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John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un reserved. Circulation 17,500. Subscriptions, payable in advance one year, to residents of the USA are $15 US; $24 CDN (to cover postage, of course). Please make cheques or money ordei DEADLINES: Copy deadline for the December issue is Noven November 27th and can be booked by calling Steve at 604.822 upon request. DiSCORDER is not responsible for loss, damage, oi scripts, unsolicited artwork (including but not limited to drawings, phi other unsolicited material. Material can be submitted on < Send email to DiSCORDER at discorder@club.ams.ubc.ca From UBC to Langley and Squamish to Bellingham, CiTR can be all major cable systems in the Lower Mainland, except CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, \ pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouv Is that it? Can we go sleep now? versify of British Columbia. All rights to Canadian residents are $15 for ilsewhere. Single copies are $2 payable to DiSCORDER Magazine, ber 13th. Ad space is available until 3017 ext. 3. Our rates are available any other injury to unsolicited manu- Dtographs and transparencies), or any type. As always, English is preferred. heard at 1 01.9 fM as well as through Shaw in White Rock. Call the news and sports lines at 822.3017 er, BC, V6T 1Z1, CANADA. ^_ printed in canada 3 DiSCORDER that's zentertainment! SJFJszr** AMON TOBIN Out From Out Where The master is back with another landmark album of dark breakbeats / drum 'n' bass and instrumental mayhem. Free autographed poster with purchase, while supplies last! CD/2LP $16.98 Various EXTRA YARD Showcasing the Big Dada roster and its spearheading of the dancehall / hip-hop / soul hybrid movement called "Bouncement" in the UK, Extra Yard features Roots Manuva, New Flesh, Ty, Gamma, and other leaders in the scene. CD $16.98 /2LP $20.98 AMON TOBIN Verbal The 5-track CDEP for the first single from Out From Out Where contains 3 terrific, exclusive, non-album tracks, plus an instrumental version of "Verbal". The 4-track 12" features an acapella version of the single. CDEP $8.98/12" $9.98 DJ VADIM U.S.S.R: The Art Of Listening Everyone's favourite Russian hip-hop DJ raises his game on his third album. Guests include Blackalicious' Gift Of Gab, Masters Of Illusion's Motion Man, Gorillaz' Phi Life Cypher, and Super Furry Animals' Gruff. CD/2LP $16.98 THE HERBALISER Something Wicked This Way Comes Something musically wicked this way comes in the form of beat heavy hip-hop blended with soundtrack-inspired instrumentais and sublime samples. CD/2LP $16.98 MR. SCRUFF Trouser Jazz The much-anticipated second Ninja Tune album from Britain's finest open-minded DJ follows 1999's Keep It Unreal, and the delicious club hit, "Get A Move On" (currently blasting out of TV sets as the music in Lincoln automobile ads). Free jigsaw with purchase, while supplies last! CD $16.98/3LP $22.98 THE CINEMATIC ORCHESTRA Everyday Led by J. Swinscoe (main orchestra leader and composer), The Cinematic Orchestra, which features DJ Food turntablist Patrick "PC" Carpenter as its full time DJ, create rich, stunning and beautiful electronic / soundtrack jazz that breaks the boundaries of what jazz was / is. CD $16.98/2LP $22.98 BLOW YOUR HED PHONES: SOME OF THE OTHER NINJA TITLES ON SALE THIS MONTH! ANTIBALAS - Talkatif CD $16.98 / 2LP $20.98 ANTIBALAS - Liberation Afro Beat Vol. 1 CD $16.98 / 2LP $20.98 BONOBO - Animal Magic CD $16.98 / 2LP $20.98 CHRIS BOWDEN - Slightly Askew CD $16.98 / 2LP $20.98 THE CINEMATIC ORCHESTRA - Remixes CD $16.98 / 2LP $20.98 THE CINEMATIC ORCHESTRA - Motion CD $16.98 / 2LP $19.98 cLOUDDEAD - cLOUDDEAD CD $16.98 / 3LP$19.98 COLDCUT - Let Us Play CD $16.98 / 2LP $20.98 COLDCUT - Let Us Replay CD $14.98 / 2LP $20.98 DJ FOOD & DK - Solid Steel Presents "Now, Listen!" CD / LP $19.98 DJ FOOD - Kaleidoscope CD $16.98 / 2LP $19.98 FOG-Fog CD/LP $16.98 FUNKIPORCINI - Hed Phone Sex CD $16.98 / 2LP $20 98 THE HERBALISER - Very Mercenary CD / 2LP $16.98 THE HERBALISER - Blow Your Headphones CD $16.98 / 2LP $20.98 THE HERBALISER - Remedies CD $16.98 /2LP $20.98 KID KOALA - Carpal Tunnel Syndrome CD / 2 LP $16.98 MR. SCRUFF - Keep It Unreal CD $16.98 / 2LP $20.98 THE POETS OF RHYTHM - Discern / Define CO $16.98 / 2LP $20.98 AMON TOBIN - Supermodified CD / 2LP $16.98 j AMON TOBIN - Permutation CD $16.98 / 2LP $20.98 AMON TOBIN - Bricolage CD $16.98 / 2LP $20.98 Various - NINJA CUTS 3: FunKungFusion 2CD $20.98 / 3LP $22.98 Various - SOLESIDES' GREATEST BUMPS 2CD $16.98 Various - XEN CUTS 3CD $22.98/4LP $32.98 Roots Manuva Roots Manuva W & 0 ROOTS MANUVA Run Come Save Me + Dub Come Save Me Britain's most popular hip-hop artist, and deservedly so, the Rootical one shows his many varied musical loves and talents on these brilliant elpees. Free Roots Manuva "Skins" w/ purchase while supplies last! Run Come Save Me CD/2LP $16.98 Dub Come Save Me CD $14.98/2LP $20.98 ENTER TO WIN! 'A NINJA RECORD BAG FULL OF SWAG! I ! NAME: ADDRESS:. I PHONE NUMBER:, ! Clip the ballot and enter at Zulu Records. i Deadline for entries Nov. 30/02. BIG DADA www.ninjatune.net Distributed in Canada by Outside Music Zulu Records 1972-1976 W 4th Ave Vancouver. BC tel 604.738.3232 www.zulurecords.com L THE MAIN $N0V§mb^ Sat Nov 2 biuosgrass»/ Blackfeather and guest Rob VVilk; Wed Nov 6 Origins... ioik>- country ThUf NOV 7 Clay George... the saddest man in Victoria w/ the »' Tue Nov 12 Ev'rybodv Wants To Be A Cat Thur Nov 14 Robyn Carrigan & Heather Griffin... Fri Nov 15 Aaron Booth (Snailhouse) w/ Dave Gowans i ry w/ The Circus in Flames Tr Thur Nov 28 funky, ambient soui */ Antoine Baby Harry Cutaway 4210 Main St. Vancouver BC 604 709 8555 cover charge is a measly 5 bucks... so why not support local music? i ,* ifo* \ EXHAUST ENREGISTREUR HANGEDUP KICKER IN TOW GODSPEED YOU! BLACK EMPEROR YANQUI U.X.O. CST024 2XLP/CD CONSTELLATION CSTRECORDS.COM DISTRIBUTED BY SCRATCH & SONIC UNYON HklMAIC AUC editorializing by Chris Eng It's an exciting time to live in Vancouver. Screw the new rock of the Spitfires and the Black Halos—that's last year. Now we've got the global community giving their attention to Terminal City as the nation's alternative hip hop culture relocates itself here (see "Vancouver Hip Hop Migration" elsewhere in this issue) and Battleaxe Records wins Junos. Heady times and while we can afford to feel a little smug, we can't become complacent. We have to be fo' Vie En Rose and I need a Grande Mocha Frappuccino. The posse gots to hook up at Milestones for bellinis later, too. Peace an' I'm out." Geek-1 cools out at the NE Starbucks at Robson and Thurlow, but the rest of my homiez represent for the SW Starbucks. SWeatshot Bros been up in that shit since Day One and while we've got respect for Geek-1, if it came down to him or our cappuccino, well, ain't no muthafuckin' choice, you know? He's the Oh yeah, that I try not to even mention Robson Street; it dissolves whatever sad bit of cred I might actually have. In other news, would anyone like to tell me what's up with that new Shania Twain song, "I'm Gonna Getcha Good!"? Okay—"You're a fine piece of real estate, and I'm gonna get me some land"? What? I've heard more sincere love overtures in a fucking Judas Priest song. If my girlfriend started crooning, "I'm your turbo-lover/Better DEATH FROM ABOVE HEADS UP CD/LP (ACHE 009) EX BLACK CAT #13 /CURRENT FEMME FATALE MEMBER? ^ AOIir careful that the image we're sending out to Canada at large is not only accurate, but will bring others here and revitalize the areas of the city that are in dire need of an economic revitalization. This is why l was happy to see Swollen Members mentioning Vancouver on their video for "Steppin Thru" the other day. "New York to London/Yonge Street to Robson/We get the job done." All I have to say is, "F'rizzo, yo." I don't know how many times I been chillen wit' my homiez and I say, "Shit, dawgs, we most definitely gots to cruise Robson, so I can score some sizzoap at Lush. They gots this sandalwood-musk blend that makes my bathroom smell mad dope, g." My boy Geek-1 knows what time it is and he rolls up next to me, 40 in hand. "Yea yea, MCE," he sez, "my biyatch got mad love exact same. Outside the Rob, son, there ain't none closer, but in the 'hood business is business for him and the NExpresso Thuggs. And that's the way it is, was and always will be. From the VPL to the 7-11, the R to the O to the B is the only life we've known. 5-0 sez that a coffee's a coffee and we need to increase the peace on the downlow at Thurlow because silence has it all over violence, especially with a double espresso in hand, but you tell that to someone who grew up here—someone who remembers a time before Sears, before Virgin, before Guess, even before Bollum's. The storefronts change, but our street's all we got. The NE corner may have a split-level, but it's got shit for street- seating and the rhymes that Swollen Members be kickin' ain't always pretty, but that's the way shit goes down in the V-Dot—knowhatumsayin'? Wait, what was I saving? run for cover" at me, I'd be far more likely to drop trou and hop into the sack than if she unloaded that unmitigated electro-country pap in my direction. If she started crawling up my stairs in some skin-tight grey bodysuit singing "Round and Round" by RATT, I'd think, "Wow, sheis genuine." If she clomped up my stairs barking, "So, don't try to run, honey—love can be fun/ There's no need to be alone, when you find that someone," I'd be obliged t shut the door and pretend no one was home. Because love can't be faked and that kind of emotion can't be concocted. Shania, stick to pontificating about the previous locations of your fella's boots and leave the love songs to people who know how to write—like the Scorpions, WASPorWhitesnake. • 6 November 2002 over iiiiiiiiiiiii my book reviews by Doretta THE SELF INDULGENT TAKE ON TOURISM The question that has been bothering me for some months now is does everyone really hate a tourist? This has nothing to do with the fact that I've spent the last month in Olympia and a suburb of Halifax. No, this question has been haunting me since the summer. Prior to the question coming up, my friend Aaron and I had been listening to Pulp's Different Class. We were dancing to it and singing it on the streets. We were practically parodying ourselves. We were acting like we were in a bad movie, a poorly lit one with dialogue that is too self-consciously cool. One night, in the Sugar Refinery, we were waiting for Mimi's Ami to play when Aaron remarked that all the tourists going through the Sugar Refinery made him feel a little uncomfortable. Sure, I'd noticed the guys who looked like they had captained a high school sports team in the past. There were also the girls who looked like they stepped out of the pages of Vogue. These guys and girls were there for the food and drink, not the shows. I thought their pres- engaged in one com or another. The whole scene was weirdly community-like, though really, we were tourists in the Downtown Eastside. We had simply transplanted our gathering from one neighbourhood to another. I wondered if our presence was positive, or if it was disruptive. My roommate, who grew up in Strathcona, finds it disconcerting when students from West Vancouver decide to "slum it" in her neighbourhood. So I wonder, when we enter the Downtown And now, the book review returns to this column, which is supposed to be a book review column after all. LYNN COADY Saints of Big Harbour (Doubleday Canada) For the past month I've been in Cole Harbour, a community in the Halifax suburb Dartmouth. I've spent some time at the local library and it was there I found a copy of Lynn Coady's second novel, Saints of Big Harbour. Coady's book is very fitting for this month's column because she was raised in Cape Breton, Nova Scotia, and now resides in Vancouver (and yes, she's a graduate of the UBC Creative Writing Program, but that topic is something of a controversy—she doesn't even mention the fact in her bio—so it belongs in parentheses). Saints of Big Harbour is an ambitious work, written from several points of view and encompassing a year (1982) in the lives of folks in the fictitious Nova Scotia towns Port Hull and Big Harbour. The protagonist is Guy Boucher, an Acadian teenager, who suffers from the oppression of a small town and a charismatic, alcoholic uncle, Isadore. The book begins in first person, The whole scene was weirdly community-like, though really, we were tourists in the downtown eastside. ence w s air ing, but nothin A little while later, I found myself standing in line to enter Pat's Pub. It was the weekend of Powell Street Festival and it so happened that Destroyer and the Battles were playing at Pat's, which is located a block from the infamous Downtown Eastside intersection Main and Hastings. As I stood in line, I overheard someone saying that they had seen a woman take a shit in front of a bus stop. When I finally got inside, 1 ran into a friend who pointed out that Pat's is owned by the parents of a high school acquaintance of ours. The Battles started playing and I ran into people I never thought I'd see again: a girl who I'd gone drinking with when I was 17 who couldn't remember my name, a boy who made it very clear in class that he hated my short stories. When Destroyer played it seemed like the show was happening in another room. Everyone was Eastside as a group, are we the gentrifying force we so abhor? Or are we just trying to break down the barriers between neighbourhoods and address the class divide