!" Dexter invents the Kirbytron 2000 and leaps in, becoming a superhero. The great thing is the rest of the comic is drawn in this weird Dexter/Kirby hybrid style. What else? Dexter and Mandark have to use their supergenius to save the world but end up fighting over who has made the best robot ever. Mandark disguises himself as Dexter's mom so he can destroy his lab. Dee Dee pushes the wrong button and gets huge. Dexter borrows his Mom's rubber gloves and she goes insane. My favorite issue is the one where Dexter falls in love with this girl genius, Doreen. It's a wonderful spring romance that blossoms along swimmingly until Dexter shows her his blueprints for his latest "This V ill 1 'ork, actually open the mouth and make contact with the glass that was previously used by an old man who just had a cock in his mouth, is out of the question. So they don't drink beer. Mostly because it is not socially acceptable to drink beer out of a straw but also because beer tastes like alcohol. Same goes for wine. Straw-users like to order fruity little cocktails that taste like Kool-Aid or some shit with a hundred ingredients in it with a stupid name like Screwhound China Codtini. The fancy numbers always come with a straw, maybe even an umbrella and a piece of fruit. They like that. I'll admit that I don't drink beer. I don't drink soda (a word much preferred over "pop") either. On New Year's Eve 1997 I resolved to quit drinking carbonated beverages. Why? FOR NO APPARENT REASON. I think I might've read in the National Enquirer that carbona- tion was bad for you. I haven't broken my resolution except this one time when I had a sip of Red Bull without knowing it was gassed. But that doesn't count 'cause I had no idea I don't know. So I'm insane. At least 1 don't drink out of a fucking straw.* and pulls out... the comic you're reading! So he knows everything that's going to happen. It of course doesn't happen anything like that. But the best part is when Dee Dee gets her mitts on the comic. She starts scribbling out the word balloons and putting things in like, "I love Dee Dee. She is the best sister in the whole world." Flowers appear around Dexter's head. It was clever and cute. It's the second greatest thing about Dexter's Lib. It's fun for everyone. Adults can read it, kids can read it, little old grannies can read it and get a chuckle. The best thing of course is that it puts a great spin on science. Admittedly you probably couldn't ever invent a Kirbytron 2000, but it sure sparks the imagination. The art style is very fitting for the book. A big, bombastic brightly-colored '50s deco. Simple and exciting, very effective. DC has also been using some interesting mainstays in the goofy cartoonists stable of artists. The issue where Dexter's n Jingle love." Dexter n goes i is draw I by- Stephen Destefr recently for his w Belle (another gre should be reading!), and his style shines through on this issue. It was absolutely wonderful watching Dexter's mom deteriorate in a way only Destefano could do. Unlike the Simpsons comics for example, the artists who are involved are allowed to stylize it their own way. There is a distinct difference between a Bill Wray Dexter's Lib and one of the reg ulars, John Delaney. There are 22 issues so far and they come out once a month. So when Mom and Dad are on your case for watching cartoons 'cause everyone knows they rot sour mind, grab a Dexter's Lib comic and yell out "Let the science begin!" Hopefully they will be satisfied with their budding mad scientist and not put yoi jacket. • a strait good morning Vancouver Totally nuts. Totally. So, there's this guy. He's got a head like an overgrown melon and a face that's all maleable like dough. His face is a boy man. You look at him one minute and he's a mentally and emotionally abused child plucked from some weird 1890s family portrait. The next minute he's about 60 years old and he looks all fat and old and weird, worn by weather, time, and anguish. But his eyes, mostly. Bleak and dull, like they're looking at nothing and completely within themselves in their own stillness and lifeless- ness. Utterly and unflinchingly depressed. He's wearing clothes that look like they were picked out for him, like he was incapable of choosing his own. Brown Dockers, boat shoes, clean new jeans, and what looked like some kind of denim, collared jacket. Here, Bill, give me your arm. Put this on. No, not that arm. This arm. I had a really good place to stand at this show. To the left, right in front of the nut. The nut thing, just started playing, slowly and uncertain at first like a band jamming for the first time. He didn't move or express much, except for an ankle lobbing his leg to the side out of bent knees and a head tilted backward, singing up toward the microphone. Odd. I saw a boy there. He showed up a bit late. I noticed him after a while and thought to myself, maybe I should go stand with him. Hold his hand. Watch together and listen together. But then I thought, no. This is where I want to stand. This is the best place I could Like a little gnat, my brain said "You are at the same show. together. Please stop this mad- So my little feet sticking out of legs dinked over to the boy. I held a hand. I tried to watch. People were drinking beer and being loud. I was distracted by myself. Myself was getting madder at myself. Myself was like, "You dumb girlfriend. You compromised your spot. You have been waiting for this show for a long time. You have sur- and a girl. You are stupid." Then 1 started thinking about how the guy on stage was totally nuts. Totally. And then my mind wandered, in the midst of the music, to an article I had read in the paper the day before. About a woman who, due to post-partum depression, proceeded to drown all five of her children in her bathtub, including a two month old baby girl. The oldest son, who away in fear after he realized what his mother was doing. They found four children wrapped in sheets and the oldest still in the bathtub. The woman had called the police shortly after what she had callei band, who was at work, to tell him. I started thinking about dead children, I had compro- show to hold a hand, and then all 1 wanted to do was go home. The night was anti-climactic and nuts. Nuts. Totally, totally nuts.* 7 -. i-- Michael Franti DiSCORDER: Stay Human seems to be a natural progression in your musical and political development Over the course of your career from the Beatnigs, to Disposable Heroes, through the previous two Spearhead projects, there seems to be a definite sense of refinement and maturity in terms of both musical stylings and the subtlety and maturity of your lyrics. What changes in yourself prompted the development from the hard, dark polemic of Disposable Heroes to the equally incisive but more hopeful tone of the last two Spearhead releases? Michael FrantLThe first thing is that as I've grown, and especially become more involved in activism outside of music, I've really seen that the hardest thing isn't to try to, like, make a song that will piss people off: that's really easy to do, you know, to raises issues and get people fired up. The most important thing is to try to persevere and to struggle when you see that, God, things in the world really don't change as fast as we want them to, and one of the things that's helped me get through these difficult times in my life is music. It's artists that are able to write beautiful music and joyful music, but invest it with seeds in the lyrics, they are the artists that endure for me, you know? I think of Bob Marley, Marvin Gaye, Stevie Wonder especially. These are artists that wrote strong, powerful statements about the world they lived in, but they did it through music that you wanted to listen to over and over again. That's what I try to do. You identify as (and are identified by others) as a Black man, yet unlike many in the Black diaspora, you explicitly embrace your multi-ethnic background. Has this helped you to develop an analysis that includes, but also looks beyond simplistic singular identifications in the struggle against oppression. Yeah, definitely. You know, sometimes it's hard when you're younger. When I was a kid, one of my parents was Black and one of my parents was white, and I grew up in a community where my next door neighbours were Jewish, the family across the street was Mexican, the family two doors down was Korean, another family down the block was Black. But, in terms of the culture, the community I grew up in was mostly white, so I felt like an outsider a lot of the time in that community. My way of dealing with that was to hold on to my Blackness, to become proud of it, and to only identify with that part of me, even though part of me is European. But as I've grown, and been able to understand more about myself and about the world I've been able to embrace all of me and understand that we're not just solely our race, our gender, our environment, or our destiny, but that we're a makeup of all of those things, and that the decisions and the choices we make in our lives are what ultimately affect who we are as individuals. Now I consider myself to be just mainly a human being, and I'm trying... my biggest struggle is to really try to link my mind and my body and my emotions. To link those things is the path that I call spirituality, and the deeper that one grows in that way, the more that you just identify yourself as a human being, as in individual in the collective, and those things, like race and gender and sexuality, they start to appear to be more and more superficial to the real essence of who you are. You have consistently demonstrated a strong feminist analysis. What are your comments on the recent FCC ruling on the Sara Jones/DJ Vadim collaboration "Your Revolution?" They banned the track (which deals with the impossibility of true liberation for Black folks until we overcome misogyny within our own culture) from public airplay because it contains "sexual references and explicit language," totally disregarding the fact that the song was an obvious critique of objectification and sexualization of women, especially Black women, in popular culture. No, really? I hadn't heard about that ruling. I've always called the FCC the FUCC. I think that the whole concept of the "seven dirty words," the idea that you should ban certain concepts, you should ban sexual references, all these things are things that lead to our culture being really fucked up. When I go to other countries they're allowed to say the "seven dirty words" on the air, they're allowed to broadcast songs that have them, and it's not corrupting kids to hear some bad words that they say on the street all the time, or that they hear on records in their own homes. But I think that it is larger than that: the worst crime that the FCC has committed against the people in America is denying them access to the airwaves, and putting those airwaves solely in the hands of those who can afford to pay many, many millions of dollars: we're talking one hundred million for a station in a major market. Like your previous albums, the tracks on Stay Human are linked by clear theme, in this case the racist death penalty. However, the focus is on a fictional case. Why? There's a lot of real life cases that I feel really strongly about, you know, of course Mumia is one, Leonard Pelletier is another, but I didn't want to try to prove to the world that one person was innocent, I wanted to show- that the whole system was guilty. That's why I chose to use this fictitious case. I wanted it to be like Orson Welles' War of the Worlds where you heard this thing and you wondered "God, is this real?" That's how I approached the album, like in the piece that I wrote at the beginning of the record about Sister Fatima, the artwork, the photographs, and I hoped that people would listen to it and wonder, "Is this something I just hadn't heard about? This is unbelievable!" Because there are so many cases that we haven't heard about. I found the album's theme quite timely considering the rash of high- profile executions in the US over the last two years. Whether or not one supports capital punishment, the recent high-profile cases have clearly illustrated the racist and classist nature of the way it is implemented in the US. As the most recent examples, compare the attention that cases such as McVeigh wherein a white man is executed versus other similarly high profile cases such as Mexican national Juan Garza, whose execution barely warranted a whisper, either of protest or support It simply wasn't an issue. Definitely. You know, of all of the people who are on federal death row, 87% of them are people of colour. In terms of convictions, the people who get convicted on murder and sentenced to death in the State systems as opposed to the Federal death sentence cases, I was surprised to leam that the single largest factor is not race but economics. Those who could afford a defense got life, those who couldn't afford a defense received the death penalty. At the same time, one can't ignore the fact that in North America, poverty generally tends to be racialized. People of colour form a disproportionate proportion of the underclasses. Yeah, totally. But like Angela Davis has noted in so many cases, the incidents of people of colour getting arrested are so much greater not because people of colour commit so many more crimes, but because we have 24- hour surveillance in our communities. Where I live, there are cops