FRI, 25th PEOPLE PLAYING MUSIC FRI, 1st JESTER'S BALL A FANTASTICAL COSTUMED EVENING FASHION SHOW BY BOUTIQUE SUCCUBUS fi BOUDOIR BOUND WITH KAZMIRA (FIREBREATHING BELLY DANCER) AND MUSICAL GUESTS: SADDLESORES AND ANI KYD & HER BAND OF CHAMPIONS ~JMZ 1176 GRANVILLE ST, 608-GATE IMOVEIVIBER CALENDAR -Jitrix miko hoffman art director ken paul ad rep kevin pendergraft production manager barb yamazakt graphic design/layout jules d, nicofe manes, ken paul, barb y production reuben copley, chris eng, erin hodge, rob nickel^ jesse proudfoot, tristan winch photography/illustrations barb, michael chouinard1, cobalt, andrew denniso*(, darren hull, lori kiessli suki smith contributors andrea, barbara a, [01™^ michael c. sean c, |ulie c, christina, bryce d. glen d, jason d, jules d, kevin d, Jovian f, karen f. frank?, brie gn, pieter h, sophie h, thomas h, jono. jonny p, colLlin k, anthony k, kellie k. namiko k, lloyd, natasha I, adam m, janis bmc, siobahn mc, dj noah, norman, nardwuar, |esse p, ken p, kevin p, brian r, sara s, suki s, dave s, tyson s, Caroline t, dave t, jim v, brian w program guide namiko kunimoto charts megan Im, barb y SAT, 26th WEEPING TILE WITH GUESTS HELLBILLYS & MRS. TORREIMCE SAT, 16th CD RELEASE PARTY FOR FLYWHEEL (FORMERLY TREE HOUSE) matt steftich us distribution krista peters discorder on-line ben lai publisher linda scholten "DiSCORD-H" 1996 by th* Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, pay able in advance, to Ci aro $15 for ono yoar, to residents of tho USA are $15 USD; $24 CDN elsewhere. Single copies aro $2.00 (lo cover postage, of course). Please make checks or money orders payable to DiSCORDER Magazine. DEADUNES: Copy deadline for the December issue is November 8th. Ad space is available until November 15th and can be booked by calling Kevin at (604) 822-3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is preferred. From UK 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. Cal ihe CiTR DJ fate at 822-2487, our office at 822-3017 ext. 0, or our now* aid sports Bnes at 822-3017 •xt. 2. Fax us at 822-9364, e-mail us at GTMUNIXG.UBCCA, visit our web site at http://www.ams.ubc.ca/dlT or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1 Zl. EVERY SUNDAY (e pm-,2 am) BIG BAD SWIIMGIN' SUNDAYS with THE C.I. BLUES PLUS DJ DADDY-O \ EVERY MONDAY (STARTS 8 PM) „ No ROUGHCUTS & SOUL RIPPERS'*""* HOSTED BY ART BERGMANN AN ACOUSTIC OPEN STAGE FOR BANDS {DRUM SET PROVIDED) EVERY TUESDAY EVERY WEDNESDAY PAPERBOYS WITH GUESTS ^Printed In Canada EVERY THURSDAY VOLCANO THURSDAYS CUTTING EDGE NEW ROCK HOSTED BY GRAHAM SCOTT FULL COURSE MEAL. MONSTER FOOD SPECIALS $1.99 MON-FRI, 4PM -6PM Vancouver Local CD Reviews! Well, hello again! Since I wrote last, I've gotten married, had my stereo and VCR stolen (and, sob, a lot of CDs), and been away in Scotland and London. I'm back now, though, bravely listening to CDs on my Mac in glorious lo-fi, which can't possibly do justice to this month's crop of well-produced beauties ... THE ELECTROSONICS The Electrosonics EP (Quiddity/Drive-In) Yes, they are from Vancouver, and have appeared on the recent, very tasty, local Tiddlywinks compilation, although this EP is co-released by two labels in Michigan. Swirly and dreamy, these three songs — which are a little reminiscent of Stereolab, a little of Perfume Tree, with both boy and (sweet, sweet) girl vocals, an Acetone organ, and abstract, trippy lyrics — are just right for the fast-approaching rainy season. And although there are only three songs here, there is a total of almost 18 minutes worth of trance-inducing sounds. WANDERING LUCY leap Year (K) In this first CD from Lindi Coyne, who has already released a couple of 7"s and tapes, you can hear both the familiar pared-down cheesy- drum-machine-and-guitars of Wandering Lucy past and the full-band sound of Wandering Lucy present, which is (or just was) touring the US. Three of the songs were recorded on her own 4-track and are tossed in amongst twelve others, which were recorded with other musicians at Dub Narcotic and produced by indie god Calvin Johnson. As always, the vocals are quite small, with a unique combination of vulnerable tone and world-weary, sometimes biting lyrics, but in the full-band songs Lindi's guitar really shines. She has always been great live (who else swears at her roommates from the stage, anyway?), but her unusually quirky sound has scared a lot of folb off her earlier recordings — I hope that this one finally brings her the attention she deserves! PSYCHOMANIA Psychomania (Tonic) Psychomania was the name of a schlocky '70s motorcy- 5i cle thriller in which dead bikers terrorized a town with their mighty British machines (if I remember correctly), and Psychomania is also the name of a local glam-tinged rawk super-group, seen from time to time at such atmospheric venues as the Penthouse. Marc (formerly Manhattan) Godfrey, once of The Outrageous Valentinos (who did, I assure you, live up to the description), sings, plays guitar, and writes the songs, and his photo appears next to those of local punk heroes Jimmy Sigmund (Death Sentence, rides a Triumph), Mike Davies (Enigmas, Earthling, etc. etc., rides all kinds of cool British bikes), and Zippy Pinhead (too many bands to name) inside the sleeve, although these three don't appear to have much to do with the actual contents of the CD. Never mind. For trashy, straight- ahead rock with songs about mad scientists, robot sex monsters, and other twisted, cheesy movie themes, Psychomania can't be beat. It doesn't hurt that Marc has an appealing radio-friendly voice, either.* DOWN NITTY TO THE GRITTY THANKS TO ATTIC RECORDS, WE'VE GOT 25 COPIES OF THE FLY COMPILATION CD (INCLUDING SLOAN, WEEZER, PURE, SEVEN MARY THREE), PLUS 25 PAIRS OF JOE BOXER SHORTS SKANKING UP THE PLACE. SEND US A SNIPPET OF YOUR KINKIEST (CLEAN) PAIR OF UNDERWEAR WITH YOUR NAME AND PHONE NUMBER TO GINCH C/O DiSCORDER 233-6138 SUB BLVD VANCOUVER, BC V6T 1Z1 ALL WINNERS MUST PICK ISP THEIR PRIZES IN PERSON! HG^i^|^^^^^^l^>®l ON SALE THIS MO PETER JEFFRIES -- Eievafor Marfness (local Je^enrf.'J—.9J7 tf $u.9J CD SUPERCHUNK fte iavghier Oms (liwfe_.J $9.87 CD AMINOR FOREST flmlsbMwm {Stint-like!] $14.922LP/CD MICROSTORIA-SNDo foiKe-itf)., $9,87 LP $14.92 CD FUXA Very Well Organized (space rock.') $u.9_ CD EVERGREEN seMlM (ex-SSttij $10.96 LP SECRET CHIEFS 3 Ike Iiem*/ of % htntf Ilk. Bif»gl44M.9_ CD DIRECTIONS IN MUSIC by Bundy K Brown (Jorinul^MlVf MiMCD UMAX GOLDEN TWINS lijieHal Housed. Orcfcesfrs \rt* ifdHM 1193 tt RACHELS The Se. ui fte Mi fserJw »mlr...... $15.79 UP/CD INTRODUCING SCRATCH E-MAIL ORDER! Lei us know your E-mail address and receive weekly catalogs and info about all the newest releases before your hip friends! Save money! Shop from tbe comforts of your computer chair! Send a mesage to scratch@deepcove.com TRACKSHUN ACKSUN! Comeback releases from two of Vancouver's most important bands. 6000 HORSIY - Emporor Mkk 7*» $3.50 COPYRIGHT . Honey 7W $3.50 m _c_ cowshead chronicles nicies J "and you're thinkin' what could have been and you're thinkin' what ehould have been and you're wishing you didn't act that way" — skydiggers just when it's all falling apart It sometimes all seems to come together, maybe life's killing me now just to make me stronger for the future, whatever it may hold, the cruelty of fate, never before have i taken life's lesson so seriously, the life you're dealt, be it cruel and unusual or so full of passion that you almost pass out from the joy of it all, is yours and yours alone, and for better or for worse, we are sentenced to live with it. i have been, at least as far as my friends and even the odd voyeuristic onlookers are concerned, blessed with a good life, a family that, regardless of internal strife, longs for and cares for one another, friends who, by my own assessment, care for me and accept me for who i am, why, sometimes, i do not know — but i am thankful everyday, so it is, at this time, as i hide beneath the blankets and wander the streets in search for something, that i worry about myself and why, despite all the good, that i feel like shit, the drive of my heart, the power it has over me and my actions because of it. my thoughts of others around me and what they mean to me. friends, i thank who's ever up here, if anyone or anything, for them everyday, a friend who will drop everything to be by my side when i needed someone the most, i find comfort in others. usually female companionship, i have been tragically in love with women, i have fought with yet loved with a heart so large at times it seems to barely fit my chest, i need them, women, pain and all their skin, their smell, the feelings of them late at night as they lay their backs towards me. the love of a good woman, it's a cliche i can live with. one i want to live with, even for a minute, an hour, a lifetime, drinks, dinner, a drive in the car. darkness, a good pair of shoes set outside my door until morning, it's not too much to ask? a good pair of shoes? V .th- Black Sheep Books Reading Series Schedule: November 1st Benet Davetian and Howard Richler November 8th Barry Coull and Diane Raewazny November 15th Wes Hartley November 22nd Hope Anderson November 29th The Ducktape Platypus Poets Coalition Natural disasters aside...that missed call could wreak total havoc on your plans for the evening. So find out who it was with *69 CALL RETURN. Get the number of who just called by simply pressing *69. You don't need to sign up because it's already on your line. Because it's no fun sending out an SOS (SAVE OUR SOCIAL LIFE). BSTEL BlEJEJit! $gg°m& Who are you? (names, ages, instrument played.) Terry Russell: Whips, chains and hand grenades. Mighty Pounder of Heads. Gerry Jenn: Vocals, telecaster, Tura Satana's understudy, franchise bowler for the Sockamagee Creepers. Stephen Hamm: CREATOR OF BIG CHUNKS. Mike Davies: Curator of the most extensive collection of useless motorcycle parts this side of Delta, smokin' guitar dude. What does it feel like to be on Tom Harrison's indie playlist?! Mike: Warm and squishy. Jenn: I'll drink to that! It's been TEN years since you disrobed in Slow, Hamm. Will Against the Glass finally be reissued since Copyright has signed to BMG? Terry: As far as I know it won't be released until Copyright outsells Thriller. And HEY, Mike Davies, what about the unreleased Enigmas album? Mike: It's interesting lhat you should ask, but the tapes were stolen by the KGB in retaliation for our song "Rush Hour In Russia." It's too bad, because it was probably the most legendary garage-rock album never released. To the best of JP54 knowledge, b it redl/ true a member of Death Sentence stapled his balls to a picnic bench? What's yer best Death Sentence story? Hamm: As Death Sentence was driving down the Trans Canada Highway, Doug Donut stuck a wine bottle up his butt. Pete said, "I can do better lhan lhat!" So, at the next rest stop, Pete got out of the bus and stapled his nutsack to a picnic bench! It's true! Jenn: Pete Cleaver was our roadie for JP5's first gig oul in Chilliwack with D.O.A. Pete and I ended up at this guy's house who turned out to be a superfreak! He kept demanding that I defecate on him! Pete came to the rescue and offered to do the deed himself, which got rid of him instantly! Thanks Pete! Terry, what did you learn from playing drums with BUM on their tour to Spain? How have these experiences help shape JP5? "Yo est Terry, yo tocco el Battariea por BUM; uno gineca con tonico double por favor" is the only phrase I needed to know. I also learned to keep my hand on my wallet when painted women get overly affectionate in Madrid alleys at 4am. TERRY? One other thing: what is the OFFICIAL account of you spending a night in jail as a result of a CiTR interview gone bad? Please set the record straight. Terry: I wasn't really there. Hamm: But I was. After liberally imbibing tequila at C.T.'s house we proceeded to Thunderbird Radio Hell. We did the interview, but it was cut short due to your station's particularly anal practice of discontinuing interviews if the participants are extremely drunk, abusive, and uncooperative. We were hanging out downstairs when Terry decided to protest this affront to free speech by kicking out a glass door. A diligent janitor ran to ihe scene, knocked Terry to the ground, and called the RCMP. Terry: All I know was I woke up the next day with the Mother of All Hangovers, and got a phone call from the RC's requesting me to visit the station for mugshols and fingerprinting; apparently I was not in suitable shape for the rigmarole the previous evening. I wound up getting charged wilh gross misconduct. I had to gel a lawyer from Legal Aid, and go to court in Richmond. She arranged to have the charges stayed in exchange for my paying for the broken glass. I gave her an 'I Broke the Circle" single for her trouble. Jenn, you've been involved in an amazing array of Vancouver bandsl Could you please make some brief comments on your FORMER combos listed below: CaneToads — It happened 4 years ago. There was a full moon that night. Moby Grape broke up on a full moon, we wanted to loo. Spank Machine — People would tell us it's violent, it was grotesque, it was perverted. We said, "What are you talking about? It's fun!" Black Eyed Buddah — "2 pathetic" Muscle Bitches — Squealin'NippleTwistin'- Pande-F uckin-monium!! The Worst — In this band, the roadies got all the birds! Anyone we've missed? Jenn: Yeah! 48 Crash (Suzi Quatro tribute band), Full Leather Jacket (fuck band wilh Zippy Pinhead), Block Market Babies, Bevo (devo tribute), and I've recently been asked to play in an all grrrl Who tribute band colled "Ho!" Can you assure us, Jenn, that JP5 won't go "pffff" like some OTHER of your bands? Jenn: You obviously haven't heard Hamm after a sizeable meal at Ombres! It ain't no prissy little "pfff"! Fishin' Jim (our #1 fan) asked me the same question, and the way I see it, as long as there's meat, bun, and cheese, a case of Hi-Test in the trunk, and swell fans like Fishin' Jim, there will beaJP5ll Extreme Wattage, and we've been hooked ever since. That's why you must care about his roots. Ask yourself TWO questions and answer them: What? Well you slumped us on lhat one, so we asked A.B., our illustrious room mate al the beautiful and spacious Dunbar Gardens. If he had to ask himself two questions they would be: Question #1: Why am I here, and how the fuck did I get here? Terry: I'm here just long enough to get a ton and then I'm out of here. I'm also here to consume meat pellets. Hamm: Help me! ZIRA! CORNELIUS! Jenn: To listen to K-Tel records, drink martinis, and to cruise the astral plains. Mike: There are two kinds of men: those who come through the door, and those who come in through the window. Question #2-Where the fuck are the rollies?! Chuck: They're up on the mantlepeice by the DEATH BONG. Any other JP5 lore to add? Well, we can't finish the interview without tipping our hats to immortal Kevin Keating AKA the turd man. The man who would show up lo practice smelling of "iron horse" only to rip his shirt off, run face firs! into his drum kit, all the while screaming "death to Sammy Hagar!" We had many a practice like this until eventually, we had to say "OK buddy, now get a grip on yourself," to which he would reply, "I hate you, I'm going back to Burnaby!" He never returned, so we had to get Terry to take over the drumming position. His favourite pastime is going to Keychain Toker gigs, eating all their "happy cookies," and running around the club shirtless trying to disrobe Rob Dayton; who coincidentolly we have yet to thank for his stunning performance ot 1010 where he accompanied Jerry Jenn on an inspired rendition of "Somebody's Gonna Get Their Head Kicked In." He octually did get his head kicked right on stage, and had to attend his Emily Can* graduation Who is in your band and what do you play? josh Cudmore: Drums, bananas and sprinkles. Jack Duckworth: Guitars, vocals, burritos. Adrian Nelson: Bass, vocals, graveyard shift. Chloe Ziner: Guitar, vocals, wiHessness. Describe your sound in 25 words or less. Jack: We sound like you. Chloe: Put all your favourite bands in a blender, add sprinkles and fry at high temperature, let cool and cut into bite-size pieces. Josh: A really long car ride. What is emo music to you? Jack: A medley of medleys. Chloe: Emo music. Josh: Elephant escapism. Adrian: Consists solely of a single 90 minute mix lope Jack made for me. Some of you are from other bands. Give us the scoop. Jack: I be from Forgotten, a punk band lhat existed for two and a half years. Twos fun but the lime had comelh. Chloe: I play boss in a folk bond called ... Rhubarb Rhubarb ... it's not as bitter as it sounds though. Josh: I was in a folky jumble band wilh little aspirations bul loads of enthusiasm. Adrian: I was in The Risen. Fun, but it took all my best lyrics. What is the Courtney/Comox update? Jack: We had a pleasant concert last week with Warp (Nanaimo), us, Stittskin (Duncan), Molly (Nanaimo). A good time was had by all. Chloe: The alternative population is flourishing — all those scary-looking teenagers. Josh: One big smoke-up, but I didn't say that. Again, Jen, what does it take to be the Geezuz Magazine "Playbore" pin-up? Were there any other worthy candidates? Jenn: You have to be a saucy, manically depressed alcoholic wilh a nun fetish and a hankering for 5- pin bowling! Art Bergman, Hamm, Jules (Lick the Pole), Rob Dayton, and my hound-dog Joke were other likely "playsaviour" candidates! Who was THAT GUY, you know THAT GUY who played with you on CiTR. Why should people care about his OGRE roots? Terry: So your hairdresser doesn't make the same mistake on you ... har har. But seriously. Chuck got his start in showbiz fronting the legendary Chuck and the Sucks which was also Hamm and mine's first punk band. We played our first show playing "Pretty Vacant" at the Lord Byng High School Gong Show. We won the trophy, and rode the momentum of this triumph by boooking a gig at Queen Mary Elementary, our Alma Mater. The show was held in the auditorium (gym) and the students were arranged in the traditional assembly fashion with the kindergarteners up front and the grade 7'% at the back. We opened up with D.O.A.'s "Ihe Prisoner", and by the Hme the first verse was over, everyone from kindergarten to grade 6 had fled the building with their hands over their ears, neglecting their previous fire drill training. Il was our first taste of the power of ceremonies the next day hung over, covered in duct tape and missing his front teeth. Discography: 3 Day Bender (Six song cassette) Contact name and address c/o The Dunbar Gardens 3403 W. 41st Ave, Vancouver, BC, V6L 3E5 (604.267.1317) Http://home.rogerswave.ca//jrussell Adrian: Getting n e big-city all the What is it like to work on a potato farm, Jack? Jack: I'm constantly surrounded by the exotic odours of propane fumes and rotten spuds. My hands ache with furious passion as I load dem ten and five pound bags. Oh, the tragedy. In your knowledge of vegetables, is a tomato a fruit, vegetable or something from the X-Files? Jack: The tomato ... er, is an oppressed thing lhat is red wilh anger. Chloe: I like tomatoes, but not the seeds when they get stuck in your teeth. Josh: I'm not sure, but there's something fishy about the whole concept. 6 . noysinber ,,1996 How much do you like vegetarian chilli? Jack: Oh ... give me the buckets full! I could eat the stuff for eons. Oh yes — yum! Josh: V.c. is rockin' kick-ass — no more, no less. Adrian: Very cool, just the thing after a show. Chloe: Wondrousfy. What are your future plans for the band? Jack: To ride the wind. Josh: To tour Afghanistan in a pink limo. Adrian: To prove my Grandma wrong. Chloe: Well, well, skyrocket into stardom, then one of us has to kill ourselves (we haven't decided who yet). Suddenly, we'll be immensely popular, hailed as "ihe band lhat changed everything in music." Then the remaining members will fade away wilh their solo careers. (i, tail aj of fck (blty H* kit) /^tolkfUach-S PSj flfSi I I 3^ ? J r f ?.« _ ? %T ft. -. |i J'?*-., 3 4 1 <2 - V S" i 9 Have any doughnut stories? Jock: Uh ... ay! ... Crullers remind me of sucking on a wet sponge. Not prime. Josh: So I said, "Run for il, man!" Adrian: Great story, Josh! Chloe: So there was this guy, and he ate like, 20 doughnuts, but they were really small so he was okay. I didn't really know him though. Ask two questions and answer them. Jack: Are you a figurehead in Tahsis, BC? No, yes, but, can't say. Nylon or plastic picks? Nylons are oh so durable. Josh: Where do you keep your Kraft Dinner? Under the bathroom sink. Is it a spandex thing? I don't understand the question. Adrian: Were you ever involved in "punk rock mayhem?" At the mighty fallen Alders Hall. Is it true you're known as the "Mac's Bouncer?" Unfortunately, yes. I don'l like to stress it though. Chloe: Do I need to be witty? No. Why not? Because I can't think.* We decided (since Nardwuar insisted on the answers being "chunky") that each member answer the questions individually and that the fine editorial staff at DiSCORDER sort out what goes where. Enjoy! Who are you? Giselle: Vocals and guitar. Terry: Guitar. Rich: Bass ond tongue waggling. Scolt: Drums. Why did Wretched Ethyl end after 2 CDs and 4 years? Rich: Personal and personnel reasons. Giselle: Wasn't my band. What is the genetic difference between WE and Hissy Fit? Giselle: Wasn't my bond! Rich: Based on standard taxonomy: Phylum Chordala, Subphylum Vertebrate, Class Mammalia, Order Primates, Family Hominidae, us; different bands, duh! What about the other WE and the mayoral bid? Giselle: I don't want to hear about WE, it wasn't my fucking band! Rich: Hey! This is supposed to be an interview wilh Hissy Fit, not a defunct band! Terry: (in response to the last 3 questions) First, I don't think it's fair to the others in HF to start off an interview wilh questions about WE. It was a completely different bond with different people, totally different music and very much a different agenda (HF doesn't have one). I also don't want people to think this is some kind of offshoot or pet project we put together. Giselle put this band together. She asked Rich and Scott first and I liked them a lot and I asked if I could join. WE was getting too depressing ond there was far too much silliness going on and it got to be too much to take. We went to LA in May and Rich and I didn't make it bock. We left the band in Portland (which made for an interesting ride home!). Would Hissy Fit wear suits? Terry: Yes, but they would have to be Star Trek suils. Classic Trek: they got to wear velour, allhough when their budget got cut and Roddenbeiry quit, they became polyester. Giselle: Yes, absolutely. Especially Star Trek suits, it Ihe occasion called for them. Rich: No. "We're a garage band (ah, ah, ah), we come from garage-land (ah, ah, ah)" Scott I guess if we were a corporate band, we'd have to wear suits but we're indie so we wear untucked t-shirts, jeans and no gonch! Take us through a typical gig night at the Columbia: Scott. You pull up to the garbage-filled alley ond Iry not to run over the passed-out junkie leaning up against the dumpster ... Actually, you arrive, via limo, to a screaming mob of genetically perfect scenesters ond follow a beautiful, plush red carpet to a magnificent stage where all your instruments are shiny and polished and ready to go ... Actually, ihe reality lies somewhere between; it's a yin/yang thing, man. Giselle: Load in (I hate lhat peri hen writ forever for something to happen 'cause we're early, we're always early, it's sad. Then we drink and scream and get peoples' hearlrates up. Terry: We show up on time (ie way too early), but then again, we did put the 'punk' in 'punkuality.' Canada vs USA: which side would you fight on? Rich: Canada: guerrilla tactics within the ruse of being US prisoners (a la 'Hogan's Heroes': I'd be Richard Dawson). Scott. I would be like Mario Lemieux and declore dual status so lhat I could play golf until someon won and then go party wilh them. Terry: Canada. We beat them in 1812 and w can still kick ass! Giselle: Canada. The US can be hard on peopt and I don't like lhal. Any shout-outs to the unsung heroes of the Vancouver scene? Giselle: There are so many (most of whom aren't in bands) lhal are responsible for keeping the scene going. It's impossible to single out someone. Terry: Vancouver has some awesomely talented bands wilh people like Jason Scheurs who work iheir asses off ihe get bands exposure who wouldn't normally get any. Scott: There's lots, but I can't remember any name or anything (honestly!). I think one day of the year should be declared "Unsung Hero Day" where all of them are granted a free McDonalds 'All Canadian Meal' or $1 off a fillet o' fish ... Their choice! Rich: One shoutout to Art Bergman's roadie, who works far too hard for his money. Also, a big hoot and holler to them boys in Facepuller for providing a reason for the continued funding of the vorious universities' Audiology departments. Whafs the largest thing you stole? Giselle: A package of false nails. Itwas this huge thing from a dimeslore. Scolt My phone. It's clear plastic so you can see all ihe inner working and stuff. One time I stole a watermelon, so I guess lhat could be technically considered larger lhan a phone, although a watermelon is 99% water. Rich: A box of condoms (exlro-large, of course; they make killer water balloons!) Terry: I stole a record, Black Market Clash, and it was hard to fit under my shirt. I used to steal a lot; I even stole Atari "Asteroids" 'cause they were $60. Stealing sucks ihough, it is not a victimless crime. People who steal suck. Ask yourself a question and answer it: Giselle: Q: What impact do you think Star Trek's Copt. Jane will hove on female artists and punk rock?/ A: She'll be tremendous influence for strength and leadership but they need to work on her holodeck programs so we can see her 'punkness.' Scott Q: Now that you have rejected yourself, what will you do?/ A: I'm going lo go into my room, lie down on my bed and repeat the montra, "I'm OK, you're OK" until I feel lighter. Then I'm going for super expensive herbal from a naturopathic doctor so my wallet feels lighter. Rich: Q: Why not "Richard"?