that most Vancouverites pretend does not exist? I'm not sure what the answers are, but we've got to ask the questions. Otherwise we're no better than people who complain about panhandlers. (Incidentally, the Vancouver international Film Festival reports that there number of guests had remarked that it seemed like there were more homeless people on the streets this year than in past years. Is it coincidence that this comes after the government slashed welfare and cut other social programs? While I'm on a tangent, please see Nettie Wild's documentary Fix: the Addicted City. It's about the struggle to end the American-style war on drugs and start implementing harm reduction strategies in Vancouver.) from Guy's perspective, but opens up. into a narrative that includes the third person viewpoints of a number of the people in the Port Hull and Big Harbour communities. Coady's book successfully dissects the way relationships play out in enclosed communities where everyone knows everyone else's business. She is able to jump from the perspective of the town beauty to that of her fat-and-therefore-invis- ible best friend in the space of a big, yet continue to hit the tone of each character with remarkable precision. Coady documents the insecurities of every character—from the town's golden boys to its draft dodging, alcoholic English teacher- with a sly sense of humour and a gentle touch. The book isn't a whirlwind tour through small town life; it is a meditative look at the interconnected nature of the people in a community, how they live, love and survive —themselves and each other. • "David Yonge is the vaudevillan of the art world...it seems that whatever he creates, constructs or finds becomes set and props for a methodical rampage of actions under various aliases." Penelope Mulligan, Discorder "David Yonge's courage as a performance artist is remarkable...rigorously theoretical, Yonge is daring to go where few artists do these days, reminding us of the brutal underpinning and physical risks characteristic of the Vienna Aktionistes." Michael Scott, The Vancouver Sun Saturday November 30th 8:00pm 110 West Hastings St. Vancouver $8/6 students 6(U.87-*J?773 7 DiSCORDER eUMGlETONE rCOOUCTIONf pftEfENTS GoGmiffl JAPAN'S AMBASSADOR'S OF SURF (33MS Doors 7pm, Show 8pm $14 s^SS SHENANIGAN'S 1225 ROBSON ST FROM DETROIT ■•OTHEfr- S2KTS THURSDAY NOVEMBER 14 HE PICCADILLY #\ ,<<^ WITH •■• ■••■•■ *■■ * •■• ■ '■■ • 4( il ORCHID HIGHWAYand CLOVER HONEY FRODAY GSDOW 2§ik3 ^gfl© Early Show 8pm Followed by SHOTGUN? -.ClF Queuu*/ £,u/ Qui THEROYAL 1025 Granville St. 6- ■ THE 1st ANNUAL Independant Music Video Festival I ■ (^^(^^\r^T\C~^\ December 6 &7 The Blinding light | 1MB V I F I "" imVI-COm Featuring 50 Films ■■ I * JliYAA Y Jl * J Presented By Slight AM Productions ' The Polynesian Room, Hula Hut and Twilight Lounge with Luehy (Seattle), Bai-on Samedi esq., The El Dorados, Todd Tomorrow and special surprise guest. Plus more to come! Advance tix at Zulu, Noize!, Scratch Red Cat, Kawabata-Ya and Hi'ghlife. Info: tW 878-COCO • WiVW*ftUMftiETONE,fOM 8 November 2002 riff raff All that vinyl hugging last month has cramped my hands and left square indentations on my chest—not such a good idea after all—but I still managed to squeeze some "good good lovin'" outta this latest batch. Speakin' of, THE FLAKES deliver a frantic version of that James Brown classic on their latest. They've got two out so far, but this is a first for the fans on the other side of the Atlantic. An uber- group of sorts, featuring the multi-talented Russell Quan pounding the skins with one of several groups he sneaks his way into—I swear the man is trying to set some kind of Guinness Book record for most bands played in—it's a sweaty, manic, garage ROCK record with just enough oomph to get you out on the dance floor. The other track, "Jerk Store" relies on a more Paul Revere and The Raiders-style pounding backbeat, but is no less fierce, thanks also to some sweet guitar dueling that punches the chorus and spits up blood. You'll pay a bit more for this at yer local wax shop, but it's worth it. (Screaming Apple Records, Dustemichstr. 14 50939 Koln Germany or check out their website: www.screaming- apple-records.de) MAXIMUM ROCK AND ROLL are five mean-lookin' mofos from the T-dot (not to be confused with THEE PUNK ROCK BIBLE of the same name), and their debut is a double-fisted, barn-burnin', full throttle mess o' trouble that garners comparisons to early Zeke, The Humpers, Canadian cousins The Red Hot Lovers, or our very own Spitfires. Bonus French lyrics are included on the track "Switchblade" so as not to exclude their francophone fans and voila\ Une disque magnifique! (Box P62- 275 King St. East, Toronto, ON M5A1K2) A blast from the Canadian past revisited, reissued, and a heck of a lot cheaper (for those of us not scouring the dreadful eBay collector scum tunnels), is GENTLEMEN OF HORROR. The group which probably shared equal billing by Bryce Dunn with other Vancouver notable punk predecessors like The Stiffs and The Furies back in the day released a five song EP of unabashedly scrappy, sometimes out of tune, yet altogether fun music in under ten minutes. Catch up with a cool piece of punk history—check it out. (Dionysus Records, PO Box 1975, Burbank, CA 91507) What's not always fun is getting your eye poked out by a scalpel—didn't you kids in THE DISTRACTION learn anything last time? Obviously not, since each member of the band sports a sharp blade dangerously dangling within eyeball's reach. Thankfully the only person that receives any serious injury out of this is yours truly from pogoing frantically and suffering from sore feet whilst blaring the two tracks "Transmission Ignition" and "Nothin' To Me," a pair of snarling, Sex Pistols-meets- The Stitches punk riffage. A full length is coming down the pipe as we speak, so if you dig that, make sure to wear solid footwear and thick glasses and you'll be ready for the "Beach Brat Sound" (try trade marking that, why don'cha?) of The Distraction. (Pelado Records, 521 W. Wilson #C103, Costa Box 21249, Seattle, WA 98111) Those wacky kids at Gold Standard Laboratories are at it again, this time with ARMATRON, The Locusts sludge-ier cousins. Spanning five songs of electro-gloom that resemble a fight between Servotron and The Melvins, my favourite cut is "Tallest Mics In The World," where they scream the name of the song over and over again while playing at a hundred miles an hour. You so crazy! (GSL, PO Box 178262, San Diego, CA 92177) And finally, sometimes it pays not to judge a book by its cover, as was the case with YOUNG HEART ATTACK. Looking at the sleeve with its cutesy animal drawings, I had written this off as a wimpy indie-pop act (not that there isn't a time and place for wimpy indie-pop, just not now in this sentence), but instead was pleasantly surprised by its AC/DC marriage to The Headcoatees rock and roll. The singer has the Bon Scott vocals down, and the guitars are nice and loud and choppy, but then the girl-gang backups kick in —like on the song "Mouthful Of Love"— and I'm reminded of the lasses from Mesa, CA 92627) If you're a glutton for punishment you may need extra strength relief after listening to THE EPOXIES newest effort—it's a synth- pop headache worth inducing. "Synthesized" rides a great keyboard melody and some smooth-like-butter vocal delivery from singer Roxy Epoxy; "Clones (We're All)," is an Alice Cooper cover done faithfully and with... roto- toms! (Dirtnap Records, PO London. Which is also where this record is from, see? (Rex Records, PO Box 23084, London UK Wll 2YW) That's it—send your Christmas goodies (that means 7"s, dummy) for review next month care of this column and this fine rag—I'll be radio free ditc&Bk road worn and wcai zines, etc. by Bleek I'm still wading through a stack of California zines from last month. My friend Dave went to the San Francisco zine fest and picked up another wad of zines for me to look at. I'll never see daylight again. Remember Lisa (Suckdog) Carver's Rollerderby zine? This is one of America's funniest, most shocking and plainly disgusting things in printed form from the last couple decades. Not that it's grosser than say, Answer Mel, but it draws you in like a fun little girl zine and soon you're being assaulted by subversive lists of sex acts, interviews with famous misanthropes, and an underlying or overt violence. If you like that sort of thing you have to check out FLATTER.'This is a product of Lisa's friend Jaina, another postmodern woman with that bizarre fascination with pop culture combined with an unrelenting nihilism and fuck- you attitude. Picture Hello Kitty as Hannibal Lecter. For the jaded, city-dwelling, nutter Flatter! serves as a dialogue between everyone with at least a modest historic and cultural awareness, but a healthy dissatisfaction and contempt for everything sacred or profane. It's all up for grabs and it's genuinely funny. Write to Flatter! at 661 Shotwell St., San Francisco, CA 94110-2623. Missing that cut and paste look? Tired of zines moving toward a more polished production? A Santa Cruz zine called ZENBABY is a hodgepodge of stolen items, collages, rants, poetry, lyrics, anarchy and the mishmash of clutter that recalls the punk zines of years ago. From reading through a lot of this (and it will take a while) I've learned that Zenbaby is the lovechild of a female to male tranny (a.k.a. "addadictomy"). This gives the zine something of a unique perspective, or at least it should. You'd be hard-pressed to find the difference between it and other punk-lit zines till you read the editorials. A column that reprints a chat-room conversation shows the ignorance of an "open-minded" male and the assumptions he makes about transsexuals. These topics, with the added punk perspective, are rarely visited in publications. Find out more by writing to PO Box 1611, Santa Cruz, CA 95061. Just who is Mr. AKA? He sent me three zine-like things in the mail (or was it a dream?), and these three really break the mold. Often I'm not so fond of this sort of minimalism which wraps itself in high art poetry by printing one confounding sentence on one otherwise blank page. You know, it's like the easy joke for the comedian, the cock joke. Always sure to make an impact and cause a stir. So lately i look through a shit-load of fucking poetry zines which employ tiny words of nothingness on a big blank page and immediately they're hoisted to the realms of high art. But no, these zines are not necessarily all about this phenomenon. Take the example of the ELIJAH WOOD zine, that's right, the elfin actor from Lord of the Rings. While it has the anally-retentive attention to detail usually found in the "fan" zine, there's a kind of fictional stalker aspect to it, including fantasy interviews with Wood and a "Girl" or "Man with script idea" and "Mom." 1 didn't think I would like this thing, but it sure won me over. It's original and almost disturbing. But there's more, of course. PEEP THE VISION, another zine in the package, is pure Breton-era-surrealist dreams- cape, including TV interviewers dropping out of the s and space aliens conversing with the editor. The last zine, JIBBER JABBER, is at least three times as thick as the others and continues down paths of what might be taken for mental illness. Is it nightmare sequences in a paragraph per page, or is it stream-of-con- sciousness creative claptrap concerning green bugs? I don't know. I'm a visual artist: I kind of like a beginning and an end. I admit that I like my surrealism in pictures and sounds and I'm not so good with the written version. If you are you can contact Mr. AKA at brownblobbloo d@yahoo.com. zine BABYSUE continues its long journey across the underbelly of the underground. There's something to be said about staying with the same basic format for many years because when you see Babysue you always know what it is and what you're in for. Nearly every cover is a different version of the original and the comics never change much either. Baby Sue always looks the same although she has different ways of being cruelly funny each strip. Cruelty is a major component of Babysue's social commentary and they love to poke at you till you say uncle. Lots of it speaks of mere undisciplined punk rock and all, but other times it challenges what we consider "beyond good taste," as in the ongoing "Black Ladies" strip. 