who are up and down the streets all night long, busting people who are selling crack and coke to white people (who just drive through my neighborhood looking for drugs), but they're not busting them. How did you get involved in the Mumia Abu-Jamal case? Probably in 1994 or 1995 somebody handed me a video tape, The Case for Reasonable Doubt, which was eventually aired on HBO and was about Mumia'scase. When I saw the film I just couldn't believe it. I was just so shocked about how this dude could be framed so clearly, so obviously, and yet nothing was happening to free him or even have his case reheard. So I started getting more and more involved in it, and while 1 was visiting Philadelphia on tour I would stop by and meet people like Pam and Ramona Africa from MOVE, and other activists who were aware of Mumia's case. Then, a few years ago, we started putting on a concert in San Francisco called Mumia 911, sort of a day of awareness about Mumia's case: Spearhead played a show, we had Digital Underground, Tha Coup, and some other great bands. We also had several speakers, Angela Davis spoke, and so every year we have been putting on 911 concerts and we sort of expanded it to be not just Mumia 911, but to just be 911, period. We consider it a state of emergency right now with what's going on with the prisons, with the death penalty in our country. While we still wanted to highlight Mumia's case, we also wanted to take it beyond that and show that there are so many people who are on death row, so many people who are in prison unjustly Can you speak briefly about your work on the latest Mumia Abu- Jamal album (375 Progress Drive)? I've noticed that recently, especially in Canada, his case has all but disappeared from public awareness since Judge Yohn issued the latest stay of execution. How do we as artists and activists maintain the focus on cases such as this? I think that the main thing is that we have to find it within ourselves to persevere. That's why we call it "the struggle," because it's a daily thing. Sometimes we get frustrated, we feel that things aren't changing as fast as we'd like them to be, and that's when we have to turn to culture, rum to music, to creativity to give us that extra push to keep persevering and say, "Okay, we're going to have the energy to find the new way, find the new vehicle to get the word out there." I think creativity is the best tool we have because we don't have the money, we don't have the television stations, we don't have the things that the corporate world has to get our point across. We have to find creative means through hitting the streets, thaiugh organizing within our own communities, through putting on concerts, through the Internet, and through the best form of media which is and always has While the recent protests against corporatization and corruption, particularly in Vancouver (APEC) Seattle (WTO), LA (Democratic Convention), Philadelphia (Republican National Convention) and Quebec (FTAA), have been heavily youth-driven, there seems to be an ever growing polarization between youth cultures of activism and apathy. As an artist, what is your philosophy on how popular culture can help in the development of the compassion that generates activism, in particular with respect to the socio-political apathy that seems to pervade the youth culture, particularly the youth culture of Black capitalism. Well, it's tough. We're constantly bombarded with these messages, "Buy this soft drink and it's going to make you happy, buy this car and it's going to make you sexy, and if you wear these clothes it's going to make you have a lot of friends," and I think to myself, "God, I want to be happy, I want to be sexy and I want to have a lot of friends." But, if you kxik at youtli culture especially in hip hop, there was a time when hip hop was, like, people were saying "I'm pissed off and I want to get mine 'cause I've been broke my whole life so I want to get paid." To me tliat was a political statement; people saying, "Hey, I'm broke and I want to get paid!" But today you see videos and they're saying, "Now I'm paid and I'm still pissed off." So what does that say? To me that says money and materialism doesn't bring its joy and happiness. So yeah, we're living in a world where materialism has become the utmost concern, but it doesn't bring us what we hoped it would bring, so we have to try and learn to move beyond that and the only way 1 can really see to fight it is through the music, you know what I mean? In terms of music it's through the artists. There was the Woodstock concert a few years back and I went to it thinking, "Wow, this will be neat. It will restore the vision of the original Woodstock where people were saying 'the system is fucked up but we're going to fight against the system but be gixxt to one another.'" But when I got to Wotxlstock it was like a bunch of bands on stage getting the crowd to chant "Show us your fits!" to every girl that was pulled up on stage, and I was thinking, "God, where have we come?" In the past it was the artists who led it. It was the people like Santana who, for 25 years, has been spreading the same message: that we're trying to create a world that moves beyond borders, past borders. So I think that popular culture is really important and the message in the music is ivally important and it's up to the artists to try to motivate people. Knowing your involvement in the anti-corporate globalization movement, are we going to see a further exploration of this in future releases? Is this going to be a theme of an upcoming release or is it just an aspect of your activism. To me it's just an aspect of my activism. The anti-globalization movement is really important because it seems to us that it is something really new, because it is new to western shores, but it's really just a part of this movement that people of colour have been engaging in around the world for a longtime. It's the same movement that led Gandhi to say, "Hey, we want your people out of here" to the British. "We don't want your businesses coming in here and exploiting our labour and our resources." It's the same thing that twk place in the decolonization of Central America, Africa, South America, Asia, all over the planet. People have been fighting against colonialism and imperialism and today it's taking its shape in the form of corporations. So, for me, that is always a part of my music, and the title of the album itself is part of that message. It's saving, "How do we hold on to what it means to be human?" How do we first define what it means to be human and embrace the positive aspects and the negative aspects of being human? And once we've defined it, how do we hold on to it in this world that's constantly trying to push our humanity out of us, and it's like there's a question of how to do that and there's the question of putting a fist in the air with one hand and a peace sign with the other and just saying to the whole world, "Stay human. I'm here, photo by Wonder Knack, www.wonderknack.com Lfi^gSBSBlBi fug; 1 E i I 13 1 a 1 d throw in a capital, § like tHif 1 spelled out FUGAZr"! t y called our names, 1 one by one,lr pal read something | i 5 5 § E § £ E | E u> 1 E 1 5 1 1 E 1 I 1 j E > 1 E CO 1 E 5 c 1 a f F £ 1 E 1 f 1 2 I 1 5 1 s tm >['£* _ | I 5 b * I 6 o "1 S f by christa min phototr by shaim rorallan Guy Picciotto: Hey Christ hanks for writi ickness and for i See you ir i. I'll try to co !-Guy/Fugaz DiSCORDER: I'm scared. I'm afraid that if I ask you the wrong questions I'll get stoned to death at your show. Why do you think such militant fandom and religious admiration is associated with Fugazi? The wrong questions really might merit a stoning; you can't blame our fans for that. When I was a kid in the '70s and the Sgt. Pepper's movie came out with the Bee Cees and Peter Framptonin it, I was so outraged I went and protested outside the movie theatre with a couple of my friends. I just felt that the Beatles' music was being is just the province of Fugazi fans. I think it's just par for the course with music; people take it pretty damn seriously. It defines their lives in really intense ways and they leel protective of it. I can think of worse things to get overheated about. Why have you chosen to do an all Canadian tour? What took you so long? it of ti n the early days of the band, we o out for like six or seven months a year and we covered a king ground. As the band continued, we kept adding to age area so that in addition to the US, Canada, and Europe d going to places like South America, Australia, the Far k) it just got harder and harder to.make it back to places in imount of time. Now that two of the guys in the band have he responsibilities attendant with that makes it even hard- ■r all the ground we've established for ourselves. What we is keep track of the places we haven't played in the longest croscopic, like this tour actually isn't all of Canada but just i we expect a Have you been working on a new album? When c. Yeah, we actually have two releases in the can and going through the manufacturing pipeline as we speak. One is a 10 song album and the other a 3 song single, and they are going to come out simultaneously in the early Fall. Not too long to wait at this point. We are also finally going to release an expanded DVD version of Brendan has worked with Ted Leo and Lois, Guy with Blonde Redhead, and Ian with Dischord bands in the time since Instrument. What other projects have you been working on (Joe in particular) in the last while? We all have different stuff going on all the time. Joe has a label called Tolotta records which has been really busy lately with releases from bands like Spirit Caravan, Dead Meadow, and Stinking Lizaveta (for more info you can check out his web site at www.tolot- ta.com). I've been doing some production here and there for various bands in DC, and I also have a label called Peterbilt that just released a 2-CD set by a band called Octis. Brendan just produced a record for Ted Leo and he's been doing a lot of soundtrack work for things like TV documentaries... Ian of course has his hands full with managing the band and running Dischord. How do you decide whether or not you will release a band's record on Dischord? A lot of the bands have shared or related members; obviously Dischord is a community label. What are the chances that a band from Moscow, Idaho who sends you a four track recording is going to get called back? A band from Moscow, Idaho has a 100% chance of getting a courteous reply from Dischord responding to their tape but actually a less than 0% chance of getting that tape released on the label for the simple reason that 1 Mschord is exclusively a DC label, only releasing bands from within a community in DC. I think the concept behind the label is to document a very specific scene, not to be a normal "music industry" style label that is always on the scope for bands to sign. Ian has always said that when there is no scene left to reflect than the label will simply cease to exist. Steve Albini has said that he would pay you to let him record you. Have you ever considered recording with someone other than Don Zientara? (Not that he does a bad job. He's pretty fucking good.) We have actually recorded with other people besides Don (including Steve Albini actually, who recorded a preliminary version of songs that became the Killtaker album). John Loder recorded our second EP Margin Walker and we did a Peel Session in England with the old drummer from Mott the Hoople. But it's true that overall most of the stuff we've done has been with Don at Inner Ear. We just feel comfortable working with him—he's kind of grown along with us from his originals track basement studk place now. Don Zientara uses an Otari MTR-90 at needed to use all 24 tracks? At this point it would be the rare song where tracks. When a track is looming blankly I think il to want to fill it. They may not all make the cut tend to end up needing them all particularly noi doing a lot of songs using an additioi roadie Jerry Busher). In a way that is the beauty of smal the forced economy of the 8 or 16 track forces you tc radical mental editing from the git go. I tend to think y great music on whatever machine you are faced with, each one just demands a different plan of attack. To my knowledge, Fugazi has never played a cover song. Why not? I think one time on our first tour we covered "Pay to Cum" by Bad Brains with Joe singing for the goof, but that's the only time we ever played any covers live. Sometimes in practice we'll fuck around i'ith "Farmer John" or "I'm Free" or something, but at this point, s fancy pants 24 track r Ear. Have you ever ve don't use all 24 s a natural impulse in the mix, but we that we have been friend and nake more e don't want to fuck arou wrote. We aren't really into "r deliver the goods. In 1982, Ian appeared on a co Annadale ramp. In 2000, Ian v ;r of Thrasher, sitting on the Old s reportedly at the grand opening of the Vans park in DC. In the last Vans Triple Crown contest in Vancouver the number one request for music that the skaters wanted to have played during their contest run was Fugazi. (The number two request was Metallica, in case you were wondering.) Do any of you still skate? What do you think of the current skateboarding "industry" (ESPN, X Games, Transworld etc.) I've never really been able to stand up on a skateboard without fucking killing myself, but Ian does "still skate pretty regularly. As far as the "industry"goes we don't really pay any attention to that end of it, but we have been able meet a lot of awesome skaters and BMXers over the years who have been really inspiring to us. Why do you think a connection is always made between skateboarding and music? You would never hear of a pro golf player requesting to hear Fugazi on the 17th hole or of a band playing live in left field during a ball game. In pro hockey and basketball the minute the play starts the music is stopped. I guess it's 'cause there is a rhythmic flow to skating; the skater can work off the energy of the music and incorporate it into his flow. I really love basketball, but since the game is essentially a constantly shifting chaos depending on the independent decisions of 10 people at a time, music just wouldn't work choreographically—it would just be distracting and lame. I've noticed from both your album photos over the years and from watching Instrument that at some point you stopped taking your shirts off during live shows. Why? Now I'm sure you still get as hot as you used to, and I can't attribute this to age because you all look the same as you did in 1987. Was this a group decision? (Judging by bands who play without shirts, I'd say you made the right choice.) I can't remember any specific moment where we made a conscious group decision to no longer bare ourselves, but Joe thinks we may have had some kind of awakening when we saw the inner sleeve design our friend put together for the Repeater album with topless shots of each of us, the nature boy thing kind of lost its appeal for us after that, in our defense, when the band started we were playing some pretty fucking hotMj concerts and it becameB i habit . go c i just suffer i shirted, and I think that! its all for the best. Now we travel with a dry( we customized with! wheels so now after the] shows we just our funky clothes and dry them for service al the next show. • See Fugazi LIVE with Submission Hold and Def Poets Society, Saturday, July 7, Bill Copeland Arena, Burnaby. 10 JULY 2001 ? Wagon Chrjst 3y Robert Robot Whei I fi Throbbing Pouch, appeals to elec teners alike." I to fellow count perhaps a bit < ard the Wagon Christ album, ! thought, "Here's an album that o-purists and electro-shy lis- ; sound is definitely comparable sarts U-Ziq and Aphex Twin, but :ier to digest with the use of funky bass loops while keeping everything quite mellow. Luke Vibert's music, on the other hand, is varied. While his releases under his own name invoke the words break beat, trip hop, and math techno, he also dabbles in drum and bass on his releases under the Plug moniker. Vibert's music is warm and frenetic, cold and angular. He sounds like someone who knows his craft and enjoys it. In true rock star (or should I say electro star?) fashion, Vibert was two hours late for our inter- w. Ma iy spi rits do ffled in ord er to quell be redom of wait mg resu Ited in the following erv lev, w th Luke Vibert, aka Wag jn Christ. DiSCORDER: When you're reincarnated which animated character would you like to be? Luke Vibert: I wouldn't want to be a Simpson, although they're my favorites. Did you get Battle of the Planets in Canada? Of course. I think it was called G-Force here , but I could be I'd like to be 7-Zark-7. He made a really great noise. Can you tell me why you let other people chose which tracks on Musipal? I don't particularly like the process of choosing tracks. I'm just as happy to let other people do it for me. Your earlier records seem to vary greatly in style. All my records are slightly different because I don't like to repeat myself. But I think for obvious ways those first two or three albums are different than my latest because I was trying to do something different and not what came natural to me. Which is much more funky stuff. You've done your share of remixes. When does a remix become a completely new track? It's always a new track, even if you just tweak it a bit. If I really like a track then I keep all the good bits and just rearrange them. But if I don't like the track I'll add what I would like to hear. I've heard that Aphex Twin won't be releasing anything for a He's told a few people that he's just finished a quadruple LP. He has been recording constantly. I've got a few of his new tracks that I will be playing tonight. They're very acidy. A little bird also told me that you're working with Canadian MC, Blurum. Yeah, we've been working together on some demo versions of Tell me what comes off the top of your head when I say the following words: The Magic Round About. Doogle. Britney Spears. Shit. Foot and Mouth Disease. England. Eazy-E. Ruthless. Trip-Hop. Me. Kid 606. Me, again I'm afraid. I did a show with hin nights ago and he kept coming up and saying me, sorry about the track." I like his track,"Luke Vibert Can Kiss My Indy Rock Punk Ass." And he's good live too. You've taken the Wagon Christ name from a Robert Crumb character. Not really. He's referred to only once, in a single frame of one of Crumb's comic books. I think if he were an actual reacurring character I wouldn't have chosen the name. Does Robert Crumb know that he's influenced you? Nah, he's got his head up his asshole. Have you seen the documentaries on him? Yeah, I think he's a prick, but I like the magazines he publishes. 1 prefer Chris Ware. He does a comic strip in some free paper in Chicago as well as a publication called The Acme Novelty Library. I've gotten off that Robert Crumb, over sexed, big assed thing. I like to pretend that your name is French and pronounce it with a Me too. So do you have a French background? It might well be. I don't have a fucking clue. My father's side as far back as I know were all born and raised in Cornwall. Cornwall is an interesting place because it's rij;ht on the cost. There was a lot of trade with the French, Africa, and Spain making for a nice mix of cultures. You've lived in London for a while now. Was there a Cornwall music scene that interested you? No, we had to pretty much make our own scene. We just made music we like and play it to each other at peoples houses. I saw a Polaroid commercial the other day with a backing score very similar to the track, "Hip-AIong-Hop" you did with BJ Cole. Yeah, I've heard about, it but I haven't seen it. I'll have to ask Astralwerks about that. If someone uses an existing track of mine I don't get any money. Rather, it's the record label and publishing company who make the profits. If I'm asked to make an original composition then I can make a shit load of money. But that's never happened to me. What can we expect from you in the future? I'll do another album with BJ Cole. My next record by myself will probably be an acidy analogue type endeavor. It will have a lot of tracks Ninja Tune didn't put on this record, Musipal. I've been doing those types of tracks for the past few years on a good 303. I've got enough for 10 albums, but I'll just release one good one. Any last words for the people who missed you tonight due to lame L. A. about three "Thanks for having rtvn*ry) ^^^ sort «»t A*mos ' :,: tiiettrc packet to the gills, Matmos upfront, a giant film screen behind them A hush descends upon the black-jacketed masses as MC Schmidt runs a metal rod over Ins skin, picking up "chi" electrical impulses that produce loud electrical zing sounds. Drew Daniel mixes it in live with beats to form "Ur Tchun Tan Tse Qi," an experimental house truck from their new album, A Chance To Cut Is A Chance To Cure. Meanwhile, microsoiind artist Ricliard Cliartierfilms the action close-up, blowing up Schmidt's skin to sickening proportions on the screen. Then the rat cage: a contact mic is attached, and the sounds are beautiful plucks and ablutions. With bravado, Schmidt pulls out a violin bote and tlie souls of dead rats wail from the metal bars. Matmos are serious looking. Even/one is standing to get a good look, nodding to each otlier with silly grins. Like Herbert, the performance is marred by technical problems, bill then work through it and the "live" aspect, somewhat of a novelty for "electronic music" heightens the experience. I talked to Matmos over the phone from NYC. Despite numerous pltone problems and a lost sheet of questions on my part, Matmos politely continued to answer my belligerent pestering. I mentioned Kid 606's latest comment in DiSCORDER bashing minimal techno as the "lowest common denominator" of electronic music. ("Wliat about trance?'.?" I thought). Matmos responded along tlie lines of, "People in glass houses..." and we went on to discuss the state of minimal techno and IDM today. Drew: Too often, with IDM production I hear nowadays, it's a plateau. There is no development, no movement. There aren't little themes or subsets. There's basically beats ami noises for six minutes, then you're done. That sense of moving through the time of a song like moving through someone's house, going from one room to another, where there's some continuity and a personality there are all parts used for different things. I'm more interested in song shapes that have that kind of movement. Scott Heron's tracks I really like. DiSCORDER: On A Chance To Cut Is A Chance To Cure, all of the sounds are from various surgical apparatus, live surgeries, rat cages, acupuncture machines, certainly this is not minimal techno. Why surgery? Drew: It's personal. My father and stepmother are both plastic surgeons. So there's an element of speaking with something that has been around me my whole life, but exploring it through music, trying to turn it into sound, which is something that I can control and use. There's something aggressive in it, a cartoon version of what your parents do for a living. Are you fans of David Cronenberg? Drew: I am, Martin is not. Martin: [Distant] He's a hack! Drew: I really like Crash and Videodrome. I was really annoyed with the adaptation of Naked Lunch, because of the way he handled Burrough's sexuality; it seemed really confused to me. we're both from an academic context but I don't think we're wearing that hat when we're making Matmos tracks. But often we are wearing that hat when we are explaining Matmos tracks.There is a methodology, a working approach, and the theory is something that I can go into, but I don't like to do it for the listener because it seems to look like special pleading, like you are forcing your art to mean certain things. And it often looks like something is supposed to be some sort of crux or justification for the work, and I don't like that relationship. I guess the theory for us goes into the discussion of what the liner notes will be. We're making decisions about how much information people will need, and how that information will change what they hear. But there isn't an explicit position that we're taking. Do you see yourself as a part of a tradition of artists, who are taking up the body as a site of art, a site of protest? Drew: Yeah, and for me, a lot of the art I find interesting is the extreme body-art of the '70s. People like Gina Paine, or the Vienna Actionists, test social limits of what is acceptable, and the property of the body, ownership of the body with what they did to themselves and also to the nature of the institutions of which the art is consumed, by bringing very personal and intimate bodily experiences and events into a gallery museum. I think our milieu is quite different from theirs in that we make records that are portable, that aren't tied to any particular institutional space. We aren't insisting on our bodies in the ways that pop stars do. Pop star product is in a weird way closer to '70s perfor- lukit mill Montreal's \ mce to dis cuss Iccliuotwnic, minimalism und racing with jirku over email. DiSCORDER: First: your obsession with Technotronic. Any story behind it? [DiSCORDER point-of-info: when lirku played live in Vancouver, he remixed several Technotronic classics] Tomas: I've recently been able to appreciate that kind of techno again since contemporary techno has become so devoid of melody and vocals. My early musical tastes were shaped by groups like The Shamen, Technotronic, 808 State, etc. So when I throw some remixes of my favourite old techno tracks into my live sets, it's nostalgic for me and anyone in the audience with a similar appreciation. A maddening question, but: What gear/software do you use? Especially with the Variations CD on Alien8. Some of the sounds (especially their processing) are extremely haunting. I will only say that my production is done entirely on PC. Source samples from my recent productions have mostly been culled from my favourite funk and pop tunes, and then processed to such an extreme degree that the original is indiscernible. What would you say if someone called your music "minimal techno"? Are you a "techno" producer? I wouldn't object, it's a healthy genre to be associated with. But when I'm producing I have "house" on my mind rather than "techno," I like to keep things a little bit more funky than techno usually allows. Thomas Brinkmc What about Dead Ringers? Drew: I haven't seen it, Martin has, and he regards it as a very sexist film. Martin: HAaaAATED it! Drew: I think there are a lot of people using the sort of fetishism of medical technology as scary in very simplistic ways—look at Marilyn Manson's work. I think it's just kind of cheap. People are already afraid of medicine, so you aren't really doing anything transformative or interesting by making art that says, "Wow! Medicine is scary." For us, the challenge was to use [medical] material but to make it move in other directions. At this point, I pick up on the fact thai incessant sirens have beat going off for the duration of the interview. I wonder: are they playing samples? Or is this just another day in NYC, as Daniel claims? I try to chuckle, and Daniel says, "You can remix us, and make us say interesting things " So / did. THE SIRENS INCREASED. THINGS GOT LOUDER. They tried to end the interview, then all of a sudden, the sirens stoppctt. Then, we got into Herbert and his neio album. Drew: We gave Herbert the sound of Martin's jugular vein for his new album because it has this bodily theme, and I'm working on a remix of "the audience"right now. He's a very good friend at this point. Martin and I were big fans of his work as Dr. Rockitt. Now I began thinking: Herbert has his neiu musical Dogme-sfy/e manual, live, etc. So I opened it up to tlicory. I am curious: you guys are very articulate about all of this, is there some sort of theory behind the body focus? Drew: There was no theory before the record was made. But I am a graduate student, I studied Philosophy, and now I am getting my PhD in Renaissance Literature. Martin works at the San Fr, Institute in their Performance and Conceptual Art Deparl mance art as it insists on Jennifer Lopez's breasts, and on her body and on her face. The facelessness of our music, it's literal, with the picture of ourselves on the new record, our faces are concealed. We're using sound rather than image, that's the big cut-off, that we aren't relying on the experience of recognition you have when you see a performance of someone doing something extreme to their body. Instead, you are hearing it as sound ,\iv\ 1 think that changes it quite a bit how your imagination completes it. Noio, Imving seen the performance, I question this. MC Schmidt seems to be the submissive one, subjected to the venous physical pt\>t esses timing their live, and very visual, performance at Mutek. His face and skin were blown up on the screen, and many recent publications have been running a photo of the duo with surgery marks on their faces. Contrary to the music, the visual aspect of Maimers is as enthralling I \-spite their attempts to escape the visual clement el'the body, thee Inn •eenly ended up reinforcing it. How to listen lo this album, then7 Daniel says that the optimal listening condition is tltat of his father: he plays it m Ins operating room when he is operating Daniel's father is a cosmetic surgeon. Matmos: "We love your station." (by Tobias V) TRLKING TO TOMRS JIRKU: HE'D NEUER ERT ICE CRERM RND BOXER SHORTS TOGETHER Tomas Jirku'sfame is growing like a rhizome as an internationally recognized minimal techno composer, jirku combines dub elements with haunting vconstrut I a sound whit It, although it borrows 'rem Cologne and San Francisco, is distinctly his own. Mutek saw the launch ofSubstractif the neio AIien8 offshoot focusing on electronic minimalism that features Toronto's •? What S( Would you call yourself a post-r. I have some raving in my past, but the whole dnig culture turned me off. And though I've been exposed to lots of music, I've never really felt connected to any "scene.-' My tastes are too broad for me to narrow in on something. What constitutes a "live" performance in the age of laptop artists? If the person performing can take credit for the production of the music, then it's live to me. I don't need to be distracted by someone twiddling a whole bunch ol knobs to be i on\ iiu ed that it's live, so as long as my ears are stimulated, I don't see a need for a multime- dia/multisensory display. Though there seems to be a need/market for a DJ, I appreciate a live performance for the fact that you see the producer and that respect for the music is given where it's deserved. I've always felt that DJ culture directs a whole lot of unwarranted credit to people playing records. Does your music attach itself to a certain sort of politics, or thinking/thought? I don't connect myself to philosophies or politics. I prefer to think of my music as an exhibition of my aesthetic ideals, and to attach myself to something would only constrain me. And while minimalism is a pleasant aesthetic, it appears to have saturated our culture to the point where it has lost all context and meaning. Watch out for unci mi me, releases on Khmg,. \lgoritl tin's Revolver, Truum, and the LP Immaterial on Substractif • (by Tobias V) RRTICLE(S) BY TOBIRS M AND PRUL SLY. m o g w a i by heather termite photos amy pellet ie r There's more to Scotland than deep fried Mars bars, gloomy weather and the over-usage of the word "cunt." There just happens to be a thriving indie rock scene too, 'specially in a little place called Glasgow. I sat down with Stuart (Guitar), Barry (Guitar/Keyboards), John (guitar), and Martin (drums) of Mogwai (who happen to hail from Glasgow) and discussed some pertinent issues over some beers. A quick disclaimer to add: If you read this and think that these guys are assholes, lighten up, you fuck, they're just joking. DiSCORDER: What differences do you find in audience reaction, between North America and the UK/Europe? Stuart: Canada is definitely one of the better places to play. Some places in England, or in Scotland, people have a short attention span. And some places are really really good, like France was good, and Iceland, and Japan. Vancouver has a reputation for having really unenthusiastic'crowds, even if it's their favourite band. Stuart: Yeah, that's what it was like, It was terrible the last time People think they're too cool to dance. Barry: It was a lot of hard cunts the last time we played here. What are some of your most hated bands? Or Anti-influences? Stuart: I'd say Mogwai are least influenced bv the Rolling Stones. il the isted. / Barry: The Rolling Stones and Suede. Stuart: We don't particularly dislike them, but they certainly don' influence us at all. What new music/art/film has recently inspired you? Stuart: I really liked that film Requiem For A Dream. Fucking Brilliant. The new Autechre album is really good. The new Bardo I read an interview where you said you "sportz goths." Stuart: That was about a black tracksuit, Does that mean that you gothercise? Stuart: You mean walking up and down? Exercising in a goth manner. Barry: We don't exercise at all. Stuart: That should be clear really! Barry: That sounds like something I won Gothercise!? What's the stupidest sub-genre, or genre you've found your: being clumped into? Stuart: Post-rock. Or 1 have to bring up a classic sin 86; I can't remember who said it but "The New Wave Of Teenage Bands. Barry: For fuck's sake. Stuart: Now, we are the new wave of bands in their mid-twen self-proclaimed simple really. ir fuck's sake. John: We were the new wave of teenage bands! What do you do to "celebrate life"? Stuart: We don't really think of things in that kind of terms. Barry: Too busy working. Stuart: I don't know what we do, what do you do? [To John] John: Drink. Barry: Aye, we drink. John: Pass the time. What's the meanest thing you've ever done to an interviewer? Stuart: Locked them in our room. I locked them in a dressing room with these three lassies in Canada. Stole their camera. Barry: We gave them money. Stuart: We had a guy, and made him eat a hundred garlic cloves. Barry: We gave him a lot of money. Like 75 or a hundred pounds. Stuart: So I'd say we were quite nice, It was meant to be a hundred, but he [points at Martin] never paid up. Martin: Quite right. As well he deserved it. We did something else. Stuart: 1 started slamming that French photographer, and then the bastard TV crew that came. Barry: They were dicks, they were so dicks! Stuart: I gave them a small piece of my mind. Barry: I heard that. I was fucking dying in the next room. It was hilarious. Stuart: They wanted us to play music for this TV show, but we had only started rehearsing the day before and it was really, really early so we weren't going to do it. Then it just turned really bad, they had upset Aidan from Arab Strap, and that was like an insult Barry: They also wanted serious answers as well. "Enough with the comedy!" John: Fuck off! Stuart: As soon as I started asking them questions, trying to make them explain themselves, his English wasn't too good, so he started, I don't know, gyrating. I really really got him back. I did. Glasgow has a reputation as being a rough town. Barry: Mostly? The kind of music that comes out of there tends to be low on the aggression scale; you guys fit into that. Barry: You've never heard Belle and Sebastian? John: They're pretty high up there. Stuart: That guy Stuart stabbed me once. He was fucking chasing me, chasing me in his Boy Scout uniform. John: Shut up! Barry: Smart cunt. Would you say that's a refusion of the whole "lad" crowd, that think they're tough? Stuart: It's just totally different, I think that a lot of the bands from Glasgow are much more, in fact, much less animistic, than less evil. It's not like the bands from Manchester, it's not really a reflection of what's actually going on outside. It's more of a reflection of what's going on in two pubs. If you went into a Housing Scheme and asked the average person who Belle and Sebastian or the Delgados were, they wouldn't know. It's more underground. In playing the "Fuck The Curfew" song [in retaliation to the Lanarkshire council's youth curfew] and with the change of venue in Dublin to avoid crossing the picket line of Guinness strikers, have you found yourselves being stigmatized as a "political band?" Stuart: No, I think that the curfew thing was probably a one-off because, for me it was just common sense. It was just ridiculous. We don't have any particular political agendas, apart from attempting to overthrow the monarchy, and to introduce communism. And to make sure that women don't go anywhere. Make There seems to be a medieval tinge to the new album. Does that mean that you guys, are like, Rush fans? Barry: Rush? No! No! Stuart: I've never heard Rush. Barry: I've heard them once and I was appalled, I know the guy sings really high sometimes, and they've got a good drummer? Stuart: I've never heard them. You're missing out. Rush fans in Canada seem to be mostly pimply faced seventeen-year-old boys that sit in their bedrooms listening to Rush and masturbating. Stuart: I used to be a pimply faced seventeen year old boy that did a lot of masturbating, but Rush wasn't involved.* 14 july 2001 lYtY\YY»Y»YtYfiYtV*Y«YiYlY VIDEO IN STUDIOS we offer technical training in video, audio and new media production and post production including: final cut pro avid xpress protools digital audio editing / sound design camera, lights and sound aftereffects flash photoshop we also have a 2000 sq. ft. studio available for rental for production purposes, screenings and audio and music events, for more information contact Tricia Middleton at 872.8337 hours of operation: 11 am to 6 pm Monday to Saturday CD w w w . v i d e o V/A 75 Ark Takes You To The Bridge 75 Ark You take the good, you take the bad, you take 'em both and there you have the... 75 Ark. This limited edition sampler features the finest this bi-coastal "alternative" hip hop label has to offer. Deltron 3030 starts things off with "Things You Can Do." Also worth mentioning are songs provided by Preserve, Encore (from Handsome Boy Modeling School) and Britain's Nextmen. If you can get past the name, Mista Sinista proves to be an outstanding turntablist, contributing arguably the best track on this compilation. Finishing off are the always enjoyable Anti-Pop Consortium, bringing back that Digable Planets. The tracks that fall short on this album incorporate that annoying off-tempo rhyming style with ho's, money, and clothes, themes that should have been dead a long time ago. Takes You To The Bridge leaves me asking one question. If this sampler is supposed to be representative of the underground hip-hop scene, where are all the female MCs? Heather Termite MUMIA ABU-JAMAL AND- MAN IS THE BASTARD (Alternative Tentacles) Long live Mumia Abu-Jamal... Jello Biafra delivers on his outspoken promises to resist corporate control in all its forms, especially (and in this case) cops and corruption. So it looks like Biafra is taking the plunge by producing some of the last commentaries we may hear from Mumia in a long time. Mumia has recently been subjected to a prison-wide gag order in Philadelphia—inmates can no longer speak to the press. Do I even need to say more about this? Although I get a bit weird- n,ng t - hU power pantheon ( this CD—I am a whitey, and Assata Shakur's praises that place Mumia proudly alongside Malcom X make me feel a bit out of the loop—I fully support its message, and most importantly, Mumia's continued questioning which, in my mind, follows and enlarges upon a critique begun by Marx and continued by Chomsky, Angela Davis, and Biafra in North America. Also on this CD is the devil himself, Bob Dole, who cries out tears of blood that public money was used to finance Mumia's NPR commentaries (most of which are now locked away, never to be heard, somewhere in the vaults). Bob Dole is everything Mumia isn't. Need I say more? The music on this CD T&JULY20Q1 by Man is the Bastard will no doubt satisfy the hardcore/punk lover, and although the lyrics are great, I can barely hear them through the serious grunting action and wall of guitars. Personally my favourite modus operandi for revolutionary music is hip hop, techno, and folk, but whatever works, especially