/ A: Too formal sounding. I don't like the sound of "Rick* either and "Dick" ... well, /know, it kinda sucks. "Rich" is a good compromise. Terry: Q: Give three unorthodox uses of high E guitar string: A: 1) Dental floss (Giselle's done it!) 2) Mistress Gigi also thinks it makes good binding wire. 3) They make great drying lines in the van for damp undies. Discography: Hissy Fit hove a 6 song tape, Rude Like Me, fy Xioe from HDhonderbird Itadio full can bt heard 'Chorsdap from 9 - n pm onlH on CiTR 101.9 JfH NOVEMBER 7, 8, 3 FEATURING CELESTIAL MAGENTA DIRTY HARRIETS THE GO-DEVILS HISSY FIT E> NOT MY ONION JABBER SSICA ROSE from Santa Cruz WOOD formerly of TATTLE TALE LIQUID AMBER JLISA DEWEY from Santa Cruz LISSA BUERGE ^M IVIIZLVIO PUNCTURE REVULVA ^SPIRITUAL HEROINE k nOFF-5' ^ WMA-TION, BAR CLOSES AT 1AM, COME EARLY! SPECIAL BUFFET AT THURSDAY SHOW! COLUMBIA HOTEL PUB 313 COLUMBIA STREET ALL PROCEEDS TO THE DOWNTOWN EASTSIDE WOMEN'S CENTRE ^^T'Tg^SSu* Phat Nat (Pisces) spoke to Yuka (Sagittarius) and Miho (Aries) of New York supergroup Butter 08 on the eve of their show in Vancouver. You probably know these two hipsters from their musical output in Cibo Matto (hip-hop-pop transplants from Japan), but that ain't the only musical offering they have for you! Butter 08, consisting of Miho (vocals), Yuka (keyboards), Russell Simins (drums, vocals). Rick Lee (guitar) and Mike Mills (bass), are a group of prolific artists with enough talent to share with whoever's willing to let 'em: as Cibo Matto, Miho and Yuka have collaborated with members of the Beastie Boys and Jon Spencer Blues Explosion (see next page, y'hear!), and Yuka has a solo album released on John Zorn's Tzadik label; Russell Simins is also the drummer of JSBX; and Mike Mills is a prestigious graphic designer. DiSCORDER: If you weren't doing music what would you guys like to do? Miho: I don't know. Maybe bakery or something. I don't know, maybe movie. I would also like to be a maid. Like a house maid? Miho: I like to wash tiles. •2 Yeah, Van Halen hasn't been the same since he left Miho: He's back though, right? He's bade? They got rid of the other Sammy guy? Yuka: I think so. It's hard to follow in David Lee Roth's footsteps. The two of you seem to live in a very kind of Cosmopolitan way. How do you identify yourselves? Do you feel rooted in one particular place or do you like to move around? Yuka: I don't really like being tied down. I think we all have things in common, it's not about where you grow up or where you were born or what language you speak, but it's all about what you are doing now and how you feel now and how open you are. Every culture gives me an extra dimension and make me see things more and more. Miho: Yeah, basically Japanese culture now is very high tech. I feel so much difference from Japanese culture here, like education or what- Yuka: We probably brought up Japan [because] we see it there, but it should be happening everywhere. Miho: It is so different from regular talking. If I said, 'Yes, I love you.' No, if I sing, 'I love you,' it's so different. The melody and the sound makes the word more strong. Yuka: The sound is a language that we cannot define in a dictionary but it has a language element to it. I think you definitely communicate with sound. f^Yuka describes how when she first came to New York she was living with a musician boyfriend who was always going off to rehearse in his band. She wanted to make music too, so she started playing around with his keyboards while he was out. It's pretty Intimate too, like when you're cleaning someone's house. You get to see what they have in their medicine cabinet Miho: Oh, I have a job I want to try. Dogsitter. Dogsittin' in the city? Yuka: Since you mentioned it, I wouldn't mind becoming a country housekeeper. It's nice I think. I'd like to go in country and be quiet for five years. You [two] don't seem to have a real band mentality. You can just work with people that you want to work with and it could be one CD, it could be a couple. Yuka: In New York it's pretty common that people are in a couple bands. And you would have solo project or you would do different project all the time. I have a lot of things in me and it seems natural to do it. You get inspired by working with different people, you know. And they give you something and hopefully, you give them something. I think we are all, actually, the kind of person who doesn't just build a fence around you and want to stay there. It's all about growing up and I hope to keep growing. So who would you absolutely love to work with? And this could be fantasy — they could be dead or alive. Miho: Too many people. I can't just choose one people ... one person. Okay, you can say a couple of people. Miho: It's not couple. It's so many people. I need a dictionary. [A] musician dictionary or something. Yuka: David Lee Roth. David Lee Roth? Why? ever, religion, maybe a lot of things. But I'm very happy to know it and to have kind of like a 180 degrees difference. Yuka: I think there's a saying in Japanese that says if you love your child, let your child travel. I think it's very important. Has New York been a good place to experience all those different cultural things? 'Cause it's very mixed in New York. Yuka: New York is very comfortable because there's a lot of people [who] kind of basically understand that we all are different. I sort of imagine New York as being like a city of all those people who didn't fit In. You know. In finding non-biological families. Yuka: Non-biological family is where it's at. We really feel like friends are family and we really love each other and we go through things like a family. It's really beautiful. Also, I sometimes feel like New York is filled with people who don't want to grow up. So you guys like kids? Yuka: I love kids, yeah. Do you find that you have much time to hang out with kids, being so busy and stuff? Yuka: It seems like everybody we hang out are our kids. We all have a lot of kid's mind. That's the best thing when you have kid's mind but maybe like, adult consideration. I was reading about the big concert for freeing Tibet that was organized by Adam Yauch from the Beastie Boys. One of you said how it would be really cool if something like that was happening in Japan and that music was one of the best ways to sort of further that kind of universal communication. Why did you bring up Japan and how music works Has the process of making music changed for you guys? Yuka: It now has an element of something I have to do all the time. Like the contract part of it? Yuka: No, because you may think like, OK I wanna go home and sit around for the next month but you probably have to go on tour in five days. Miho: Actually, it's changing because when I was totally a normal person — I mean, before I didn't think about melody or whatever — I just did humming with my feelings. But now we are doing band and I started [to] think that note might be cool. I can communicate myself with sound right now. So do you hum and then tape It? Like you're humming it for two days and you're like, 'Maybe I should use this.' Yuka: We jam with a lot of different people all the time. We're used to playing music all the time. That really comes out in your music. Yuka: It's just more fun that way. I wanted to go back to that question you said about what we don't like about the music industry: deadlines and photoshoots. That's something that I didn't know is that you have to do photo- shoots when you do an album. That's the thing, too, about the music Industry. I think it's better for the money side of things if they can market you as having one sound that doesn't change and thafs so sad. Yuka: I would call it McDonald's thinking. Like, if you always want to get the same thing from one place, that's like McDonald's. You can get McDonald's everywhere. It's so Musicians who don't change and develop don't do that much for me. I appreciate the fact that you move. 'Cause life is like that Yuka: Some people want to do the same things over and over. I would definitely appreciate that. I think some people like to do the same thing over and over and that's beautiful Miho: I think it's a tough thing to continue something. Yuka: Like Keith Richards, I think is great. He's king of the Keith Richards. It's all about who you are. As long as you are true to who you are, music is gonna be good. Have you guys been able to get some good food here in Vancouver? Miho: Not yet Can you recommend a restaurant? There's some yummy restaurants in the East side by Chinatown. And [there's] a really good tapas bar — Spanish food — on Commercial Drive. Ifs kinda your style 'cause you can get a lot of little dishes, thafs what tapas are right? Yuka: Tapas is the way we like it. Tapas is a great word. I want to use it for our new album. Miho: Japan home cooking is like [tapas]. Yuka: I like the beauty of sushi dining. Sometimes you eat a lot and sometimes you eat a little. Sometimes you eat tuna, sometimes you eat rolls. That's really great to me. That's really about knowing yourself. Miho: It depends on your tummy's situation. What are your experiences with deja vu? Have you ever had one? Yuka: Doesn't everybody have a lot of deja vu? Some people actually say no and I never believe them. But hey, if they say no, they say no. Yuka: I have deja vu all the time. Miho: Me too. What do you think a deja vu is? How does it happen? Yuka: Well, some people say that you think you've seen it before but there's a brain information function that makes you think that way. Your memory slides to what you think is happening right now and you think you have seen it before. But I definitely believe that you do see it before. It actually happens a lot with your dreams that you see it in your dream and it happens. It doesn't really matter to me how real that is. It is happening to me and we experience it and it's cool. And I feel that's all we need to know.| Yuka: Well, it's for obvious reasons. He's great. that way? boring to me. llllllIllllllBlllllllllHlllllllllllIII november 1996 You weren't there with the Blues Explosion, were you? No. I went there with some friends several years ago. They've got totally good bread there, TUrkish bread. Great! The best! And the best olives too! If you're a girl, all the men stare at you if you show any flesh. Oh my God! A question I wanted to ask you: the Demolition Doll Rods opened for you [and] I read somewhere that the drummer was legally blind. Is that true? Yeah. But that doesnt mean she's totally blind, but she's legally blind. Your press kit mentions that the albums prior to Orange were quite spontaneous, but that Orange was more thought out the new album, was it thought out or a more spontaneous process? We try not to think too much about anything we're doing. Most of what we do is pretty spontaneous [in] the way we write songs. We worked hard on it [but] we didn't, like, think too hard about anything. If things worked and sounded good then we'd go in that direction. We sort of follow our instincts a lot. It wasn't what I expected. I expected it to be really slick sounding, but it sounds dirtier and noisier. Were you upset about that? No, I liked it of a stripped them out with some stuff on "Cibo Cibo Matto." And then Butter was formed. Butter became a serious band and we wanted to make a record and we made a record We went on tour and we're going to go to Japan soon. So you do Butter and Jon Spencer does Boss Hog. Do you have to plan out everything and coordinate? Blues Explosion is all of our main priority, thafs our main thing. So we do what we have to do for Blues Explosion and when there's time to do other stuff, if we want we can devote it to other things. I've got it down to the point where I'm just doing two things now. I do some production stuff. I've done remixes for Luscious Jackson, I like going into the studio, but as far as writing music, I write with the Blues Explosion and with Butter. I enjoy doing both bands a lot. said they expected it to sound like Beck, [laughs] But you know, I think in a way it captures a part of the spirit of the Blues Explosion like the other albums haven't. But it's not any different in terms of where we're coming from ... We're looking to capture the spirit of our band. I think all our records do in different ways. [Thursday morning] I got up early, on short notice, to do an interview with Jon Spencer Blues Explosion/Butter 08 drummer Russell Simins. While he did not prove to be an asshole — on the contrary, he was very nice — there was something (I'm not quite sure what) left to be desired in the interview. But then again, what can one ask a member ofthe Blues Explosion that has not already been said or done? And this was my dilemma. The symbolic moment of the interview came near the beginning of our conversation when the phone (or perhaps the UBC phone system — those budget cuts, ya know) went completely dead. No dial tone, no nothing. I finally got the phone to work and called him back demanding, "Did you hang up on me?!?" He assured me he had not. Our conversation unfolded with stops and starts as his other line kept ringing. However, there was a thread of coincidence throughout the conversation which made me think we were not operating in entirely different spheres. So, Ladies and Gentlemen, I present to you the raw, unedited version ofthe Blues Explosion. Thapk-ya' . by Miss LaLa Twin Stars ___*_L_.!?.^j_r!fc How many Interviews are you doing today? Afew. Doesn't that get boring? No. Yeah. I mean, sometimes it's boring but I'm happy to do it. We gotta do our interviews. We've gotten to that point now where ifs just part of the job. Were you born in New York? Yeah. Isn't that weird? I thought practically everybody in New York was from somewhere else. Or is that a myth? We're the last of a dying breed. It's not weird to me. I know a lot of people who are originally from New York. But ifs a melting pot; native New Yorkers are few and far between. Is living in New York City an integral part of the Blues Explosion? Definitely. I call New York City the fourth member of the band. New York is just in us so intensely, all of us. We have a lot of shared respect for this place. It kind of stimulates you and fucks with you and turns you on and stuff. I noticed in your promo picture you're wearing gorilla suits — whafs the significance of that? Those aren't suits, we were just letting our hair hang out that day. [laughs] 'Cause I guess it was just a coinddence but I just saw New York's Guerrilla Girls. Ever heard of them? Yeah, yeah! [starts to say something, then the phone dies] What bands were you in before the Blues Explosion? I was in a band called The Honeymoon Killers, [which is] where I met Jon. I was doing other stuff, but nothing worth mentioning. Could you tell me about Judah Bauer? He seems kind of mysterious. He's a big mystery to me too. Why, do you like him? [laughs] NO! I was looking through your press kit and there Just wasn't any information. Interviews or anything. He gives interviews, but you were just unlucky and got me. Yeah, unlucky. You played with Cibo Matto on one of their singles ... how did you hook up with them? I met them in Japan when Blues Explosion were playing. They opened up for us. And we just developed a very fast friendship and then I helped Is there any concept for the first [video] single from the album? "2 Kindsa Love" has been made and done. Who did It? Mike Mills. From Butter. Tell me more about him. [dick — that damn phone.] Hold on ... Sorry, that was Mike Mills. That was? Amazing! Another personal call, but it could be considered a business call. Mike Mills, he's the man. He's a really talented graphic designer and he made a really good video for us too. And he's a really good bass player. [I ask whether or not the Blues Explosion would ever make the leap to a major label, as opposed to their associated major label status with Matador] We like Matador even though ... [click]... um ... Ah shit! Please hold on again ... [pause] Hello? We're happy with Matador and the fact that we can be with Matador and Capitol is one of the reasons we are even on Capitol, because we get to still deal with Matador. We're happy with the people there. Matador/Capitol seems to be the deal, the situation. Winding up here, are there any really great New York bands people in Vancouver should know about? You mean other than Blues Explosion and Butter? [laughs] Nah, there are none, [laughs] Jon Spencer Blues Explosion Jon Spencer Blues Explosi I guess you'll [the Blues Explosion] be touring. Do you have a spedal supporting band you're bringing with you? On the West Coast we're probably going to have R.L. Burnside open up for us. I was wondering about him; how did you guys meet him? We were just fans and we contacted his management and asked if he wanted to do some shows with us, and they said yeah. It was that simple. And then we got to doing shows with him and it went really well. We got along really well and he knew he wanted us to do a record with him. So we did, in a day! [laughs] That was how the album was made. The R.L. Burnside record — you know that record? No. I was away In the summer. Where were you? I was in Europe. What were you doing in Europe? I was travelling around for over three months. Did you like it? Yeah it was fun. I went to Turkey. That was neat Turkey is very cool, I've been to Turkey. Then, are there any New York bands you despise? I don't get feelings of despise. There are a lot bands that just suck. I don't really like any bands from New York. I like Cat Power. I just saw her last night! Chan's a really great singer. How was the show? Good. Who was playing with her? She just sang with her guitar. A band called Guv*ner — they weren't good — and Smog. I'm not particularly interested in much of the stuff thafs going on in New York. I'm trying to think, there must be something that I like here. But you do listen to lots of contemporary stuff at home? Yeah of course. As a matter of fact, tonight I'm going to see Dub Narcotic. They're playing with The Make-Up. Do you go out to lots of shows, or you don't have time? I don't really go out to lots of shows, only shows I really want to see. I'm not going out every night. I do that enough when I'm on tour playing shows every night. But when there's a band like Dub Narcotic I'll make an effort to see them. Beck and Money Mark were here, I'm friends with those guys, that was a really good show. Well, my last question. Thafs it? Yeah. It wasn't too painful, was it? Nah, it was fun. Whafs the best place in New York to eat? There used to be a restaurant, very expensive unfortunately, called Voulet [sic] but they're closed for a while. But for people who don't want to spend a lot of money, the best place to eat [is] The Odessa. Ifs on Avenue A between seventh and eighth. We actually thanked them on the Butter record. Jon Spencer Blues Explosion I noticed a bunch of people playing on this album, like the [one of the] guy[s] from Doo Rag. Did that have any impact on the sound? No. He was just there. We were in Tucson and we had ... [phone clicks] Ahhhh. Just hold on a sec. ... [big pause] Hello? That was Rick Lee from Butter. Oh, a personal call. Believe it or not, I still get them. One thing I've noticed is that your CDs don't come In jewel boxes, which I like. Is that deliberate? Have you seen the Butter CD? Thafs all paper. Yeah it looks great I can't stand jewel boxes, they really annoy me. I hate them too. Digipacks is what Blues Explosion have always done. I was really into doing the whole paper thing for Butter. Which . I was very happy to get done. I mean jewel time yOUTe in New York City, boxes just suck, there's no character, they drop by The OdeSSa and find break, they're a pain in the ass, you . -r _...-,«n r; :~- ,„~M.. can't carry them around. °Ut if RUSSell SimmS really [Boring talk about the album cover] knOWS his food.* So there you have it, the mystique of the Blues Explosion laid bare. And next 9 E^gsn®^ You Can't Have Enough Drums: An Interview with Loop Guru ^fenW'Noah. Live photos by Cobalt oop Guru is well known for their distinctive blends of urban beats, ethnic rhythms and samples in addition to their riveting live shows. Loop Guru consists of only two members but on tour, the original member, Sam, is accompanied by at least four other musicians. We were fortunate enough to be able to interview Sam, the front man, and Jim, who has been with the band for several years and is one of the two percussionists. Karen: Did you grow up in England? Sam: Yes. Jim: No, he hasn't grown up yell M-path: You grow up by Portobello Road, a rather rich cultural area, didn't you? Sam: Yeah, there a lot of reggae stores and psychedelic shops. t/his ftiaf how you got your mosaic sound? Sam: To me, lhal was where the collaging bit came in, where you'd be standing in between Iwo stores and they'd be playing two different records and ihe bit in between was the most interesting. One of the Loop Guru ideas is the bit in between. Jim: That's where I've been living for the past five years, down in the Portobello zone, sort of squalling shops and doing art exhibitions ond parties and all sorts of stuff. Noah: Does religion play a part in your music as well as in your lives, 'cause you got a definite flavour in your music samples of chanting ... Middle Eastern, African, very ethnic ... S: The religion thing is somelhing we're working against! Religion is a block to truth. It's a way of oppressing people. It's a way of controlling people; if you're part Df one religion and therefore you think you've got the answer, if the answer actually came along and smacked you in the face, you wouldn't see it becouse it's not within /our beliefs Yo*.* si* nything. M: Do you think there is a difference between religion and spirituality? J: Everyone's gol their own spiritual validity already and religions come along and tell you they've gol il. They have got the answer. Look to them and not to yourself and they lake away the power from the individual and they take away their ability to find their own spirituality. S: It's just like a barrier; religion is a barrier lo truth. Certain religions can have certain little arrows, but as soon as you organize it M: So you have taken all the samples from a range of different cultures. Do you think that you've taken some of their spirituality and incorporated it inside yourself? S: We take spirituality from sampled music and then we add our own, so it's like a blending of spirituality. J: It's the mix os well, you don'l get trapped into it. One of the singers, Bob, uses chants from all sorts of religions all mashed up. He doesn't even sit down ond consciously say I'll take a bit from here and there. That's the way to do it, not get trapped into a tunnel reality. K: Do you have any favourite films? J: Yeah, Groundhog Day. Thai's a very spiritually advanced, modern day pointer to the spiritual enlightenment that an individual can achieve by himself. You see the loop he set up for himself until he advances enough to break it. I foink lhal is a fantastic, modern day film. S: It's a great message, a great film. M: I was expecting some obscure film that I've never heard of, not a Hollywood blockbuster! J: Thotis the surprising thing obout spirituality. It can be found anywhere, in a pile of crisps, in a funny movie. S: It is all so funny. It's a God joke. The other one for me would be Yellow Submorine; the scene "Seo of Holes" is a kind of spiritual movement, [laughs] It's really out there. K: Do you hold any strong economic, philosophical, social points of view on what you see happening around you in the world or in Europe? 10 november 1996 S: Of course. Don'l listen to your politicians. They're all liars. They are there for the purposes of iheir own egos. They are not there to make the world a better place; lhat is our job. J: On economics, we like the idea if all the money was spread out among all the people on ihe planet; every man, woman and child would have a million pounds. Controllers [ore] . putting blocks on the flow of money. S: For no reason, other lhan personal greed, * you don't need any more than a million pounds. There are these people wilh millions . and millions of pounds and they are jusl sit- ] - ling on il making bombs. Sigh! V.; K: So are you activists in any areas? S: No, we are musicians! J: We are activists in the sense that we go oul and we try to ignite that kind of energy and way of seeing things all around (he place when we do our gigs. S: It's a question of making your own reality and going for it and shedding off all the bullshit. J: Don'l be afraid of listening to yourself. S: But don't listen to us loo much, 'cause we don't know. M: Do you believe in life by design? S: I don'l believe in anything. J: We believe in not believing in anything. Belief is imprisonment N: Your live shows are about the livest you can get with a studio band. You have drum kits up there. Three or four. You have other people playing other instruments. Is that because of the feeling that the actual instrument can give off as opposed to sampling that instrument into the computer? S: I ihink you can put passion into a sampler. Because it is just on instrument Bul when it actually comes down to live, it's great to hit stuff and you can't have enough drums, and it is just like basically, it's jusf dance. Nt The combination of sight and sounds is much more than somebody just pushing a button and sound comes out. S: In England, a lot of the dance bands, lhat is what it is. And you come away thinking well, you might as well have stayed al home and listened to the record. Whereas our shows are performances. N: Is there spontaneity in your shows? S: Yeah, we never know what is going on. N: So it is not completely choreographed ... S: It is different every night And Bob doesn't know what he is doing at all! K: Do you have any dreams or visions of the future? J: The survival of humanity, for a start, would be interesting. Bul yeah, just a more open sorl of world where everyone realizes they are just part of rhe same tribe, same species, and just start getting a bit more of a better purpose on the planet. Kt And how would you describe the general mood of people in England or in Europe. The young, the old? S: Oppressed. j: There are some Unbelievable laws going on, [like] this repetitive beats law, where ypu are no! allowed to listen to music with repetitive beats if there are more lhan fen people listening to it. It is beyond crazy and people still believe in the government when they are saying this. S: The only power you have is the power to vole. But you don't get the choice of anyone decent to vote for. And lhat means there is no power. Il doesn't matter who is in power. The same shit happens whether you are Labour, Liberal, Conservative or — whatever you are here — Democrat, Republican. The people with fhe money are the people in power and lhat is the one thing lhat has lo change and you can't vote to change that K: Is there any hope, then ...? S: There is always hope. K: But if you feel that politicians are only those that want power... S: I do wonder if one day there will be an election ond nobody goes out and votes. Everyone stays at home and says fuck you — what will happen? Mt Are there avenues besides this political franchising ... If voting isn't going to do any good, what will? S: Al ihe end of the day, every human is completely capable of looking after himself and doesn't need laws. We do no! need to be governed. What do we need to be governed for? J: The actual purpose of government is [lo] be like your own digestive system, lo take care of certain needs that we all have. It should be just a functional thing and then we can leave it to do its thing. And we can just leave [and] do somelhing interesting. We are just spending all our power fighting this crap. S: I think lhat the only route al this moment is [for] everyone [to] just change themselves. Thot is ihe starting point. Then it will spread away because we are just a reflection of society. So if we change ourselves, the reflection will change also. Kt Do you sense that happening? S: I hope it is, because you have to live in a little bit of hope. J: Governments are really trying to clamp down and, if they keep doing thai, it should make everyone realize lhat they are desperately trying to hold onto power and I think they are jusl going to show themselves up as the bunch of idiots lhal they are. Fact: Loop Guru doesn't believe in anything, yet they say you must still hope. Fact: Sam still retains the anarchistic punk roots of his early musical career. His view that we don't need laws, that every man can lake care of himself on his own is idealistic. It could be a possibility if every human was well nourished, well educated and willing to learn everything he possibly could aboul survival and limit himself to bare essentials, Factt Live show. Although ihey stated their shows are "live," the entire rhythm section, the bass and the drums, were prerecorded. As for ihe female vocalist, she was virtually superfluous. She did dance nicely. The only live material were the drum overlays by Jim, vocals by Bob, guitar by Sam ond perhaps some bass. Factt Instead of paying 16 dollars to see a prerecorded show and stand in a crowd of high-fiving white guys with sweat coming out of every pore on my body, you might as well have stayed at home and listened to ihe record.