1 mean, what is it? It's a jab at political correctness and it's offensively racist. By taking a bad stereotype to a ridiculous exaggeration are we fighting it or succumbing to some philosophy of "no message, no future, no solution, no hope, no worries?" I don't know, I'm just too old- school liberal for these times. Babysue is $3.50 from PO Box 33369, Decatur, GA 30033. • Tour Diaries THE TENNESSEE TWIN TOUR DIARY HIGHLIGHTS AND LOWLIGHTS: MINI-CANADIAN TOUR, SUMMER 2002 Major Players Cindy Wolfe: band leader, vocals, mandolin, tambourine, lemon shaker. Sarah Wheeler: drums, vocals, whistle. Monica Chattaway: fiddle, vocals. Nen Jelicic: electric guitar. Neil Walker: the roadie. Every year the City of Vancouver shuts down the Vancouver Public Library for the entire week before Labour Day to "save" money. Being VPL employees (except Sarah) stiffed out of work, we decided it was a good week to tour what we could of Canada. Here is our story. DAY 1, Wednesday, August 28: Vancouver to Calgary We leave Vancouver at 5:30AM, girls in the rental mini-van, boys in Nen's vehicle distinguishable by a ratty Canadian flag flapping from its antenna. After not so many miles, we stop for breakfast in Hope at a family-style restaurant. Sarah immediately spills her orange juice all over the table and her crotch. Although irritating many, Monica's exceedingly high decibel level manages to attract some cute city workers in red jumpsuits. Before leaving, we bicker over our first bill. DAY 2, Thursday, August 29: Calgary to Canmore At the Canmore Hotel, where we are to stay and play, everyone gets their own room. Cindy snags the only room with its own bathroom and TV, thus dubbed "the party room." We are charmed and immediately bond. Super cool bartender Desi feeds us lots of fine beer all night long. A very drunk Canmore Hotel employee, Linda, informs us that she is "the crazy spoon lady" who will play during both bands' sets. The bar fills with an odd assortment of frat/sorority types and trashy aggressive locals who'd rather hear some rock. Monica tries to oblige by screaming "I Wanna Be Your Dog." During our set, we are oblivious to continuously hurled epithets, such as, "show us your tits!" DAY 3, Friday, August 30: Canmore to Edmonton Very early in the morning, Buttless Chap Morgan knocks on "the party room" door to retrieve his shoes. Cindy wakes up scared, not knowing where she is or who's knocking. We collect "li'l smoky" in Calgary and caravan slowly and carefully to Edmonton. Nen and Neil are probably hung over. Cindy is surely hung over. After arriving at The Rev Cabaret, we eventually discover that our promoter has called in sick. We are forced to play early and don't succeed in getting sufficiently fed. No one wants to party with us. We sell no merch. DAY 4, Saturday, August 31: Edmonton to Saskatoon Somehow and sometime very early in the morning, Monica ever again after she plays The Louvin Brothers' Satan Is Real album. Some are shocked to learn of the age-old driving rule which dictates that the driver chooses the music. Back in Edmonton, Nen's parents decide to host a BBQ for us. We all gleefully stuff our faces, some with big steaks. Nen's mom finds places for us all to sleep at the expense of those who live in the house. She even provides us with fresh pajamas. DAY 6, Monday, September 2: Edmonton to Vancouver Alarm clocks wake us up very early. We find Nen and his dad Cindy and Neil get naked on the road purchases a hideous moose baseball cap. We leave "li'l smoky" with Nen's parents in Edmonton, and Neil commandeers the rental eastward. Back on the highway, Nen tickles Neil while he's driving and we careen toward a truck in the next lane, narrowly escaping death. A rare quiet moment ensues. At Amigos in Saskatoon, our promoter, Brandt, is very sweet and takes good care of us. Even the vegetarians are well fed, and we get to stay in a cool old hotel called The Senator. Cindy is banished to the small, cold, haunted room while everyone else shares "the party room." DAY 5, Sunday, September 1: Saskatoon to Edmonton In the morning we locate a vegetarian and otherwise friendly breakfast joint. Unfortunately, the rest of charming Saskatoon appears to close on Sundays. Everyone tries desperately to prevent Cindy from driving crashed out in front of the TV. How cute. After eating cereal, Nen's sweet mom gives us each a little parting gift. Leaving Nen and "li'l smoky" behind, we depart Edmonton by 7:30AM. After hours of smooth sailing, we encounter a line-up at the Coquihalla tollbooth. After eating all the stray snacks in the car and a brief argument over who will eat whom, we discover a small opening in the highway median near us. We decide to take this opening, turn around, go back to Merritt, and take the Highway 3 detour toward Vancouver. At dusk, Cindy is finally elected to drive. Complete darkness, torrents of rain, hairpin curves, and an excess of backseat driving make this task extraordinarily difficult. But we do survive, arriving back home in Vancouver by midnight. We all have to work the next day. We kiss goodbye and secretly hope not to see each other for awhile. • 9 DiSCORDER flicl km ft bullshit by Christa Min A super secret top confidential hidden underground source that shall remain unnamed—okay, okay if you have to know, it was my good buddy Justin Gimelstob, pro tennis player, currently ranked 130th in the world who, since turning pro in 1996, has a total of $1,488,938.00 in career earnings, and who, truth be told, even if he is my GOOD BUDDY, isn't much of a tennis player—told me what METAL MIKE EATS FOR BREAKFAST! I can tell you're dying to know, and I'll tell you in a minute, but first, I should just inform you, for reliability's sake, that my good buddy Justin Gimelstob is one of Metal Mike's clients. My good buddy Justin Gimelstob pays Metal Mike a percentage of his measly losing salary to do his taxes. Mr. Saunders, as he's known in the business world, is an accountant. A few months ago, Justin Gimelstob, my good buddy, called me up and started complaining about how Metal Mike was really hard to get a hold of and how he refused to meet him for lunch or dinner or coffee or tea. The IRS keeps a close watch on tennis players, and Justin owed them a lot of money, so he was desperate to talk to Metal Mike. Finally, he couldn't wait any longer, so he jumped in his Tahoe, drove to Metal Mike's place, and started banging on the door. It was early, and when Metal Mike answered the door he was out of control and opened the cupboards. Inside there were boxes and boxes of MOTHER'S GROOVY GRAHAMS CEREAL. That's it. That's what Metal Mike eats for breakfast. And lunch. And dinner. For your information: Stephen Malkmus likes to eat Chile Picante Corn Nuts after blazing a huge J, Chan Marshall likes to snack on celery sticks Justin Gimelstob told me what METAL MIKE EATS FOR BREAKFAST! wearing puffy hair and slippers. "Let's go get some breakfast," Justin had said, but Metal Mike refused, He said that he had already eaten even though it was clear that he'd just gotten out of bed. "Why don't you come in," he said. "Just let me take a whiz." While Metal Mike was going pee (which he does while sitting down; this Justin also told me) my good buddy Justin Gimelstob went totally wild and opened the fridge. Inside there was a CARTON OF MILK. That's it. So Justin got wrapped in lettuce to keep her from turning into a REAL fat ass, Thurston Moore snorts a litre of banana milk through one nostril, and a litre of strawberry milk through the other before he plays a show, Nelly Furtado treats herself to a couple of deep fried beef balls every once in a while, AND if you really want to know the details, Elton John and George Michael enjoy eating each other's dinks for a midnight snack! I shouldn't say that. I don't know that for sure. • Sterling Boone The Beatup Ronin Tuesday 1:00 to 2:00 pm Record played most often on your show: I'd almost say Television's Marquee Moon, but I think it's edged out by The Dirtbomb's Ultraglide in Black, and The Mooney Suzuki's Electric Sweat Record you would save in a fire: Most definitely a dilemma in decision making would surface and I'd go out like a viking with the vinyl. If it came down to it though, most likely—The Rolling Stones Aftermath. Record that should burn in hell: Anything electronic can take the fast elevator down, and I Peking hate Fleetwood Mac's Rumors. Worst record that you like: Huey Lewis and the News, Sports, or maybe some nostalgic run with DJ Jazzy Jeff and the Fresh Prince. First record that you bought: I can only remember some comedy records, Cosby, Richard Pryor, George Cariin and a version of the "Lion Sleeps Tonight" by some generic Disney group. Last record you bought: I bought both LP releases from a great garage-psych pop group called The Sights, on Fall of Rome records, and I picked up an unforunately warped version of Bobby Womack's original soundtrack to Across UOth Street. Sound is still reaUy good though. Musician that you would most like to marry: I'm not so certain about marriage, but I could think of a mess of things Rachael Nagy of The Detroit Cobras. Favourite show on CiTR: Without a doubt I listen to Third Times the Charm, hosted by Bryce Dunn, the most frequently—his age offers a certain guru like guidance and I always cop tracks off his show. Strangest phone call while on air: ^TJierailexs-arano-wherenearas-strange as the characters that hang out-here on a daily basis, so I'm still waiting for the true freak-out antagonizing caller. That number is (604) 822-2487, c'mon... I mean it. • pqnorticoM the sound of spectacle by tobias It is raining cold, hard, and wet, but by the time you read this we may be basking in that warm glow, faces fiush with the hunt and thrill of the kill, as we bomb the living shit out of Iraq; or, as the FBI's planes circle and circle over—not only Washington, DC—but the entire country, perhaps even Canada, in that uncanny hunt for that elusive sniper in the white van. This month's column will intersperse itself between quotes and links. Insofar as it is a "column," it sediments itself and extends its tendrils past its limited graphemes in memory of one Walter Benjamin and the Arcades Project, a man suicided by society if there ever was one. 1 leave references to spurn further reading. October 6th 20,000 people in Central Park gather to protest war over Iraq (www.nyc.indymedia.org). "Not In Our Name"—"and let it not be said the citizens of the West did not resist." But the question remains of the name. Where the proper name speaks—even collectively— and where the "our" voices the force of a multiplicity, there occurs the risk of effacement and erasure of the name as the State response. Not In Our Name—"Fine," says the State; "Then you are no longer With Us, but Against Us: You No Longer Have a Name." Indeed, will we see this development in positions where the debate over nomenclature, over who can claim to speak—people or State—precipitates the overt manifestation of State power over its own people—what Virilio calls "endocolonization." (See Speed and Politics.) "I have such a horror that this is going to go on and on," said Mabel Dudeney, 76, a survivor of the 1940-41 Battle of Britain in which much of London was destroyed by nightly German bombing. "Russia is going to go into Georgia. China is going to attack Taiwan. Israel and the Palestinians are going to continue fighting. War settles nothing." This source said investigators questioned him extensively; and Wednesday night he confessed to making up the story. 1993: The Gulf War "The 'reality' of 'actuality'— however individual, irreducible, stubborn! painful or tragic it may be—only reaches us through fictional devices. [The al-Qaeda terrorist network has reorganized and "intends to strike us here and overseas," CIA Director George Tenet told a congressional committee.] The only way to analyze it is through a work of resistance, of vigilant counter-interpre- to tell the philosophers of his time to read the newspapers. [Pollution control officer Richard Anderson shot and killed two colleagues before turning the gun on himself Tuesday after getting a letter of discipline.] Today, the same duty requires us to find out how news is made, and by whom: the daily papers, the weeklies, and the TV news as well. We need to insist on looking at them from the other end: that of the press agencies as well as that of the tele-prompter. And we should never forget what this entails: whenever a journalist or a politician appears to be speaking to us directly, in our (Gilles Deleuze, Interview with Claire Parnet.) Like Thomas Pynchon's Gravity's Rainbow... Today, our Schwarzkommando is the White Man. The Doctrine of the Final Zero was effective enough to convince the White Man that he too had to do it, it seemed so cool. However, the big joke was that the Schwarzkommando were joking the entire time... [and the Pentagon has authorized the use of Army surveillance and reconnaissance aircraft in the hunt for the killer.] And There's Just Nowhere to Stay ...while, at the same time, in BC, derelict buildings rot in our downtown cores while the homeless suffer on the streets... and now that "they" (they aren't real people, real citizens, right? I mean they have no homes) have taken Ti-:: ~~*" *&< homes, and looking us straight in the eye, he or she is actually reading, from a screen, at the dictation of a 'prompter,' and reading a text which was produced elsewhere, on a different occasion, possibly by other people, or by a whole network of nameless writers and editors. [His unflinching message yesterday: The violent shooting deaths had nothing—repeat, nothing—to do with the government's controversial program of downsizing and massive job cuts.]" -Jacques Derrida. (What Derrida invokes at the end is that resistance is not the only instance of the multiple. Capital remains the most deterritorializing force on Earth and in Empire. This is why Deleuze and Guattari say that "it is always on the most deterritorialized element that reterritorialization takes place"- A Thousand Plateaus.) The Doctrine of the Final Zero "It's a little like Nietzsche said," —Deleuze concludes. "An arrow is shot forth in space, so a period or a collectivity shoots an arrow, and eventually it falls, so literary creation passes through its periods of desert." a unilateral—if not ethical, justified, and necessary—decision to occupy these buildings (Hell, not so much to occupy as to have a place to call home), the Government's move, backed by a complicit and often malicious police force, is to arrest those without homes, steal and destroy their only belongings—donated blankets—and cart them off to the Courts for daring to find a home... would we approve of this anywhere else? "Kosovo refugees without a home violently flushed from empty building." (And of course those violent Government shootings had nothing to do with layoffs—how could it? We all got the tax break, right? I mean, aren't you happy now? We'll find a reason to explain the violence—maybe call in a psychoanalyst or two, it was all a bad mother in the end, but never will we make that connection that Gee, maybe this layoff-thing affects people's lives, huh...) • Until We Get Our Shit Together! 