when their heart is in the right place. May Mumia's voice rise above the shit that governs both North American AIR 10,000 Hz Legend (Astralwerks/Source) So you go home to your parent's house, and in the basement you find a dusty old box of records. You start flipping through them and sandwiched between the Nana Mouskouri and Shorty Rodger's Chances Are It Stuings you find mint copies of Fleetwood Mac, The Steve Miller Band, and Serge Gainsbourg. So you steal them and take them home for your very own DJ set. You throw on some Fleetwood Mac and start jamming on it. Then you move on to the new Autechre album, and then you jam some Serge for good measure. But then your fuckhead roommate comes in and puts on Beck! So you take that off and throw on some Jeans Team, and then finish things off with "The Joker"...Yeah, that's what the new Air album is like. Heather Termite BIG IN JAPAN Destroy Tlie Neiv Rock (Honest Don's) This trio from Reno, Nevada wears power-pop well on their debut disc, with shades of Brit- punk (a la 999 or Buzzcocks) donned when needed. Sharp guitar sounds dominate with big hooks (like the opener "Dig That Stupid Sound") and they slow it down without getting sappy ("For That Special Someone Else"). If you're tired of the cookie-cutter dribble passed off for pop-punk, destroy the new rock and check Bryce Dunn CHRIS CLARK Clarence Park (Warp) mutated breakbeats and off-key synth tones in your diet, chew on this CD. Always a step up, the classic Warp-ed sound gets another twist with incredible harmonic paralysis and computer-edited efx maelstroms. Moving from dark and angry ("The Dogs") to ambience ("Oaklands") and a plain weird cheesiness ("Lord Of The Dance" complete with Irish sounding flute-pipe sounds that are perverted into a car-crashing break), Chris Clark constructs a universe of freaks. If you are all over Plaid or Squarepusher's latest offerings, you will dig this—if you aren't, you're only going to find more of the same refined into a catatonic listening experience. As much as I like Warp, it wasn't until I heard "diesel raven" that I was hooked into a second listen. Clark takes the breaks and plays with a bit of melody and muted riffs, eschewing schizo- break madness and abrasive textures for intrigue and suspense that conjures emotion (imagine that!). Warp on. tobias v DUOTANG The Bright Side (Mint) This album is frustrating to listen to for the following n l.Thev a bit h loud 11 the mix, drowning out the music, and they are kind of annoying. 2. When you really listen to the lyrics you realize that they are not as good as you would hope. 3. Lyndsay says that it sounds like all their other stuff (bouncy retro indie pop) and she's right. 4. Retro can never really be that good cause it's all been done before. 5. All the bass lines sound like they could be Inbreds bass lines. 6. They market themselves as a two piece (bass and drums) but all the songs have keyboard or horn over dubs, and the really unfortunate thing is that the keyboards and horns are what make the songs. So, like eating hot dogs in Wonderbread buns, The Bright Side is good as long as you never ever start putting too much thought into it. Lil Ricluird MARK EITZEL the Invisible Man (Matador) I can barely listen to this record. There are so many shitty sounds, sounds that are so foreign that they have no names. Eitzel calls them "keyboard programs." I don't know how to describe them to you. You'll ■""1 play it for e'll li: Ills, "Hear that? That part? That sounds like poo." The Invisible Man was mixed by Alex Oropeza and Christopher Davidson, a couple of jerks who don't know when enough is enough. They don't even leave Eitzel's lovely voice alone. The production is just garbage. The songs are strange, maybe not as strange as the lyrics, but they are so covered I can't tell if they're strange in a good way. The credits say, "Blame Eitzel for everything here," "Eitzel—the rest of the mess," "Eitzel edits and adds the stupid burp," "Eitzel stares at a screen." This is when we're supposed to offer reassurance. [Silence] Christa Min EUPHORIA Beautiful My Child (Six Degrees Records) My problem with the Six Degrees label is that while they put out a large amount of good stuff, they haven't put out anything really great. Recent releases, a couple in the Latin vein, have failed to genuinely interest me despite being, for the most part, well conceived. Euphoria, featuring Ken Ramm, put out an album in 1999 and now returns with "Beautiful My Child," a 12 track exploration into a sound categorized (by the label anyhow) as "guitronica." The claim to fame of Mr. Ramm is apparently his use of the slide guitar in his atmospheric works. Also involved in this project are William Orbit, Garry Hughes, B.J. Cole, and Madonna's drummer Steve Sidelnyk (that's what the notes say)! The pieces are lush and textured, but references, as per the biographical release, to Pink Floyd, Fairport Convention, Pentangle, John Barry, and Tangerine Dream just don't pan out. There are no musical references to "early 1970s psychedelia" either, despite the ample use of pedals. A closer approximation would be a sound similar to that of Morcheeba or the Supreme Beings of Leisure. James Brown HANGED UP Hanged Up (Constellation) BUCK 65 Man Overboard (Anticon) When a new record label really makes waves, it's often because it releases every record like it could be the last. This may be made material in iconoclastic packaging or the simple fact that the owners really might not be able to afford to put out another record. At such a moment it can be genuinely exhilarating to ponder what they might unleash upon the world next, if finances allow for Once such a label's initial impact on music fans has come back to it in the shape of (ahem) "the Benjamins," it will find itself poised to move in either one of two directions. Kid 606's f'igerbeatf) label is currently at this parting of the ways and it will be interesting to see which path the kiddie cat decides to prowl upon. The first option is this: After the company starts to achieve a modicum of success its releases start to come more frequently and seem less definitive. After a while it becomes hard to keep up with—let alone get excited about—them. Such is the case with Montreal's Constellation label. In the aftermath of Godspeed You Black Emperorl's apocalyptic appearance on the scene, the Quebec collective seemed like a hive of creativity and commitment. Sadly, that impression has been lessened by countless releases of varying quality, each having more or less to do with the imprint's flagship act. The latest Constellation album comes from Hanged Up, an instrumental duo peddling an unconventional combination of drums and viola. Their self- titled debut certainly sounds fine—echoing elements of The Dirty Three and Einsturzende Neubauten. But it doesn't feel exciting or important. After repeated listens, one is left with the impression that this record exists because it can, not because it has to; that it is the product of a clique enjoying its success by resting on its laurels. In contrast, San Francisco- based underground hip-hop label Anticon has used its recent pushing the envelope and provoking responses. Man Overboard by Halifax's Buck 65 is just one drop in the label's increasingly torrential outpouring of claustrophobic, literate and emotional "post-rap" (their term, not mine). Made soon after the death of the artist's mother, it's an expressionistic odyssey that delves into bereavement, heartache, paranoia, humour and the true meaning of hip-hop. What's most remarkable is that Man Overboard is pretty typical of Anticon's output. Most everything the label releases is steeped in the kind of need that you just can't fake; it is the kind of music that can only be made by people who have found true sustenance and redemption in their chosen form. It may not be real hip hop but, in these irony- soaked times, it's about as real per se as music gets. Only Austrian abstract electronica label Mego can compete with Anticon in terms of un- brinkmanship. Both companies are proof that success doesn't necessarily lead to mediocrity. The people at Constellation might be well advised to follow these examples. Then again, if their hearts just aren't in it any more, it could already be too late. Sam Macklin ISOTOPIA Exhibit (Isonaut) Canadians do good on this album. Yes, it's post-rock-elec- tronica in all its whiny-droney- ness but it also has a real funk-out element to it. Witness "Renaissance of Space Tourism," which also says: of funk, of subtle melody, in the post-everything genres! As the liner notes say: "Subtlety, experimentation and raw, naive groove are not quite dead in the world of music." And the whole meeting of worlds here—of Tortoise slowness and darkness, of rainy drones, of expansive sound- scaping with a vocal trowel and a backbone groove—exposes, like a peeper hiding behind your shutters, catching your late night perversions, an element of Vancouver. Most of the tracks were recorded in Vancouver after Isotopia's main members Jamie Tail and Daryl Askey relocated here in 1996. Along with Megan Wilson on bass and Graham Kaye on drums, the group continues to offer a well- thought out yet sporadic alternative to their "I Don't Understand Rock 'n' Roll" sentiments—the title of their rare first EP. It's got jazz mood swings and an emotional balance sheet. Check it. tobias v DANKO JONES I'm Alive And On Fire (Released by his own bad self!) For those of you who missed it the first time around, (I suspect that would be many, considering his recorded output to date is scarce), a collection of songs released between 1996-1999 just pooped outta the chute from the riff-master known to some as The Mango Kid, but to others, you can just call him delicious. Boogie rock with a blues-y (or gutsy?) edge, plenty of sass for yo' ass. Indeed. Bryce Dunn THE MAN MADE BRAIN Vector*Based Fiction (Altaira Records) Au Pairs. Malaria. Delta 5. How does Man Made Brain fit with these bands? Chaos. Sure, it may not be the shameless New Wave chaos of horns and guitar solos, but instead is the new chaos of Something Wave, that's for sure. Man Made Brain is a four-piece whose noisy rock expansions will be a welcome addition to your life. Somehow- spawned from Man...Or Astroman?, the Man Made Brain knows how to turn on the spazz-charm for all to see. There's guitar wanking, electro- tweaking, and good old-fashioned screaming to set you straight. Don't mistake this band for anything other than julie C write for discorder.. call lyndsay at 822 3017 ext 3 I totally nuts! reviews continued... V/A Morricone RMX (Cinesoundz Records) Morricone fans take note! Although at the time of my writing this, "Morricone RMX" has not made it to retail stores yet, take heed. This one will go like hotcakes! Featuring artists such as Apollo Forty Four, Thievery Corporation, Bigga Bush, Terranova, a doing very i ings of Ennio Morricone's clas- c material, this e of the all-time rs albums it remixes others mpetent rework- will rank as best Morricone ci ever (the tracks ai pop art mtly i night suggest). In fact, this is the only release ever officially sanctioned by the man himself involving covers by :. Add John Zorn's e-released The Big undown to your Morricone collection, with additional tracks including a gem of a version of "The Ballad of Hank McCain," and you'll be in soundtrack heaven. James Brown THE SADIES Tremendous Efforts (Bloodshot Records) Imagine yourself in a smoky, dimly-lit bar in the deepest south. In the corner, by the bathrooms, is a mechanical bull getting a full workout by the rowdy locals. At the end of the bar is a small stage surrounded by chicken wire, where a quartet of half-dead-looking musi- down-home country music which seems to be pleasing the drunken crowd. Normally, if the locals don't like the band, beer bottles and chicken wire meet, just like in that Blues Brothers movie. But not tonight. The lanky and surly guitarist who shares vocal duties has a cigarette dangling out of his mouth and looks like he could take any of the rednecks if the need arose. That's Dallas Good. His band, The Sadies have been plying their trade of making music for rednecks for the last four years. The Toronto-based country blues foursome is made up of members from such legendary bands as Half Japanese and such dependable Canadian outfits like Jale, The Good Brothers and Phleg Cramp. They have had the pleasure of touring as the backing band for Toronto's blues bad boy, Andre Williams, had the honour or appearing on Blue Rodeo's most recent album and even had the notoriety of being Neko Case's band, the Boyfriends, during her 2000 North American tour for her sopho- ish, Fun, Room Lullaby. The Sadies prove that good things come in threes. This album builds on the hearty cow-punk framework laid out on their 1998 debut, Precious Moments, and their 1999 sophomore release, Pure Diamond Gold. The band solidifies that solid rock 'n' twang reputation by cranking out a mix of some of the finest southern-fried roots rock, blues and garage punk to come out in quite a while. Tremendous Efforts sports a tidy, if uneven, split of ominous country instrumentais, foot stomping sing-alongs and hurtin' ballads. It would be understandable if one were torn between deciding whether the instrumentais —on which the Sadies are at their absolute best in years— such as the moody opening track "Pass the Chutney" and the spooky "The Creepy Butler," should be the soundtrack for that evening of drowning