* The latest Loop Guru offering: LOOP GURU "Soulus" b/w "Yayli" \%" (World Domination) This record contains Iwo versions of each song. These versions are more up-tempo than the originals that appear on their current full- length release. Amnio. The fantastic ethnic samples retain their trancelike power lhat captivates the listener ond sends them down the river Morpheos on a euphoric journey. It is good. Buy it. Stay home and listen to ill M-poth and Karen Check out Karen's show, Esoterik, and Thomas', Solid State, on Wednesdays 6-7s30pm (on CITR, don't cha know).* wim W^K($*r- _PLm~f!_-_F_K> . 1 _n_____J_K LJlll Dave D o u g 1 by Michael Chouinard and/Sean Casey Dave Douglas is currently one of the most important trumpeters on the jazz/new music scene. Born and raised in Montclair, New Jersey, he moved in 1984 to nearby — surprise — New York City, at which point he began playing ^0m in a group called Doctor M Nerve. As with many jazz m ^tf players, Douglas has an abun- ^^^m m^ dance of ideas and over the ^^^^m m years has worked with numer- M _P_^V ous groups, such as the Tiny m J^^M Bell Trio, New and Used, M Mm m and recently, John Zorn's prc- Hf^B*W Mic Masada quartet. He has ^^UA] also been arranging tunes by ^—S^^ fiooicer Little and Wayne ^^ ^^ Shorter in his sextet and in other projects. DiSCORDER had a chance to speak with Douglas, who was in town as a part of the Dave Douglas String Group, during sound check at his Vancouver show at fhe Glass Slipper. DiSCORDER: When did you first get involved with the [New York] downtown scene? Well, that's really hard to say because I don't really identify anything as being the downtown scene. Does the term "jazz" have any real meaning to you? I think thai words operate on many different levels. And people use the word "jazz" in many different ways. And it can mean somelhing specific to certain people or something very broad to other people. But I think that music is not made of words. It's more that there are certain recognizable symbols that you use in music. And the problem with defining music nowadays is that we're mixing up all the symbols. You may use a symbol that once meant something specific in a certain way. And now composers and improvisers are working on scrambling up those symbols and coming up with new meanings and formulations. On a certain level — yes — it's still jazz. On another level, maybe it's not. Alex Varty from the [Georgia] Straight was talking to you. I guess there was some quote about the neo-bop scene now. Yeah, actually, I saw that article, and I feel a little bad. I said that when people say "bebop" and talk about jazz, they mean Wynton Marsalis or James Carter or Joshua Redman. What I really meant to say was that those guys are all totally different. They all have their own thing to say which is totally valid. And you couldn't put on a Wynton Marsalis record, follow it with a James Carter or a Josh Redman record, and flatly say this is the same music. I think that's an oversimplification that happens when people try and talk about putting down this jazz conservatism. 12 november 1996 Do you find it frustrating that the statements you — or some of the people you've worked with — are making don't get more exposure? I don't find it frustrating. No. I don't know what else to say. I'm working as hard as I can. And I'm working on my music. And it's a very interior process. And I'm also aware that it has to get out there. But at this point, I'm touring half the year. And I'm making records that people can find if they really want to find them. You can't force someone to be curious or to inquire into the nature of what's going on culturally and socially. I feel like that's a reality of the world we live in. Do you think in the past ten years it's gotten easier? Well, for me it has. My situation has changed. And I've gotten more focused as to what I want to do. How has your situation changed? It just seems like I'm more assured of having work now. Whereas maybe five years ago, my compositions were, you know ... it was hard to even get them played in New York. Whafs going on right now that interests you, outside of your own bands? The reissue movement is quite an amazing opportunity for people to hear music that they may have missed the first time ... The most amazing thing about the neo-conservative phenomenon is the composers that are getting overlooked. Old masters: Ornette Coleman, Cecil Taylor, Anthony Braxton, Paul Bley. And then you've got a younger generation: Steve Coleman, Don Byron, Geri Allen, Zorn, Frisell, Tim Berne, Mark Dresser, Gerry Hemingway, Marilyn Crisped. And then you look at the trumpet. People say it's in this dead period where it's hibernating. But you know, like, think about it: Herb Robertson, Graham Haynes, Tim Hagens, James Zollar, Frank Lacy, Paul Smoker. That's what I want to say when people ask me about the neo-conservative movement. It seems like a pointless fight. I just think it's the positive way to answer it, to say: look, you know there really is an incredible, creative, music movement happening right now, in our midst. And if you would just check it out, we wouldn't have to be talking about this at all. You wouldn't be bringing up Wynton Marsalis every time. After Dave Douglas' tour which brought him to Vancouver, his plans include a three week tour to Europe with Tiny Bell, some work with the sextet (also in Europe), ond a tour of the states with Zorn's Masada. Look out for a new Tiny Bell CD (Live in Europe on Arabesque Records) to be released soon. Dave Douglas Selected Discography: Tiny Bell Trio (Songlines/1993) John Zorn's Masada: (I) Alef, (II) Beit, (III) Gimel (Disk Union/1994) New & Used Consensus (Knitting Factory Works/1995) Dave Douglas Five (Soul Note/1995) Listen to Sean and Mike's programme, Naked Radio, on alternating Tuesdays 10pm-12am (on CiTR 101.9fM — duh l) for the newest in jazz, avant-garde, and new classical music. • DAVE DOUGLAS STRING GROUP Wednesday, September 25 The Glass Slipper The Glass Slipper is a great experimental jazz venue; my anticlerical inclinations are well tuned to the enjoyment of iconoclastic music in an old converted church painted purple. And on this night the assembled congregation seemed unconsciously to sense the building's ecclesiastical heritage, for as Douglas and his group came out on stage, a reverential hush fell over the audience. The Dave Douglas String Group is composed of five luminaries of the New York jazz scene: Mark Feldman on violin, Eric Friedlander on cello, Drew Gress on double bass, Michael Sarin on drums, and, of course, Dave Douglas himself, on trumpet. These guys' credentials are astounding: Douglas and Feldman have both played with Don Byron Plays the Music of Mikey Katz, and, with Eric Friedlander, are mainstays of John Zorn's Masada Chamber Ensemble. They're at the creative core of modern East Coast jazz and their performance demonstrated in no uncertain terms why that is. How does one write about music like this? As Hugo Ball and Tristan Tzara pointed out, there are things that just cannot be expressed in words. Their two sets were composed of a wonderful variety of musical forms, from a fusion of jazz and chamber music well within the bounds of tradition, to experimental work blending order with chaos, always seeming dangerously close to shaking itself to pieces but maintaining its coherence. It was all lovely. Feldman's violin work moved from klezmer doyne to classical concerto, lingering along the way at country and western hoe-down; the cello playing by Friedlander was sonorous and sweet. Douglas' trumpet playing is thrilling. He can make it squeak or squawk or sing. Each piece left the audience gob-smacked with wonder. Sometimes, they even made them laugh. In particular, the last work of the first set was an irreverent tribute to big- band era jazz with a Latin touch. It started with a five minute trumpet solo and built and grew, collapsed upon itself, was crumpled into a ball and torched, and emerged phoenixlike from the ashes, twenty minutes after it had begun. The second set was over an hour long and consisted of only three works, each different, each wonderful. I was still reeling as I left after the obligatory encore. (For more info on local Jazz events, contact the Coastal Jazz & Blues Society at 682.0706)* Adam Monahan •7 Jf-A- SV*.AVAV^. SMOG? Hamm: Go and get two bicycle-wheels. Clav: There are no more bicycle-wheels. Hamm: What have you done with your bicycle? Gov: I never had a bicycle. (Samuel Beckett, €ndgame) I Interviewed Bill Callahan of Smog on the front steps of the Starfish Room. It was dark ond loud and he was quiet. DlSCORD€R: Because you are, for the most part, a solo artist, do you find It difficult to progress stylistically from album to album? Bill Callahan: That's interesting, no one's ever asked me that. I've never even thought about it. No, there's so much I want to de. I've got tons of ideas that I haven't even started to use up. UUhat are some of the major influences that have helped to progress the Smog sound? Rll sorts ot things. How about, let's say, as far as another artist. I was thinking mostly of Brian €no because you've mode reference to him before, find I was wondering if there was even a connection between "Barometric Pressure" from your forgotten Foundation album and "Rising Thermal," which is a song from a Brian €no collaboration with Jon Hasseil. I've never heard it, but €no Is one of my favourites. Do you have a favourite album? Rll the early vocal ones like "Here Come the Worm Jets" and "Tiger Mountain." There seems to be a fairly close tie between the title track on UJarm Jets and the all cello track ["One Less Star"] on your Julius Caesar album. Is there something happening there? Not on purpose. I actually hadn't heard Warm Jets until after Julius Caesar. Do you write your lyrics * first, or your music? They || seem to be Intimately tied. Usually lyrics. ' Probably even more so on the later stuff? Veah. I once read an interview with Steve Malkmus where he said that he could never write a totally personal song because it would be ] too difficult to perform night after night. Vour songs seem intensely personal. Do you ever find performing them difficult? [silence] Um, or ore you fooling us by writing about somebody else? I'm fooling you. spSuO-J-sO-Ar - J2lo-A~JL kjuLAjJ&i~*%r ^A^ufxSU^C*^. So a song like "Vour New Friend" Is R story. It sounds real enough to be a true story. It's kind of a blend of everything. Have you ever had problems with people who don't get the irony of your songs? I'm thinking especially of the song "Be Hit" from the Wild Love Album. Veah. Like people-in-your-face, defend-yourself-Bi I l-Cal lahan type problems? People like throwing things if play it live. So you're a little tentative while ploying it live now? It only really happened in San Francisco. It's supposed to be a liberal place, but it goes too far sometimes. Carly reviews of Smog connect your sound to that of Royal Trux — another Drag City band whose sound developed from abrasive to clean production. Could you see yourself making a move to a major label in the same ironical way that Royal Trux did on Virgin Records with Thank You? I don't think I would ever do that. There's too many legal things ond too many people Involved. Right now nobody really bothers me or asks what I'm doing. Is that also why you do collaborations but keep Smog to yourself? Pretty much. I hate to be with five other people and be forced to make group decisions about music or where to go to eat or anything. So nothing permanent will come of your collaborations? Like, will the Sundowners [a band that I believe has Bill Smog and Will Oldham of Palace in it] be putting out a full length album faou time soon? Id " don't know who they are. That isn't your voice on the latest 7" singing "The Summer Song?" No, they're from Canada somewhere, I think. It sure sounds like you. [OH, ot this point the impenetrable Bill Callahan slipped up. The Sundowners are on a label called Sea Note ____■____■_■_■_____■ and the stuff put out on this label can be found in the Drag Cltu catalogue. Surprisingly enough, the onlu other Sea Note entry In the catalogue is The Drag City Hour which Smog performs on along with Roual Trux, and Palace. In addition, a musteri- ous outfit called the 'Sea Note Players' perform. I challenge anuone to listen to "the Girl with the Thing in Her Hair" Sundowners 7", and tell me that this band is "from Canada somewhere."] Do you ever want to give up touring and just record privately? I don't plan on stopping but I can't predict what's going to happen. Have you been touring a lot? Veah, I've been in Curope a lot lately. rl*£l- Have you ever had a really bad experience while touring? Veoh, mostly like personal things. Relationships tend to get pushed to the hilt when you're on the road together. Where do you like playing? I like Paris a lot; there's a good crowd there. Why did you choose to go almost totally vocal on the latest €P? I really wanted to make a live studio record without over-dubs. The last two times you've been through Vancouver you have had two different band setups, one large and one small. How do you make the decision as to what you're going to do with a live show? Vou have to predict the mood you're going to be in. I used to always tour with a band, but I got really sick of having bad sound and sound-checks that didn't go anywhere. It's really hard to find an interview with you in any publication, but there must be interest out there for one, I mean, you were in Details Magazine. I don't think they're interested, and I don't know how the Details thing happened. What do you read? Mostly fiction. Anything that comes into your hands? Veah, everything. I like Henry James and D. H. Lawrence. They're two of my favourites. Do you have any post-Smog plans? No. Bill performed alone that night, and I noticed something interesting at the end of his song "Back in School." He sang: "R kiss was not the answer, find that tour was not the answer. R drunken kiss was not the answer." His solo performance of songs about "everything" and "anything" answered all of my questions better than any interview could.* Sewn to the Sky, forgotten foundation, Julius Caesar, "R Hit" 7", Burning Kingdom €P, Wild Love, The Doctor Came ot Dawn. (all of these ore on Drag City Records)* FREE PIERCINGS With a jewelfry purchase you receive a free piercing by Canada's most experienced piercers MACK'S LEATHERS 1043 GRANVILLE STREET 688-6225 THE EXPERIENCED PIERCERS 13 U^^rsum ^X' I£ = — mi jJ^Sk The guerrilla girls LIVE at the Vogue Theatre, September 2 2, 1996. by Caroline Twiss I elieve it or not, during the Guerrilla Girls | lecture at the Vogue theatre, I was dedi- " eating an amount of my brain space towards articulating a connection between the industrial revolution and the lecture I was listening to. The lecture, given by two women sporting the latest in gorilla masks, was focused on sexism and racism in the art world. The industrial revolution thoughts were, until that moment, a dormant side-effect of both grade seven and grade eleven social studies (Hmm, interesting coincidence, n'est pas?... Grade seven, grade eleven, seven eleven, 7-11...). Nonetheless, the dormancy ended during that lecture in light of an article I had recently read by Nancy Fraser, "Struggle over Needs: Outline of a Socialist-Feminist Critical Theory of Late Capitalist Culture." Fraser discusses political, economic, and domestic spheres within which we contextualize our lives. I imagine that these spheres evolved with the industrial revolution, when increasing amounts of men went to work in "public" spaces, while the women remained working in "private" spaces. To make a long story short, all that public space is now occupied by economics and politics and the majority of people who run that space are male, though I am happy to say that this has been slowly but surely changing over the past few decades. Likewise, all that private space is still private — and now also domestic — and the majority of people running that space are female. The Guerrilla Girls point out that the art world has not been very accepting of women and people of colour into its economic and political spheres. In fact, statistics show that some people think women artists and artists of colour should stay home and do whatever it is they've been doing because they probably do it better than they do fine art. Of course, such opinions are held exclusively by the people who do not see a problem with the current situation in the art world; people who don't understand what "but we have been doing fine art" means. Recognizing that some sort of mechanism would be needed in order to be heard by those people, the Guerrilla Girls chose humour as a vice. Humour was used in poster campaigns to show the distributions of who is — and is not — getting paid for their work; which museums are condoning — and which condemn — such an uneven distribution; which buyers are buying, which sellers are selling, which reviewers are reviewing ... all stats show that white males in the art world are far more likely to make a buck than white women, men of colour, and especially women of colour, who are the least likely of all of the above to make a living in the art world. Initially, the posters appeared in Soho, NY and eventually appeared in places all over the world in all different languages. The 'Girls succeeded in pushing the issues of the people in private spheres out into the public spheres. As the posters filtered into public places all over the globe, so did discussion about the message the Guerrilla Girls had: sexism and racism are prevalent in the art world, so what are you doing about it? «^^iS!«!K!» 0HLY4 GALLERI vomen; \... 1 , A/ r-:- yMV.\A A# OMANARTIS <: *^**ml-*-*wi*« »••.-*»»•*• w ^irii^r^vGuERiiuAiS Neale Hurston responds: "We're exploding stereotypes here, like when we use the word 'girl.'" Alma Thomas responds: "I would have preferred pink ski masks." Irregardless of Alma Thomas' gender and race, we can safely conclude that at least one Guerrilla Girl feels that the gorilla imagery is problematic enough that she would prefer not to use it. I think that, at best, the afternoon lecture at the Vogue did not provide an adequate response to this question. At worst, the Guerrilla Girls pushed the question into a private space isolated from their recently established public space. At this point, I realize that it is the current structure of the art world which allows sexism and racism to exist within it. The Guerrilla Girls have provided the information needed to recognize that immediate change is needed. A structure in which the dominant group is at an advantage over everyone else involved cannot embrace equal rights. A structure like this needs change, so what are you doing about it? Graphics from Confessions of the Guerilla Girls The lecture, which was complemented by a slide show showing lots of posters and activities of the Guerrilla Girls, was followed by a question and answer period which revealed that the audience had done their homework. One woman asked how the women of colour in the group felt about wearing gorilla masks, considering the connections which have been made between gorillas and people of colour. The response? The 'Girls said that they love gorillas and they find it to be Homo Sapien-centric to think of gorillas as inferior to humans. Either the 'Girls didn't do their homework on this one, or they didn't understand the question. Be that as it may, their book Confessions of the Guerrilla Girls reveals that a difference in opinion exists within the group on this issue (and other issues). An in-depth interview with the Guerrilla Girls asks, "Has anyone said your masks are racist, that they conjure up images of lower forms of jungle life that have been used to humiliate black people?" Zora H^§__^J._|_ 14 november 1996 POP movie nights. one on one peer suport. wiuJt mmtMffiev/ie to &zve a coffee aMt/fay6m%A freedinner! * *> ™ 3 day retreat free oAAorttwcte fy - &§ mas m vs®m*Q advertising thafs built to last m-30\7 ItxtVforbfiT^ V-ancouv Jntem him re Reviews by Kevin Pender- graft, Kevin Dimples, and Barb Yamazaki TRAILERS Two trailers entertained us before the main features. The first, produced by Federal Express, mimicked hit Hollywood movies by Arnold Schwartzeneggar, Tom Cruise, and Demi Moore by- using toy action figures. These skits were funny the first time around, but grew tiresome in their smugness. Itwas somewhat ironic that this corporate giant is bashing another establishment icon — Hollywood cinema. The second trailer was from Air Canada and featured various cliche cinematic styles while reminding us to vote for best film, in the categories of film noir, romantic, or gothic. (/CP) KINOCENTRIC (dir: various) From the series on Canadian images comes five experimental films. Although I never understood the meanings behind all the images, these screenings remained hypnotising in their visual appeal and use of language and sound. SHOOTING BLANKS (dir: Mike Hoolboom) accurately portrays the lack of a voice in Canadian cinema. This short progresses from an empty screen with narration to an assault of various images of violence and pornographic sex from American cinema. COMING TO HER SENSES (Cineworks Coop): Six short films that examine lesbian sensuality through one of the senses (sight, touch, smell, taste, hearing, and the sixth sense). Mary Daniels' "This Missing You" (taste) stood out for its humour and use of language with images, as did Bo Myers' "Tiny Bubbles" (touch), for its definition of people close to her in an honest and forthright manner. NOT KOKURA (dir: Steven Haworth) is a very experimental film which details the positive and negative images of an atomic bomb that never dropped. I never understood all the images, but it sure was interesting and kinetic in its own way. RUNNYMEDE TO NEW YORK (dir: Roy Cross). Sure it looked cool, but why did it have to drag on so long? LODELA (dir: Philippe Baylnucq). An experimental dance piece with the backing ofthe National Film Board. Hey, the curtains even parted revealing more screen! Interesting images. \Kf\ RATS IN THE RANK (dir: Bob Connolly, Robin Anderson) This documentary centres on the political machinations involved in the annual mayoral elections in Leichhardt, near Sydney, Australia. High drama and comedy is maintained throughout as we are treated to the backroom deals which lead up to election day. The directors leave out broader political issues and instead concentrate on the pettiness of personal politics. While this does shed light on 'politics for polities' sake, the motives of some of the players were not dearly revealed through this approach. Despite this, Rats in the Rank was enjoyable. (KP) SYNTHETIC PLEASURES (dir: Lara Lee) A lot of the moral issues of technology are raised in this fast- paced, cinematic road trip, which ventured towards the future in the four areas of environments, bodies, identities, and perspectives. The film's overall tone was upbeat, a tone which thereby delineated some of the harder issues, namely that humankind now has the ability to rely solely on technological devices as entertainment. Considering all the corporate backing for this film, however, this hardly seems surprising. Interesting stuff, but hordly worth the fare. (KP) COLD fEVER (dir: Fridrik Thor Fridriksson) Cold Fever romanticizes and imbues the winter of Iceland with magic and mysticism in all its volcanic glory. This quirky road movie charts the course of Japanese star Masatoshi Nagase as he journeys to Iceland to perform traditional burial rites for his deceased parents. Along the way, he encounters friendly Icelanders and ugly Americans (a nice comedic turn by Fisher Stevens and Lily Taylor). A feel good movie that made me want to visit Iceland! (/CP) ALDOUS HUXLEY: THE GRAVITY OF LIGHT (dir: Oliver Hockenhull) Huxley was a sage for our times, who first postulated that we are amusing ourselves to death. One of his insights was that in stead of political elites terrorizing us into submission, they can do so through amusements which lull us into compliance. Hockenhull intercuts archival footage of a CBC interview with Huxley with images and skits, whose purpose is to with collaborate Huxley's ideas. Unfortunately, the