10 November 2002 W31 Semifinals NOVEMBER 12/ROUND ONE Human Highlight Reel my project: blue In Media Res NOVEMBER 19/ROUND TWO The Feminists Black Rice Subconscious Sattelite NOVEMBER 26/ROUND THREE The Stunts S. K. Robot TBA (winner on Nov. 5 SHiNDiG) Finals: DECEMBER 10 THEHME A 2 O O 2 Special Bonus Night! DECEMBER 3/CHAMPIONS Clover Honey The R*A*D*l*0 Three Inches of Blood clDcr raclrcra.crom ARC ELECTRONICS Columbia 'Academy ILIOI B0& TISIO RECORDS fill W* NEXT PIERCIfs 01 I R E W E R Y THEUBYSSEY mnn nmnm O ^fiPI 11 DiSCORDER -0V s"inffilttlK lEsSiml t-reNZair/lOmb' SickollVflLL flNTl/lA^. nofX* Wizo' 600dfidlliu menm..iiiifiiegiM/M. FAT WRECK CHORDS • PO BOX 193690 • SAN FRANCISCO, CA 94119 • WWW.FATWRECK.COM by Natalie Vermeer Artax is a band out of Abbotsford with no particular defining genre;— a band to which using a vague description like "punk" would be not only boring but unfair. At an Artax show, you can sing, dance and eat, and songs of apocalyptic potatoes and video game faces suck you into their whirlwind of confusion that actually makes sense. Well, maybe. Ifl could actually explain them any more, they wouldn't be as fun, so let's just get to the questions. DiSCORDER: Who are you, officially, and what do you do? Julie: Julie, otherwise known as J-Dawg and I play bass. Frank: My name's Franklin, code name Falkor... [drums] Julie: I thought 1 was Falkor! Adrian: I'm Adrian and Morla [guitar/vocals], the wise turtle in the movie, [ed.note—They're talking about The Neverending Story. Where the hell were you in the '80s?] You were the horse! Julie: Artax? But that's the band! What about the bat? Frank: You're the racing snail. How did you guys start up and why? Julie: Adrian and I started playing our instruments and we sucked. We needed a drummer so we could make a band. Adrian: We were in FSR, our first band. There were 5 people in the band and the visions were so [different]. It just had too many people. Julie: We just wanted a three piece. We decided to have some jam —nothing official—but then we clicked and Artax was born. Do you listen to any other bands with Neverending Story-inspired names like Atreyu or Falkor? Julie: Yeah, there is that band Atreyu—i wanted to hear them but I didn't get a chance. They're like a metal band. Adrian: We should make a compilation album! How about if you could play a show with any band, who would it be? Julie: I don't know, The Red Light Sting maybe. Frank: Any band? The Police. Julie: Dead Kennedys. Adrian: Or d.b.s. if any of these bands existed anymore. What's been your favorite show so far and favorite band to play with? Julie: The Skids. Frank: Well, let's clarify the bias here—she's going out with one of the members! Adrian: Our shows and practices are pure therapy—probably the Julie: New World on Fire. main reason that we play music. It's really inconvenient to be in a band, because you have to organize every week: the jams and the shows and the promotion. Frank: And you have to live at the same time! Adrian: Live and go to school and work and deal with... Frank: Ex-girlfriends! Adrian: Well the crazy thing is, me and Julie went out for three Adrian: But n Adrian: Yeah. Frank: At the Chilliwack [Art Centre] show, it was short but the people were into it. Adrian: New World on Fire is crazy: the energy in the place, the people just went insane. Julie: It was s vthatplai s shut down forever. At that Friday the years! Julie: The beginning of Artax was kinda rough! Adrian: The only thing we did together at the time was play music- we couldn't even look at each other. Julie: We wouldn't talk to each other. 13th show—some girl went crazy and ripped down all the the art area and destroyed it all! And now there's this huge deposit and people can't put shows on there. What do you feel about bands losing places to play in? Frank: I think it sucks. Frank: And I didn't know either one of them at the time. I was the Julie: We've been through so many in the past year and a half—it "new guy" and in the middle, playing the drums; it was really weird, started with the Java Joint and then the houses in Abbotsford. Adrian: I think the main thing about Artax is it's therapy... Frank: I've been working on putting together a venue with a buddy Julie: In a good way. It's not the whole point, but it's healing. of mine and it's slowly fabricating and it's gonna work out; it's gonna Adrian: And it's a community—it makes life worth living. be swell. That's all I can release! Julie: I'd agree. Adrian: It's a punk rave! That was very nice... so why the name Artax? Is it just the horse Frank: It'll probably be in some dumpster. that died in The Neverending Story or is it something more? Adrian: You can bring glowsticks! Julie: Well, we all really liked the movie and we wanted a one word Frank: Yeah, definitely by early 2003, there'll be a new venue in name that people could relate to. People of our generation have all Abbotsford! seen it. Adrian: As long as there's a scene, you can't stop it. Adrian: Yeah, we named our band after a dead horse, but it's also Julie: It just keeps popping up everywhere. Like mushrooms! The Neverending Story and everyone can identify with it so it has Frank: It's like that adolescent zit on your forehead, the one that different levels. It's better than an acronym. We used to be an keeps popping up. acronym because we couldn't decide on anything. Julie: It just migrates around your face. FHS? What do you hope to convey with your sounds and your lyrics? Adrian: See, that's what I mean, acronyms are the worst! Adrian: Music is totally organic. I don't even make it up; it just hap- What did it stand for? pens. The music just sort of comes out of nowhere. It just grows like Julie: The first one was "Fonzie's so rad." a weird moid or something. What do you interpret "The Nothing" to be, in the movie? Julie: We just want to have a reaction from people - whether it's a Julie: It's the loss of the fantasy, like kids not believing anymore, positive or a negative one. Frank: The Nothing is when we're jamming and we can't seem to Adrian: And lyrically, we have a combination of things. Some of get anything together. them deal with issues, while some of them are just plain fun; Adrian: Yeah, no communication! our"Kuchen" song is about cake! Then there are other songs that Frank: That's what The Nothing is. are about genetically modifying foods. Adrian: Totally! It's like musical block; writer's block, definitely. Julie: Yeah, we have this cake and everyone can lick it off his face while we play funk. Adrian: Last show we had six people licking it off of me! Anyway... so lyrics I think, just to challenge people's perspectives in a way that's, I don't know, humorous in a way? It's just more fun that way.. Last time I saw you, you threw out your lyrics on sheets into the crowd- Adrian: Yeah, every show we do that. Julie: You've seen us before? Yeah, twice. Once at the Chilliwack show and once... Adrian: At our first show, right? [Frank] had just had a spinal tap five days before! Frank: Yeah, five days before our first show! I started being able to walk the day before the show. I hadn't gotten out of bed for three days, so I swallowed a lot of Tylenol-3s and I felt pretty looped. Near the end of the show 1 guess the medication was wearing off and the pain was starting to come back in my head, and so yeah, it was bad. 1 paid for it, but it was tun. Hey what about this Allen Greenspan song. When I hear that, I imagine everyone holding hands and swaying. Is that the idea? Julie: We want them to sway! Adrian: Yeah, totally. Hey, you know what I found out? I was always wondering where I got the inspiration for that song and really what's it's from is "I am the church, you are the church, we are the church together." So I just realized that "I Am Allen Greenspan" is a church cover song! Do you have any plans to record anything soon? Adrian: Yes, in December we're recording a full length. Julie: We're just totally busy with school and all... Frank: It'll be about 10 songs. Adrian: Lots of art and amazing amounts of written stuff. Hopefully you won't be able to close the CD; 1 want that much! My main thing about art is 1 want to know what [artists] think in a different medium. 1 hear their music and I try to understand it, but words are just so lacking! Almost half the albums you buy, you just get some pictures in the CD. Either they're afraid what they've said is not good enough... Frank: Or they just don't have the money to print books like that! Adrian: They just want to make it professional-looking, right? Well, if we have to, I'll just photocopy stuff—like the way [Frank] did his tape is brilliant! What was your tape? Frank: I do solo acoustic stuff—it's kinda where my heart is; I made a recording. [Check out www.franklyncurrie.cib.net], Adrian: It's really good. Julie: Excellent. Is there anything you wish I'd asked, 'cause I think that's all the questions I have... Adrian: Well, it's funny, the only thing I was preparing for this interview was "What's your deserted island CD collection?" Julie: No, don't go there. Adrian: That's an impossible answer. Julie: 'Cause it changes. Adrian: What- do you think Julie? Do it now! Julie: I wouldn't take CDs! Batteries would run out! I would take instruments... Frank: Solar powered... Julie: I'd rather take a hand drum, a guitar and an acoustic bass and some coconuts and make music! I'd be wearing the coconuts while I played* (Artax rock against The Nothing at the Seylynn Hall in North Van on Saturday November 9f". See them with Billy the Kid and the Lost Boys, St. Tibs Day, and Drakes Advantage for seven lousy bucks.) 13 DiSCORDER By Chris Eng "But it's those kids' faults—they're to blame. They're to share the blame is what I'm saying. Fuck, they've gotta know. C'mon, kids are so grown up nowadays. Y'know, seriously—you don't walk into a confessional booth and see scented candles and an empty box that says 'The Violator' on it and not go, 'Huh?' I don't care if you're eight years old and innocent—figure it out!" Oh yeah, you think you're witty. Your dad got up in your face the morning after you'd been out tossing back gin all night and screamed, "Where the hell have you been?! Are you drunk?!" And you looked back at him—calm, steely-eyed—and said without a hint of a smile, "No, I've been touring the night shift at a rubbing alcohol factory." And despite (or perhaps because of) getting smacked around by your old man, you knew you were the king of incisive wit and sarcasm. Well, let me tell, you—you just lost your throne, motherfucker. Even assuming that, by some amazing chance, you actually managed to be the wittiest fucking person on the planet—some Boys From Brazil lab-grown hyper-intelligent CHUD-like Oscar Wilde clone—you must realize that was only true in a world where David Cross hadn't released a CD of standup comedy. Because David Cross is funnier than you. He's funnier, smarter and more in control of his shit than you can ever aspire to being. He knows how to work political humour (with the acumen of Dennis Miller) and he knows when to take the piss out of rednecks (with far more vitriol than Jeff Foxworthy will ever contain in the course of his sad little life). He makes fun of Christians and Jews (with the matter-of-fact attitude of Lenny Bruce) and bends society over, pokes out its eye and skull-fucks it harder and with morejoi'e de vivre than he ever put forth during his run on Mr. Show. Shut Up You Fucking Baby! is the double-CD set documenting his tour across the US earlier this year—more than two hours worth of that learning that you don't get in books; that old-school oral education in a dirty shotglass with a venom chaser. So why two discs? Why not distill it into one and toss the dregs? Because it's all gold, baby. The vitamin C-rich golden urine of David Cross pissing all over all of your sacred idols not because he had too much %%: coffee, but because it's funny. So wipe it off and laugh, goddammit. DiSCORDER: Is there a point where funny switches over into I tasteless and from there switches back into really fucking hilar- | ious? J David Cross: Well, 1 don't know if it switches back; it just goes further until it meets itself in a weird Moebius time-strip. But yeah, there's definitely a thick line between funny and tasteless and tasteless and funny, but that's just a matter of relative taste, too. Well, I found the whole Catholic Church bit on the CD really funny, but— That's just such obvious sarcasm, you know, and plus I'm also a card-carrying member of NAMBLA, so I feel differently than other people do. I'm not a member of NAMBLA; I just have their card. I hold their cards for them. Playing cards? Yeah, they're playing cards. They're pretty hot—I mean, if you like "W young boys. I There's a long-standing tradition of in-your-face social commen- I tary in comedy stretching back through Lenny Bruce to Bill Hicks and you, now. What do you think you can impart through comedy that you can't get across any other way? %- Well, it's a way to be angry and palatable. Nobody's going to pay money to see somebody rant and rave—"This is bullshit! This is bullshit!"