one's sorrows after the wifey left and took the dog, or that creepy hick movie, Fill out the guest musician line-up with the members of Blue Rodeo, yes all of them, and four extra Good family members, and it makes for a lush back-country sound. One that is best suited for a weekend of shootin' critters in Big Sky Country with the drinking buddies than languishing away in that dim and smoky bar. Spike THE SUMMERLAND Distance Will Be Swept Up (Catch and Release/Sloth) As ashamed as I am to admit it, I am from Calgary. Being from Calgary, I know first hand that there ittle t lark about the plai cidence that you never really hear about anything that is going on there. Keeping this in mind, I was excited to hear about The Summerland 'cause, as stated on the CD cover, "The Summerland features frontman P7, formerly of irreverent band The Primrods." Obviously the dudes who put out this record understand that P7 is one of the few good things that has remained in Calgamerica. So I listened to the CD. I was expecting the edginess of The Folk Oasis* Real roots music, from our backyard and beyond. Upcoming features July 4 July 11 July 16 July 25 .Vancouver Island Musicfest Vancouver Folk Music Festival Rootsfest (Victoria) WOMAD (Seattle) WEDNESDAYS at 9pm CiTR 101.9 and live on the net at citr.ca *a kumbaya free zone Primrods but didn't get it. So I listened to it again. Monoculture, their awful Stanford Prison Experiment style emo-alt-rock song was what stuck in my head after round two. Fortunately, round three revealed that the rest of the album sounds nothing like Monoculture and was actually really good—a bit more polished than The Primrods but still quirky angular rock songs based around monophonic guitar lines, with the two nice mellow droney ones at the end. The moral? Like Rocky Balboa, this album gets its ass kicked hard in the early rounds but comes back to conquer for the Germans, and his records are pressed at Basic Channel. In any case, Moore pushes dub forward another notch by re-integrating the experimental and minimalist directions that various dub purveyors have taken back into a live-drum classic approach. The level of production on this record is truly incredible—the secret echo boxes get a workout here, panning and moving sounds beyond a simple delay patterns "Dub Blast" rocks the percussi on, but stays away repetition of sounds, staying 1 near—this is the major i and i i the TWILIGHT CIRCUS DUB SOUND SYSTEM Volcanic Dub (M Records) Dub is musical molasses. No matter how you twist it, it's always molasses. But every once in a while along who tun into candy-co; sticky ammunition for an assault rifle. Shot with bonbons, that's what I would say. difference between what Moore is doing and other contemporary dub artists, such as Kit Clayton. While Clayton deconstructs dub into repetition and elementary particles, Moore takes those particles and reassembles them, constructs them into new totems of dub histo -. You c; II-this "Flexi"—here and ther and I don't even know if this is what he actually said because I wasn't really paying attention) that people who like poetry also like pornography because both are very specific. They are looking for something particular, a description of a person's neck or a picture of feet rubbing Whatever it is—they might not even know until they find it— drives them mad. My friend Randal will not admit to liking poetry or pornography. He probably couldn't even choose which one was worse. But he only likes lyrics that are specific. In "Essence" Lucinda Williams sings "I am waiting here for more." More what? More ass-slapping? More ice cream? What? The more vague a phrase is, the more cliche it becomes. These kinds of universal declarations seem to work okay in country music, but Essence sounds more popular than that. The songs are some- sometimes long, but rappy , that my-a< ,-sell-n ■ords apples rward with s ratches and , lches and that Rvai Moi ything d back, shooting and wooing. Of special note here: "Dub Quake." The synth takes on a peculiar quality here—a bit distant—and a steady, deep 4/4 can be heard a bit far off. The percussion slides around with the drum hits. In fact, if I didn't know better, I would say that this is Moore's subtle remix of a JMaurizio record. His past interviews have attested to his love could be mix record. Then < track, at a slow real dub pace, whose background wailing gui- s the soul. tobias v LUCINDA WILLIAMS Essence (Lost Highway/Universal) Someone once said (well, I know who, but I don't feel much like explaining who he is But fuck it. Car Wheels is a thousand times better than this. You can ask Randal what he thinks (604.608.7125), but he doesn't care. He only likes the Mountain Goats. Christa Min Check out DiSCORDER online at www^tr^a/discorder CiTR DJ PROFILE Julie Colero Stows Bf n® WcM-f, M@m<&m^m Record played most often on your show: Tie between The Slits, Cut and Fifth Column, To Sir With Hate. Record you would save in a fire: Arap Strap, Philophobia or Smog, Knock Knock—either one would help dig me out of the depression of losing the rest of my collection. Record that should burn in hell: Any of Steve's picks off the "Zulu Staff Picks" wall! Book that you would save in a fire: The Collected Diaries Of Adrian Mole, by Sue Townsend. Life-affirming! Worst band(s) that you like: Take That; *N Sync; bis. Last record you bought: I buy in bulk. I anticipate buying the new White Stripes album. First record you bought: Weird Al Yankovic, Greatest Hits. Musician you'd like to marry: Jan St. Werner from Mouse On Mars, duh. Favourite show on CiTR: Hans Kloss' Misery Hour. Strangest phone call ever received while on air: I like it when bands get their friends to call in and request their music, not realizing that if the band's never actually brought the music to us, there's no way we can play it...* TORTOISE NOBUKAZU TAKEMURA Friday, June 2 Vogue Theatre I should probably name Tortoise's sound guy in the heading. I'm not cool enough to know what his name is, so I can only report that he started the evening off with an amazing John Cage type moment. Imagine this: a whole theatre full of kids anxious to see Tortoise. There's bad rock playing, and suddenly the lights dim. Nobukazu Takemura should take the stage. The sound system sounds like it's breaking down...yet it seems to be coordinated with the projections. No one is on stage. Yes, the sound system sounds like it's breaking down, but I come to the realization that it's part of the show. The audience reaction was so great: people cheering whenever it seemed like the sound was clearing up. They didn't realize what was going on. I thought it was Takemura (I rushed to buy the CD), but Vice President Jay (who didn't even attend the show) told me that it was Tortoise's sound guy. Then Takemura and his partner Aki Tsuyoko took the stage. They fiddled on some laptops, looked ultra cool. The music was very soothing and electronic. At this point I still thought they were responsible for the wicked sound collage at the beginning, so I was extra impressed. My favourite part of rapping robot along v ost of the other ibers. It helped that there were seats this time. My feeling is that Tortoise is best heard sitting down. I could be wrong, because there were a ton of people getting down to the funky Tortoise beat, even when there was no funky beat. There were hippie girls with drums hanging from their shoulders. It was that kind of night. What can I say? Tortoise played a lot of songs from TNT, which was pleasing. They were just bang on; the line between rehearsed and improvised was blurry. The fans weren't shy about letting the band know; people were shouting comments throughout. It was a little disconcerting, but everyone was too drunk on the sound of the xylophone and the seamlessness of the performance to get too dis- In short, we left the Vogue in a happy mood. Doretta NOFX SWINGIN' UTTERS RISE AGAINST Wednesday, June 6 The Commodore Night two of two for punk rock supergroup NOFX and their traveling menagerie. Any of these bands could come to town leadlin, villi s. vith squ. transfixed. I was a little sleepy by the time Tortoise took the stage. The last time I saw them, I remember feeling very apathetic and leaning against a wall, local support. It'd be smiles all around, but who are we to complain? A great lineup: fresh from the kids in the bam on Commercial Drive and playing to the heavy-drinking mandatory coat check suckers. Things looked promising. Rise Against started as we arrived. This band's album—on Fat Wreck Chords, natch—is the best thing I've heard this year. Live, they delivered, and more. Featuring half of Chicago stalwarts, 88 Fingers Louie, on guitar and bass, Rise Against equals or betters the output of even that personal favourite. Vocalist Tim restlessly roams the stage, on and off risers, stacks, drums, crowd barriers, staring bug-eyed as he sings. Fast punk meets moody metal. Not a note wasted. Awesome. Swingin' Utters is not a favourite. We sat back and watched the tip jar levels rise. The singer looked less interested in what he was growling than the patrons were in their drinking. The ironic part about Swingin' Utters is that they have one of the best punk singers with them on stage. Spike, the bass player, is also the crooning frontman of Me First and The Gimme Gimmes, Fat Mike's notorious punk cover band. Spike sings backup without a microphone. When he finally stepped up and sang a verse late in the set, it got the loudest cheer thus far. I've never seen NOFX at a bar. They're getting older, but then aren't we all? They're all right with it. Low-key, funny as hell, more at ease with aging than most. And why not? NOFX's last couple albums have been as good as anything they've ever done. "The Decline" fucking blew me away. Of course they didn't play it. As this was night two, though, they played lots of songs I never thought they would. This band has been around longer than most might have believed. True, NOFX shows bring out the leering jock fucks with little notion of the concept of punk rock—not to mention kids at the all-ages shows paying $80 a pop to lugubrious scalpers—but they are, through it all, a fucking great band. With no plans to retire anytime soon, and new material stronger than ever, at least the dumb fucks are hearing some excellent music for a Trevor Fielding CALEXICO THE KINGSBURY MANX Thursday, June 7 The Starfish Room The cipa- small group. You are distracted by all the shiny buttons set amidst plaid cotton shirts. A steady voice pushes out over the quiet buzz. You think you hear it saying, "I'm Joey. Me and my trusty companions will guide you safely across this treacherous frontier," now gesturing behind him with a wave of his hand, "under the cover of night, over into the land of the free." The small group beside you steps eagerly forward and awaits further instruction. You hear twangy guitar sauntering in from a distance, stand-up bass pacing your march, double horns raising on end the qualia of your inner ear, snare drum and slide guitar certainly designed to wash away your fears. You are swallowed by a wide desert of sounds extending off in every direction. The journey is a long one, extending well beyond "Minas de Cobre" pass. Your glance wanders past Juanita's sister's eyes, focusing at the anatomically impossible cacti in the distance. Each Corona stops you flat for $5.50 (lime slice included). Are we there yet? No. There's still a great distance to travel under "The Black Light" of night. A few more tired steps and then the music suddenly stops and Joey disappears. The group of followers is dazed. Are we there yet? Joey reappears to warn that you are about to cross the "Crystal Frontier." The sweat is beading on your brow and a blue moon is glowing over head. Joey starts cooing eerie southern sounds. These sounds make you feel uneasy. Do they mean that capture is imminent? You look to notice that Joey seems far too happy for this to be true. Oh I see... these indescribable sounds are quirky cries of joy. They mean that we've found our way, safely, to our destination: that frontier haven known as Calexico. Remington Steele DEATH CAB FOR CUTIE BRIGHT EYES MATES OF STATE ?16 Showbox, Seattle Seattle! City of fun times and cool summer moments! Me and a calvacade of children went down to this great city on a Saturday to catch Bright Eyes. I was also curious to hear Mates of State, even though I think their name sucks giant rotten eggs. I have a problem with names. I have a hard time going to a movie or seeing a band if I can't stand their name. Also I WILL NOT eat in a restaurant if I cannot stand the decor, even if every single one of my friends thinks it's the best restaurant ever. Okey dokey. I gotta say, the Showbox is a dreamy place for slow dancing, with the giant disco ball radiating a glittering galaxy of twinkling lights! Woulda been neat to be stoned. Hello? Hello? Oh yes, the music. Mates Of State were really good. They did this whole switch-off, girl-boy, good times emo vocals thing while jamming on just an organ and live drums. Danceable heartbreak I call it, although the stinker couple are totally in love. Next up was Bright Eyes solo, what our crew went down to Seattle to see. Oh man. Oh boy. Holy. CALEXICO AT THE STARFISH ROOM. PHOTO BV ANN GONCALVES Wow. Conor Oberst sat nervously on the stage, acoustic guitar trembling beneath his arm, legs shaking and voice quivering. He was real nervous at first. He screwed up a bunch of songs and