images and skits never worked. What was the deal with those melting ice cream cones? The film was at its best when Huxley did all the talking. As one film goer said, all the film amounted to was "mastabatory rubbings." Two short films opened up the main feature. First up was A Current Fear of Light (dir: Alex Mackenzie) which drew its inspiration from Huxley. This film experimented with light on film through etches, rubbings, burnings and featured an ambient soundtrack. It ended with a child's voice asking, "Can we go home now?" I enjoyed this short, but 1 Oam is just too early to be under the influence. Ttck..Tick..r.ck (dir: Paul D. Smith) was an experimental Wm produced in pixilated vision. Most of the laughs came from the characters' jerky movements and humourous storyline of two guys on a first date. (KP) PARADISE LOST: THE CHILD MURDERS AT ROBIN HOOD HILLS (dirs: Joe Berlinger, Bruce Smofsky) This gripping documentary focuses on the murder trial of three outcast youths who wear black and listen to Metallica. They stand accused ofthe murders of three children in Arkansas whose mutilated bodies convinced police that this was the work of devil worshippers. The filmmakers record the families of the victims, the families of the accused, townspeople, the prosecutors, and the accused. The nature of the film suggests that the accused did not actually commit the crime. Although we are offered no real clues to the actual murderers, I say that one of the victim's parents did it. The way he shot out those pumpkins was gripping. If anyone had the mark of "Satan," it was him! [KP\ THE WILLING VOYEUR (dir: Richard Kerr) Huh? The concept behind this non-linear film offers amazing opportunities for the viewer: you determine what happens in this murder mystery where everything is not what it seems and where clues are offered in multitudes. Unfortunately for the audience, it never works. I saw audience members trickle out of the theatre at a steady pace, but I stayed in the hopes that there might be some hidden jewel that would piece this jigsaw together. I never saw it. There were some great screen shots, but one never knew what was really going on, so here's a film tip for future reference: if the guide says a film is "wonderfully unsettling," take caution. It's the same as saying that you wjll leave the theatre with an immense headache. In contrast, the opening film, Eurydice Was Murdered Too (dir: C. Vander Paula), kept a similar idea short and to the point with only two parable story lines as opposed to a multitude. The effect was mesmerizing as she drew parallels from the Greek myth of Orpheus searching for Eurydice to the modern story of Steven searching for Anya. (/CP) HUSTLER WHITE (dir: Bruce La Bruce) Hustler While is a revolutionary film that crosses borders between pornography, documentary and comedy. Ifs about male prostitution on Hollywood's Santa Monica Boulevard and contains every imaginable form of gay sex, including the hottest new fetish: stumping — I'm not telling what that is, you have to see it. Hustler While is audaciously compelling in its look at enigmatic director Bruce's interesting perspective (who casts himself as a charming brat/German anthropologist). This is sup posedly his most mainstream movie to date. The cast was ostensibly queer and male; in fact, there were no females or straight males in the movie. Hustler White had its quirky moments, as well as bizarre overdubbed vocals and an amazing soundtrack which included Coil, Boredoms and Glen Meadmore There were, however, some major aspects of the prostitute lifestyle missing — no one in the movie did drugs and the only condom was an empty Wonderbread bag. Aside from this, the movie was very informative and I highly recommend it to all aspiring hustlers. (/CD) ITS ELEMENTARY: TALKING ABOUT GAY ISSUES IN SCHOOL (dir: Debra Chasnoff) This endearing documentary lakes a look at a variety of elementary school classes in the USA which include discussion on issues regarding sexual orientation in the curriculum. Yes, this piece was presented from a biased position, but only in its advocacy of bridging the topic in class. It worked so well, however, because it basically let the children speak for themselves, whether their opinions were based on ignorance, religious beliefs or their own individual common sense. Many of the children (ranging from as young as grade three to g'rode seven) were able to articulate their opinions better than I've heard some thirty year-olds. Now and again, the children slipped back into their kiddish molds and made us either giggle or experience warm fuzzies. Stars were the opinionated little boy who spoke and asked to go to the bathroom in the same sentence; the girl who cringed in ultimate horror when she found out that her favourites, Elton John and Melissa Ethridge, were gay; and the girl who didn't quite know what it meant to be gay ... it was "just not what mom and dad do." The ability of these teachers to create such a discussion and have the kids work through their prejudices and ignorance is exciting. Knowing that teachers con make a difference and show kids that "gays are people too" is reassuring and creates a positive outlook on the future. (BY) Featuring 1st single Bad Time To Be Poor The Blue Hysteria Rheostatics Album available November 5th on tour with The Tragically Nov. 8,9,10 Pacific Coliseum ss ^nyJMLJLIil ;itars (iftfie'World of inide 1995 release, Sleater-Kinney have been cer- , rxletif pop/punk. 19%'s Call the Doctor (Chainsaw) this outing found Sleater-Kinney exploring "the sound of emo- lys — the result was a potent combination of the else this year has come close. Comprised of Corin (ex-Heavens to Betsy), Carrie Brownstein (ex-Excuse 17), apd Janet Weiss (Quasi, ex- ioesJback to the studio iaJDecember — their next o^t^and^Q^-rMfaifil f|- l&er — Janet, about their ~%c_ in f&fi-iSrt^^fBtal politics. toilet iUrt&uL. ■.■»iuu"»ijfou on to wanting^o form a woman in a bandit's legitimate, its real, and IpHm**J \ W|Ck|^^ ^r^^^oun'^I-^Jfia^fermlisten- C*_rridFTor im, it vros ihefirst time I" saw Beat ing to, and you don't have to sit in your room and Happening. I was still in high school, and thatwas learn your guitar riffs and your solos before you one of the first times I sow o woman playing guitar play a show. (Heather) and saw it up close, not ot a y*-. Basically what we've been talk- big concert or anything. More specifi- ffd 1 *n9 a-tM>ut nas a 'ot to ^° ^^ ^0* colly, I think the music lhat I really iden- J jf * grrrl. How closely were you Hod tified with was Bikini Kill, Heavens to jL " *° tha,? Betsy ond Bratmobile ... that was a com- *£&% A Corin: I was really invdved in riot grrrl, and pletefy empowering experience and really *j^2S__PK_ Heavens to Betsy was invdved in a lot of affected just ihe way I thought about j&Jk&/$B$}&^ riot grrrl stuff, and it was a really impor- music. I realized the possibilities terms of just kind of making do wilh what you have. They'd obviously just created a space f< women to play music, and it was ly inviting and I think a lot of wome inspired by lhat, to kind of toke lhat idea and start bands wherever ihey Ii Do you remember a singular moment, i.e, listening to a particular single or an album, or something, or having been to a concert, that was the moment where it all made sense? Corin: One of them was in high school, on my senior prom night, or whatever they have in high-school. I went and saw Mecca Normal. [They] opened for Fugazi ... Mecca Normal just completely blew me away. Carrie: I had gone to shows in Seattle *f\ for years in high school, but I guess it '*£*■■' was just the first Hme lhat it was .,:;£** like 'Oh, I can do ihis too.' And .;. Jpf SVy Xs also, just listening to ihe Jam or the -i^**' ~£A,^k*» Buzzcocks, or somelhing, it never seemed like somelhing I could be a port of, except for font thing to me to be part of < _ group of young women who %jfr were activists and who wanted to speak out about a lot of different kings. I think it was really important, but I also think there were a lot of criti- $&£*? cisms of riot grrrl lhat were definitely valid. «§r You participated in that yourself, I think? Corin: Yeah, exactly... it was just o really crazy lime to be part of somelhing that was important to me as a young person; you know, just sort of like figuring out things for myself, and also creating a space *% ihrough my own anger in music, and ihen to ff'fj 2. have it be *iis huge media blitz on MTV, and / /w * Newsweek. It was just totally insane. I think the media influence or the So was it the live experience that you'd say made it really clear for you? Carrie: I think so, [but] even just listening to the records was inspiration enough to go out ond pick up a guitar. I actually already played music, and in high schod had formed an allgirl band. That was pretty much a joke, even to the point lhat we had to consider it a joke because otherwise ... it was too scary to take it seriously ... Was it a covers band, or something? Carrie: No. I mean, we wrote our own songs, but we were just too ... you know, there were the 'real' bands — those were the boy bands — and we were like a novelty band, because we were 'I did. tbbt ahlt A'd^i?ritfcvrMpg . j they don't have to sound like " «Ln8t04tSn°-%bythemedi PomFl_?>id y°u blos4wWwhirlwin< Kv tk_ m« media coverage really had a huge influence in breaking the whole thing up to a certain extent. Corin: I think lhat one thing that hop- ens with the medio is that they wont to make some kind of star ,.. they always want to have this weird Hollywood-lype angle on the way lhat ihey sell iheir stories to ihe public, ond I ihink it was really hard for people. Especially, Bikini Kill felt so targeted, like they were the stars of ihis — and iheir lives were suddenly public domain. And they were being held accountable. Corin: Exactly. For some stupid thing that some 14 year old girl would soy. And also, feminism is not just this one thing. There were all these arguments in riot grrrl over what things do we want to change, what are our goals about? I want to encourage young women to keep struggling in different ways, and riot grrrl con be a way for some girls, but I also think that there's a lot of different ways lhal young women are activists within iheir own community, and I want to encourage lhat. I guess I dcn't always see myself as a leader, I'm just a person who wanted to play music. Well, that's a lot of pressure, too, especially in a movement that was largely about discussion. I mean, it wasn't about issuing a riot grrrl manifesto that held for all women. Corin: Plus, we were so young. I mean, I 1 8, and I think that it should be taken for what it was, but it was really exploited a woar&ar, m feel like you were in a (whirlwind? Were you approached by the media? Corin: Yeah. This show in Bellingham where I first met Carrie was photographed § by the New York Times, so there was a pic- !|_ lure of ihe audience, and this huge article. Skatcr-Kiriftcy i to R: Coriri •fiickct, Curie i^towcitftcMi «id We were totally rambunctious, and [laughs] we were just fighting wilh people, left and right. The Newsweek article was particularly interesting, I think, because a lot of the people they interviewed — I don't know who they were — in terms of them being spokespeople for riot grrrl, that claim was tenuous at best. Corin: Well, anybody could be a spokesperson for riot grrrl. You know, my mom could be. Do you think Clinton being elected to the presidency had anything to do with riot grrrl losing some of its focus? In the sense that it seemed that when Bush was in power you had this very obvious patriarchal government in place. Do you think that this move to the 'centre' [under Clinton] had anything to do with riot grrrl becoming decentred? Corin: Hmm ... lhat's a really interesting question. I definitely think lhat there was a radicalizalion of [riot grrrl] as a women's group, and the Bush administration felt really attacked because of abortion rights. Thatwas a really frightening thing [the Reagan/Bush attack on Roe vs. Wade and abortion rights]. The olher thing that I think about when it comes to riot grrrl itself is that the people who were involved wilh it were really, a lot of times, unsophisticated in terms of their activism. And I think lhat a lot of the people who were involved wilh riot grrrl really seriously are trying to give themselves time to grow up and to become maybe more sophisticated in their ideas about race, class, and gender. -fN-%**_-n-< tfefone thin*fjj ^SfljWrlhe media jjstglfnll 'mate some kjfftd tif^HL.%iey always this weird Holly wood- on the wa^|h%the^efr* fories to th^^hUc^ir^kjihink^it pecially, lHo targeted, lij^thg? ofty*-^^% iddenly puMpllemairi/' In terms of Sleater-Kinney's lyrics: issues of the body, and trauma, and politics seem to be all over the place — would you say that these issues are a major topic that Sleater-Kinney is dealing with? Corin: Definitely. I think that for us, when it comes to growing up and becoming women, a lot of battles that women fight are wilh their bodies or about their bodies, so in terms of writing about that, and writing about your own life, I think those issues, for me at least, come through again and again. The body becomes a concrete battleground, in a sense. What about your critical reception — is it something that you keep an eye on? That was the catch-22, I guess, because one of the reasons that it was all so exciting was because so many of the people involved were so young, but at the same time that ended up being part of the downfall because it took more than just enthusiasm to keep it going. Corin: Right. The sad thing is lhat it was so easy to feel alienated from older feminist groups lhat were so caught up with assimilating. 'Women in corporations — that's a great cause for women!' That was something thot wos so alienating to young people: to see these people that were totally radical in the '60s, but have gotten older and hove become more into integration and assimilation. There are a lot of radical feminist groups that we should hove learned a lot more from, [such as] radical groups of women of colour that riot grrrl wos too naive to hook up wilh. But I'm going on and on and Carrie's looking really bored here. skater- Corin: [laughs] Well, Carrie, what do you think? Carrie: In my mind the media is really fickle. So, even though it's helped in terms of the exposure of our band, and I'm glad lhat more people have heard about our music through writings, I don't ever want to count on the media or critical reviews, because it takes the focus away from the music. We were really proud of Call the Doctor, even if no one had written obout it. I've got that Interview article about you by Greil Marcus in front of me, which I assume you've seen? (Bolh): Yeah. It's a pretty glowing article. How do you feel about articles like that being written about you? For instance, he makes a lot of cultural references in his article — do those make any sense to you? Corin: He's been really supportive of a lot of different things within the music scene, induding giHs and women doing feminist music ... So, I ihink he's coming from a good place, I guess is what I'm trying to say. And I ihink lhat he has a way of writing that's really his own style. It's always interesting for me to read what people have to say, and his work I do respect, whereas olher writers who've written about us I don't at all. What about that article that's out in the most recent Option? Corin: Oh yeah, I really like that article ... I think she's great, and I wos really very happy to finally be interviewed by a woman. Sorry. Corin: No, not to dis you or anything. Does it not happen that often? Corin: No, it doesn't. Thafs remarkable. Corin: We've been interviewed by so many men, and it's fine — there's been a lot of men who are really supportive, but it was just a really good thing. november 1996 I came into this [interview] thinking that this [Sleater-Kinney being interviewed by a man] would be a fluke. Corin: No, it's sad, but again ond again in the music industry and in the underground scene women are few and hard to find. Just briefly, back to the Marcus article: how do you feel about yourselves being in a magazine such as Interview, sandwiched between articles on Demi Moore and perfume advertisements, and stuff like that? Carrie: I think we've definitely allowed ourselves to be more open about doing interviews and being written about in the mainstream media. And whether it's Interview, which is more pop culture, fashion type things, or it's Rolling Stone — even in Rolling Stone or Spin you have the chance of being next to some sexist ad. Any time you're dealing with a music magazine or o fashion magazine you practically have an equal chance of having the next page be by someone lhat you'd never want to talk to or would never want to be next to. It's just sort of a risk you toke. Let's talk about your music: how do you compose your songs? Do lyrics precede music? Does music precede lyrics? Whafs the nitty-gritty? Carrie: I think that we took the cue from the last record. The songs that we really loved were the i. We always write our own guitar ports and sing our own lyric the songs that turn out the best, and Ihe ones wilh the most energy and dynamics, are the ones where Corin will write the verse, in terms of music, and I'll come up wilh the next port, or I'll write music and Corin will sing over it. Corin: I think the tension of working with another person sometimes creates better songs, because you have more spontaneity. Carrie: Everything we do is really cdlaborative; it's sort of gotten to the point where we are coauthors ond the songs aren't really complete until both of us have written somelhing. We don't just have one songwriter thot has a song beginning to end with lyrics. How is that different from your previous bands? Do you find that the dynamics that exist in Sleater-Kinney are entirely different from Heavens to Betsy and Excuse 17? Carrie: I think that in terms of me and C we're constantly being inspired by another, and even with Janet, too. And I that that constant inspiration really fuel: energy that I don't think was matched by eith< of our other bands. Corin: I think that the excitement lhat people get from [us] is the excitement of Carrie and I writing together and ploying together and lhat's ihe core of why Sleater-Kinney just took off like it did. Carrie: In terms of audience reaction I ihink a lot of people were rejuvenated by us or somelhing. And we're not a band lhat you can just sit back and watch. We're not a bar band. It's very active and it's very in your face — we're not cramming anything down anyone's throat, but you have to stand up and pay attention. Corin: Janet's a really super-dynamic drummer, and she's really performance-oriented, which I ihink is just great for us because we love performing. That, to me, is why I love performing, you know. I'm not really satisfied unless I make people uncomfortable, or just challenge them in some way. Personally, I'm glad to hear that you guys use that term ['performance'], because I think a lot of the time there's so little attention drawn to performance, or the power of being on stage and having the ability to perform. Carrie: For me, the best part of being in Sleater-Kinney is playing live and playing in front of people, becouse you can sit at home and listen to a record and it's going to sound the same every time, but playing live there's the element of spontaneity, and there's also the interaction, the communication between the audience and the band. And that's the most important thing: a connection. How was CMJ [College Music Journal conference]? What was your experience like there? Corin: Crazy. Carrie: Yeah, itwas. Crazy good? Crazy bad? Corin: Crazy good. Who were you playing with? Carrie: Well, we actually played wilh a Kill Rock Stars, Chainsaw, and Up records showcase, so most of the bands we played wilh were our friends ... Unwound and the Cold Cdd Hearts. CMJ is just a haven for critics and A&R people, so it was really nice to play wilh a group of people who were our friends. How widely have you toured? Carrie: We've toured across the US and lhat's about it. Corin and I have ployed some shows in Australia, in ihe very early Sleater-Kinney days. With Lora MacFarlane? Carrie: Right. And why was that? Why did you play in Australia? You recorded part of the first album there as well, is that right? Corin: The whole first album. Carrie: We mixed it over here, but we recorded it over there. Corin and I were Sleater-Kinney before we went to Australia, but it was just sort of a project band, because we had other creative outlets. ... What we wanted to do was to make a memoir of our trip to Australia, [so] we recorded just every song we had even practiced. And we just brought it back to the US, said 'OK, here is a record of our trip to Australia,' and decided to put it out. And I ihink a couple of those songs were inklings of what went on to Call the Doctor, but it wos a lot different becouse I think it wasn't really until then lhat Corin and I started writing as if this was our creative outlet, this is what we want to work on. We also We were working on song dynamics, and having energy in songs be really contained, and then be just on the point of bursting, and then just totally erupt into energy. and ■ PJffij£Jfiai! Is tug, jfifagazine or #fasHon magazine you m that you'd never want to talk to or* h- The first album is a great album, but it does sound very different, and I think that one of the major differences has to do with the fact that the vocals aren't really intertwined to the same extent that they are on Call the Doctor. Were your intertwining vocals just a natural growth of the two of you working together, or was there a conscious effort to head into new territory? Corin: I think itwas definitely conscious decisionmaking, in terms of: these are the kinds of sounds lhat we wanted to create. Especially with a song like 'Call the Doctor.' We wanted to have a sound lhat would equal emotional distress and so experimenting wilh having both of us sing was something that we consciously wanted to try out. Ifs pretty amazing how little thafs done. Ifs something that I've never really understood: why bands with two singers and two guitarists don't push that more often. Carrie: Somelhing I've been thinking a lot about recently is how tension is an important port of creativity — whether it's a tension you're struggling wilh in your own life, or a tension between Iwo dements of a song. It creates ihis friction which can be really jarring, but can also be really beautiful. So is Sleater-Kinney 'about' hegelian dialectics? [laughs] Is that what we're talking about? Were getting pretty theoretical. Carrie: I know, I'm the theorist in the band. No, thafs good. Carrie: That's one of the reasons that I like Greil Marcus' writing. I think some people are yed by music as theory, but I'm really fasci- innoyed lated by lhat. What is the new album going to be like? Is it too early to tell? Carrie: I think there's a lot of syncopation and a lot of staccato rhythms. Some of the songs are more choppy. I think that on Call the Doctor, songs that started out choppy would naturally turn into somelhing that flowed, but I think some of the [new] songs have been kept really terse. So you're not going heavy on the synths for this album? Corin: I want to release a donee single, personally. Janet could not be "with us" for the initial interview. She is currently residing in Portland, while Corin and Carrie currently reside in Olympia. Historically, Carrie and Corin have done the bulk of Sleater-Kinney's interviews — now, with Janet as their drummer, they're trying to break that trend. I reached Janet a few days after I spoke to Corin and Carrie. Just out of curiosity: where do you -work [Janet was tracked down at her place of employment]? I work at an ad agency, we're Nike's ad company. I work for THE MAN, basically [laughs]. How do you feel about that? Oh, it's fine. So, how long have you been with Sleater-Kinney, now? About three months. And how long have you known Corin and Carrie? I've just met them, but it seems nKe we've known each olher a lot longer, just because we've travelled around a little bit and went to New York. How was your experience at CMJ? It was great. It wos so much fun — we just got along so well. Was that the first test? Yeah, we were all kind of like 'OK, this is going to be the test. We're going to go to New York and play CMJ and see how we get along, ond then we'll see what's going to happen after that.' 'Cause 'if you can make it there you can make it anywhere,' right? Well, I was in anolher bond at the time. I was in Iwo bands already: Quasi and another band called Junior High, with Sean who was in Crackerbash — it's his new band. So we went and had just the greatest, greatest time ... so I quit the olher band [laughs]. 'See ya!' [laughs] Is this the first time you've joined an established band? This is the first time that I've ever joined a band that's got records out, and where you're kind of living up to the reputation of the olher drummers, and being compared to the olher drummers. It's kind of weird. Have you encountered that already? Oh yeah. It kind of helps that there were Iwo other drummers. Most people never saw Lora play live, they only saw Toni play live. I ihink lhat after the next album comes out I'll definitely have my own identity os a dru How is being separated from the rest of the band? They come down here, because I have a practice space, so they come down here more lhan I go up there, but it hasn't been too bad and we've actually been practicing twice a week, which is as much, if not more, lhan I practice wilh olher bands. And we're pretty focused. They write songs really fast, so it's great, we can get to it and start working on the new songs. Do you have any closing comments? Any words of wisdom? Nope. I'll leave lhat to Corin. Is she the philosopher in the group? She's definitely the philosopher, allhough Carrie's got a bit of ihe philosopher in her too. Yeah, it was a pretty theoretical interview that I had with them: there was the political theory section, and there was the music theory section. And they kind of tag-teamed. It was fun. Well, you can put me down as saying, That's right, Carrie!' We'll pretend that you were actually there. 