—but [this is] what Jonathan Swift did; it's what Voltaire ii^ did. It's a way of dealing with something that's inherently not H funny, that people might find strident and self-righteous and then r- make it digestable. Do you think, as a celebrity, you have some kind of social responsibility? No. I think I, as a person, do. I don't feel any kind of responsibility as a celebrity, except maybe to try to be more polite than I normally would be, or more tolerant of insensitive, stupid people. That's it. So what do you see as the salient differences between the US and Canada? Well, the maple syrup industry is the future for both countries. The main difference, I think, is that people are less uptight here. My experience is limited to Montreal, Toronto and Vancouver—I've never really been in the country or anything. I'm not that big a fan of Toronto, but I love Vancouver and I love Montreal. I really, really like those two places. Funny, that's what most Canadians who don't live in Toronto say. There's not a lot going on there and it closes really early. I love Montreal for that—for its happening... cultural... heroin access. And Vancouver for that too. Yeah. So considering that much of your material is intentionally based on pushing boundaries, what do think the place of political correctness is in society? I think it's only apparent when people call it "political correctness," because I don't really see that many examples of it anymore. I don't consciously see it. It seems to be almost a trend, in a way, that's dying down—at least the idea of calling somebody on their political correctness or incorrectness. But it's manufactured; it's fake; it's not organic; it's not real. So, as well-intentioned as it may be, it's usually covering up something else that's more important. I don't know what that means, but 1 can't wait to read this interview and find out. Well, I'm sure that Mr. Show got called on its shit a few times. I think everything we did was in the boundaries of being correct, if not politically correct. We didn't pick on defenseless people, we picked on assholes—whether it was religious or big business or whatever. Your track titles were hilarious and, appropriately enough, had nothing to do with the tracks. Is that coming from sheer disdain for the pithy titles that other comedians come up with? Absolutely. Yeah, that's it exactly. And they asked me about the track titles and it just occurred to me, "Oh, here's another place for humour." I could call it the real thing, but fuck that. Why would I do that? Extra bonus laughs! Before you even open the disc up; before you even pay for it or burn it! Word on the street has it that you're working on a Scientology comic. Oh, yeah! It's not a Scientology comic, but I was working with an artist who unfortunately is a little... crazy, and backed out of it and said he couldn't do it, but'the stuff he was drawing was amazing. I just have to find a different illustrator for it, but I have this whole story. It involves Scientology, but it's not about Scientology. Is that a big interest of yours? I'm a little obsessed with it. I've a fascination with it that goes beyond interest, and it makes me angry in a way that other religions don't, but it's not a religion, so I shouldn't even give it that credibility. In what way does it make you angry? Just that human beings are that susceptible blatent nonsense, made-up fiction, garbage. such absolute And the Bible too, for that matter? Well, the Bible is also ridiculous—but it's less ridiculous than Scientology. That's just crap. The Bible at least has a couple thousand years of history behind it? Yeah. I can understand believing in that way before believing in this science-fiction writer's poorly-written, random, illogical stuff. And since I've got you here, do you have any feelings on Bush and the latest push to take out Iraq? It's very disturbing and upsetting to me and, much like my feelings on Scientology and the Bible, it's also very dismaying because of how manufactured all this stuff is. Especially knowing the history of manufaturing this kind of... it's just, there's nothing funny about it. It's just really disturbing and awful and mean and selfish and... that's it. Just really selfish. I wish I believed in Hell because I believe he'd go to Hell.' David Cross: Funnier Than You 14 November 2002 The Gourds are currently Austin's hottest band. This is no small feat in a city that bills itself as the "Live Music Capital of the World." That's standard Texas hyperbole, perhaps, but Austin City Limits and SXSW are worth boasting about. Austin is still considered a mecca for songwriters and has nourished the careers of the likes of Doug Sahm, Willie Nelson, Townes Van Zandt, Stevie Ray Vaughan, Alejandro Escovedo, Nanci Griffith and Lucinda Williams. Lurking in the Americana and roots corner of the alternative music parking lot, Gourds' music is hellaciously hard to describe. Various sources have offered up labels like: The Band meets The Pogues (or London Calling-era Clash); backporch hillbilly punk; Tex- Mex-Cajun-rock-grass-trad. Take your pick. The band's unofficial motto is "music for the unwashed and well read." While they are in no way a jam band, the Gourds enjoy a large following among fans of the Phish / Leftover Salmon / Widespread Panic scene. A distinguishing feature of this band is the presence of two songwriters with differing styles. Songs written by Kevin Russell (vocals/guitar/mandolin) are more likely to sound as if they were plucked from an Appalachian picking party, while Jimmy Smith (bass/vocals) tends to careen through lopsided landscapes inhabited by shadowy characters. What the two share is a love for what Robert Bly calls "leaping poetry" and the type of imagery found in the works ofNeruda and Baudelaire. My introduction to the Gourds came in the spring of 1998 in a college town in north Texas. The owner of a local club renowned for booking fine indie bands ran into us at a festival. He waxed poetically about this great young band from Austin that we absolutely had to see. Ifl recall correctly, the phrase "future inductees to the Rock and Roll Hall of Fame" was even uttered. At the gig, even though the bass player had lost his voice, I could see and hear that there was definitely something to this scruffy-looking bunch. Myfan- dom was not instant, but has increased steadily and mightily with each new album. The Gourds' sbcth CD, Cow Fish Fowl or Pig has already garnered heaps of praise and college radio airplay. They recently performed in front of a crowd of 10,000 at the Austin City Limits festival. Looks to me like they're on course for a 2022 induction into the Rock and Roll Hall of Fame. Kev "Big Daddy" Russell took time to ramble amicably via email about songwriting, great Canadian rock bands, and the "Gin and Juice" phenomenon. THE GOURDS By Val Cormier Music for the Unwashed and Well Read DiSCORDER: The Gourds achieved some notoriety on the internet for your version of Snoop Dogg's "Gin and Juice." How'd that happen? Kev "Big Daddy" Russell: Well, I first played that at a birthday party for our sound engineer, Rche [sic]. That was back in 1997 sometime, I think. It went over very well, lots of laughs and jaw dropping. You'd have thought I had reinvented the wheel. I just liked that song so much when I first heard it, which was sometime after the fact, probably 1994 or 95. My sister Erin played it for me over the Christmas holidays that year up in Denton.TX where my folks live. I wanted to figger [sic] out a way to play it, just for kicks. I could not rap, thank the Lord, so I had to come up with a melody that would support all those words. It was like learning "Louie, Louie" if Bob Dylan had written it. One night at the Electric Lounge in Austin I told the guys to follow me on it and we would play it. They had never played it before. I told them it was just A and D chords, very simple, and we did it. Again, the place came unglued. I think we all were a bit disturbed by the reception of this monster song. It gained in popularity around these parts. Of course our record label at the time wanted us to record it, so we did. They went out of business before they could really work it. So it disappeared into the internet netherworld. I think it got on Napster first under Phish because it was on some stoner's CD burned comp. That shit gets traded around without any real liner notes. So once everyone thought it was Phish, it took off on Napster. At one point it was the most downloaded song, I heard. I contacted them about it, but they were of no help, claiming systemic incompetence by design. I realized at that point 1 could upload the entire catalog of the Residents under the Gourds and everyone would think that was us. Who needs integrity when music is free? It was probably for the best though. Now we are not known as "that Gin and Juice" band in the way Dynamite Hack became known shortly after as "that Boyz In The Hood" band. I think we dodged a bullet there. Do you still perform it in your live sets? We still play it when we feel like it or when it seems like a good time to play it. We played it at the Kerrville Folk Fest. Everyone said we shouldn't because it might offend the marijuana, wine and cheese crowd. But they didn't seem to care. We try to offend people, but we never seem to really get it right. The most surprising thing to me is when we play a wedding and the bride requests it. It is easily one of the most misogynistic songs of the last 10 years. But even my mother loves it. It really has a life of its own. And I never tire of seeing where it goes and who it finds. Keith recently was drunk down on the coast of Texas on the beach in Galveston. He said he was trying to fall asleep out there in the dunes at 5am, but all the cars cruising up and down the street were blaring our version of "Gin and Juice." Rumour has it that Snoop his fine self has heard your version and digs it. Is that true? Yes, there is a video clip of him listening to it on the website. [http://www.thegourds.com] The Gourds website says "there is just absolutely no way to categorize this music, these songs, without tearing up the English language." But let's try anyway. Where do you find your songs? What gets you riled up enough to write? I write usually when I am sitting around outside. And it all starts with a chord progression and a melody, which has a certain rhythmic pattern, of course. Then the words I dig up from old notebooks or magazines or symbolism or great works of literature. I do cut ups or collages of words and phrases and then add on bits to make it all rhyme and connect somehow. 1 get ideas from anywhere and everywhere. I can write a song about the sexual habits of a blade of grass if I want to. There is nothing in the world that can't be explained through music and words... well, maybe not explained, but at least represented or presented in an odd way that might make the listener think it means something more than it does. That is the beauty of the imagination. 1 like the sound of words put together that one might not expect to be used in the same song or sentence. It is fun to rip up the English language. I think that is how the English language became so bizarre and in need of all those stupid rules we learn in school. It's been ripped up and stuck back together and interjected with so many other languages that it is honestly a product of our diverse, crazed, misled and entertaining culture. Of late I like to call our music "Rag & Bone" or, as Tom Waits coined, "Surrural." It is something of a game to try and make a name suitable for it. And, no matter what we call it, we will always have to be put into one of those categories one finds in the bins at the record stores. I think rap was the last accepted category of the 20th century. It really takes a huge cultural movement to get the retailers to make plastic signs for their bins to sell it. We are not there yet. That must be the ultimate accomplishment for any musical artist— to be instrumental in creating a new genre of American music. Bill Monroe comes to mind, James Brown also. Is it true you're a closet Triumph fan? Any other Canuck bands you've ever dug? Well, I love Magic Power and some of the other tunes on Armed Forces, but I would have to say I am not a "fan" more than a man who likes a good laugh with his rock 'n' roll. Tons of Canuckrock is great. The greatest of all, of course, is BTO. They flat out are one of the greatest rock bands of all time from anywhere in the world. Their record Not Fragile is one of my all-time favorite records. I always dreamed of being in a rock band like that. I did a lot of my pre-pubescent mirror-guitaring to that record. You recently released a fine solo CD which includes a song ("Somebody Bring Me Flowers, I'm A Robot") written with your son Guthrie. Is the co-write process different with a 3 year old? And does he get a cut of the royalties or are you just paying him off in ice cream? He gets a roof over his head and all the Disney movies he can watch. He uttered the phrase one day while playing Legos and I asked him simple questions about what he wanted to say. A question per line. He would answer and I would write it down in a way that would rhyme and fit with the musical idea I had for it. We have worked on many musical collaborations. I am going to give it a few more years before we record and tour with this show. It needs some time to mature. Are you happy with how the new CD turned out? Well, it seems like a regular Gourds record, which usually does mean there are some surprises. 