said, "Oh fuck, sorry" a lot, which of course made him 345% more endearing. Nobody cared. Everybody loves him and will continue to love him. Nobody's gonna say they hate the guy for screwing up a song or four. I did not go down to Seattle to see Death Cab For Cutie. "EEEEWW Death Cab For Cutie barf up your ass and poo it out!" said Christa. "They're totally boring... and they're not even cute!" said Amy. "More boring white boy indie rock... Nobody cares. Nobody listens." Said me. Snore. Yawn. They played a Bjork cover. So what. I can play Bjork covers too. Lyndsay S TELEVISION JOEL RL PHELPS AND THE DOWNER TRIO Thursday, June 21 Sky Church, Experience Music Project, Seattle JOEL RL PHELPS!!! TELEVISION!! LITTLE JOHNNY JEWEL! BILL HERZOG! BILLY FICCA! HOPE'S HIT! MARQUEE MOON!!! RICHARD LLOYD! ROB MERCER! FRED SMITH! GET THE CHILLS!! TOMVERLAINE!!! The guitars sounded like trains. LIKE TRAINS! AMAZING! ABSOLUTELY FUCKING AMAZING!! Christa Min DJ SPOOKY DANAD Thursday, June 21 I've always had a lot of respect for DJ Spooky. Mainly because he is willing to back up his experimental and sometimes self-indulgent DJ sant r nd. And to this end, I was not disappointed. The evening began with local rare groove gum DJ Dana D dropping some well- selected hip hop, down tempo and d'n'b including Squarepusher's new single, "My Red Hot Car." Spooky finally arrived around 11:40 after a nappy in his hotel room, and after a quick interview with yours truly and Robert Robot for DiSCORDER, he headed on out and proceeded to mix together hip hop, breakbeats, and jungle with prodigious use of the EQ, including echo- scratches, and feedback noise crescendos. The medium-sized but dedicated crowd got down and dirty to Spooky's crazed use of the mixer and solid selection of tracks. The last time that I saw Spooky was at the SFU Harbour Centre three years ago, and back then I was blown down by his mixing, scratching abilities, and his track selection—slamming together jazz and classical records, beats, spoken word pieces and rock music. After talking about what he was going to do, he really delivered on his promise to trigger "musical memories" through sound. This time around I was not as blown away, as I found his attention to be more dance-floor focused and less experimental, but part of that might also have been Sonar. Spooky had a laptop hooked up to the visuals screen, and for awhile it was displaying an "X" made out of dots, and some other moving shapes and Spooky's "That Subliminal Kid" logo, but after some playing with it, it became apparent that the visuals weren't working. This was too bad, as I was hoping to see how the visuals would complement the i . All v • got v teaser. All things considered, Rob Robot, Otac and I had a great time, and to boot, we got to see Sonar's dirty basement and Spooky's woolly toque complete with earflaps. For Spooky's latest subliminal http://www.ctheory.com Article 94. tobias v go to shows, enjoy yourself, or don't, either way, write them up for this here magazine, yeh, it's called discover, contact steve, the real live action guy, at sdipo@axion.net or call him at HOME at 922 3326 "X- \ 2 / \ r * k j July Long Vinyl July Short Vinyl Indie Home Jobs 1 Duotang 2 I Am The World... 3 Jerk With A Bomb 4 Ashley Park 5 Freeworm 6 Canned Hamm 7 Black Dice 8 Mouse on Mars 9 Hanged Up 10 Tricky Woo 11 Calexico 12 Mogwai 13 Destroyer 14 Fantastic Plastic... 15 Vote Robot 16 TheDirtmitts 17 Rovo 18 Puffy Ami Yumi 19 Chris Clark 20 Air 21 Oval 22 Weezer 23 V/A 24 Lucinda Williams 25 The Beans 26 Mumia Abu-Jamal 27 Sucre 3 28 Flashing Lights 29 The Icarus Line 30 Frank Bretschneider 31 TheMetic 32 Falcons 33 Fila Brazillia 34 Karl Denison 35 Nick Cave... The Bright Side Mint Out Of The Loop Kindercore The Old Noise Scratch The American Scene Kindercore Vegetation=Fuel Karazma Cold Hands Idiolgy S/T Hydrophonik Independent Troubleman Thrill Jockey Constellation Les Sables Magiques Sonic Unyon Even My Sure... Quarterstick Rock Action Matador Streethawk: A Seduction Misra Beautiful Emperor Norton In Meorm NA S/T Imago Spike Clarence Park 10,000hz Legend Ovalcommers S/T Morricone RMX Essence Crane Wars 175 Progress Dr. Monstre Sweet Release Mono Curve S/T Rebel Jukebox Another Late Night Dance Lesson #2 No More Shall We.. Scratch Sonic Unyon Incidental Sony Japan Warp Astralwerks Thrill Jockey DGC Reprise Island Zum Media Alt. Tentacles Alien8 Outside Crank Mille Plateaux Independent Independent Kinetic Blue Note Reprise 1 The Pinkos 2 Gapers Delay 3 Strunken White 4AndyVotel 5 Sunset Valley 6 V/A 7 Wellwater Conspiracy 8BS2000 9 Tijuana Bibles 10 The Kingsbury Manx 11BRMC 12911 13 Cecilia et ses amis 14 The Automaticians 15 Red Monkey 16 The Evaporators 17 New Town Animals 18 TheTeenie Cheetahs 19 The Pattern 20 Lost Sounds To My Valentine Empty Pretty Song Proshop Constant Collaboration Rock School Girl on a Go-ped Twisted Nerve Parade on my Rain Sea Level NBR New Beat Recordings Of Dreams Buddy Mexican Courage Been Passed Over Screaming Gun Fallen J'aime le popcorn Audrey Get Uncivilized Honk The Horn Lose That Girl TVT Grand Royal Trophy All City... Virgin Scaredycat Telstar Mental Monkey Troubleman... Nardwuar Mint 1 Xeroxed Brother 2 Hummer 3 Vancouver's Shame 4 Half Hour Late 5 Solasis 6 Mark Berbue 7 Heavy Bevan 8 The Switch 9 Six Block Radius 10 Little Man Syndrome 11 Pet Fairies 12 Whole Damn Country 13 Garnet Sweatshirt 14 Rheem Ruud Famiy 15 Victorian Pork 16 Joel 17 Les Jardiners 18 Heat Scores 19 Mr. Plow 20 Zero Percent Interest Fragmented Latest Thing What's For Dinner? Folsom Prison Blues Digiworld She Been Restricted To Car Sex Las Vegas Laser Child Kill To Hide Jealousy Boner 4 Betty Belong American Woman Pong Ping I Just Wanna Beer Heartx50' Woman Moon Patrol Run Santa Run Rock Star Tuesday Talking About You Sumppi Wertheimer Feverish GSL 1+1=Nothing Empty C 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, "July" charts reflect airplay over June). Weekly charts can be received via e-mail. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts". • CiTR's annual competition of live music! Offi/Wig Shindig 2001 All musicians welcome! Send in your minimum 2 song demo with contact info, ASAP to: Shindig! c/o CiTR #233 6138 SUB Blvd Vancouver, BC V6T 1Z1 Shindig kicks off in September at the Railway Club. Interested in sponsorship opportunities? call tobias at 822 1242 Our annual directory, chock full of contact numbers and addresses of bands and the businesses that suport them, will be in the September issue of ©B@©@ia®lia, The deadline for entries is August 1,2001. YOU ARE A (Check one): _ BAND/MUSICIAN_PROMOTER _RECORD/LABEL/DISTRIBUTOR _LIVE MUSIC VENUE _MANAGER/AGENT _STUDIO_ZINE_OTHER_ (elaborate below) NAME: DESCRIPTION (15 words or less) CONTACT(S):. ADDRESS: PHONE:. EMAIL: _ . FAX:. . URL: FILL THIS OUT AND MAIL/FAX IT TO US BEFORE AUGUST 1, 2001. #233-6138 SUB BLVD., Vancouver, BC V6T 1Z1 fax: 604 822 9364! Juk ■Hb&i ajL i9Ef^§; SUNDAY ARE YOU SERIOUS? MUSIC 9:00AM- 12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00- 3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00-5:00PM Real-cowshit- caught-in-yer-boots country. CHIPS WITH EVERYTHING alt. 5:00-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your jet set holiday now! QUEER FM 6:00-8:00PM Dedicated to the gay, lesbiar bisexual, and transsexual cor munities of Vancouver and li tened to by everyone. Lots c human interest features, background on current issues and HELLO GEETANJALI 8:00- 10:00PM Hello India combines with Geetanjali to create... Hello Geetanjali! Geetanjali features a wide range of music from India, including classical music, both Hindustani and Carnatic, POP' ular fro Ghazals, Bhajans, and also Quawwalis, etc. THE SHOW 10:00PM- 12:00AM Strictly Hip-Hop - Strictly Underground — Strictly Vinyl. With your hosts Mr. Rumble, Seanski, and J Swing on the 1 & 2's. THE CHILL-OUT ROOM 12:00- 2:00AM Time to wind down? Lay back in the chill-out room. Trance, house, and special guest DJs with hosts Decter and Nasty. FILL-IN 2:00-6:00AM MONDAY SALARIO MINIMO 6:00- 8:00AM Spanish rock, ska, techno, and alternative music — porque no todo en esta vida es 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 delights! Tune in and enjoy each weekly brown plate special. Instrumental, trance, lounge, and LOUD, FAST, AND AGING RAPIDLY alt. 11:00- 1:00PM GIRLFOODalt. 11:00- 1:00PM PARTS UNKNOWN 1:00- 3:00PM Underground pop for the minuses with the occasional interview with your host Chris. STAND AND BE CUNTED alt.3:00-4:00PM DJ Hancunt is in training for Olympic party athletics—soon to be a gold medalist in drinking, drug taking, and reckless sex. BLACK NOIZE alt. 3:00- 4:00PM DJ Nat X still sez: "Fuck You, My Man!" EVIL VS. GOOD 4:00-5:00PM Who will triumph? Hardcore/punk from beyond the grave. WENER'S BARBEQUE 5:00- 6:00PM Join the sports dept. for their coverage of the T-Birds and some other goofiness, giveaways, and gab. FILL-IN alt. 6:00-7:30PM REEL TO REEL alt. 6:00- 6:30PM Movie reviews and criticism. FILL-IN alt. 6:30-7:30PM BY THE WAY 7:30-9:00PM I don't know what I'm up to anymore. I play lots of odd German electronix, some 7"s, and a demo here and there. Go figure. THE JAZZ SHOW 9:00PM- 12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 1 1. July 2: A rare date with the late legend of the drums as band leader... Billy Higgins with the great Harold Land on tenor sax and many others. July 9: "Fabulous Phineas," Phineas Newborn, the underrated piano genius in a solo, trio and quartet setting. July 16: Drummer/bandleader Buddy Rich and his big band in an explosive "live" date. "Keep the customer satisfied!" July 23: Tenor sax giant John Coltrane in a classic date..." The Complete 'Lush Life' Session." July 30: On his only recording, forward thinking and intense Hasaan Ibn Ali on piano with the great Max Roach on drums. VENGEANCE IS MINE 12:00- 3:00AM Hosted by Trevor. It's punk rock, baby! Gone from the chart- but hearts—thank fucking Christ. TUESDAY PACIFIC PICKIN' 6:30-8:00AM Bluegrass, old-time music, and its derivatives with Arthur and "The Lovely Andrea" Berman. WORLD HEAT 8:00-9:30AM THIRD TIME'S THE CHARM 9:30-11:30AM Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier than the most dangerous criminal! <3rdxcharm@home.com> BLUE MONDAY alt. 11:30AM- 1:00PM Vancouver's only industrial-electronic-retro-goth program. Music to schtomp to, hosted by Coreen. ELECTROMAGNETIC PULSES alt. 11:30AM-1:00PM CONTEMPORARY 1:00- 2:00PM Music and poetry for C.P.R. 2:00-3:30PM buh bump...buh bump...this is the sound your heart makes when you listen to science talk and techno...buh bump... PROM QUEEN 3:30-4:30PM Sunday Monday Tuesday Wednesday Thursday Friday Saturday REGGAE LINKUP ARE YOU SERIOUS? MUSIC w ROCKERS SHOW BLOOD ON THE L SADDLE CHiPSwronl Po I SAINT I p0 everything!- TROPEZ I I Wo [& SALARIO MINIMO"^ PACIFIC PICKIN' BREAKFAST L- WITH THE BROWNS GIRLFOOD^ LOUDj FAST, AND AGING RAPIDLY PARTS-E UNKNOWN iPL^J r THIRD TIMES THE CHARM T£. r^ CONTEMPORARY \^_ THE SHAKE E C.P.R. PROM QUEEN I EtECTRIC AVENUES THE MEAT-EATING VEGAN (Ec; SUBURBAN JUNGLE FOOL'S PARADISE U |Rr/Po THE NORTHERN WISH ANOIZE 1*1 RADIO FREE PRESS ll. -Tf MOTORDADDY THE MEZZANINE l!i FLOOR END OF THE WORLD NEWS IE THE CUTE 'N' \Sl' CUDDLY SHOW CANADIAN \E LUNCH RHYMES & REASONS SHADOW AT DAWN IE CAUGHT IN THE RED SKA-T'S SCENIC DRIVE JK THESE ARE THE L BREAKS HIGH ON GRASSL NARDWUAR PRESENTS THE SATURDAY EDGE SOULSISTAH RADIOL. POWERCHORD CODE BLUE 10,000 VOICES (Tk) QUEER FM IE FLEX YOUR HEAD E RACHEL'S SONG NOOZE & ARTS (Tk) EtECTROtUX JAM BAND HOUR OUT FOR KICKS L HELLO E GEETANJALI AND _ SOMETMESuZXlREPUCA WHY t+ THE JAZZ SHOW r |vvb " ON AIR LI WITH GREASED HAIR FAREASTSIDE SOUNDS AFRICAN RYTHMS RADIO FREE AMERICA VENUS FLYTRAP "IE soulI— SONIC WANDERLUST LIVE FROM... L~ THUNDERBIRD HELL SYNAPTIC SANDWICH STRAIGHT OUTTA L^ JALLUNDHAR ~WJ CHILL-OUT ROOM VENGEANCE IS MINE! ~E: [hT HANS KLOSS' MISERY HOUR HIGHBRED VOICES SOUL TREE BREAKING If WAVES IN YOUR HEAD FILL-IN AURAL TENTACLES PSYCHEDELIC AIRWAVES FIRST FLOOR SOUND SYSTEM PLUTONIAN NIGHTS THE MORNING AFTER SHOW PIPE DREAMS REGGAE LINKUP ]E Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop • Hk= Hans Kloss • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world 20 JULY 2001 ELECTRIC AVENUES 3:30-4:30 (Last Tuesday of each month.) THE MEAT-EATING VEGAN 4:30-5:00PM 10,000 VOICES 5:00- 6:00PM Poetry, spoken word, preformances, etc. FLEX YOUR HEAD 6:00- 8:00PM Hardcore and punk rock since 1989. ANNABOUBOULA (formerly Radio Ellenikathiko) 8:00- 9:00PM Greek radio. www.angelfire.com/atr/annab ouboula A WALK ABOUT THE WORLD 9:00-10:00PM VENUS FLYTRAP'S LOVE DEN alt. 10:00PM- 12:00AM SOULSONIC WANDERLUST alt. 10:00PM-12:00AM Phat platter, slim chatter. AURAL TENTACLES 12:00- 6:00AM Ambient, ethnic, funk, pop, dance, punk, electronic, and unusual rock. WEDNESDAY THE ELECTROLUX JAM BAND HOUR 6:00-7:00AM THE SUBURBAN JUNGLE 7:00-9:00AM 3 you of new and old music live from the Jungle Room with your irreverent hosts Jack Velvet and Nick The Greek. R&B, disco, techno, soundtracks, Americana, Latin jazz, news, and gossip. A real gem! FOOL'S PARADISE 9:00- 10:00AM Japanese music and talk. THE NORTHERN WISH 10:00AM-12:00PM Spike spins Canadian tunes accompanied by spotlights on local artists. ANOIZE 12:00- 1:00PM Luke Meat irritates and educates through musical deconstruction. Recommended for the strong. THE SHAKE 1:00-2:00PM The manatee is my spirit animal. Me da I'agita. RADIO FREE PRESS 2:00- 3:00PM Zines are dead! Long live the zine show! Bleek presents the underground press with articles from zines from around the world. MOTORDADDY 3:00- 5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat." RACHEL'S SONG 5:00- 6:30PM Socio-political, envi- ronmentally-activist news and spoken word with some music too. July 4: Vandana Shiva "Stolen Harvest." Depeche Mode ticket giveaway. July 1 1: Water for People and Nature-Review. July 18: Jeremy Rifkin-Genetic Engineering. July 25: Area 1 Special. CD and POP GOES THE WEASEL 6:30-7:30PM AND SOMETIMES WHY alt. 7:30-9:00PM sleater-kinney, low, sushi... these are a few of our fave-oh-writ things. (First Wednesday of every month.) REPLICA REJECT alt. 7:30- 9:00PM Indie, new wave, punk, noise, and other. FOLK OASIS 9:00-10:30PM Roots music for folkies and non- folkies... bluegrass, singer-song- writers,worldbeat, alt. country and more. Not a mirage! 