111 just weave your comments into the interview. I'll add a lot of 'amensl' There you go. I give you artistic license. Add whatever you want.» 21 tfggzm^ : basslines o by dj noah CD will be out before Christmas. Their combination of Roland 303 (acid) licks and Orbital-like soundscapes are something to be seen and heard. Unfortunately, the sound at its ambient connotations. Ideal for chill rooms on the main stage. Try it, You'll like it! F.S.O.I Dead Cities (Virgin): Scheduled for release on Oct. 29th, this CD While it was not around for long, Shockwave did provide us with a glimmer of hope. The store was located at 301 W. Hastings St. in Vancouver and carried clothing, "rave" accessories, as well as an alternative selection of music from that of other import stores. The doors officially opened on June 30th, and closed on Sept. 28th. Aya and Syrvain were the main operators of the store, with Adityo (Montreal DJ) doing the music ordering. There was a lot more trance, techno and acid than at other stores, even though their selection was smaller. It was a sad day when they closed up because it was a shop that arose out of the heart of the party scene. I was unable to reach Adityo or Aya to get their comments, but I do understand that there could be another store opening in the future. Perhaps the new store, Hush (221 Abbott St.), will be a more than adequate replacement. They have lots of music and other goodies for all you DJ people. A step back from the retail music outlet would be the artists that make the music that ends up in the stores. Two live shows and one party fit this criteria form the past thirty days. Playing his first live performance at Ginger was After Dark (Pat Breen). He has been progressively getting better with each performance and did quite well at Mars. His set was more on the house side, but his songwriting has improved and he is currently engaged in talks with a record label. The other live show was Michael Victory's fast show before his two month hiatus to Africa. As Sect, Michael had enjoyed limited success to this point, but with his cur rent deal and his first full- length due out soon, you will be hearing a lot more from him in the future. His set at Mars was an insight into his upcoming release, and was minimal yet moving. Michael has a lot of European influence in his sound, and thankfully he had not jumped onto any of those boring bandwagons (house, 'West Coast' breakbeat). His set was wrought with the kind of energy and emotion that infects your brain and possesses your feet. I am looking forward to his CD, as should you. On a different level of live shows, there was the ShockRa party on Sept. 21st which featured a performance from Synergie, an electronic group from Montreal. This duo is destined to become one of the biggest artists from Canada in the techno world, and their first and, after just 20 minutes of their set, I had to leave because the distortion of the system was unbearable. On a brighter note, they will hopefully be re- turning soon, perhaps to do a set on New Year's Eve. From live to recorded music, here are some quick reviews of material that has come my way recently. FUTURE LOOP FOUNDATION — Time and Bass (planet Dog): This is a brilliant exploration of the drum and bass world. It is at once full of energy and life, yet is strangely calming with will find its way into just about every collection, as most FSOL releases have. The first single, "My Kingdom," is currently available. Unlike the ISDN album, Dead Cities is a beat-laden work that reflects different sounds, from The Chemical Brothers-ish "We Have Explosive" to the Orb-like "Her Face Forms in Summertime." Another breakthrough for Brian Dougans and Gary Cobain. PATRICK UNDSEY — The Phatjive (Harthouse): This CD is just as the title suggests. "Male Phonk" was the first single and its combination of a house beat with heavy techno sounds has made it an instant hit. Look for the title track to be even bigger. This is as accessible as Harthouse has been to the average listener. Every mainstream will pick up on this one. VARIOUS ARTISTS — Pacific Rhythm (Eye Q): This is an all West Coast artists compilation and features tracks from two local artists, Phil Western and Dan Handrabur. An excellent mix of ambient, house, and electronic. ALTER EGO — Alterism (Harthouse): Unfortunately, this release by Jorn Elling and Roman Flugel did not do much for me. Perhaps it is because the tracks are all remixes done by other people. Nevertheless, there are one or two useful ambientdub tracks and a couple of housier tunes that have some use. (Email djnoah@cyberstore.ca) Until next month, keep the peace... • 23.Hclland Tunn_ Project 24.0iadi.S.puUdo 25>ngJaBofill 26.Fra,la. Paul 27.Maysa L«ak 28 .Cissy Houslon 29>n'honyB. 30.Count Basic 31.Slid. Five 32.Th.Qui_ BoyVC. Hinds 33D.LaSoul 34.Monfr.do F_t 35.CJ(ur. 36.Kdi_Dub 37.P.UrHunnigali 38 .Bab Mam* 39.G»rg. B«ison 40.Carib Jazz Pro'*:! ' Uanlv Aluandw 43M«9rocan 44Daxz Bond 45>bS>'JNd«g*xilo 46HaY.Vbl.nlin 47.Cunni.Wi»iams 4t.Uon Haywood 54-46/Ccngo WRAD |WM Th. Brick Wall Soul Of Mil. Stand Up Don't CM Any Brffcr (fan Scolt) Joy and Pain Rhod. Trip/Up and Out Ubiquity 16 Ew^b-sTUSunsUpW, Cool Mix) ThinAirl2* 75 kzsovmn. (Hot) Tommy Boy 12" 39 V»W-s Montgomery? I Tri«d/Rastaman A Comi Hcm.Uvwig Candy GRP 10 HOB 56 GnmlmMQ 74 _ Cam« Caling 66 K 12*|Uq63 l&» GRP Cd Sing. 45 H^dsUp U. Jan. Jan Dal Tarn/ 3omMay w. n IHM Agar African Bii-d/Supmlilion Dane. Vl-i Somd-dyAlnd- Th. *«U* M_jM.V*nnaHo_rMT«*ndASmil. Primitiv. Passions HopJJy I V*nl Hr^f-VU- You Kjm K«p It In #->• Family AZEsp«;id/VAitATh.Rid. 50»i0lli.\**od«)n 51 Mu Yoricon Soul/Gw. Bwson 52.Coa>aT-n 533obby HulcWxi/Th. Roots Montara (Th. bmix Project) 54>Jbita Qu. Manwa D. Qumrta Yo Mono (UK) -- Ewfm 50 D«r_u**2-Mq 70 Blu. Not. Giant Slip 12" - VP(Jan-) 77 Blu. Not. 94 Epic 12" 5 Sundays if-gpn CJV8 1470 AM NOVEMBER 1996 EL TOPO EL PEEZ 1. LETS GET IT ON RODNEY MANNSFIELD EXPANSION (UK) 2. RHO0C TOP SUDE FIVE f«al. JACKO PEAKE UBIQUITY 3. (OSSA BEACH VARIOUS ARTISTS DOUCE (ITALY) A. USim UP! LES McCANN MUSICMASTERS 3. PEACE BEYOND PASSION ME'SHELL NDEGEOCELLO MAVERICK/REPRISE MOLEDEE OLDEES BANDA BUCK RJO MISS CHERYL BOBBY HEBB SUNNY DON GARDNER & DEE DEE FORD I NEED YOUR LOVING CALTJADER MAMBERO MAX ROMEO WAR IN A BABYLON ITSIPPLE OUT DEH ft ^^A€^rti^A^^^r^mir^j£i7^a^v^\rM 63. Grow. Collacliv* 64. FW« Vrhiltad 65. Horac. Brown 66. Ray Barreflo 67. Johnni. Taylor 68. Phyllis Hymon 70. Jazz VfandaTs 71. Chris Win 72. Freddi. RavJ 73. DJ»rah Cox 74. Margi Col«m_> 75.G«oldA*xtf*l 71. Jo. 79-Moysa M.John Santas 81.MoryJ.Blig. (2. Gam. Silk 83. IbnyRmy »4. AUxBugnon U. Ramsay Uwis 86. Paul Jackson Jr. 87. Th.N.F.L Horns Pr_j«l 88. Tania Maria •9. G«xg»B«iscn 90. Jrfloibw 91. Lucky Pitman 92. ComJ Dupre. 93. Bobby "Blu.* Bland 94. MichoJ Staling 95. BlakMal. 96. Hmwid Johnson 4 Gravity 97. Tori Braxton 98. Knny lohmor. 99. Tang *Falty" Abubokor 100. Eddi.Ho 101. BlutsiaK GirifrimaN Boyfriwid D. long Tm* Band (Andy Nardil N-rw Moon Mamba/Carousal SongFofCal Tm Old TU. Is You/TWs My (Ibr. Yo. 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Shady Stuff ForDaBrolhaz Sh.Spok.TbM. 23 [_^2SK^ between I OQsTlVWXYZ "aeaeaeae strength density unitoi |ie.«ae.« strength density uniformity HMlim WW™**^™f I Ey^gnctrea &_clirjstinqB* *£ *?nrr lines After a month of absence, Between the Lines returns with a fresh new face. We are much saddened to say that Amber Dawn has decided to leave DiSCORDER, but she is busy saving the world through the Environmental Youth Alliance, Women Against Violence Against Women, and her own amazing ally work. I am very pleased, however, to tell you that I have found a replacement who is equally amazing and wordy: Ms. Christina Knox, a zine veteran with a critical consciousness who has grown with me out of teen zine land. November brings on the last of the year's surprises and memories. On that note, I am excited to tell you that there will be a ROCK FOR CHOICE benefit November 15 at the Vancouver East Cultural Centre. Riot Grrrl Press will be there with the new editions to the catalogue. (Just a reminder: Ralph is doing a zine review column at Terminal City, so send all music-related zines — music zines, pop culture zines, anything that yer typical indie rock kid would consider fun — to him. We review personal and political zines and comix.) Andrea Hi, I'm Christina, I'm tough ... don't send me a stupid zine because I know where you live ... I'm looking forward to working with Andrea on this column as it is an opportunity to expose all of you kiddies out there to the zines that I come across through writing and reading with kids across the conlinent. Plus, I like seeing my name in print. There is a new record store in Vancouver called Wash Out Records. The store is located in the back of Vert on W. Broadway (two blocks off Main) and at this lovely store, you will find oodles of great punk/hard core products at really cheap prices; more importantly, they have a zine library where you can find such wonders as Free, Lost Girl, Random Thoughts, Drew, Flush, and Frustrations. Christina Wives TALES (half size, 72 pgs) This zine starts off by talking about mainstream medicine and its effects on wimmin who take so-called remedies that actually rob them of their health and wimminhood. Wives TALES teaches you how to use a speculum in order to examine your cervix and how to get your menstrual cycle in synch with the cycles of the moon. It lists alternative, toxin-free, feminine hygiene products; effective, natural cures for cramps; how to cure and prevent vaginal infections; facts on STDs; and birth control that won't mess with your hormones, as well as herbal abortions. It also gives you facts on breast cancer and a bibliography so ' that you can go and educate yourself further. This is definitely a zine that all wimmin should get. Send $2-3 US to Britton, POBox 81332, San Diego, CA, 92138. The "B" Word (eighth size, 16 pgs) Women are conditioned to hate their bodies and faces. In this zine, Dayna takes the conditioning placed on her and completely rejects it. Most of the content looks at herself, in describing her appearance, particularly the characteristics generally associated by society as unattractive. My first reaction to this zine was to be grateful for my own appearance, and the fact that I am generally acceptably sitting within the mainstream ideal of what a female should look like. I thought about this after having read it and realized how much a slave I am to the conventional ideal. I began to question why I feel that one cannot celebrate their beauty unless they are slickly coifed, made up and reasonably thin/unfat. This caused me to question the fact that I am a "feminist" who subscribes to Cosmo. Definitely one of the most effective uses of one sheet of paper I have ever read. One IRC to brat girl, 14119 Meyersville Dr., Houston, TX, 77049. MUA (quarter size, 12 pgs) Bianca writes about her privilege as a light skin Chicana and the separation that she feels from other Chicanos. She sees racism all around her directed at poor Chicanos and illegal immigrants. She talks about her family teaching each other to forget their culture in order to lead a life not so dominated by discrimination, which is something that many non-white people and immigrants are forced to do in the name of the great melting pot. Send $1 US to Bianca, 2415 Fordham St., San Pablo, CA, 94806. ... and only the trees were left standing ... It is an amazing thing to watch a zine writer move closer towards writing zines that are heavily reflective of who they are. I have been reading Chris' work since she entered the zine scene with / just don't savvy, a well written group zine with scattered tidbits of emo. In ... and only the trees..., Chris is writing on her own. Her sob material is a more satisfying read than her previous efforts. In this zine, Chris discusses frustration regarding faded friendships turned sour, rejection, self- hatred and abuse. While the details were vague, it was impressive to reod the beginnings of a healing process. Send stamps to 5111 Redona Dr., North Vancouver, BC, V7R 3K1 .• Mt. Baker SNOWBOARD SHOP sV 'HE GREAT NORTll^A Especially For You Open Everyday Through Rocktober! Mon. - Fri. 10-9 Sat. - Sun 10-6 Volunteers needed. Are you an outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good sense of humour? We are a non-profit society that helps young offenders and children ages 8 to 18 who are at risk of getting in trouble. I love my record player. The company that made it probably went out of business in Ihe early 1970s. It is a charmingly obsolete cabinet deal wilh a built-in 8-track machine, a broken Re-Tract-O arm, and four speeds: 16, 33, 45, and 78. I love my record player, even ihough it tends to skip the most on rare, mail-order-only discs into which I've invested a substantial part of my recreational allowance. It is an immortal behemoth, twice my size and probably equal my weight, which I have learned to respect and revere despite its cantankerousness. After all, without it, I might never have heard ihe following records. Glamorous Northumbrians KENICK1E did me a great favour when they recorded their Catsuit City 7"; that delicious, eight-song masterpiece of Mad Handbag Rock has been spinning in my room and in my head ever since I found it. From the "since when was stalking a crime?" chorus of "Private Buchowski" to the spacey echoes on "Come In" to the righteous obnoxi "SK8BDN Song," Kenickieare My Northern English whispering that the princesses (and prince) who make up this quartet have threatened their estranged labd, Slampt, wilh legal action should it re-press this record, so grab yourself a copy before every last one is gone. (Slampt Underground Organisation, PO Box 54, Healon, Newcastle-upon-Tyne, NE6 5YW, UK) Teenaged glee soaks this TEEN TITANS 7"! More Songs, less Music has been re-released, and it is soooo insufferably cute that I have to recommend it. The nine songs on this 7" are filled to the brim with bratty boy/girl vocal interplay, silly lyrics (eg. "you suck my weiner/you suck my vacuum cleaner"), jumpy punk energy, and absurd quirks like the N.W.A. quote on "UTPD Killer" and the kazoo on "Popsicle." I hope to God the Teen Titans never grow up. (Peek-A-Boo, 2502 San Antonio #1, Austin, TX, 78705) What's a little bigger lhan a 7", a little smaller than a 12", and spins at 33 rpm? Allhough not strictly my department, 10" records are nifty and keen. In particular, THE SCISSOR GIRLS' S-T-A-T-LC1-A- N-D EP, filling a delightful ten inches of vinyl, is worthy enough of my attention to merit an appearance in a column usually devoted to 7"s. If you're wondering what The Scissor Girls sound like, let's just say they fit their name quite well. This is futurist No Wave at its most bizarrely enjoyable: percussive, wacked, random, industrial. "Stimulus/ Response," with its strangely alluring catcall of "I'm an oscillo- tor/you're an oscillator," is my favourite track. (Load Records, address unknown. SG Research, PO 476748, Chicago, IL, 60647) If you like girls, beer, and hockey (in reverse order of importance), then you'll probably .:- HAS50N BROTI .:#nie'";: If I he En THE KRINKLES carry on San Francisco's musicol heritage of avant-garde psychedelia with their first single. "Just ' Francisco are they?'' ask. Well, the first track, "Ft Like A Crustacean," has ominous, creeping overlain with goat bleat fluctuates between latin instrumental and guitar skree. "Release Me" is one part noise dementia and two parts croon-fesf "Chocolat* Fried Chicken- seems to be light jazz, yet it has foreboding B-side, is a lame attempt at hardcore made amusing by the singer's high-pitched, squeaky voice. =^t.A. ,_ s«. .co,e.* e best bar. **--* -<-••- to <*■ -"-.c'lcsjcrc'r-c <*, r. Plumlree's perfect p vs. The resemblai actually quite scary. (Essential Noise, PO Box 27070 Collingwood Post Office, Vancouver, BC, V5R 6A7) tones suggestive of a bad acid trip. Very San Fran- ask me. Nevertheless, ihis single somehow manages fe.stay fairly -accessible — must be the acoustic gwtcrs. [Cannibal Records, -4- . ;*** ; ji„. . 'A 94103! * A. A* darn! I was hopingm •or,-J SILVER SCOOTER/ ^H be a ewer of the Renegade Soundwave song of the same name. Alas, for it is just more whiny boy rock thot ilmost completely failed to hdd ir, is jusfasgood. (PF Is, PO Box 873, Halifax, Nova Scotia, B3J 2V9) If Vancouver still hot' al alternative" radio station (think Coast 1040), RED FIVE's "Bunny" single would probably be on its playlist. Both songs, "Leave Time" and "Nailed to the Neurotic," bring to mind the image of greasy, corporate A&R iubs Of course, 1 "_ .3 Red Five; that said, I still think the music is wee bit uninspired. (Revelation, PO Box 523 2 Huntington Beach, CA, 92615-5232) I couldn't pass up listening to a band with a name like STARLIGHT CONSPIRACY Big Beautiful Drive In is high quality indie rock with tight, driving music and melodic female vocals. "Starlight" starts off slow and quiet but soon turns into a grinding dirge. This stuff is melanchdic ond powerful. (Catapult, 215 ASt. 6th Floor, Boston, MA, 02210) Now, everyone, it's time to close our eyes and psychically will my long overdue mail-order 7"s to arrive. Envision my mailbox. Envision a flat brown package about 8 inches to a side nesting merrily on top of phone bills and penpal letters. If all DiS- CORDER"* readers try this exercise at least once, the combined mental energies may just work magic* _5 SK^SK^ MUSIC...ITS LIKE FOOD FOR YOUR BRAIN! ABOVE TITLES SPECIALLY PRICED UNTIL NOVEMBER 30™ 1996 under review ASSORTED JELLYBEANS Assorted Jellybeans (Kung Fu) I first heard Assorted Jellybeans on the Lookoutl Records compilation Punic Uprising and I was fairly impressed. They must have impressed a few other people as well, because since then they've been signed to Kung Fu Records (owned and operated by two members of The Vandals) and have released this LP. They're also currently touring North America opening for The Vandals which isn't bad for a bunch of teenagers (well, I don't know hew dd they are, but lhat's what ihey look like on he back cover photo). This is a pretty cool album. Every song sounds like they are having fun playing, rather lhan doing their label a favour. Most of the songs have a youthful sound to them, yet they seem to be very competent musicians. This is a young band that deserves your support. Dove Tolnai BILLY BRAGG William Bloke (Cooking Vinyl/Polydor) The guitar is softer and he is calmer. I guess Daddy Bragg is a more contented man, since he has (icchh) "a socialism of the heart" these days. Fortunately, a lot of Ihe other lyrics are much better lhan that*. "He was trapped in a haircut he no longer believed in." A few of the songs fall back on the dd Bragg guitar style, as in "A Pict Song," but in general, this album seems to consist of more keyboard, more trumpets, and a more mdlowed out socialist agenda. It goes without say ing that loyal fans will buy this regardless, but for those new to Billy Bragg — pick up Worker's Playtime instead. THE CANDY SNATCHERS The Candy Snatehers (Safehouse) After three hard-lo-find singles, the Candy Snatehers have finally put Virginia Beach, Virginia on the map with their full-length debut, even if it meant scorching half ihe eastern seaboard with their fiery brand of garagey rock V roll to do it. Y'see, I saw this foursome a couple years ago and their crazed stage show combined with iheir equally crazed two-chord trash rock had me mesmerized from sloppy start to chaotic finish. Singer Larry May was careening around the stage of this tiny New York club stage like Jerry Lee Lewis, broken bottle in hand and ready to pounce on anyone who got in his way. Guitarist Matthew Odielus had already seen the end of that bottle — with his chest sporting a huge red gash across if — but still managed to spit out blazin' riffs from a barely in- tune guitar. Bassist Willy Johns decided a little help was needed to accompany his thundering bass so he promptly lit it on fire while visually stunning the crowd by getting completely naked after only the second song. And drummer Barry Johnson could hardly keep his cymbals on his stands while trying to keep up with his bandmates' breakneck pace. So until the Candy Snatehers blaze a trail up the west coast, pop in this disc, lock up your daughters and liquor cabinet, and brace yourself, cuz these guys will blow the roof off any joint, guaranteed. Bryce Dunn THE CARDIGANS First Band on the Moon (Stockholm/Polygram) Loungier than ABBA and sometimes dancier than Ace of Base, The Cardigans have proven lhat Sweden has more than Iwo bands. With their first release last year [Life, a huge commercial success having sold apparently over a million copies), the Cardigans introduced us to their own swank balladry. They may have had their cheesy moments, but in one giddy swoop of Nina Persson's voice, it would be easy enough to want to sing along and sway my arms to their neo-disco beats. The band hasn't changed much since then, as their new album sticks with lhat same formula. From every song's lush arrangements wilh flutes and violins to a second Black Sabbath cover ("Iron Man" this time, following Life's "Sabbath Bloody Sabbath"), this album seems to be a remake of its predecessor. While the songwriting shows consistent quality, on first listen there's no standout like "Carnival" thot made Life such a memorable first long player. Unfortunately, that's what makes First Band on the Moon just a second fiddle. BrianWieser RAY CONDO AND HIS RICOCHETS Swing Brother Swingl (Joaquin) Well, hell, oh mayuh grown up in Calgree, but ah never did much lissenta country and western music. No sir. Weren't really mar* thing, as it were. But ah gotta say, when oh heard this album by these Condo boys here, ah found mysdf o-tappin' moh toes. These fellers manage ta cover lotta ground on this new record'n of theirs — ya gotcha yer '40s rdlin' swing in "Slrathcona," and "Ice Water." Ya got yer cod blues wilh "Taint No Use," "It Ain't Right," and "There's a House in Harlem For Sale." And in "Hadicillin Boogie," "Teardrops From My Eyes," and "Loud Moulh, " ihey serve up a steamin' hdpin' of good an' ol'-fash'nd country, the kinda stuff ol' Mojo Nixon called "the lonesome howl of ihe white trash wolf." Their version of Mr. Carl Perkins' "Rockin' Record Hop" even gives yah a little of that newfangled rock 'n' rdl. Now, most of this stuff mayah been written before any'oh these fellers were bom, but they dish it out with real sincer'ty ond more'n a little bit'oh talent. There don't seem to be none'ah this fin-de- siecle irony here; boy, no sir, none'ah this playin' at been their grampaws. These boys like music, and they treat it wilh respect. Hell, these guys is just good. 'T'ain't often these days (goddamn world goin' ta hell inna goddamn handbasket an' all) lhatcha hear the sox'phone and the slide g'tar in mellifl'us juxt'position. And it's purdy durn nice. And the boys on g'tar, bass, and drums ain't no slouches either, no siree. Now, the lyrics ta these songs ain't partie'larly trench'nt, but whatlh'hell d'yo expect. Let ihem longhaired fellers play iheir Cho- teau Laffite — boy, this is Ol' Crow, Kentucky com squeezin's. Mr. Condo and his boys got a good thing here. Adam Monahan D.B.S. If Ihe Music's Loud Enough... (Nefer) I have to give d.b.s. a lot of credit. After all, it was ihem — along with gob, sineater and a few olher BC bands — who got me turned onto punk rock, d.b.s.'s new disc sounds a helluva lot like the old one. I don't just mean lhat you can tell it's ihe same band playing, I mean, it sounds like they changed the lyrics, mixed around a few notes and called it a new dbum. If you're a huge d.b.s. fon, then by all means buy the disc. If you've never heard ihem, check it out. If you were lukewarm about he first one, then stay ihe hel away. It hasn't changed. Inslrumentally, they do sound a bit better. And for a bunch of high school kids ihey're pretty damn good (although I'm sure the some thing was said about the Jackson Five and the New Kids on the Block at one point). Whatever. Go to o show and check ihem out. Decide for yourself Godammil. Cod cover art ihough. Dave Tolnai KELLEY DEAL 6000 Go To The Sugar Altar (Nke/Polydor) Aiming for the sweet and simple, Kelley Deal just plays it too basic. Simple, catchy melodies reminiscent of The Breeders have become drawn-out nursery rhymes. However, Kelley does whatever she can to prove ihis isn't Breeders material, just short of calling the band "We're Not The Breeders." As well as ihe self- indulgent band title, the insert reads: "Kelley Deal appears courtesy of her own bad self." Reading the lyrics, you expect songs that are going to stay in your head, but the mild guitar jangles are pretty forgettable, except for track five, "A Hundred Tires," which is pretty good. Athena DUOTANG Smash The Ships and Raise the Beams (Mint) The first thing I thought when I heard this CD was, "Wow, this is great!" But the more I listen to it, the suppose that one can only hear so many "buhbuhbuh's and "ooh woo's in one sitting. It tends to drag on and the music becomes a little redundant, but there are definitely high points in songs like "Uniforms" ond "Blue Vinyl Chair." Duotang consists of two (very well dressed) guys — one sings, plays bass and keyboards, while the other plays drums. They could be compared to the Inbreds with a little bit of early Elvis Costello/Joe Jackson influence. If you like pop (and I certainly do), you've probably heard somelhing like this in medium-sized doses; it's not the best thing I've heard in the last little while, but it is fairly decent. Brie Grey-Noble ELEVATOR TO HELL Parts 1-3 (Sub Pop/Warner) Eric's Trip was a great band. Their music practicolfy defined greatness for a lot of us independent music lovers, with their honest and direct lyrics that expressed deep and often painful feelings. The band broke up because Rick White (apparently) didn't want it to continue, so each member proceeded to release albums under monikers like Broken Girl, Moonsocket, Purple Knight and White's Elevator to Hell. The first of these projects to release a fulMengther (lastyear, on 1 2" vinyl), Elevator to Hell is Rick White. Put together like the patchworks lhat typified ortwork associated with Eric's Trip, each song is its own story nestled among dozens of others. But each song is a clear and isolated moment in White's life, just like the cover of ihis eponymous debut. Twenty-six songs (ten more than on ihe vinyl version) wind their way through 65 minutes of time, and all the while you won't even remember lhat White was once part of some other band. Brian Wieser FETISCH PARK Trost Sporen/Binumb EP (Extreme) I'm always somewhat put off by any album described in its liner notes as "sound research," but nerves steeled by my journalistic integrity, I decided to give Trost, the new CD by Germany's Fetisch Park (Carta Subito and Marlon Shy), a fair listen. And this, it turns out, was for the most part worthwhile. Trost (composed ond performed by Carlo Subito) wos inspired by Marlon Shy's photographic portrait of the brothels of Bombay. The result is a collection of eight ambient works layering the sounds of urban India wilh studio-produced electronic hums and swooshes. It's fairly slow- moving; not very much is happening af any particular time. This is not to say that the pieces don't have any structure, but that these structures take the whole track to manifest themselves. The tracks reveal their inspiration either too subtly or in the most unsubtle fashion. In particular, "Part 6" could be the soundtrack to one of those pornographic movies so popdor wilh teenage boys (or emotiondly retarded grown men.) Overall, Trost never really succeeded in capturing my attention. It's a good album, but not a compelling one. On the olher hand, Fetisch Park's new three-song EP Sporen/ Binumb is more interesting. The two techno/ambient title tracks are rhythmically lively, weaving together a number of different sounds into two extremely energetic melanges. These two pieces stand in stark contrast wilh the languid, slow-paced tracks constituting Trost, "Part 8" of which is the third work on the EP. Sporen/Binumb is worth picking up if you enjoy frenetic, yet reasonably intelligent techno tunes, and the third trock gives you an opportunity to check out the al- Adam Monahan FIELD DAY Big Wheels (Cargo) There was a time when a "proi- rie punk phenomenon" took over, and bands from Winnipeg to Edmonton cruised the highways and bi-ways with a distinct sound and blew the doors off every music haH on ihe prairies. It never realfy had any recognition except for those who were in its wake. Bands like SNFU, Red Fisher, The Smalls and Ninth Configuration were prime examples, and some still ore today, which is where we stand with Field Day, a band who rose from the ashes of ihe now defunct Ninth Configuration. On their second fulHength CD, entitled Big Wheels, Calgary's Field Day head straight into a fast, driving selection of outtakes and previous compilation ond 7" releases and throw in a few new songs lo make it honest. I hate to dwell in the past again, but since I was a big fan of Ninth Configuration, a few songs on this album remind me of ihe sound of dd, especially "Walkaway," a song with guitar solos that transport you into weightlessness for awhile. If you like your skateboard with a fat nose, railguards and fat wheels, check out Field Day. THE GOLDEN PALOMINOS dead inside (Restless) The golden palominos as a band is a constantly changing entity revolving around the core member. New York avant-garde drummer, Anton Fier. Throughout the palominos' long career, Fier has produced many interesting albums, but the heavy-handed production of bassist Bill Laswell has ensured a certain distanced intellectualism lhat is seldom very captivating. On dead inside, by contrast, the music and words pierce your brain and grant no mercy until long after this hour of mesmerizing audio ends. Eschewing the myriod of collaborators of yesteryear, Fier generates and produces all the music here himself. Veering from ominous, narcoticized dub to distorted, feverish drum 'n' bass, the music acts in perfect counterpoint to vocolist/spoken-word artist Nicole Blackman. As the processed rhythms behind her swirl or suffocate, her voice remains dry, uneffected, and unaffected. She speaks of death, sex, and social decay; gradually she forces the day to day facade of unreality to crack and shatter. The chilling, yet intensely cathartic, dead inside may not be on easy listen, but lhat doesn't prevent it from being among the best albums of the year. Jovian Francey tiin the page for more revjews, \u puny weatyHn^ 27 E^£SK^B KATO HIDEKI Home and Despair (Extreme) Kato Hideki's new album, Hope ond Despair is a marvef- lous piece of work. It draws on the traditions of Western and Japanese classical music as well as on modern experimental jazz to produce a rich and atmospheric set of compositions. Joined by the likes of John Zorn and Zeena Parkins, these ten tracks composed by Hideki are sparse, but powerful, and stimulate a wide range of emotional responses. The album bears no small re- ' semblance to Brian Eno's Music for Films. The songs have an ambient feel to them, each building its own landscape out of sound, each creating a psycho- emotional context lhat does not so much tell a story as invoke an image. The titles of the pieces are evocative of portraiture: "Your Angry Face," "Watching the Sleeping Lover," and "Against ihe Sky." Even the more kinematic works feel constrained, like a buzzing fly trapped in amber. Some of the tracks ore downright spooky; I've listened to "Savage" a number of times, and its el- ephanl-call trombone and explosive harp still sends shivers down my spine. "Toleronce" is a quiet little lullaby, but feels ancient, and is disquieting. The hypnotic slide guitar of "Fatigue" is bolh familiar and extremely foreign. The performers do a bang-up job on this album. They include Kono Masahiko on trombone, Douglas Bowne on drums, Ogimi Gen ond Tanaka Michiake on percussion, and the always impressive Zeena Parkins on harp. Composer Koto Hideki, of Death Ambient, outdoes himself on bass and slide guitar and the eminentjohn Zorn lends his hand in composition and piano playing on "Double Dreom." Hope ond Despair is a magnificent album. It is sophisticated and intelligent without being overintelleclualised. It is compelling and modern but still musical. And it is a worthy addition to any avankjarde album collection. Adam Monahan UNT Cold Scene (Plumb) I hove to admit that it was for novelty purposes onfy lhal I chose to review this. Cold Scene features a bonus cut lhat you can actually play on your turntable! Place the adapter in the CD hde ond you can play song 12 on your turntable! A closer look reveals lhat a 5" clear flexi ocetate has been glued overtop the CD. An inventive idea just the same. The music? Noisy indie rock. Rev. Norman LOIS Snapshot Radio EP (K) Another strong woman from the West Coast proves that she is not limited to the genres of punk-rock or folk. Lois Maffeo offers up a five song EP with the smoothness ^A»S®»S__>er.-1996 of quiet jazz without the brass and the drive of riot grrrl rock without the vdume, all mixed together wilh harmonicas, organs, and xylophones. The result is a sophisticated synthesis of sound lhat holds your attention whilst you try and determine the lyrics. Snapshot Radio was recorded partly in Olympia at Moon Music, partly in Chicago at Idful Music, and partly in Brooklyn at Ihe Dean St. Basement, with a few different people on each track. I guess that's what Lois meant when she wrote: "I wanna go make music wilh friends who have been inspiring me." Athena MADBALL Demonstrating My Style (Roadrunner/Attic) Generating true-to-life feelings and visions about growing up in a cold, harsh environment, Madball describes a lifetime of trying to survive with drugs, poverty, and violence. From New York City's Lower East Side, this foursome brings us a slreetori- ented album which takes an innovative, unflinching look at the hardcore lifestyle on the streets. Demonstrating My Style is the product of hard work and determination, which has sculpted iheir independent signature aggressive mix of hardcore, metal, and punk. This album gives us 14 gritty, intense tracks fueled by raging guitars and powerful drums. These songs about growing up and independence set a. new standard for hardcore music. Tyson Sadler MAOW The Unforgiving Sounds of... (Mint) Maow, maow, maow, maow Maow, moow, maow, moow. They've had a lot of press because of Mint's hard work and because it is so nice to hear some good, fun rock V roll. They sound like they ore having fun playing and making albums, so you feel obligated to have fun listening. Nice. They play ihe blues for iheir Wanda Jackson cover "Mean Mean Man," country for "Very Missionary" and punk-rock for "J'ai Faim" and it all winds up sounding very Maow-rock, in a good kind of way. Ze Art, eet eez very fine. The band has never been called "cuddlecore," ond it is a fun-filled medley of tunes, so check it out. One question: what's with the cocaine lettering ond razor blade on the CD? Does lhat mean "punk," or what? MODEL ROCKETS Snatch it Back and Hold It (C/Z) Man, these guys are creating quite the stir around these here parts. This four-piece churns out short V snappy, tight'n' punchy, energy-driven pop songs sprinkled with lotsa harmonies and sassy lyrics ... kinda reminiscent of the late Bash and Pop, The Young Fresh Fellows and Cheap Trick. Yup, they seem to have everything going for them ... except one thing. Their songwriting just doesn't cut it. Yeah, I know. I can hear all you Model Rockets worshippers screaming at me. What do I know? Who do I think I om any way? Well, go write your own review. This one's mine. Fred derF NERDY GIRL Twist Her (Janken Pon) I was genuinely excited when I saw lhatMonlreal's Nerdy Girl had put together a CD. Nerdy Girl's 7" have always managed to bring about pleasurable experiences for me. Cecil Seaskull, the brains and brawn of ihis ever- changing quartet, has a feel for writing songs full of sincere emotion. You want to hear her over and over. Her honesty is often overpowering, ond her opinions and experiences are recognizable to many. How does she know so much about life? Being able to identify with the lyrics makes this very listenable. The tunes aren't too shabby either. The lo-fi spontaneity of Nerdy Girl's music enhances the full flavour of this CD experience. So what I'm basically trying to say is, "Gee, this is pretty nice." Julie Colero PATRICIA NOLAN Broken Windows (book) (Polestar) Reading Patricia Nolan's Broken Windows is like eavesdropping an all ihe people around you lhat have dressed up to go out to dinner at Denny's. You listen, absorbed in morbid fascination as ihey describe in casual, matter- of-fact tones ihe tales that have sent their lives careening into empty wheat fields ond snow banks from which they will never escape. In a style lhat can only be described as Canadian Golhic, Nolan's eye acts as a psychic MRI machine: making visible all the scars and fractures lhat are usually covered by the make-up of attempted normalcy. None of these stories will ever be a movie of the week; rather, ihey are ihe stories ihe handycam tells when it is left on and forgotten on the coffee table. Nolan tells these stories in an understated lyricism lhat imparts dignity to the pathos of her characters' lives. If you ever wonder what the marginally overweight guy with mustard on his tie sitting next to you on the rush hour bus is going home to, then this book is for you. If you're impatient to get home becouse you taped Geraldo, then pass. Lloyd THE NOMADS The Cold Hard Fact of Life (Lance Rock) THE STAND GT Apocalypse Cowl (Lance Rock) Two new releases have graced our presence courtesy of our hip neighbour on the island. Lance Rock, and ihe first is an eight-song disc of Canadian garage-punk gems from Stockhdm, Sweden's Now, my Nomads' hihniss ratio has always hovered around the 50/50 mark since ihey began to churn out their raucous rock some seven or eight years ago and this new outing doesn't quite push the right buttons. Nonetheless, it still makes a name for itself. They can really belt if out when they need to, as in ihe opening screamer, "Hard To Cry," ond the Teenage Head cover, "Picture My Face." But the more melodic numbers like the Ugh/ Duckling's "Nothing" and The Jury's "Who Dot?" lost a bit of iheir charm amidst the racket of the trademark Nomads' guitar attack. Still, Viking hats off to those super Swedes paying homage to some truly classic Canadian punk! Apocalypse Cowl is the farm- fresh follow-up to the Stand GT's last album, they're magically delicious and continues the snap- crackle-pop! formula of this Glengarry, Ontario foursome. There's even more punch to ihe overall sound lhan their last— the songs are tighter, the vocals are more even in the mix and the flow of Ihe tunes is smoother ihen the St. Lawrence Seaway. Barn-burners like "Six Million Dollar Something" and "Away From Your Sway," ihe Bum-like harmonies of "Keep Your Engine Clean" and the clever mellow inrro to the choppy guitar strut of "The Soldier Gun Rescue" moke for another winner from those breadwinners, the Stand GT. Bryce Dunn OMM. Grounded to the Inner Circuit (WordSound) Brooklyn labd WordSound continues their tradition of high quality, if occasionally overripe, dub on the new album from O.HJv*. O.H.M. only consists of one man, K. Bennu, and he does have a grasp on the essential elements of electro-dub soundscapes. The languid beats and pulsing low- end are all in evidence throughout. Where the album excels, ihough, is in what goes on top of the occasionally repetitive base elements. Haunting, moody synth sounds, pianos and other atmospherics generate a certain depth of sonic intrigue that is hord to resist. Not to be too glowing, Bennu, upon occasion, forgets to turn on his cheese filter. The results, including sampled "Rastaman'-type vocals and too familiar rhythms would be cringe- inducing if there wasn't enough substance elsewhere to balance them out. The cyber-esque title is also a bit worrisome, ihough the music has enough humanity to set your mind at rest. Jovian Froncey ELUS PAUL A Carnival of Voices (Philo) Boston troubadour Ellis Paul is one fine secret. Following in the footsteps of Bill Morrissey, John Prine and Richard Buckner, Paul — like other fine storytellers — immerses ihe listener in his cinematic voyages. Following 1994's Stories album, Ellis Paul crafts vignettes of common folk wilh common themes. Supported by a strong cast, including Tony Levin, Duke Levine (Mary Chapin Carpenter), Jennifer Kimball (ex-The Story), and Jerry Marotta, Paul's New England soft twang paints landscapes wilh nuance and exquisite detail. On "Paris in a Day," Paul's descriptive eye spies Iwo naive American tourists drunkenfy stumbling through ihe streets. He's able to capture the essence of the city with an American slant: "We were at the mercy of a passionate waiter/Who pulled the corks af Ihe Osterasis Cafe/He kept dered/Then he blamed us for the weather/It was cold ond rainy/ But we raised a glass up to him anyway." A mainstay on the Boston coffeehouse circuit, Ellis Paul dishes up a clear-eyed slice of life on A Carnival of Voices. This should be on every fdkie's shelf. Pieter Hofmann REGURGITATOR Tu-Plang (eastwest/Warner) To listen to this record is to know unconditional love of unprecedented magnitude for a cdlec- tion of 14 songs. Regurgitator, three boys from sunny Brisbane (currently the Seattle of Australia), chose their bond name as a commentary on the state of contemporary music, indie and otherwise. Tuflang (the Thai word for jukebox) is the embodiment of their philosophy. Each of the 11 lyricised ond three instrumental Iracks differs so radically in style and content from ihe others lhat ihis is almost like a compilation record — which was probably the Gurge's intention. From the opening track, the infectious and eerily familiar- sounding pop song "I Sucked a Lot of Cock to Get Where I Am" ('I onfy wanna be the best that I can,' rhymes lead singer/guitarist Quan Yeomans) to the thrashy "Kong Foo Sing" (about fortune cookies), the funk-driven political tirade "G7 Prick Electro Boogie" and the hip-hop parody "Pop Porn" ('I'm a sexist motherfucker on the microphone, with my "ah yo, suck my dick ho' drone" ... Take your macho shit ond please be leaving by the door.'), the loungey "Couldn't Do It" and the synth-driven "Music is Sport," the Gurge presents us with songs which simultaneously exemplify modern musicol genres ond call their validity into question. Yet, in doing this, the Gurge has actually affirmed these genres as valid vehicles for self-expression, because lhat's how they've used ihem. I was stunned by the brilliance of this album the very first time I listened to it, not onfy because Regurgitator provides somelhing for everyone, but also because of the fact that they manage to subvert what ihey purport to up- hdd, and uphdd ihe subjects of their subversion. In the middle of this, ihey insert acute social commentary and create an album lhat is accessible to just about any one. Greatest band in the world? No argument here. Sophie Hamley THE REVEREND HORTON HEAT Ifs Martini Time (Interscope/MCA) Fuck the crantini, ihis is one cocktail lhat is definitely shaken, not stirred! KPen SLOW GHERKIN Double Happiness (Raj) The first time I heard Slow Gherkin was live at the Anza Club where there played with Punch the Clown and the Skavengers I heard only about half of their set, because unfortunately, I had an over-enforced curfew ... But for the short time I heard ihem, their intensity filled the small dub; If you could ever "see the music," this would be the lime. Slow Gherkin is one of the most energized ska bands and, in my opinion, the most energized lot on the legendary Moonska record label. Their album Double Happiness will tempt you to move your feet with its big sound. The powerful horn lines seem to last forever (if only they did!). This nine-piece band has a foursome of brass lhat don't just spurt out their noise with the rocksteady beat; ihey rdl throughout the songs, creating high-powered dance tunes. "Zen and Soccer* is a great example of this; so is "Salsa III," a Spanish groove that's worthy of my rude boy trophy! Slow Gherkin is meant to be heard live where you get he red atmosphere. Next time they come I recommend you put on your boots for a night on he town. You have to experience this one for yourself, ska-whores! Get out here, wear your checkers proud, ond skank down the street on a mission ... to track down Double Happiness by Slow Gherkin. JrAuSdOyN THE TEAR GARDEN To Be An Angel Blind, The Crippled Soul Divide (Nettwerk) Four parts psychedelia, two parts ambient, and an equal port haunting acoustic stuff. Blend wdl wilh a liberal helping of spacey sounds and eerie idiot savant vocals, insert into stereo, and bake until done. Voila! A beautiful Tear Garden experience. As you press play, prepare to board a silicone-powered pleasure croft designed to lake you aslral-tripping through the shadowy dimensions and iridescent star systems where one may glimpse wonders, aliens and angels in deep discourse ... all within your own skull. If a method of recording dreams ond nightmares is ever developed, the results might sound somelhing like ihis album. If you're old enough to remember having a Dark Side of the Moon epiphany, then ihis is Ihe '90s version. Until Dwayne Goettel's untimely demise, the Tear Garden was essentially a Legendary Pink Dots and Skinny Puppy cdlaboralive side project, led by Edward Ka-Spel and Cevin Key (AKA Kevin Crompton) respectively. I suppose hat now ifs a Pink Dots and Download collaboration, as Mark Spybey is involved. Also on board is guest star Tom Anselmi (Slow, Copyright — AKA Circle C, Cockrings). The credits also give a nod to De Green Guy, probably the European cousin of Skinny Puppy's old friend Green Guy. To fully appreciate every nuance, you really ought to have him along. I could have described every track in loving detail ... but never mind that — just get the damn album, it's a thing of ominous beauty. COBALT ZEKE Wat Tracker (scoochpooch) Zeke take lhaf one song they know and do so very well and modify it 15 different ways to make up their second full-length (does 17 minutes, 57 seconds make up a full length?) CD release Flat Tracker. This is even more hi-octane, supercharged rock, paying special homage to the likes of Evel Knievel, Gtacomo Agostini, Eddie Hill and Kenny Roberts. The cover looks great on the vinyl edition! Rev. Norman VARIOUS ARTISTS Fresh Jazz Vibes Vol. 2 (Mo' Funk) What is jazz? What is funk? Modern music is mixing up all the genres so we don't know what to call things anymore. But I think it's dear what this disc is trying to do: get funky. There are slow tunes; there ore fast tunes. There ore vocal songs; there are instrumental jams. But there is one fairly constant parameter heavy bass, cool groove and a fairly steady supply of horns. This compilation encompasses various different styles of what might be termed the FUNK. From classic R&B-type tunes (Blaxam's "Tidy Up") which might be heard on MuchMusic, to modern Big Band instrumental, funk jams (One Step Be- yond's "Virtual Reality"), to slightly offbeat, acid jazz stuff wilh on unfortunate rap section (Deborah Grey's "SHll Got a Thing"), to Bass is Base sound-a- likes (Coco Love Alcorn's "New Wodd Up"). So if you don't know exactly what you're looking for, but you want to sample various different interpretations of Ihe FUNK, this disc is for you. Silverman VARIOUS ARTISTS Frosty (Waveform) For this tasty sampler, all Iracks were originally taken from the UK's 2Kod label and brought to our domestic shores courtesy of those groove-hunting folks ot Waveform. These are some chilledout downbeats for some low-tempo relaxin'. The first main influence throughout these ten tracks is hip-hop. However, there's no mad flowin' rhymes to go with these beats. These tracks are mostly instrumental wih a few samples thrown in for good measure. There are also some cuts wilh smooth-ass jazz vocals like Mr. Electric Triangles s "Falling." Jazz is the second big influence on this album. A Man Called Adam's live version of "So You Say" is a standout. In fact, I'm pretty sure it has live jazz musicians playing on it. Then there's The Egg's "Fuzz," wilh its super laid-back bassline — the opening cut — which really sets the perfect tone for the whde album. Other artists indude Jaziac Sunflowers, Howie B, Hunch, James Bong, The Eff Word and others. If you dig Nightmares on Wax or many of the Coldcut projects, this will probably be your style. Brian Wright VARIOUS AUTHORS (ed. Ludd/Wheeler & Jones) Good to Go: Short Stories West Coast Style (book) (Zero Hour) Reading Good to Go is like going to the graduation screenings at your local film schod. Actually, correct that: ihis is not your local film schod, this is definitely a film schod in Seattle. The themes, of course, are very generation "eat me!" (sex, delusion, alienation, etc.) The stories range in quality and style from handy-cam one- offs to 35mm surround sound features. There is enough erotica, drugs and violence to titillate even the most TV-shocked sensibilities. Tarantino-esque aspects aside, many of the stories echo a solemn profundity that settles and lingers like fragrant pipe smoke or a cold sweat (depending on your angle of entry). Standouts include Deidre Sulka's beautifully creepy "egg" and Rebecca Brown's refreshingly non-sentimental "The Gift of Sweat" (an intimate account of a friend caring for an AIDS patient). These two alone are worth ihe price of admission and if you are specifically into erotica and/or the SeaNle scene this book is a must. Lloyd VARIOUS ARTISTS Hopelessly Devoted to You (Hopeless) Low price. Lots of songs. Cool Grease cover song. Only one or two Iracks youll skip over. Unleash your wallet, you cheap bastard. Dove Tolnai VARIOUS ARTISTS: Sven Vath and Moby MLxMag Uvel (MixMagl) The sleeve of this compilation is far superior to most— especially dance CDs — wilh its inclusion of artist bios, which is a big plus for me as I like to read about the artists. Anyone not familiar wilh the music and DJ prowess of Sven Vath should buy this to get a small taste of his style. Sven Vath takes the opportunity to showcase his own label's (Eye- Q, Harthouse) material, includ ing his own hardhitting An Accident in Paradise and Vernon's Wonderland, which has just been re-released as an Eye-Q dassic. Unfortunately, Moby chose a very cheezy house style set wilh the usual vocals and endless piano which left me wanting. Fortunately, he included his anthem "Go" — which I still enjoy — and "Next is the E." His mixes don't come anywhere near to those done by Sven Vath, but if house music is for you, you will enjoy Moby's nine song effort, which sheds light on his enigmatic nature. MPalh VARIOUS ARTISTS More of Our Stupid Noise (Squirtgun) Like Degrassi Junior High, More of Our Stupid Noise features a fine array of Canadian talent. Bands on the album are ihe fast rising Treble Charger, Scratching Post, Versus, Hayden, and — everybody's favourite — Eric's Trip. The pilation is dominated by Ontario bands, but local Squirtgun stars, Speedbuggy, hove offered up "Bionica," a slow, layered, ambient rock song. The twenty-two track album also dips into other genres like Hip Club Groove's rap and the novelty melodies of Moonsocket. This is a worthwhile collection of Greats from ihe Canadian indie scene. Athena VARIOUS ARTISTS Shots In The Dark (Del-Fi) You may not hear the snap, crackle or pop (after all, ihis is ihe age of laser and digital), but thirty years on it's still cool to get those shakers shaking while wearing the ugliest Hawaiian shirt available. Shots In The Dark provides the ideal backdrop for your very own Tiki Club party. From the vaults of Henry Mancini, a gaggle of hep-cots pay tribute to a bygone era while dishing up enough smooth sounds to make the belly swell. The ice Starrs tinkling right from the opening cut with the suave sounds of ihe Boardwalkers' cover of "Banzoi Pipeline." Ultra- cool instrumental sway the palm ferns as the Mancini magic flows sweet and neat. All the hits are here, including "The Pink Panther Theme" by the Oranj Symphonette and Poison Ivy's (Cramps) version of "Peter Gunn." Producer Bob Keane balances ihe Mancini tribute wilh a wide variety of artists: twenty songs, twenty bands. Shots In The Dark takes off like a jumbo-jet of hipdom and plies the surf, rock and cocktail trade while demonstrating the pop sensibilities of the resourceful hi-fi king. Even The Wondermints' remake of "The Parly," wilh its psychedelic Zappa references, keep the intoxicating potables flowing like a soda fountain at the local drugstore. Maybe mom and pop weren't that square after all. We just never bothered to listen. Pieter Hofmann LIVE BANDS EVERY THURSDAY NIGHT! ^Uct^ixJUa^d. at the. Ji ] HALLOWEEN PARTY! WITH GREENROOM ANO COSTUME CONTEST, PRIZES, & DRINK SPECIALS TIX: $5 FOOTBALL NIGHT CHEAP WINGS & CHEAP DRINKS BANDS START @ 9:30 THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BL\TD. * 604-822-6511 cnnvERSE cnncERTs PRESENTS Saturday Nov. 9 The Starfish Room Thursday November 7 The Town Pump Doors 9:00 pm Show. 10:30 p.m. 4atador/Capltol Recording Artists ^^ nataaor*capttoi Recording Art iytt> yHartims 32 novexnber 1996 Day, Sister Psychic was certainly a surprise