1 think the main difference is Jimmy's songs on this one seem to me more structured and fully realized. He was really into the minute and a half song for a while there. I really am interested and impressed with where he is going as a songwriter. I feel like he is taking it less seriously and at the same time creating some really classic songs. He is growing and learning like the rest of us and it shows in his songs, of course. The whole feel, actually, of this recording has that "not trying too hard" quality to it. At the same time there are some really wonderful moments. "Bottle & Dime" is flat out balls-hung rock. "Blankets," a Max song, is a beautiful little thing that I always like to play and hear. "Ceiling's Leaking" is really a cool Sticky Fingers- era Stones thing that is fun as shit. "The Bridge" is a really fine, fine song that I think is played very well. It has a great group of lines in it: "If the billy goat was Bootsy and the troll was Maceo, only the godfather of soul could really take you to the bridge." Canadians have some pretty interesting perceptions of Texas. So what do Texans really think about Canada? I don't know, really. Most Texans like the idea of Canada. But we are such an arrogant bunch down here... nothing is sacred but the Cowboys and the Alamo. I know in the middle of August most anyone would love to be in Canada. BC bud? We might know about it, 1 really can't say if we do... mum's the word. • 15 DiSCORDER zorn in contro "I think I have here all that I could possibly want. I have my books and my music and mother's art collection and a visit from a beautiful lady from time to time and what I value most: My privacy." By NOU Dadoun The eastern European voice on the answering machine sounded like it came from an old movie but, rather than inviting a message, it delivered one: this is a man who indulges in artistic and sensual pleasures, whose world is self-contained and who does not welcome uninvited intrusions into that world. I left a message anyway and John Zorn phoned back about five minutes later. We had a chat that was at turns revealing, evasive, frustrating, friendly and rushed. My overwhelming impression was of someone who hated being pinned down or restricted in any way—who hated not being in control. John Zorn has been one of the most important and controversial figures in contemporary music in the late 20th century and looks to maintain that standing in the dawning of the 21st. To someone not familiar with him, his music, and his contributions, it may be hard to grasp his importance. He's a cultural sponge with an enormous artistic appetite. An apocryphal story has him listening to music on a walkman modified to play one-and-a-half times normal speed so he can cram more in. His record and book collections are legendary, displacing furniture and even the kitchen in his apartment ("I eat out"). Previously having lived in Japan for a number of years, he's fluent in Japanese and well-versed in Japanese film and art. He wears the running threads of his own Jewish heritage like a tallis. His 'top ten' CD, book and film lists on the Tzadik web site reveal a man who swallows genres whole, from the cartoon music of Carl Stallings to Indonesian gamelan to beat poets to film noir. These influences and cultural references all feed his muse in a body of work staggering—not only in its size—but also in its breadth. Explorations of technique in solo alto saxophone improvisation inspired by Anthony Braxton as the "art of strategy"; reworkings of the hard bop repertoire in the Sonny Clark Memorial Quartet with Wayne Horvitz and then, its logical extension, News for Lulu with Bill Frisell and George Lewis; psychedelic country and western with Eugene Chadbourne; funky Hammond B-3 groups with Big John Patton; free improvisation as a participant in Derek Bailey's Company Week; the list goes on. He's tackled experiments in rock music with Locus Solus, dabbled in speed metal and thrash with groups like Painkiller, explored dynamics, tempos and textures with Naked City, avant lounge music with The Gift, fully notated compositions like "Redbird" (influenced by Morton Feldman), "Cat o' Nine Tails" (a commission for the Kronos Quartet), solo piano pieces like "Carny," and full orchestral scores like Angelus Novus. At the same time, he's shown an unwillingness to let his audience get too close or become too comfortable, subscribing to the "Art is not a mirror, it's a hammer" philosophy. He has a predilection for disturbing images, sometimes drawing from violent pornography for album graphics—the original cover for Torture Garden prevented the disc from being sold in the United States. One of his Naked City compositions is entitled "Eat Shit Jazz Snob!" sometimes retitled "Eat Shit Naked City Snob!" in performance. Since the early '90s, he's been a leading proponent of the "Radical Jewish Culture" movement which has created contexts for the intersection of contemporary music with Jewish culture in compositions like Kristallnacht and ongoing projects like Masada and Bar Kokhba. Zorn has been the nucleus (the grit that created the pearl?) of the New York "downtown" musical community whose Theater of Musical Optics evolved into clubs and showcases like the Knitting Factory and Tonic. His game pieces are a category unto themselves (e.g. Pool, Lacrosse, Cobra, Xu Feng etc.)—based on 'war games' in which up to 20 musicians/players dynamically team up in shifting groups of various sizes and improvise with (or against) each other. The teaming and improvisation rules are usually controlled by flash cards and gestures of the prompter, often Zorn himself. Perversely, although there are recordings and performances of many of the game pieces, Zorn doesn't usually reveal the rules and cards which guide the "game," thus leaving the audience "out of the loop." Some of the concepts of the flash cards in the game pieces evolved into his "file card" studio constructions: The Big Gundown (settings of the music of Ennio Morricone), Godard (his tribute to Jean-Luc Godard), and Spillane (derived from the Mickey Spillane pulp fiction of Mike Hammer). Zorn (at last count) has released 13 CDs of his own soundtrack compositions in the Tzadik Film Works series, and we launched into a discussion of film music: One of the things that I know about you is your admiration for film composers; one of my first exposures to your music was the Godard Fans record, which was a wonderful thing and ear-open- 16 November 2002 ing for me. I know that it was at the time a new experience for you in terms of studio possibilities and you went on to explore that for a while. Is there any of that studio [file card] stuff there in the back of your mind in terms of future projects? Always!... [T]he studio is a tool and I continue to do studio work that is along those lines. Songs for the Hermetic Theatre, I think, is an example of a record like that. Or 1AO that just came out. Conceived and created really to be a CD and nothing else but that. If it can be done live, it would be learned after it was created in the studio. I know some of the Ennio Morricone stuff was eventually performed live, but it seemed more like a studio construction than anything else. Yeah, very much so. And it's a pain in the ass to do it live. Have you ever thought of doing anything with the music of Bernard Hermann? Ah, that music is sacred. It can't be touched. That's the way it is. I would have thought that Ennio Morricone's music was sacred in Mmm... There are a lot more possibilities with what you can do with his music. Hermann's music really has to stay the way it is. The orchestration is crucial and if you think about it, it's very simple motivic music with very simple harmonic motion and it doesn't lend itself to interpretation, to wide interpretation. It was really music that was not pop music in that sense. Morricone w of very big pop songs. He worked as arranger for [It; ... so, that really opens up the interpretation possib music, whereas Hermann's is tied to the film i in a very deep way and doesn't len. :ion by a rock group... it's gotta be what it is. So 3t any better or worse than what Mon n't think I wiRbe doing anything of Hermann's. Jrersion of "Taxi Driver" in Naked City ... there Bdoing a pop song. So, you can't take the theme thwest and give it to guitar, bass, and drums and Klly gonna have the same impact... ling from Psycho might... reard people try to do it and I just think it's unsuccessful. It's not because the musicians aren't being creative. It's because the music itself inherently needs to be exactly what it is. Now, you're also an admirer of Maya Deren Very much so. Yeah. Have you ever thought of scoring some of her work? Well, not yet, but I did some music for two Ken Anger films last Halloween. That was very successful and Ken was there, was really excited and there was talk about synching my scores to a couple of his films. And I did it recently for Harry Smith, Early Abstraction and the Oz film and I did a whole program of Harry Smith work a couple of months ago. That was also really, really successful. I take these things a step at a time. If it's appropriate, I'll do it—if I'm asked. Seichi Ito's scores to Maya Deren's films are wonderful and I don't know whether I wanna replace anything like that, but maybe if there's footage found or if there's film that doesn't have any sound synched to it at all, I might consider doing something like that. That brings to mind something like Un Chien Andalou or L'age Dor. Right. Silent films to me need piano accompaniment. You think so? Hmmm... Yes, that's my personal opinion. I don't like rock bands doing such and such, orchestras doing such and such. I think it's about one person at the keyboard interacting with the images on the screen. When you score something immediately, it becomes a mood type thing. It's very hard to really follow the action the same way that a pianist can. Or it just becomes so stiff because you're tying it exactly to the action in one specific way that... I don't know. No, I think from Norl expect that Although, Yes and no. silent films... piano." The way you describe it, it sounds like another vehicle for improvisation. Yes. Maybe it's better not to let the pianist actually see the film before they sit down and accompany it? Well, you know, once or twice to get an idea... [laughter] So you don't get too surprised and drop your hands right off the keyboard. Right... definitely. Perhaps his most surprising project is his latter day role at the helm of Tzadik Records. When I chatted with Zorn back in the mid '90s, I'd mentioned that as a record store owner and a fan, I'd always had trouble getting his numerous Japanese releases and enquired whether he was interested at all in pursuing any record distribution. He expressed no interest at that point but then two years later his label Tzadik started releasing material, now with over 200 releases to date. Wmr "Well, see? I can't say what I'm gonna be doing with anything at any time. Sometimes 1 think I'll never play the horn again and turn around and create Masada... You never know what's gonna happen. Tzadik came about as a result of wanting to keep stuff in ■int, wanting to^^HJe community that nurtured me, wanting to ^BRMtfig with the pile of money I got from doing, more or less, fow, kinda Hollywood film shit, which I do not continue to give me a pile of money, what am I gonna do with it? Here's ; to do with it. Best thing I ever did was to start that label, as really a good thing to do... We're lucky with the distribu- och]. It's a lot of work and sometimes I wonder how much longer I can keep it up, but I think it's one of the more important things that I'm doing. I hope to keep it going." In a way, Zorn is a contemporary version of John Cage, identifying the boundaries for people then crossing them and extending the music and how people hear and think about music in different ways. One of the things about Cage's musical philosophy was that sometimes stuff worked or didn't work, but it always made you think, it always made you question your assumptions and lea something new. Zorn denies it: "I try to challenge myself and keep myself, ested in doing music... but I don't know how close I am to how Cage works. I guess a musician doesn't think in terms of bour| aries, you try to make music. And you experience a lot of differej things in your life and they all go into the music at some point." Well for example, one of the things about jazz, per se, is that, in terms of improvisation, it's caught in a rut in terms of soloing on changes or soloing within the head-solo-solo-solo-head framework. Communities of improvisers like Derek Bailey and Company and Time Flies in Vancouver go to the other extreme insisting on 'pure' improvisation with a 'no tunes' philosophy. And you've gone beyond that in a lot of ways, by taking new structures for improvisation, looking at game pieces and... Yeah, but at the same time the basic Masada book is a book of tunes that function in the head-blow-head format. So, there is a challenge that I set for myself as a composer and as a performer: Can you do something in that format that's exciting? You know, sometimes, you're right, you try and take something and explode it. Sometimes you take something and explore it. So, ultimately, it's just about music-making. Do you think of Masada as something that you're going to be doing for a long time? Because it seems as though Naked City ran its course, in a way... I can't say, how long, how short I'll be doing anything. [Naked City] served