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, unheard and unlis- tenable melodies, tunes and THURSDAY FILL-IN 6:30-8:00AM END OF THE WORLD NEWS 8:00-10:00AM THE CUTE 'N' CUDDLY SHOW 10:00-11:30AM Two hours of non-stop children's entertainment including songs, stories, poems, inteviews, and special guests with your host Christina. 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 AND MIKE 1:00- 2:00PM Crashing the boys' club in the pit. Hard and fast, heavy and slow. Listen to it, baby (hardcore). THE ONOMATOPOEIA SHOW 2:OO-3:O0PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00-5:OOPM On Hiatus! Will the ladies return? Stay tuned. LEGALLY HIP alt. 5:00- 6:00PM PEDAL REVOLUTIONARY alt. 5:00-6:00PM Viva la Velorution! DJ Helmet Hair and Chainbreaker Jane give you all the bike news and v,ews you need and even cruise around while doing it! http://www.sustainability.com/ dinos/rodio 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 The best in roots rock V roll and rhythm and blues from 1942-1 962 with your snappily-attired host Gary Olsen. LIVE FROM THUNDERBIRD RADIO HELL 9:00- 1 1:00PM Local muzak from 9. Live bandz from 10-11. HIGHBRED VOICES 11:00PM- 1:00 AM PLUTONIAN NIGHTS 1:00- 6:00AM Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs http://plutonio.org 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 real rock V roll debris. SKAT'S SCENE-IK DRIVE! 10:00AM-12:00PM Email requests to °y'$ Vv><*c a<^ Wu 3* \U Coneys jAo-*r& -&f AU jwmw V\» W&. S»« , \W ?»\> zc*. «, K-aVA-TVi ^»si ion*. ;«.v.cH id 7 3<>oA-V TUES 24 echo and the bunnymen@richard's; medical amateurs (24th and 25th)@blinding light!!; dave woodward@yale WED 25 cheap trick, harmony riley@commodore; add n to (x)@starfish room; todd taylor and the new vehicle@yale THUR 26 CiTR PRESENTS: HINTERLAND, A LUNA RED, MARNIE MAINS@MS.T'S CABARET; pantera, slayer, static-x, skrape, morbid angel@pacific coliseum; fear factory, puya, primer 55, dry kill logicOcommodore; new cineworks@blinding light!!; the spitfires, shake city, hissy fit@starfish room; mark farina@sonar; doc's blues, incognito, bluespiggies, malpractice, the crawl, aural fixation@yale; awkward star, anansi, greg sinibaldi trio@gibsons (seattle) FRI 27 tower of power@commodore; trinh t. minh-ha's reassemb/age@blind- ing light!!; mudhoney@starfish room; roots fest (27th thru 29th)@royal roads (victoria); twisters@yale; the undisputed heavyweight champi- ons@gibsons (seattle) SAT 28 depeche mode@pacific coliseum; proclaimers@commodore; trinh t. minh-ha's surname viet, given name nam@blinding light!!; sound tribe sector 9@wise hall (1882 adanac); stationa, joel, cinchOsilvertone; twisters@yale; texas funeral, the boss martians, the backstabbers@gib- sons (seattle) SUN 29 warren zevon, david lindley, wally ingram@commodore; trinh t. minh- ha's naked spaces: living is round@blinding light!!; brickhouse@yale TUES 31 green day, the living end@plaza of nations; grames brothers@yale Special Events ASIA/LOTUS ROOTS WEB LAUNCH on SATURDAY, JUNE 30, the asian society for THE INTERVENTION OF AIDS (ASIA) AND LOTUS ROOTS WILL BE BRINGING US A NIGHT OF TAIKO DRUMMING, SPOKEN WORD, FUN DRAG, AND SEX EDUCATION AT VIDEO IN STUDIOS (1965 MAIN STREET). ADMISSION IS BY DONATION; THE SHOW STARTS AT 8PM. WWW.ASIA.BC.CA MULTIPLEX GRAND HELL ON WHEELS, JULY 6-8 IS GOING TO BE ONE FUN WEEKEND FOR SOME OF US. FOR STARTERS, THE MULTIPLEX USERS GROUP IS CURATING A THREE-DAY FESTIVAL OF MULTIMEDIA ACTION AT THE BLINDING LIGHT!! STARS WILL INCLUDE FREAKY DNA, BEN NEVILE, DJ AGRICULTURE, STRATEGY, LOSCIL, -OUTHERN ACIFI + , ZERO SQUARED, AND BILLIONS MORE. CHECK OUT MEMBERS. HOME .COM/MULTIPLEX FOR A COMPLETE AND UP- TO-DATE SCHEDULE. DMC CHAMPIONSHIPS 2001 CITR PRESENTS THE VANCOUVER ELIMINATION ROUND OF THE TECHNICS DMC TURNTABLE CHAMPIONSHIPS, SATURDAY JULY 7 AT THE GRANDVIEW AUDITORIUM FROM 2-8 PM. IT'S ALL-AGES AND COSTS A MERE $ 10 ADVANCE, MORE AT THE DOOR. SUPERSTAR JUDGES WILL INCLUDE PRECISE, KEMO, HI-FI, AND DARIUS. CALL THE INFOLfNE FOR MORE: 604.645.1229. • Sharin' in the Groove www.upsrtreamenterteinment.com LA7E N1CH7 CANADA DAY RASH, SUGAR MN 3 w/ BI/R7 NE1LS0N RAND SUNDAY JULY IS7 IHE S7ARF1SH MOM (OPEN VI ZAtft Thur July 5th, The Commodore Ballroom GBiBBiBgm sound-tribe Bll-TuUlslC0IICEBT8TW July 27th, The Boot Pub, Whistler July 2£th, The Wise Hall, Vancouver 1££2 Adanac David Lindley & warren Zevon The Commodore Ballroom l/^° o °° \Ae Upslteam Dance Ciinse *ft Sat Sept. 1st, On A Very Big Boat 7.TT V • i f- M «^ *•-■■■:•' »g Tix @ Black Swan, Highlife, Zulu or Tix 8r More info. @ wwwAip£taeamentertainment.com or call the Streamline @ (604) 904 4207 ■23'E^g3LSiaB fflr.—in* master tapes... SQUARE- PUSHER Go Plastic CD/LP "The quintessential I room producer. T Jenkinson's distinctive programming style push the drum and bass idiom into computer- assisted total percussive mayhem - hyper-syncopated cyborg music tor the pulsing, frenetic digital era. While this latest release clearly demonstrates Jenkinson s legendary fastidiousness, Go Plastic has more conviction and maturity that his earlier work without sacrificing energy or basic dance floor oomph. Could this mean a friendlier and more melodic SQUAREPUSHER? Come check it out CD 16.98 LP 19.98 JOHN ZORN Songs from the Hermetic Theatre CD Oh boy, four new works by that thoughtful ambassador for the international avant-garde underground, the super-prolific JOHN ZORN Including his first foray into purely computer music, Songs from the Hemietic Theatre also pays tribute to the creative iconoclasts Harry Smith, Joseph Beuys, and Maya Deren - three important free spirits of the 20th century. As the Tzadik press people wisely observe, this is "an essential collection of dialogues from one generation of the underground to another," Indeed. CD 16.98 AVAILABLE FIRST WEEK OF JULY BEANS Crane Wars CD/LP in essential purchase for you don't know THE BEANS by now well shame on you. If you do, then you've doubtless been in a state of tremulous anticipation, awaiting the release of their second full-length recording. Either way, Crane Wars is I anyone with even a passing interest in the local music scene or the real meaning of post-rock. Everything that the band built their loyal following on is here - epic wide-screen rock dynamics, eclectic instrumentation, electronic trickery and so much more. The most amazing thing is that it leaves you with the sense that the best is yet to come. World class. CD/LP 16.98 CANNED HAMM KarazmaCD After touring the U.S. with Neil /"AHamburger Vancouver's foremost I (and only) purveyors of 'entainmment' have finally released their debut CD. It's filled to the brim with songs that'll have you cruisin' Robson with the top down and your top off. Big Hamm (Slow, Tankhog, The Orientals) and Little Hamm (July Fourth Toilet, various karaoke joints) have crafted a platter that'll have you laughing, crying, and dancing all at the same time. Featuring such sing-a-long classics as "I Kissed All The Girls At The Party", "Karaoke Lady", and the title track, as well as bonus answering machine message, you could wait to buy this...but why? CD 14.98 AVAILABLE FIRST WEEK OF JULY ir. and the urge to dance is forcing us to face, and overcome, our inhibitions. Who better to guide us onto the dance floor than MONSIEUR DIMITRI from Paris, a man who understands the divine value of a funky bass-line and ethereal wind instruments layered over steady, grooveable beats galore1 His remixes ->f Bjork the Brand New Heavies, and Bob Sinclar are far out. though it's a shame to name-drop only a lev/,.. This is a patio-ready affair. as long as you've got the mosquito candles burning - this smooth, steady mix will keep you outside until long after dark! CD 16.98 THALIA ZEDEK Been Here and Gone CD "Think back to a moment to the summer of I 1992... maybe some of you attended an in-store at our old shack graced by the post-blues slide guitar cries of THALIA ZEDEK and Chris Brokaw's combo Come, Like their mentors in Television. ZEDEK and Brokaw used their guitars to etch away into the surface of the songs, churning out a twangy shrapnel of minor chord visceral rock. Here, on her solo debut, THALIA marries the brooding pillars of Nick Cave and Patti Smith, to offer 13 sorties guaranteed to get your senses tingling. CD 19.98 AVAILABLE FIRST WEEK OF JULY STATIONa The Wasp Factory CD | Save your quarters, 'cuz the Zen Arcade is closed. The at one time unthinkable has happened... Sonic Youth Mike Watt and J. Mascis have ceased to matter. But think back, my friends, to the hazy summers of the past when you were li\ ing all over me in a daydream nation car seemed to have the SST logo on in the way of a day at the lake. Cut tc Vancouver's STATIONa are back with album (inspired by the la noisy, and epic outing th, when every tape in your it, and day jobs never got summer 2001: their third, and finest. Banks' novel), an adventurous reminds one. at times, of Polvo A minor art classic, indeed CD 14.98 AVAILABLE FIRST WEEK OF JULY CONTINENTAL DRIFTERS Better Day CD IN-STORE: Tigerbeat Six Recording Artists KID 606 and CEX stop by Zulu on Tuesday July 17th at 4:30 pm Some point to their lineage, which includes members of the DBs, Bangles Dream Syndicate and Cowsills Others argue that their previous effort, Vermillion, was the alt-country unsung hero award winner of 1998, Heck! It makes no difference, the kudos go beyond pedigree and songwriting skill - this band is magical! Yup, their alchemy is up there with Steve Earle and Lucinda Williams. The Continental Drifters make masterful music from base elements: pop, rock and roots. Features 12 gorgeous grass- CD 16.98 All prices in effect until July 31, 2001 NICOLA CONTE Bossa Per Due CD Certified by the Thievery Corporation, NICOLA CONTE is the latest groove-architect to join the Eighteenth Street Lounge school. Known for smooth lines and flowing funk beats. CONTE 's eye for detail flourishes as he flirts with his trusted materials - woody strings, resonant vibes, and loose jazzy beats. These drafts are acoustically rich and the perfect complement for lounging moments entranced by a reverie of opulent design. All in all, a tidy and stylish listen.., Bravo! CD 19.98 Various LAZY TRANSMISSIONS Mixed by Luke McKeehanCD It's always hard to find a quiet spot at I Sonar, but on a late night long ago, well after the speakers' last thump, the Nordictrax brain trust held a special meeting to quietly draft their blueprints for sonic expansion. Lazy Transmissions articulates the discussion, collecting many of the proposed ideas that have shaped what is now history — an arsenal of massive deep house 12" platters. Features 13 up-tempo mixes of Home & Garden Mtrax, T.O.S.. Gavin Froome, Morgan Page, and others! Essentials. CD 14.98 FANTOMAS The Director's Cut CD Here at Zulu, we do not throw the term cult-group' around lightly. No! We reserve this nomenclature for the taxonomy of outfits supported by the most fervently rabid of fans. Please do not send us any more ears in the mail. It is here - the uncompromising and aesthetically flexible FANTOMAS album. Sonic highway robbery from Mike Patton, Buzz Osborne, Dave Lombardo and Trevor Drum! Their agenda: to re-interpret 'soundtrack music' ranging from subtle and precise compositions to those more brutal and explosive Join the cult! CD 20.98 AVAILABLE JULY 10 PERNICE BROTHERS The World Won't End CD The spacey echo of the last notes in Big Star's Kangaroo hangs in the air as evening euphoria embraces morning solitude. You hold your breath 'til the next record plays: you're in limbo like a Polaroid waiting to develop. Ah... JOE PERNICE, , the emulsion materializes into a nervy mix of bright west-coast pop and pedal steel fused country. Someone mumbles the stark realization The World Won't End. you wonder through the sanctioned melancholy... 'Is this good or bad9' A brilliant record. CD 16.98 AVAILABLE FIRST WEEK OF JULY SPLICE THESE INTO YOUR DECKS HIM NEW FEATURES CD/LP LESSER MENSA DANCE SQUAD CDEP various KID 606 & FRIENDS VOL.1 cd DELTRON 3030 positive contact/time keeps on slipping \t BASEMENT JAXX rooty cd SLICKER THE LATEST CD/2LP THE BIONAUT lubricate your living-room cd ORTON SOCKET 99 explosions cd DAVID AXELROD S/T CD available july 17 his name is alive SOMEDAY MY BLUES CD m****^ various ALPHA MOTHERFUCKERS: A TRIBUTE TO TURBONEGRO cd/lp NEOTROPIC la prochaine fois cd/2LP BABLICON A FLAT INSIDE A FOG, THE CAT THAT WAS A DOG 2LP/CD FENNESZ ENDLESS SUMMER CD available mid-july 7&w S6t*uve>vl■ <-.-'•'.'-. I Zulu Records 1972 W 4th Ave Vancouver. BC tel 738.3232 www.zulurecords.com STORE HOURSI