for one who was expecting that typical opening band; you know, ihe kind who shouldn't be playing basement parties, never mind live, paying venues. My enthusiasm was shortlived, however, for Maow — the second band of the evening — proved to be of this unpleasant variety. If vocal melodies that follow chord progressions are your thing, then you'll want to be seeing this oct sometime soon. The same holds Irue if you've always wanted to see the Misfits wilh a female singer, or if you enjoy hearing the same song played 31 different ways. At least ihe songs were short (but not short enough). Pansy Division saved us from this verbal insult wilh catchy tunes and heartfelt gay pride. Listen for "Horny in ihe Morning," give yourself to "James Bondage," and fall in love all over again to "The Summer You Let Your Hair Grow Out." Imagine some love, stage ambience, and a slight haunting sense of The Forgotten Rebels in the air, and you have the Pansy Division gig. They may never play for the Queen, but the bass player will remain a princess in my heart. J. Bilan YOU AM I POWDERFINGER FUR Saturday, September 28 The Metro Sydney, NSW, Australia This eagerly awaited all-ages show by three of Australia's top live acts pole-vaulted over all expectations and provided just over three hours' worlh of ecstatic, elevating music. Brisbane kids Fur opened to an already full house which cheered just about every note of their blasting, raucous noise artistry. Lead warbler Kim couldn't sing in tune if you paid her but this only adds to the sweet tension existing in the music of this trio. Fellow Brisbonites Powderfinger have built iheir popularity on their amoz- powerful perform- Powderfinger, wilh delighted kids swirling in time to latest singles "Pick You Up" and "DAF," as well as stuff from their new album Double Allergic. Singer Bernard Fanning has a voice that is truly an instrument in and of itself, an all- encompassing, emotional tool that coaxes and cajoles a response from even the most jdded indie-rock aficionados. Lollapalooza heroes You Am I blasted into their set with "Moon Shines On Trubble* from their latest album, Hourly, Daily, and met one of the happiest crowds one can imagine. The venue was suffused wilh the incredible energy that comes from having a room full of kids who are just thrilled to be there and to whom every song played is a rapturous fulfilment of breathless anticipation. The Yous are ihe best advertisement for constant touring — they are tight, they are good, and Tim Rogers, Australia's only equivalent to the Super Friendz' Malt Murphy, makes his guitar sound like it has 1 8 strings. He is a showman, a troubadour and a rock god, leading his now four-member band through songs from all three albums and enjoying it oil. It was the sort of show lhat mode you want to rush home and listen to oil the You Am I albums again ... until you remember that ihey're so damn good lhat you never stopped listening to them in the first place. Sophie Hamley FACE TO FACE SNFU BOUNCING SOULS AUTOMATIC 7 Monday, September 30 SUB Ballroom Automatic 7 kicked off their night on a fairly good note. The sound was horrible and their music was generic, but "hey were decent for on opening act. It seemed like they were in some kind of race to finish off iheir set ihough. Maybe Ihe 15 year old bod- ass boys' dog cdlars scared them? Of all Ihe bands lhat played, I was most interested in seeing ihe Bouncing Souls. Unfortunately, the sound was still kind of shitty and you couldn't understand a word out of the singer and the guitar sounded like a crapped together mess. They were really energetic though and that almost made up for the poor sound. SNFU come out to a frisky crowd. They played amazingly well, sounded awesome and had everybody wound right up. Surprisingly there was hardly any crowd-spitting or head-kicking antics coming from the boys on stage. Amazing. Then the power went out. Everybody figured it wos some kind of fiveHitinute delay and continued to hang around the stage. After about half and hour, people had moved to the back and were sitting around bitching. After about an hour, people were still bitching and a few people started leaving. Finally, after an hour and a half of waiting in ihe semidarkness, the hometown heroes started playing once again. I figured everyone would have mellowed out after sitting around on their asses. No way. SNFU played even better than before ihe break and everybody got totally into it right away. I also noticed lhat Chi Pig was hacking lugies and former blowing like he was on some kind of mission. Scrumptious. Finally, Face to Face look the stage. I never realized ihey had such a big following. Everybody was into it. Everybody. By their second song the pit was huge, and it didn't die down for Ihe rest of the show. The new stuff sounds pretty cool. As an added bonus, they almost managed to incite a revdt against the security after one unlucky bastard got up on stage and then got tossed phots by out. They stopped playing ond then proceeded to mock the bouncers — I was impressed. Dave Tolnai SPIDERBAIT FON FON Thursday, October 3 Mighty Niagara Vancouver's Fon Fon play good, clean pop punk tinted by a dose of New Wave — like Elastica without the hand-claps. Playing strings of songs pausele^sly is always a bonus, because it can't happen on radio and rarely does on CDs. The lead singer did stop to introduce "Beauty Queen" with o rant against the destructive female stereotyping in magazines like Cosmo. A worthy message, though a bit ironic from a platinum Pamela-blonde in a red, glittery Fran-Drescher-af-the- Oscars outfit. Fon Fon are worlh seeing and as yet unsigned. Let's hope the speedball "Can't stand you" which ended the show is included in iheir plans for a 7" release. Spiderbait opened wilh "Run," a song from the dd British TV comedy series The Good ies. It's never been released in Canada (and probably never will) but the crowd wos not treating it as a warm-up. Spiderbait are an unusual band. Unlike most three-pieces, the lead guitarist (Whitt) is the only member who does not sing. They play a hard, fast, curious blend of hard rock and funk — wilh the emphasis on fast. As Kram, the drummer with rubber wrists, quipped, "Silverchair would love to play as fast as we do," which is a fitting sentiment to launch into "Yeah O Yeah," the fastest of them all. The excitement d a Spiderbait show con be gauged by the length of the all-in scream at ihe end of "I gotta know." So a spirited yell proved lhat the band had already recovered from jet-lag. Their first two EPs were rawer, meaner and less varied lhan the new album. But they've started reworking their earlier stuff live, making it catch up to their current patchwork style. "Scenester," another ddie, was slowed down to cocktail party pace — maybe a hint of future direction. Some new songs were unveiled live for the first lime. The catchier tunes and sweeter vocals forced Janet to look like singing actually requires effort, or maybe she was just trying to remember Time didn't allow for encores. Nobody was going to argue wilh Kram after he'd just sung and bashed away a tough as ever version of 'Sam Gribbles.' And besides, short, fast and unfinished ore the ingredients that make the 'Bait simply, and dependably, brilliant. Jonny Pearlman MEAT BEAT MANIFESTO DJ SPOOKY LOOP GURU ELECTRIC SKYCHURCH Thursday, October 3 Starfish Room I arrived to a crowded Starfish Room just as California trio Electric Skychurch began their set, around 9:30. One guy drumming on digital touch pads, one on synlh, ond one soaring, ethereal vocalist. They seemed to be working a bit of a New Age angle. Technc-tnya. Aptly named for what they do and pleasant listening music, but I didn't find ihem very motivating. In all fairness, I was edgy wilh anticipation for ihe main performers. Allhough deferring headline status ta veterans Meat Beat Manifesto, fellow Brits Loop Guru proved themselves capable of generating a higher level of energy and excitement. Electro- tribal dervishes, they always seemed one step from full-on Krishna Godhead. Itwas incredibly refreshing ta find an "electronic" band wilh so much dynamic stage presence. They virtually exploded in a whirl of kinetic euphoria, eastern ethnic samples, real singing, and synthetic grooves; globally diverse elements colliding and meshing into a kaleidoscopic melange for the millennium. Next up was the renowned DJ Spooky. Perhaps because he didn't command the attention of the crowd wilh his presence the way Loop Guru did, he seemed very low-key ond unassuming, downturned face nearly invisible in a mop of dreads. Hell, he's a DJ; and DJs are about producing, sounds, not visuals. Watching a DJ is really interesting only when one can directly observe their technique from close quarters. However, he did his thing wilh virtuosity, ihe turntable an extension of his hand and brain. Many people used his set os an opportunity to groove, mingle and socialize. The abstract aural backdrop provided by Spooky created an excellent prelude to the somewhat more aggressive vibes of MBM. The first volley launched from the Meat Beat Manifesto arsenal were Irippy tracks from iieir most recent creation, Subliminal Sand wich. Allhough I feel lhat iheir real strength lies in "he studio, ihe Meat Beat boys still put on a kicking live show, with frontman Jack Danger juggling singing and various occult technical manipulations. The synlh player was positioned at the back of ihe stage on a dais framed by computer- generated flames and palterns, and the drummer was up-front, perhaps to counterbalance ihe overwhelming presence of digital gear on stage. In an unusual move, DJ Spooky again hit the decks far ihe pleasure of all who would linger, steadfast in his spinning until shortly after the lights came on, near 2am. Somelhing new, to inspire/some thing Jbiown, familiar fire/ what more could on electron ica/ aficionado desire? Cobalt FORBIDDEN DIMENSION DARKEST OF THE HILLSIDE THICKETS MILLION YEAR PICNIC Friday, October 4 Starfish Room Upon finding out lhat Calgary's "barons of beer barrel beat," The Von Zippers, would not be playing, (because would you drive 12 hours to be paid $ 100? — I didn't think so...), I left the Storfish to recuperate from my slate of dismay, thus missing Million Year Picnic. Reluming a short time later, I saw Darkest of Ihe Hillside Thickets playing to a pocked house of 50 (?) people, 30 of ihem seeming to be friends ofthe band. Now, normolry I find when bands play in some kind of costume/uniform I would like for iheir music to be just as in- spiring as said costumes, but for these guys, I felt unamused by both. OK, two of them were dressed as comic supervillians, but what the heck was the singer supposed to be? Oh well maybe I just didn't get it. Fortunately for Calgary's Forbidden Dimension, their ghoulish make-up and signpost matched their equally creepy, garage rock (emphasis on rock) songs. Unfortunately, the crowd had now been reduced to 20, but the trio still managed to rock out, playing songs from their photo /£**/ two CDs and handful of singles, including "13 Bloody Graves," "Graveyard Line," "My Two Lovin' Hands" (which coinciden- tally has the lyric, 'If you're diggin' my grave ...' Are you noticing a theme here?) And the closing un-gravelike number, a cover of Blue Oyster Cult's "Stairway to the Starz." After saying my goodbyes to the ghastly guys, I descended the stairway of the Slarfish, wondering why there wasn't more people in attendance. I guess songs about graves aren't for everybody. Bryce Dunn AFI D.B.S. STICKSHIFT RESERVE 34 THE DROP-OUTS Saturday, October 5 Seylynn Hall What a trip it is venturing into the subculture of North Vancouver punk rock. It's becoming a weekly event: alktges gigs at the Seylynn Hall available to all by the magical Lynn Valley-bound public transit. The hall has a dedicated audience of teens and pre—teens who have to be home before dark. This gig was promoted rigorously, and ihe attendance was near capacity. AFI has gained Vancouver fans over the last year and a half, having performed previously with Rancid, The Swingin' Utters, and local Lynn Valley punk rawkers d.b.s. Onto ihe concert details: we have to admit lhat we suffered through the Drop-Outs. After listening to a song whose only intelligible (and fervently repeated) lyric wos "I took speed last night!" we had to stifle a severe bout of the giggles. Reserve 34 was minutely better. It was almost unreal the amount of people they managed to cram onto the stage to sing back-up for them. It must have been some sort of ritualistic com petition for Seylynn Hall; Stickshlft also filled the tiny stage with silly, screaming teeny-boys. We enjoyed all of this rather reslrain- edly. The crowd grew silent for the next band. Someone on the back yelled, "d.b.s. sucks!" which was followed by a few cheers trudging on through boos and a water attack from someone in the front, d.b.s. worked the crowd and managed to show that they deserve the fans they've got, but their music sounded the same to us now as it did two years ago, so we couldn't say we were really into it. After DBS came what we had been desperately waiting for: AFI. Finally, after spending the night FEELING a headache growing, we were served up with a painkiller of ihe sweetest sort. Lead singer Davey Havoc has an amazing stage presence lhat enthrals. The music was exactly what everyone wanted to hear: a mix of old and new material performed at a frenzied pace. The crowd was into AFI 100% and AFI was equally into the crowd, feeding off of our energy. AFI ended their set much too soon for our liking, but it was in accordance wilh Seylynn Hall's midnight curfew. It hod been a memorable performance. Julie and Jason SLOAN THEINBREDS Friday, October 11 The Rage The Rage has potential to replace the Commodore as a venue. Its original '80s motif and relative lack of atmosphere belie the fact that The Rage can be a very good place to watch live music (wilh at least as many good stage views as the old Commodore could ever hove offered). Maybe the only thing wrong is lhat this place is first ond foremost a top 40 bar now. Because of lhat, we had a show lhat began at 8pm 7^ JyttreAs (so as to end early and make way for a Friday night dance crowd) and was licensed, which prevented many of Sloan's most diehard fans from attending! As the crowd filtered in, Halifax-via-Kingston's The Inbreds started their set with one of a dozen-or-so songs from their new Sydney or ihe Bush CD. Live, the band has become a three-piece, and this added depth to a sound lhat was already surprisingly full as o bass and drums duo. Now wilh a second bassist (sometimes guitarist) adding vocol harmonies, ihe band played a 45 minute set of charming to-the-point pop songs to a crowd that was eagerly receptive. 'Round about 9pm, Canada's own fab four graced the stage wilh iheir presence to a spirited, anticipating ovation. Playing their pop gems in the same arrangement as on their record (except for a dramatically altered and improved "Before I Do"), but wilh that extra spunk of live band energy, Sloan sounded every bit as good as you would want. Energy enthused and loose, the show was further improved by their own sound and lights. I had heard negative comments about the Rage's acoustics, but I was impressed by the clarity of fhe band's system, and more so, the curtains on stage were reminiscent of Sloan's "Coax Me" video. I kept expecting them to bow at the end of each song. Everything went really well until after some instrument switching near the end, ond after lhat, things fell apart somewhat. As part of the encore, guitarist Patrick Penlland proved that he shouldn't give up playing the guitar for drums when he and Chris Murphy were attempting "Deeper Than Beauty." Penlland didn't quite work out behind the kit, but he more lhan made up for il by singing songs from the new One Chord to Another, "Good in Everyone" and "Everything You've Done Wrong" (complete wilh Zumpano-esque ba- bo-ba-ba's, sung in place of the recording's trumpets). It was a good thing this show wos early enough that most of the attendees were for from drunk ond perhaps better able to provide the crowd energy thot can make so many shows much more memorable. Wilh all of lhat energy, this show was so good lhat I'm sure those in attendance will forgive Sloan for omitting almost every song from their debut Smeared, if their next gig is all ages, there won't be anyone to begrudge ihem. Brian Wieser SATURNHEAD SUNNYSIDE DOWN CHIENS D'AMOUR Tuesday, September 17 Railway Club Chiens D'Amour, the first-band on ihe roster;;: were led by a passionate fron-tman who guided the* audience and his bandmales through the dark Convulsions of the uncertainty of his soul — pretty heavy for a Tuesday night in the peppy Railway Club! One of the songs reminded me of Pink Floyd: soul searching, mumbly words running through songs of epic length, characterized by atmospheric pauses and changes of rhythm, kind of Big Mood Rock. This same song ended with an all-out rawk-out in which each player screeched emphatic endings, prolonging the finish for a mile too long. This kind of self-indulgent, emotional exploration probably appeals to those less cynical folk who still hold the symphonic '70s style rock dear, but I was fascinated. Their set concluded wilh a lighter, more upbeat creation, however, which demonstrated flexibility. I must add that the combined sound of ihe guitar and basspjayed by these guys created a deliciously textured ioUnd, which goes as nicely as cucumbers (With mayonnaise. When Sunnyside Down got to the stage ! thought, my god! They're prdbably no! even grad uated ond they're already:super pop godsl Girl*. were groovin' — they drew a big crowd. The first song was punchy, perfectly constructed for big- label enjoyment. (This is not always a bad thing!) It was only predictable enough to enjoy, having an idea of where this ride was going lo take you, the res! was Innovative. The only drawback was laughable Iyricis;repeated without discretion — laughable because the music implied they meant business, had a dfiving edge to it, but the words ; were lightweight. ("I om never gonna leave you.") They played hq|d, though, and for myself, a whole set of ihrwtening bass one! firework drumming grew tiresome. But if you like pop songs which don't relax;, pick out SD, they're quite accomplished. Saturnhead most likely won because of iheir flexible pace and pleasant stage presence. Even ihough we were tdd it was their first time playing, SatOrnhead seemed to be Masters of the Audience, doling out plenty of flattering grins and goofy remarks. These guys played poppy songs too, wilh a lockadaisical suburban attitude. My favourite tune was ihe last, which featured harmonizing vocals of Mr I Wear the Pants in This Bond, his second mate and the drummer who got out from under his kit to slowly chant (shakily but bravely) the greatest line: "The wine has turned into a potion of disease." Bravo Saturnhead! To ihese, a pair of drum slicks (to the band which used the drum machine!) Despite placements, I would recommend checking out al) of these bands' output, since they were all likeable and competent ployers! Sarah Stacy BACKROOM SHAG THE FLOOR BLISTERINE Tuesday, October 1 Railway Club Wow! A fair sized crowd showed up on this Vancouver Tuesday evening to catch some fine talent. The rather unfortunate thing that happens sometimes at Shindig is that some bands with little experience get lumped into a night with bands that have been hitting the circuit for months, if not years. Such was the case with Backroom Shag, a very young band from Tsawwassen, who probably were not even old enough to be in a bar. Their music was that of teenager pop rawk. Plenty of riffs and shrills. There were a few times when nervousness took over, a few beats may have been off cue, but stuff like that only added to the honesty and down to earth feeling they presented. They giggled and nervously tried to interact with the audience. Too cute! They were no slouches, and they probably played one of their best shows ever. However, a few more years of playing together and this trio will go far. Second on the evening roster was The Floor, a group of four guys who were just too damn cool. They reminded me of Brit-Pop, in a sense of the sound, ihe riffs and the stage presence. Nowadays we are reminded by mega-pop s lhat those who are onstage are superior to those in the audience. I must admit, aside from that, they worked well as a unit, and they did have a good flawless sound. The only thing I would like to add is that a simple hello or a thank-you would have broken the barrier between band and audience; instead, many people headed for the back of the bar, or worse — went home. Lastly, we came across Blisterine. The moment ||ey took the stage to set up their gear, they in a welcomed sigh of relief into the room; a trio who was there for the fun of it, to entertain and to come across as good sports. Sure, their music would fit in perfectly ot a cdlege beer garden; it hpd classic tongue-in-cheek humour, was upbeat and you could jump up and down to it. "They made me laugh many times, and one could iell that theseguys had been playing together for a long time. Great percussion, plenty of hooks and ; strong vocals Heck, i enjoyed them, and they would do well on the spinlist of a iocal rock rodio station. I, like others, ate it up*but don't roll out the red carpet just yet... When oil wos soidSand done, the mighty beer computer tallied up the votes, and The Floor took top honours and advanced to the next round. Even ihough they may be as exciting as watching paint dry, they do hove all the classic substance to lake -this one all the way. Bring a book to read. They would like it lhat way. Heywood U. Hittmee MCA CONCERTS CANADA fc/-*? I ___ ___■*. 8 2t _■_ I )cal/ie/'(i/o/ii).soh .ests Speech 54«40 Friday Friday Nov. 8 Nov 22 Early Show 8pm Sharp! N- ^ v ▼ • ^ ^ Th__> Dnd_> L*ve at General Motors Place I lIC tlGCvC Tickets also at Track mmw Friday Nov. 8 ££ Starfish Room The Smashing Pumpkins Live at General Motors Place SPECIALS! TICKETS AVAILABLE AT ALL TICKETMASTER OUTLETS, OR CHARGE BY PHONE 2$0-4444 A ; YO! CHECK OUT SHINDIG, ONGOING EVERY TUESDAY NIGHT AT THE RAILWAY CLUB. 34 november 1996 MCA CONCERTS CANADA ■■_ PHISH Saturday Nov. 23 Pacific Coliseum Concert Bowl Doors • 6:30 p.m. • Showtime ■ 7:30 pm Parking lot opens at 4:00 p.m. Tickets subject to Ticketmaster service charge. Phone orders subject to additional handling fee. For information call 280-4444 or 253-2311 Tickets available at all TICKETMASTER outlets and Track Records or Charge By Phone 280-4444 ^ The new PHISH album %/Vty firea-7%es in stores now. 11 *\ SOUNDGARDEN ii iii. with guests Rocket From The Crypt &Pond Saturday December* 7 P.N.E. Forum 'ON SALE SATURDAY NOV. 2! REAL ROCK TICKETS AVAILABLE AT ALL TICKETMASTER OUTLETS, OR CHARGE BY PHONE 280-4444 DO IT FOR CHARITY! Don't miss B R EA S TFES T November 21 at the Rage. Admission with a $9.93 donation! no7emberf96 LONG VINYL nove_.er'q6 SHORT VINYL i the fiends the fiends dionysus i hanson brothers the hockey song essential noise 2 cub box of hair mint 2 starlight conspiracy big beautiful... catapult 3 various artists jabberjaw... mammoth 3 white trash debutantes my guy's... two-o-six 4 good riddance a comprehensive fat * secret agent no winners... mum 'n' dad 5 snfu fyulaba epitaph 5 silver scooter biting my nails peek a boo 6 wandering lucy leap year k 6 full boney sitting stance allied 7 yo la tengo genius + love matador "> magnapop fire all... usasisel/dummy 8 duotang smash the ships... mint 8 songs: ohia one pronunciation- secretly Canadian o jughead's revenge image is everything nitro o drake tungsten six pence... peek a boo io various artists yo yo a go go yoyo io 764-hero high school poetry up ii various artists truck songs drog ii electric frankenstein action high intensive score 12 tullycraft old traditions... harriet 12 submission hold garlic for victory! independent 13 the mysterons hot dog, pop... independent 13 the great mongoose hong kong baby 1+2 n nerf herder nerf herder my 14 holly go-lightly pinky please... super electro 15 dino martinis the bottle... independent 15 satan's pilgrims the rise and fall... k 16 nerdy girl twist her janken pon 16 hormones castaway b/w all kindsa.. empty n various artists darla comp. vol. V darla 17 the havocs hit songs for bowlers imcool 18 the stand gt apocalypse cow! lance rock 18 lousy kewl sappy io robert pollard not in my airforce matador io the snow queen travesty befalls... smilex 20 ween 12 golden... elektra/warner 20 atomic boy i wanna destroy hipnotic 21 tobin sprout carnival boy matador 21 number one cup malcolm's x-ray... derivative 22 tool aenima bmg 22 countdowns ghettoJVw crawlin. scooch pooch 23 overwhelming colorfast moonlight.. headhunt er 23 the detroit cobras ain't it a shame scooch pooch 24 buffalo daughter captain vapour... grand royal 24 holdenpayne&... shuffle. empty 25 kato hideki hope & despair extreme 25 the mants half man, half ant roto-flex 26 weston got beat up go kart 26 mecca normal paris in april k 27 kinnie Starr tidy... violet inch 27 the grumpies like any other... independent 28 smog the doctor came... drag city 28 the nonpareils engine papercut 29 pleasure fuckers for your pleasure grita 20 the la donnas invasion k 30 azalia snail deep motif candy floss 30 the b-movie rats soul fucker lap dance 3i huntington cads go exotic!! mai tai 31 tokidoki margie's candies tiny shoes 32 new speedway kings all ages show shredder 32 shiva speedway/cat ion split echostatic 33 sense field building revelation 33 the nomads tron dream norse sound 34 butter 08 butter grand royal 34 ufofu the thing of it is time bomb 35 automatic 7 past our means byo 35 trollin withdrawal emil eye erroneous novemberf96 INDIE HOME JOBS little twin stars top ten FRIDAYS 2 : 0 0 P M 3 : 3 0 PM i scissor girls staticland load 2 harry pussy ride a dave siltbreeze 3 butter 08 butter grand royal •> richard davies there's ne* er... murder/flydaddy 5 jon spencer... now i got worry matador 6 catpower what would...think? matador 7 cindy dall untitled drag city 8 zumpano goin' through. sub pop 9 un untitled siltbreeze io thinking fellers... i hope... communion i the stupes devilina 2 hissy fit s.h.e. 3 the tonebursts masters of karate 4 thee pirates the pirate song 5 violet i step on all the cracks 6 thee spivees johnny-come-lately 7 wiggler bad man hank 8 juniper daily never cry wolf 9 quonset desert blade io bronte brothers transparent n the smoking jackets baltic boogie 12 captain bloody america what is blue? 13 rooter time 14 10 ft. henry oh oh 15 dirtmitts fishing 16 preston planetra 17 f-jam have it all 18 thee uppercrust fetish 19 the unhappies badger girl 20 mizmo tarantino cringe 21 coal chemicals 22 chris coon genius 23 pest 5000 break my heart 24 gaze jellybeans 25 something ska mr. roustabout 26 thrill squad out of touch girl 27 308 tryhards 28 jackass reality bites in santa barbara 29 the wingnuts hate my job 30 idiot savant windows 31 automatic slim fingertips 32 oh Susanna shame 33 kinnie Starr's b.k. lounge devil's claw 34 squeeky ten twenty-three 35 celestial magnenta salad days JO cool thixiss TUESDAYS i phantom surfers great surf crash of '97 lookout 2 registrators terminal boredom rip-off 3 spaceshits full-fisted action 2x7" sftri 4 sons of hercules hits for the misses unclean 5 new bomb turks stick it out 7" fat wreck chords 6 oblivians strong come on 7" crypt 7 stand gt apocalypse cow! lance rock 8 weston got beat up go kart 9 new spdwy kings all ages show shredder io my new baycrest compact turntable that I scored at the Surrey Value Village for $13.00! 