its purpose. That was the end of it. The thing is, to get together and play that music was very difficult and very challeng ing and [took] a lot of rehearsal time. Masada is not like that. We can get up and we can play without rehearsing the music. It's hard to say no when someone says, "Hey, we'd love for you to play"; it's fun to play and all we have to do is get up there and play. In that sense, it's probably something that I will continue in the future. Masada's previous visits to Vancouver have been with the ensemble now subtitled "acoustic" Masada. In fact, their first visit in 1994 pre-dated the release of any recordings of the group and prompted a comparison to Ornette Coleman's early acoustic quartet, a comparison that Zorn refutes: "A lot of it is chordal, a lot of it is modal, a lot of it is totally open, a lot of it has nothing to do with harmolodics... That's the music I happen to play with Dave Douglas, Joey Baron and Greg Cohen, you know, the surface of what's happening is a pianoless quartet and people immediately go to Ornette. I've been influenced by Ornette; my personal playing has been influenced by what he does, but, you know, it's gone to a lot of different places. So when you interpret the written melodies, you can interpret them in many many different ways. That particular quartet because it doesn't have a piano in it, people immediately gravitate towards, you know, Ornette. And I like Ornette's music very much, but if you look at the compositions and what we do with them, I would say 90% of it is nothing that's anything remotely like what Ornette would ever have done or would ever do. AJ|>t of it is very, very different from his approach." : is most widely associated with ctually refers to a song cycie pro- s) which has been performed by a From the chamber ensembles of er to Acoustic Masada to Elect e jam band with Zorn, Marc Ribi r Dunn,.Kenny Wollesen and Cyr raw^H : same book whose i over the Although the Maj the acoustic quartet, jeet (i.e. a "book" < number of differed Bar Kokhba and The CjJ Masada, the current S John Medeski, Jami<^ Baptista, the jer source rr :herhe uses H ■feeveryl ^^briginal mtj f Masada bdlH Handing:^ till tunes herMand there. I w^| ^BK fi'm S0J ; in [the springj-and I think,we § p^e tunes out of that and they kindjj not something I spend a lot of time o that pretty much ended after the f irg couple of tunes pop out once in a while, but it's^ work on consciously. "The thing about this band is: Other bands jj very much in control; I had an idea of what I was on everybody's case to try and get it. Witrl see what happens, what these musicians do m have an agenda—'it's gotta go this way, it's gotta go that way.'— more 'let's see what we can do.' And I respect and trust all these s and I'm still at the helm, but I'm very open to where they all there, we learn it and we -|, but in this particular case I e in a lot of ways. We'll see. may wanna take [it]... The heads ar take it somewhere. I try to guide thi think I'm gonna be letting them loose ii Could be pretty wild." Having heard a recording of the one Ir done at Tonic in New York, I agree that it have trouble believing that John Zorn wor e show that this band has :ould be pretty wild. But I 't be fully in control. • John Zorn's Electric Masada plays at the Vogue Theatre on November 8 at 8 pm. Tickets are available at Black Swan, Highlife, Scratch or Zulu Records or through Ticketmaster. 17 DiSCORDER H-J1 .rr In the basement of their dilapidated apartment on Commercial Drive, the Low Pressure All Stars laugh about the neighbourhood of their newly adopted city. "If Vancouver is the most expensive city in Canada, then East Van is the cheapest place in the world," says DJ Moves, the producer and Voltron head of this underground hip hop collective. While trash-talking wrestlers drop elbow smashes on the television, Moves, Rhek One, Tachichi and Cee!!!!!!!!, who are all originally from Nova Scotia, joke about their fondness for Fast Vancouver as they drink beer and pass around blunts. Cheap Asian fruit markets, 99 cent pizza, lesbian hookers, and a high minimum wage (which would matter if any of them had a job) were all excellent reasons for them to have made the move across the biggest and most sparsely populated country in the world. Travelling across the sprawling Canadian landscape from one coast to the other fueled by booze, break beats and big dreams, some of Canada's finest underground hip hop artists are now calling Vancouver their home. As if part of a perfectly timed relocation program, over a dozen MCs, DJs and graffiti artists hailing from cities such as London, Winnipeg, Ottawa and Halifax have packed their bags and headed West. The invasion force consists of artists that originally hailed from smaller cities and make a more abstract and intimate form of hip hop. The Catch-22 for the hip hop scenes in the small markets of Halifax and Winnipeg is that their isolation helped creativity but hampered exposure. Many of the pioneers of the internationally praised Halifax hip hop scene have now left the city, looking to branch out elsewhere in bigger scenes. Led by two of Canada's most praised beatmakers, Low Pressure's DJ Moves and Peanuts and Corn's mcenroe, the movement has been slowly gaining speed over the past couple of years and has snowballed into the creation of an entirely new and eclectic hip hop scene in Vancouver. The globe-trotting MC Josh Martinez, also originally from Halifax, spent time in Australia, Montreal and parts of Asia before making the move to East Van. "Out here, there is a fairly large amount of people that are tuned in and have good heads on their shoulders, and you do need a big city to do that. You do need, at some point, some exposure to people—and it wasn't an established scene that had sort of locked things down and decided this is what was good and this is what is bad; it was just open. The whole thing is you could actually have an open scene with everyone kinda contributing in their own way here, and probably only here in Canada can this exist, just because people are easier going," he says. Vancouver's hip hop scene has only really begun to blossom over the past four years. While the Rascalz laid the groundwork in the city, it is groups like the Swollen Members and the City Planners who are leading the next wave. Vancouver now has three weekly nights where you can see live hip hop, plus other monthly and irregular events. Vancouver also recently got its first urban radio sta tion, 94.5 The Beat (which doesn't play the music of these artists since it is considered too abstract). The rapid growth of the city's own hip hop scene has helped create an atmosphere that artists all over Canada are finding very attractive. The city's scene is constantly described as being "friendlier and more open." "We're a bit more open minded out here—it's a West Coast thing," says Birdapres, a native Vancouver MC who has worked on albums with both Moves and mcenroe. "People have a willingness to accept a form of music that they aren't used to. It's the same thing in LA, San Francisco, and Seattle. I guess being a port city we've always got music and people coming in giving exposure." The proximity to California played a major role in shaping the city's tastes. While the rugged sounds of New York, the birthplace of hip hop, play a prominent influence, Vancouver has also embraced the funkier style of California artists who have come up to play, such as the Freestyle Fellowship and Hieroglyphics. Unlike in the US, Canadian artists have very little choice in the way of large markets. There's Montreal, Toronto, and Vancouver. But Montreal is considered to have a more francophone dominated hip hop scene, while Toronto remains the domain of an exclusive and elite music cartel, where a certain sound and certain artists tend to dominate the city's scene. DJ Moves left Halifax four years ago to explore Canada's largest market for a couple of years. He had been a landmark figure in the burgeoning Halifax scene as a member of the playful Hip Club Groove. The group gained national attention in the mid-'90s and helped put Halifax on the hip hop map, which was in the midst of producing a plethora of talent including Buck 65, Sixtoo, and The Goods. Moves' beats have since matured and vary from the dark and twisting to the upbeat and playful sound reminiscent of his younger days. In Toronto, Moves had success when he became a member of the pop group Len, whose hit single "Steal My Sunshine" blew up beyond anyone's expectations and was the summer jam of 1999. He also began working with London, Ontario's Governor Bolts, a freestyle legend who has adopted a number of surreal personas, the most popular being a dirty, demented drunk. The Governor Bolts album A Crooked Mile, which was named 1999's album of the year by Vice Magazine, is a perfect example of the diversity of Moves' sound. Strange vocal samples, swallowing organs, and crisp breakbeats allow Bolts to compose a new character and a different story on each track. But Moves says he soon became frustrated with the city's image. In an interview from his East Van home, he says his beef with Toronto is that it suffers from a "hardrock" syndrome. "Everybody by now knows that Toronto does sound like New York—and that's not even a diss, that's a truth. To get anything big there, you're forced to be what it is." This copycat sound that Toronto is often accused of acts as a push and pull for the city's scene! While many are turned off by this unoriginality, others enjoy the more commercial sound that is more popular at clubs and parties. Toronto is also often accused as being closed to outsiders, suggesting that if you're not from there, you're not going to make it there. For the artists that have moved to Vancouver and who make a far more unconventional hip hop sound, Toronto was an obvious push. But Toronto still remains Canada's capital for the music industry. Canadian hip hop artists that have received the biggest distribution in the United States have all come out of this city: The Dream Warriors, Michee Mee, Choclair, Kardinal Offishall, and Saukrates. However, the success of Swollen Members and BattleAxe Records has defiantly challenged that dominance and acted as a great inspiration. The DIY approach that MC and label CEO Madchild pushed, shows that Vancouver may be ripe enough to act as an alternative. More importantly, the Members have managed to maintain their independence yet cross over into mainstream appeal. The reach of the internet has also helped teach artists that they don't necessarily have to be situated in the largest market. Both Peanuts and Corn and Low Pressure have had success in cultivating a fan base online. Following the examples set by Bay Area's Hieroglyphics, Invisibl Skratch Piklz, and Anticon, underground hip hop artists are quickly learning how to use the internet as a tool to get their music out to the public. "It's the way to go out, everybody basically knows that. If you're in the underground or if you're not really big, if you don't have a commercial deal that's not publicizing you out on the street, shit like that, it's the way to go," says Tachichi. So Moves and Bolts came to Vancouver and set a trail soon followed by others. The role call of migrants is impressive. From the East Coast are the potty-mouth sailors from Halifax: DJ Moves, MC's Tachichi, Oracle, Josh Martinez, graf artist Rhek One as well as Miles from the We Stain Porcelain production team. From the flat land of Winnipeg is Peanuts and Corn Records' head honcho, mcenroe. Vancouver has even welcomed hip hop refugees from central Canada—like London, Ontario's MC's B-Side, Governor Bolts (who recently went AWOL only to land back in London), and Futility Records' DJ Neoteric. And from Ottawa is Solspirit, who is part of the expanding Nextraterrestrial camp, which includes the legendary underground rap group Supreme Being Unit. The Nextra crew is spread out over four cities in Canada and has since inducted Moves, B-Side, Rhek and Bolts into their family. This relocation to Vancouver, though, started as an uncoordinated development. Those that were part of the first wave of arrivals have similar reasons for making the move. Vancouver's climate and scenery has always worked as a magnet that attracts all types of people. Josh Martinez followed the call of the wild to help run Low Pressure Records with DJ Moves. He is an extremely introspective MC whose content matter ranges from the Holocaust to 18 November 2002 By Sean Condon Drawing Pax Lyle his refusal to conform to society's idea of normal. He says he was so struck by his new city's landscape that it inspired him to write an ode to the city entitled "BC Trees." The tree-planting MC uses a laid back, soulful style to praise the city by crooning, "I love chilling in the city / but most of all I like its leg room / I like how people here appear to do whatever they please / Vancouver, BC / I love these big huge trees." The coastal atmosphere of Vancouver and its small downtown has been a big pull for the Halifax artists, who say they feel being near the ocean makes Vancouver a home away from home. But the movement also signifies a change in personal development that every individual goes through over the course of their life. Halifax graffiti artist Rhek One came out to help with Low Pressure and run its art direction. Rhek is also a member of Halifax's HomeWreckers graffiti crew, which includes Sixtoo and Thesis, and whose disfigured, drunken characters are now imprinted on the walls of Vancouver. His reasons