712 ROBSON 8Z1-3322 AT GRANVILLE, UPSTAIRS FROM TRUE VALUE VINTAGE miko made a mixed tape to torture the discorder kiddies with during production week hell, er, heaven ... the playlist: cat power, tortoise, ida, mary lou lord, cub, david s. ware quartet, wandering lucy, land of the loops, heavenly, dj spooky, henry's dress, coctails, huggy bear, holly go-lightly, team dresch. for carnation, untitled, she-brews, mountain goats, tullycraft, bedhead, helium, freakwater, palace, good horsey, superconductor, verbena, jale, matthew hattie hein, & some other artistes that escapes my poor, overworked brain ... more music for rainy day musings: inbreds, duotang, smog, sleater-kinney, excuse 17, kato hideki, go sailor, trans am, bikini kill, tool, ani difranco, versus, zumpano, spent and, um, yeah ... we listened to CiTR 101.9 fM. just cuz. 36 novexnber 1996 SUNDAYS ARE YOU SERIOUS? MUSK 8:00AM- 12:00PM All of time is measured by its art. This show presents the most recent new music from (round the world. Ears open. THE ROCKERS SHOW 12*0O-3:0OPM Reggae irwa all styles and fashion. RADIO BLUE WARSAW 5O0-6.O0PM Join lum & helen for another month of travels. Bring Confetti! QUEER FM 6:O0-8:00PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver and listened lo by everyone. Lots of human interest features, background on current issues and great music from musicians of all sexual preferences and gender identities. GEETANJAU 9:00-10:00PM Geetanjali features a wide range of music from India, including classical music, both Hindustani and Carnatic, popular music from Indian movies from the 1930's to the 1990's, Semi-classical music such as Ghazals and Bhajans, and also Quawwalis, Folk Songs, etc. RADIO FREE AMERICA 10;OOPM-12:0OAM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think twice. Bring your tape deck and Iwo C- 90s. Originally broadcast on KFJC (Los Altos, California). N THE GRIP OF INCOHERENCY 12:00- 4.O0AM Drop yer gear and stay up late. Naked radio for naked people. Get bent. Love Dave. MONDAYS BREAKFAST WITH THE BROWNS 8:15- 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 eoch weekly brown plate special. THE STUPID RADIO SHOW 11:00 AM- 1.O0 PM With your hosts the Gourd of Ignorance. What will we play today? Rog will put it away. MEKANIKAl BUFFOONERY 1O0-3O0PM Two shows became one! An hour of Mekanikal Object Noize (industrial/ nois/techno) and an hour of Skintight Buffoonery (lounge, jazz, britpop) June scudeler@mindlink.bc.ca. THE MEAT-EATING VEGAN 3.-00-4.-00PM I endeavour to feature dead air, verbal flatulence (only when I speak), a work of music by a twentieth-century composer — can you say minimalist? — and whatever else appeals to me. Fag and dyke positive. Mail in your requests, because I am not a human-answering machine. Gotaquarterlhencall someone who cares. POLYPHONIC al. 7:00-9O0PM listen for all Canadian, mostly independent tunes. THE JAZZ SHOW 9:00PM-12:00AM Vancouver's longest running prime time jazz program. Hosled bytheevei-suave Gavin Walker. Features at 11. Nov. 4: "Straight, No Chaser" new re-issue by Thelonious Monk Nov. II: Pianist and composer Oscar Peterson adn his Canadiana Suite. Nov. 18: Vibraphone great Milt Jackson & a best-loved album, 'Opus de Jazz" Nov. 25: Lee Knoilz leads his Nonet in concert with guest Red Rodney. DRUM N SPACE ALTERNATING 12.00- 2:00PM Jazz, breaks & the silence in between 9 160bpm. TUESDAYS RADIO FREE WOMEN 3:00-5:OOPM It's not a free cuntry, and we're demanding acuntability! Wake Up with our collective show! Interviews, issues, and music. IQRA 5-30-6.-00PM News, issues, and concerns facing Muslims throughout the world. THE UNHEARD MUSIC 7:00-9:OOPM Meat the unherd where the unheard and the hordes of hardly herd are heard, courtesy of host and demo director Dale Sawyer. Herd up! RITMO LATINO 9:00-10:OOPM Get on board Vancouver's only tropical fiesta express wilh your loco hosts Rolando, Romy, and Paulo as they shake it and wiggle it lo the latest in Salsa, Merengue, Cumbia and other fiery fiesta favourites. Latin music so hot it'll give you a tan! ((RADIO SABROSA!! NAKED RADIO alt. 10:00PM- 12:00AM From Thelonious Monk to Meridith Monk ... we'll play it. Genre busting, cutting edge jazz and other experimental sounds, plus informative label/artist features. Join Mike and Sean. Al*AL 1ENTAQES 12O0AM • VERY IATE Warning: This show is moody and unpredictable. It encourages insomnia and may prove to be hazardous to your health. Listener discretion is advised. WEDNESDAYS LOVE SUCKS 12O0AM-2O0PM If you can't make sense of it, and lhat bothers you, go somewhere else. The MARY TYLB MOORE SHOW 2O0- 3:00PM Riot Grd Radio. MOTORDADDY 3O0-5O0PM "Let those who ride decide!" ESOTERIK ah. 6:007:30PM Ambient/ electronic/industrial/ethnic/ experimental music for those of us who know about the illilhids. SOLID STATE all. 6:00 lo 7:30PM Featuring the latest in techno, trance, acid and progressive house. Spotlights on local artists, ticket giveaways, & live performances. Hosted by M-Path. AND SOMETIMES WHY 7:30-9:00PM troubadour squat string Irio, go sailor, rock for choice... these are a few of our fawoh-writ things, la la la! TROPICAL DAIQUIRI 9:0O-10:0OPM Zouk, Soukous, Samba, Salsa. Yes! Even Soca. Enjoy thisTropicd Daiquiri with El Doctor del Ritmo. STRAIGHTOUTTAJALLUNDHAR 10:00PM- 12.00 AM Let DJ's Jindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay.' listen to all our favorite Punjabi tunes - remixes and originals. Brroaoah! THURSDAYS MUSIC FOR ROBOTS 10O0 TO 11:30AM The Robotic Revolution is coming, be prepared: vote robot. Psychotronic excitement w/ female automan Fem-bot. CANADIAN LUNCH ll:30-lO0PM The all-Canadian soundtrack for your midday snack! STEVE & MIKE 1O0-2O0PM Crashing the boys' club in the pit. Hard and fast, heavy and slow. Listen to it, baby. JUSTIN'S TIME 2:00-3:OOPM For some cool jazz by some swingin' singers and boppin' players, tune in and don't miss out on some happy times! OUT FOR KICKS 6:00-7:30PM No Birkenslocks, nothing politically correct. We don't gel paid so you're damn right we have fun with it. Hosled by Chris B. ONARWITHGREASEDHAR 7:3O-9:0OPM Roots of rock & roll. UVE FROM THUNDERBIRD RADIO HEH 9O0-11 OOPM Local muzak from 9. Live bandz from 10. Nov 7: The Electrosonics Nov 21: The Empty's DISTORTED CIRCUITRY 1O0-4O0AM DJ Morgan le Fay brings you the latest info and tunes in the realm of electro/ industrial & synlhcore. Hard beats toinvigorate your late nighl angst. FRIDAYS VENUS FLYTRAP'S LOVE DEN 8:30- 10:00AM Join Greg in the love den for a cocktail. We'l hear retro stuff, groovy jazz, and thicker stuff too. See you here... and bring some ice. XOXX TELESIS 10:00-11:00AM Tune in for discussions, interviews & information relating to people who live with physical & mental challenges. SKA-PS SCENE-IK DRIVE! 11:00AM- 12O0PM Featuring the death-defying sounds of ska — old and new — with your hostess Julie and Scolly. UTTIE TWIN STARS 200-3:30 PM Kiki Liki NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM Have a good brunch! NATION 2 NATION ab. 6:00-9O0PM Underground sound system-style mastermix radio. AFRICAN RHYTHMS 6:00-9:00PM David "Love" Jones brings you the best new and old Jazz, soul, latin, samba, bossa & African Music around the wodd. FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio Fne America Series. HOMEBASS 9:00PM-12:00AM The original live mixed dance program in Vancouver. Hosted by DJ Noah, the main focus of the show is techno, but also includes some trance, acid, tribal, etc... Guest DJ's, interviews, retrospectives, giveaways, and more are part of the flavour of homebass. UMPSNK12O0-2:30AM Hosled by the G42 players. "The show lhat doesn't hate you." with your friendly pals Friar Fritter Abfackeln and Postman Pat. Alternating with Dr. Killdare Contachlimpsink8broken.ranch.org THU SAT LUCID SOUL 2:30-4:00AM Dr. Killdare plunders even further into the wee hour doing what he can to keep secu rity guards and 7-11 clerks awake. Waywayway deep dance stuff and other ha II uc inafy ing fucked-up-ness. SATURDAYS THESATURDAYEDGE 8:00AM-12O0PM Music you won't hear anywhere else, studio guests, new releases, Brirish comedy sketches, folk music calendar, ticket giveaways, plus World Cup Heportat 11:30 AM. 8-9 AM: African/ World roots. 9-12 noon: Celtic music and performances. POWERCHORD 12:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and otfier rarities. Gerald Raltlehead and Metal Ron do the damage. THE SHOW 6:0O-8:00PM Strictly Hip Hop — Strictly Undergound — Strictly Vinyl With your hosts Mr. Checka, Flip Out & J Swing on thei &2's. FIVE HOUR LUNCH dt. with UVE ATTHE HI-HAT 11 OOPM 1.O0AM Rock over London, rock on Chicago. Hear ye! Come to rm 233 in the UBC Student Union Building. Training Provided Listen up: LOUD & QUEER November 13 e&C HOW Arts any takers? Board Chair Harry Hertscheg Business Mgr. any takers? Current Affairs any takers? Demos/Cassettes Dale Sawyer Engineer Richard Anderson Entertainment Chris Allison Mobile Sound Ken Orchard Music Megan Mallett President Ryan Ogg Production Stobhan McCracken Programming Namiko Kunimoto Promotions Paul Kundarewich Secretary Marlene Yuen Sports Slavko Bucifal Station Manager Linda Scholten Student Engineer Fern Webb Traffic Sarah Stacy Vice President Justin Ho Volunteer Coordinator John Rustdn 37 EH 4*t: >yj,U.t,y,y. r- november datebook FBI 25 CiTR 101.9 fM PRESENTS STRANGER THAN OUTER SPACE: A Multimedia Trip to the Outer Limits of Art and Space-Pacific Space Centre...CiTR PRESENTS ELVIS CANTATA ll-St. Andrew's Wesley Church...Royal Grand Prix at the Railway Club..I'm Not Fascinating: The Moviel, 9:00prtv»he Edison Electric...Cries and Whispers, 7:30pm & After the Rehearsal, 9:20prrvPacific Cinematheque...The Spitfire Grill, 7:15pm & Angels and Insects, 9:30pnvRidge... SAT 26 CiTR PRESENTS ELVIS CANTATA ll-St. Andrew's Church... The Torture Animals & The Insipids-Columbia...Ralph-Railway Club...I'm Not Fascinating: The Moviel, 9:00pm-Edison Electric...Cries and Whispers, 7:30pm & After the Rehearsal, 9:20pitvPocific Cinemaiheque...The Spitfire Grill, 7:15pm & Angels and Insects, 9:30pnvRidge... SUN 27 Plotnick Super8 Workshop, 12pm & I'm Not Fascinating: The Movie!, 9:00pmEdison Electric...Oliver lake's Matador of First ond First-Glass Slipper...Fanny and Alexander, 7:30pm-Pacific Cinematheque...The Spitfire Grill, 7:15pm & Angels and Insects, 9:30pi*r*-Ridge... MON 28 Bob Mould-Town Pump...Fanny and Alexander, 7:30pm- Pacific Cinematheque ...SwitchbladeSisters, 7:30pm & 9:30pnvRidge... TUE 29 CiTR PRESENTS SHiNDiG AT THE RAILWAY CLUB...Switchblade Sisters, 7:30pm & 9:30pnvRidge... WED 30 Serotones, Automatic Slim & Green Eyed Jealousy-Starfish Room...Varnish-Town Pump...Masterpieces of Italian Cinema: The Fiances, 7:30pm & 9:15pm-Pacific Cinematheque...Switchblade Sisters, 7:30pm & 9:30pm-Ridge... THU 31 The Fiends w/The Crawlers & The Mach IH'sMiagara.. Archers of Loaf, Field Day & Closed Caption Radio-Starfish Room...Rymes With Orange-Town Pump...Nosferaru, 7:30pm & Vampyr, 9:00prtvPacific Cinematheque...Switchblade Sisters, 7:30pm & 9:30pnr*-Ridge... FRI 1 Scareyoke-Starfish Room...What We Live (Four)-Western Front...The Virgin Spring, 7:30pm & The Rite, 9:15pm-Pacific Cinematheque...SLEATER-KINNEY& Mocket-Crocodile Cafe (SEATTLE)... SAT 2 Limblifter, Copyright & Speedbuggy-Starfish Room.. Jaap Blonk- Western Front. ..The Virgin Spring, 7:30pm & The Serpent's Egg, 9:15pm- Pacific Cinematheque... SUN 3 Down By Law-Town Pump...George Graewe/Frank Grarkowski/ Francois Houle-Western Front...Through a Glass Darkly, 7:30pm AThree Strange Loves, 9:20pm-Pacific Cinematheque... MON 4 Through a Glass Darkly, 7:30pm & Port of Call, 9:20pm- Pacific Cinematheque...Live Bait, 7:30pm & The Last Supper, 9:20pm- Ridge... TUE 5 CiTR 101.9fM PRESENTS SHiNDiG AT THE RAILWAY CLUB...Billy Bragg & Robyn Hitchcock-Vogue...Diana Hartog reading at Women in Print...La Dolce Vita, 7:30pm-Pacific Cinematheque...Live Bait, 7:30pm & The Last Supper, 9:20pm-Ridge... WED 6 Gillian Welch w/David Rawlins & Darden Smith-Starfish Room...La Dolce Vile, 7:30pm-Pacific Cinematheque...Supercop, 7:30pm, & Rumble in the Bronx, 9:25pm-Ridge... THU 7 Wedding Present & Versus-Town Pump...Phono-Comb-Starfish Room...Weezer & Superdrag-Hellenic Centre...The Specials-Richard's on Richards...The Magic Flute, 7:00pm & 9:30pm-Pacific Cinematheque...Supercop, 7:30pm & Rumble in the Bronx, 9:25pm- Ridge... F-RI 8 The Specialsttchard's on Richards...Gas Huffer & Trick Babies- Starfish Room...Porno for Pyro^Ragc.Ugelsu, 7:30pm & Sisters of Gion, 9:25pm-Pacific Cinematheque... SAT 9 The Inbreds & Local Rabbits-Starfish Room..Jonnie Bakan Sexlet-Glass Slipper...Malaika-St. Andrew's Wesley Church...Ugetsu, 7:30pm & Sisters of Gion, 9:25pm-Pocific Cinematheque SUN 10 CiTR'S ROCKER SHOW CELEBRATES 15 YEARS, from 8am- 5pm...Vancouver New Music 25th Anniversary Party-Van East Cultural Centre...Winter Light, 7:30pm & Summer Interlude, 9:10pm-Pacific Cinematheque... MON 11 Winter Light, 7:30pm & A Lesson in Love-Pacific Cinematheque...Blue, 7:30pm & White, 9:30pnvRidge... TUE 12 CiTR PRESENTS SHiNDiG ATTHE RAILWAY CLUB...EastTimor Film Night, 8:00pm-Pacific Cinematheque...Blue, 7:30pm & White, 9:30prrvRidge... WED 13 CiTR PRESENTS LOUD & QUEER, tune in for all day all gay programming...Lemonheads, Money Mark & Frosted-Starfish Room...Suzanne Vega w/ Ron Sexsmith-Richard's on Richards...Susan Bowes & Patricia Nolan reading at Women in Print...La Notte, 7:30pm & 9:45pm-Pacific Cinematheque...Red, 7:30pm & The Double Life of Veronique, 9:30pm-Ridge... THU 14 Oranj Symphonette-Starfish Room...Canada Dances I, 7:30pm-Pocific Cinematheque...Red, 7:30pm & The Double Life of Veronique, 9:30pm-Ridge... FRI 15 CiTR PRESENTS THE BIG BEVERAGE EVENT FEATURING THEE GOBLINS, MALCHIKS & THE MACH HI'S IN RMS 214/216-UBC STUDENT UNION BUILDING (4-8PM)...CiTR PRESENTS ROCK FOR CHOICE: TEAM DRESCH, SPARKMARKER, MECCA NORMAL & MORE-VANCOUVER EAST CULTURAL CENTRE...CiTR PRESENTS GEORGE CLINTON- RAGE...Treble Charger & New Grand-Starfish Room...Sansho the Bailiff, 7:15pm & Osaka Elegy, 9:35pm-Pacific Cinematheque... SAT 16 CiTR PRESENTS THE JON SPENCER BLUES EXPLOSION & R. L. BURNSIDE-VOGUE...NoggiivSugar Refinery...The Hanson Brothers- Town Pump...Mod Professor-Starfish Room...Sansho the Bailiff, 7:15pm & Osaka Elegy, 9:35pm-Pacific Cinematheque... SUN 17 Railroad Jerk-Starfish Room...From the Life of the Marionettes, 7:30pm & Face to Face, 9:30pm- Pacific Cinematheque... MON 18 From the Life of Hie Marionettes, 7:30pm & The Touch, 9:30pm- Pacific Cinematheque...Long Day's Joumy into Night, 7:30pnvRidge... TUE 19 CiTR PRESENTS SHiNDiG AT THE RAILWAY CLUB...GTR PRESENTS ROBERT ANTON WILSON-ORPHEUM...Velour3-Van. Press Club...Barbara Wilson reading at Women in Print...Long Day's Journy into Night, 7:30pm -Ridge... WED 20 Profain, Voivod & Crisis-Starfish Room...La Notte Brava, 7:30pm & 9:30prt>Pacific Cinematheque...Ma Saison Preferee, 7:00pm, Purple Noon, 9:30pnvRidge... THU 21 Under the Volcano Benefit, bands tba-Starfish Room...Breastfesh Bif Naked, Mollies Revenge, Mudgirl & 2 Precious-Rage...Canada Dances II, 7:30pm-Pacific Cinematheque...Ma Saison Preferee, 7:00pm, Purple Noon, 9:30pnvRidge... FRI 22 Skydiggers-Town Pump... Women and Children Last launch at Women in Print...The Life of Oharu, 7:15pm & A Woman of Rumour, 9:45pnrvPacific Cinematheque... SAT 23 Skydiggers-Town Pump...The Life of Oharu, 7:15pm & A Woman of Rumour, 9:45pm-Pacific Cinematheque... SUN 24 The Story of the Last Chrysanthemums, 7:00pm & The Life of Oharu, 9:35pm-Pacific Cinematheque... MON 25 Godflesh & V.O.D.-Starfish Room...The Story of the Last Chrysanthemums, 7:00pm & The Life of Oharu, 9:35pm-Pacific Cinematheque...Best of the 21st Annual Banff Festival of Mountain Films, 7:30pm-Ridge... TUE 26 CiTR PRESENTS SHiNDiG AT THE RAILWAY CLUB...Best of the 21st Annual Banff Festival of Mountain Films, 7:30pm-Ridge... WED 27 The Bottle of Algiers, 7:30pm-Pacific Cinematheque...Best of the 21 st Annual Banff Festival of Mountain Films, 7:30pm-Ridge... THU 28 Kickopoo Joy Juice-Starfish Room...Persimmon Blackbridge reading at Heritage Hall...Carmen, 7:30pm-Pacific Cinematheque...Best of the 21st Annual Banff Festival of Mountain Films, 7:30pm- Ridge... FRI 29 Linda Perry & 4 Non-Blondes-Town Pump...Marianne ond Juliane, 7:30pm &The Promise, 9:35pm-Pacific Cinematheque... SAT 30 Forgotten Rebels-Starfish Room...Renee Rodin's book launch for Bread and Salt-Van. Press Club...The Promise, 7:15pm & Marianne and Juliane-Pacific Cinematheque... Special events eveiythiflft, n*wl tn know about eveiywEorey A** fl&U'to go The Abyss 315 E. Broadway (side entrance) Anzo Club 3 W. 8lh (Mount PI Arts Hotline Bassix 217 W. Hoitinai (al Cambie) Backstage Lounge 1585 Johnston (Gronville Island) Black Sheep Books 2742 W. 4th (al MacDonald) Cofe Deux Soleils 2096 Commerciol (the Drive) Cofe Vieux Montreal 317 E. Broodwoy (Mount Pleasont) Caprice Theatre 965 Granville (Granville Mall) Celebrities 1022 Davie (ol Burrard) CN Imox Theatre 999 Canada Place Columbia Hotel 303 Columbia (al Cordovo) Commodore Ballroom 870 Granville (Granville Mall) Commodore Lones 838 Gronville (Granville Moll) Cordova Cafe 307 Cordovo (Gastown) Crosstown Traffic 316 W. Hostings (downtown) Denman Ploce Cinemo 1030 Denmon (West End) DV8 515 Dovie (downtown) Edison Electric Gollery/Cofe 916 Commerciol (the Drive) Firehall Arts Centre 80 E. Cordova (olMoin) Food Not Bombs Voncouver Frederic Wood Theotre (UBC) Garage Pub 2889 E. Hostings (downlown) Gostown Music Holl 6 Powell (Goslown) Goslown Theatre 36 Powell (Goslown) TheGote 1176 Granville (downlown) Glass Slipper 2714 Prince Edward (Mount Pleosant) Gracelond 1250 Richords (downtown) Greg's Place 45844 Yale Rd. (Chilliwack) The Grind Gollery 4124 Main (Ml. Pleosont) Hastings Communily Centre 2096 E. Hastings (near PNE) Hemp B.C. 324 W. Hastings (downlown) Hollywood Theatre 3123 W Broadway (Kitsilano) Hot Jazz Society 2120 Main (Mt. Pleasant) Jericho Arts Centre 1600 Discovery (Pt. Grey) la Queno 1111 Commercial (ihe Drive) The Lotus Club 455 Abbott (Gastown) lucky's 3934 Moin Luv-A-Fair 1275 Seymour (downtown) Malcolm Lowry Room 4125 E. Hastings (N. Burnaby) Mars 1320 Richards (downlown) Maximum Blues Pub 1176 Granville (downlown) Niogora Hotel Pub 435 W. Pender (downtown) Odyssey Imports 534 Seymour (downtown) Old American Pub 928 Main (downtown) Orpheum Theatre Smilhe & Seymour (downlown) Pocific Cinemotheque 1131 Howe (downlown) Paradise 27 Church (New West) Paradise Cinema 919 Granville (Gronville Mall) Pork Theatre 3440 Cambie (South Vancouver) Pit Pub basement, Student Union Building (UBC) Raffels Lounge 1221 Granville (downl The Roge 750 Pacific Blvd. South (Plaza of Nations) Railway Club 579 Dunsmuir (at Seymour] Richord's On Richards 1036 Richords (downtown) Ridge Cinema 3131 Arbutus (at 16th Ave.) Russian Hall 600 Campbell (Chinatown) Scratch Records 109 W.Cordova (Goslown) Southhill Candy Shop 4198 Main (ot 26th) Storfish Room 1055 Homer (downlown) Starlight Cinema 935 Denmon (West Endl Station Street Arts Centre 930 Station (off Main) St. Regis Hotel 602 Dunsmiur (downtown) Theotre E 254 E. Hastings (Chinotown) The Tower 339 W. Hastings (downlown) Town Pump 66 Woler (Gastown) Track Records 552 Seymour (downlown) Tree House Lounge 602 Dunsmuir St. (downtown) Twilight Zone 7 Alexander (Goslown) UBC CINEMA (located in the SUB) UBC Grad Centre Gale 4 (UBC) The Underground 1082 Granville (downlown) Vancouver East Cultural Centre 1895 Venables (al Victoria) Voncouver Little Theatre 3102 Moin (Ml. Pleasant) Vancouver Press Club 2215 Granville (S. Gronville) Varsity Theotre 4375 W. 10th (Point Grey) Vert 2412 Moin (Mt Pleasant) Video In Studios 1965 Main (Mt. Pleasant) Vogue Theatre 918 Gronville (Granville Mall) Woterfronl Theatre 1405 Anderson (Gronville Is.) Western Front (303 E. 8th Ave) Whip Gollery 209 E. 6lh Ave (alMain) W.I.S.E. Hall 1882 Adonoc (the Drive) 254 5858 Women In Print 3566 W. 4th (Kitsilano) 732 4128 Yale Blues Pub 1300 Granville (downlown) 6819253 Zulu Records 1869 W. 4th (Kitsilono) 738 3232 SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION "DATEBOOK". DEADLINE FOR THE DECEMBER ISSUE IS NOVEMBER 15TH! 38 november 1996 • 1MHM it Greatest Funkin' Hits i-V fl The most influential songs in hip-hop remixed with today's biggest rap stars '■■L CQOLIO DIGITAL UNDERGROUND RUSTR RHVMCS • Q-TIP OLDIRTY BRSTRRD FCRTURINGJ ATOMIC DOG (Dogs Of The World Unite Remix) FLASHLIGHT (The GrooveMasters' Mix) KN€€ D€€P (Deep As A Mutha Funker Remix) plus eight more classics redefined, wrrjj http://hollywoodandvine.com C_SJ__ specially priced at NADA'S LARGEST AND BEST KNOWN RECORD STORES 568 SEYMOUR STREET _r r ) r.«_S 1869 W 4th Ave. Vancouver, BC V6J1M4 tel 738.3232 STORE HOURS MontoWed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9:30-6:30 Sun 12:00-6:00 KZCO-RVZ It's November and.. I'm leaving on a jet planet i Next stop: The Zulu Terminal Your Main Hub With Connections To Any Musical Resort RAILROAD JERK RACHELS Continuing last year's On* Tra unipieeiini >uiu . . . outing, combining melodic acumen, sharp lyricism ond strong f i _j. - if.. w ■_ musicol interplay, into Kuopper's true tramp cord -well .?. ' , /. , . I interplay, into Kuepper i true tramp cord - rounded, nerve-pinching snogwriting! So leave no stone unturned, no lead unchecked, ond give this sophisticated pop platter its due turn. Ed Kuepper's evidence is in! This cose .65* CD THE JON SPENCER BLOES EXPLOSION Now I Got Worry CD/LP/Cassette Come hell or high water, destitute or depression - you shall be released in the name of the Blues Explosion. Bank on it. Foxy blues, Blues Fox-trot. Get up, get down. Yeah, come sickness or malady, Jon Spencer gonna set you right, 'cos Now He Got Worry. Righteous blues, raucous blues, well dressed blues. In the best of times, in the worst of times... in Blues Explosion time. Now You Got Worry! P.S. Someone take him to the bridge... and then The Vogue Theatre on Saturday, November 16. 1658 CD IO28 LP 1058 CS GOLDEN PALOMINOS SILVER JEWS ^iijT.|w4i__L_j^)iy_y I YEU AM A VINYL HEAD A I USED VINYL I I The Natural Bridge cd/lp In the midst of a strong technological hegemony in music making, some cats stick to their guns (and the physical engagement of instruments, etc.). Indie rock has not been totally eclipsed, or simply institutionalized. A bit, sure. But what has also happened is that the better artists have found the space to work out their individuality. D.C. Bergman is one of these cats. Friends with Pavement (who assisted him on his last recording), Bergman has decided to establish a little artistic autonomy. Good choice. Fans of the last Silver Jews recording will be happy to hear that Bergman was more than an accomplice; he was mindful and involved; ond apparently responsible for the country/indie rock hybrid sound of the Silver Jews (and the weird lyrics, too). Cool. 1658 CD 1458 2LP Shaker make their their North American debut with K. The album takes you on a Magicial Mystery Tour of early-Deep Purple meets the Stone Roses guitar pop with a few tablas and ethnic harps to complete the psychedelic journey. Produced by the oforementioned Roses' very own John Leckie, K will enthrall you with such hipswingin' singles like "Tattrc" ond "Hey Dude." Don't be surprised if they becomd Britain's next big export, K? Available October 29th. 1658 CD 10s8 CS WILCO Being There zee Wilco ore the kind of band thot seem to really enjoy making music. Which is just fine, becouse the music they make is very good indeed. Good news, it seems that the boys from Wilco (featuring Jeff Tweedy) have been hard at work, producing enough for a double album. Old fans will be quite satisfied with the quality of the new material, and new fans will soon catch on. Another Zulu favourite. Ye-haw. Available October 29th. 1658 2CD •MIL *— r_g?.__r,.TTun^zrJZ'w..., THIS COUPOM VALID Ml NOT.BBUO'96 | IIZZ_f___E___!______L Dead Inside cd On this latest recording, the Golden Palominos continue to explore an array of sounds, styles and rhythms thot most of their contemporaries struggle to keep up with. Never afraid to experiment ond evolve, Anton Fier and Co. impress us again on this most diverse and inspiring release that demonstrates why they are such a large influence. 1658 CD VARI00S ARTISTS Team Mint co Alo-costlo-riskCDsampIc compilation that highlights many of Mint's memorable years or so. Nine bands (cu Groovie Ghoulies, Huevos Rancheros, Maow, The Mr T Experience, Pansy Division, The Smugglers) performing twenty songs culled from fourteen releases makes this the perfect mixed tope - for your CD player! Available Nov. 5th. 658 CD Prices in effect until November 30,1996. DROP THE BOMB! MORE ZULU AU-INCLUSIVE FARES DIAMANDA GALAS SCHIELE K LIVE co BECK DEVILS HAIRCUT 12-ineli EP MAZZY STAR FLOWERS IN DECEMBER CD-EP Parts 1 + 2 OLIVIA TREMOR CONTROL OPERA HORSE CB-IP Parts 1 -h 2 / 7-iich TINDERSTICKS NENETTLE ET RRNI LP SDEDE BEAUTIFUL ONES CD-EP Paris 1 + 2 APHEX TWIN 'GIRL/BOY CD-EP /H-iiel GENE FIGHTING UT CD-EP IAMB LAMR cd ELYSIAN FIELDS BLEED YOUR CEDAR CD FUTURE SOUND OF LONDON MY KINGDOM CD-EP /12-iiel HftNSDN BROTHERS SUDDEN DEATH. CD/cass SAINT ETIENNE CASINO 2GD/3LP JULIAN COPE THE INTERPRETER ci/lp JAH WOBBLE THE INSPIRATION DF WILLIAM BLAKE CI/IP VARIOUS ARTISTS ART OF NOISE: THF DROM + BASS COLLECTION GO UTAH PHILLIPS/ ANI DIFRANCO THE PAST DIDN'T GO ANYWHERE CD 0 J KRHSH ONLY THE STRONG SURVIVE CD-EP / 12-iKH LIGHTNING SEEDS WHAT IF? cd-ep MVtgs And Guns cd Coming early November. Sook-Yin's second self-produced solo release - a soulful eclectic tour de force, also featuring pals extraordinaire Chester Brown, Joe Matt and Dale Morningstar!