for moving stem from an urge similar to the one that made these other artists bust out of their hometowns. "You can't live in the town you grew up in forever," he says. "[Vancouver] is still the best place to be and we plan to take it as far as it goes." In this regard, much of the redeployment has been coincidental as artists from all over Canada in their early to mid-20s break out of their hometowns and their parents' basements to head for a bigger city. The more recent arrivals of MCs Tachichi and Oracle are a testament to the influence and pull that DJ Moves has already had on the scene. The rapid fire Tachichi is a master of irony who weaves through topics of innocence and debauchery and has already recorded an album with Moves entitled Truth of the Trade. The album includes the song "Bush Gardens," a tongue-and-cheek pubescent love song that was declared the "best rap song ever" by Vice. Oracle, now known as Cee!!!!!!!! (the eight explanation marks are explained as a necessity, since the name is to be shouted), has already worked with Sixtoo to create an album, Jesus Christ Never Existed, which madly races through subjects of atheism and conspiracy theories in Hunter S. Thompson-like rants. Known for his proficiency with profanity, he says he was getting depressed about the lack of intellectual inspiration in Halifax and knew it was time to hook up with Moves. "I just thought Vancouver was the sureshot. I've always felt that Moves gave me inspiration. He was the main cat that makes some of the hottest beats. I'm trying to work with cocksuckers that are hardcore that actually drink every night and fucking talk shit but at the same time keep things in perspective. It was just a matter of utilizing the potential and making us a hot-ass collective coming out full circle." Moves and mcenroe are both regarded as two of the most proficient beatmakers in underground hip hop. Their arrival to the city explains why others soon followed. Simply put, MCs need beats. No matter how great the lyrical skills of the MC, if the beats suck, the song sucks. Winnipeg's MC/producer, mcenroe, is at the opposite spectrum to his emigrant counterparts. The self-proclaimed "biggest nerd in hip hop" and former engineer is a workaholic with his music and label, Peanuts and Corn Records. With each release, he has constantly been gaining praise as reviewers drool over his carefully crafted, moody soundscapes that sample acoustic guitars, woodwinds, and strings. He and his label mates, Gruf the Druid, Pipi Skid, and John Smith, have created a series of conceptual albums that cover topics of politics, spirituality and mass consumerism. His label has been recognized as one of the "next 100" in the popular Urb Magazine and the impact his music has had on hip hop has garnered him comparisons to the legendary Pete Rock. But mcenroe remains aloof from Vancouver's hip hop scene and his presence in the city is felt more subtly. In a recent interview from his Richmond-area home, he admitted that he's not the prototypical hip hop performer since he's not out playing shows, "paying my dues and nurturing a fan base." He says he is more involved with his new distribution company and making all the music for his other label mates. But mcenroe's influence in the city works by adding Birdapres to the Peanuts and Corn roster, bringing out his label mates to do shows, and working with other artists such as Josh Martinez. He has saved the Moves and Birdapres album Alleged Legends from tape obscurity by releasing it on his label. But besides Birdapres and Surrey's Ink Operated, there has been very little work among the locals and the newcomers. This is not an uncommon thing, as crews and labels tend to work solely among themselves, and is not to say that the different camps don't get along. "Any time that you've got a label, it wants to make a point with its sound. All sort of have a mission statement," says Birdapres, who stands out as a bridge between the two scenes. "But people are accepted here. Each one complements each other in different ways and they each fill a role." However, collaboration between the different camps is beginning to grow. This is an inevitability as time creates new connections. Right now it is mainly the City Planners that are collaborating with the newcomers. Sichuan produced a beat on the new Josh Martinez 12" and Peanuts and Corn is distributing the new Jeff Spec record. How long these artists will remain in Vancouver is anyone's guess. These transient travellers offer no insight on how long they plan to stay. "It's wherever the music takes me. It's the way it has to be said," says Tachichi. A number of other artists have already come and gone and another group of Halifax artists have expressed interest in making the move. Low Pressure Records are in the midst of signing a deal with Universal Records to distribute the new Governor Bolts record and are creating a side label called Fried Chicken Records for Tachichi and Cee!!!!!!!! Josh Martinez has parted ways with Low Pressure for "personal and financial" reasons, but mcenroe has added Birdapres to the Peanuts and Corn family and continues to expand its distribution. In the meantime, the city of Vancouver has the opportunity to experience an amazing collection of Canadian hip hop artists—at least until they leave for somewhere else or a new batch arrives. • 19 DiSCORDER e to be created, there must be the corollary genesis of two phenomena: space and time. I put a microphone on the table in the back corner of the Sugar Refinery and discussed the geometry and funk genocide of Parallela Tuesdays with curators Skye Brooks, Masa J Anzai, andJP Carter. We laughed a lot more than the text shows. DiSCORDER: Is it "Parallel" Tuesdays or "Parallela" Tuesdays? Skye Brooks: "Pa-ra-llel-a." It's often broken into two words. Masa J Anzai: It's always broken into two words! So is it the female form of "parallel" or the musical form of "parallel"? S: It's just a homemade word. It doesn't have anything to do with anything. 'Cause I was sitting around one day thinking about parallel lines and parallela Tuesdays and I was like, "Yeah! It's like two lines... that never converge! They just travel and they go on and on and on! They're equal, but they never meet! Don't you get it?" So I'm pleased to know that none of that went into the creation of the name. JP Carter: It's got nothing to do with umbrellas? 1 always thought there was an umbrella thing going on. S:No. M: What country are you from? S: Parallelogram. Parallelogram. That's where the original idea comes from. Is a rhombus a parallelogram? S: I don't think so. I dunno. It's got parallel sides. S: Yeah, a parallelogram is anything with two parallel sides. and back, and all around touring solo trombone. A trapezoid would not be. [Interviewer's note: this is wrong if above definition is correct.] S: A triangle is not a parallelogram. It's a long story. So when did it start? S: JP actually originally had Tuesday nights, and then he went away to Europe. Then Steve Horwood asked me if I wanted a regular night when JP went away—around two years ago I guess—and I said yes, I'd love a regular night. Then I just got talking to Masa and I didn't really know what 1 'd do, and then I was like, I'll just have people down that I'm comfortable playing with and just improvise. And then Masa got involved too and we started making it way more open to any people we knew who were interested in improvising and it just went from there. And now it's growing all the time: there's always new people playing. Awesome. So what's the most exciting country of origin of one of the performers you've had here to play? How far away have the people come to play Parallela Tuesday? M: Japan. Japan!? Anybody from Germany? JP: Yeah, there's Joe Williamson, but he's from Vancouver originally. I don't get it. What, you do a solo tour as a jazz musician and try to find gigs all along the way? S: Some people do that. M: Some people make a living doing that. S: I don't think a lot of that h- s happened here, but there's one guy from Texas, a trombonist, who s actually going across North America ?0 No.ember /002 So how does he find out about you? How do you find out about him? S: Coincidentally, it came up on a web page called the Tentacle, which is this creative music page. It's really good. Is it locally based? S: No, it's out of Seattle. It's really, really good. M: Covers the Northwest. S: Yeah, it's a Northwest thing. Some Vancouver, but mostly Seattle, Olympia, Portland. Then they have links to lots of other really cool websites all the way down to Santa Cruz. But yeah, I had [the trombonist] calling me relentlessly, and then his car broke down and he couldn't make it to the show. Oh man. Car troubles. Do you guys ever get in shit for playing too loud? M: Always (laughs). They don't like loud music here. Did they make an exception for Rob Wright? M: Oh, I think they did. So when is the official two-year anniversary celebration? It's comin' up. S: It's November 8th. What kind of things can people expect for this? Are there gonna be like 50 musicians in here? S: Oh, on that night? Last year was just awesome; it was so good. What we tried to do was to invite everyone. Me and Masa called up everybody, everybody that had ever played—almost, probably. So we said we're having a party on this night in celebration of doing this thing for a year, so come down and bring your instrument. There was also a thing in the Straight about it, which probably helped 'cause attendance was really good. It was packed and it was just a really fun time. Somehow it worked out that people just sorted it out playing amongst themselves. Sometimes it was chaotic. M: Yeah, it was pretty crazy. S: Everyone had respect. They wouldn't hog the stage: once they had their five minutes or whatever people would switch. M: There were some weird things here and there. S: Sure, for about a half hour period, there was this funk jam going on. M: And it was those guys who hadn't even played. They crashed the celebration! S: Anyways, we fixed that funk jam [everyone laughs]. Actually, it was me, and Masa, and JP, and Steven Lyons. We ruined the whole thing, fucked shit up. (Insert a welcome food service interruption here, at which point JP starts askin' the damn questions.) JP: What purpose do you think these Tuesdays serve the community? M: Well, it's an outlet for doing this stuff. It's here every week so the consistency is important for the musicians to play and the audience to listen. It's there. Once a week. Always. S: Without this, there's a lot of people who probably wouldn't—I know they wouldn't—have a place to play this kind of music in this way. And it's very easily accessible, to set it up I mean. You just call us up. They don't have to have a demo. They just have to have an interest in doing it and that's it. So it's just a good opportunity for people By Steve DiPo to play and for people to see others who they wouldn't normally see playing music. So what were some of the highlights looking back into the last two years? Is there anything that stands out as just amazing? M: So many. S: Personal ones for me? It's really hard to say, but obviously Rob Wright was a highlight. That was huge excitement for me. It was so good. It was so fun. To me they're almost always good. I always feel like it's a good show. I can't remember many times when I've walked away from playing one of these shows, unless I'm really tired or something and it's for my own personal playing reasons. But for the music, I always walk away feeling good about it. How about you Masa? Over the last 104 Tuesdays? M: I can't think right now. Some of it's good, but some of it's not as good. But every night there will be something that happens that makes it work. How about you JP? Any standouts? JP: Yeah, it really is hard to say. It's hard to remember perfect ones. It's easier to remember particular ones that I played in more 'cause I was there or whatever. I remember once Masa and I did one with the Dylan van Der Schyffe trio. That was pretty cool. And Skye and I did one with Chris Kelly at the beginning of this month, and that was pretty cool. S: That was great. That was a recent highlight for me for sure. Does anybody ever bring in any really unconventional instruments? Does anybody ever walk in with a hammer dulcimer or anything like that? S: At the end of the month we're having a show with a shakuhachi player. And you don't see that every day. Wow. What's the instrumentation gonna be that night? S: It'll be congas, shakuhachi, harp, and sitar. Sounds intriguing. Well, where can people find out about nights like this that might appeal to some more than others? Have you got an email list? S: There is an email list, and if people want to get on the list they can email me. We've got a pretty big list going now. There's always posters up at Zulu, Scratch, here at the Sugar Refinery. In the future, my brother's actually making a website for Almost Transparent Blue and there'll be a section that we'll update every month. How often are you surprised by the other players and how often do you surprise yourselves? M: All the time. Every night. S: All the time. Even Masa and I, or JP and 1, we play together all the time, and I still get surprised all the time by each one—by everyone— I play with all the time. Anything else to add? S: I suppose we should thank the Sugar Refinery 'cause they've let us do this for two years. There's nowhere else that we can do it so we're really grateful to have this place to do it. • Parallela email list: <skyebrooks@hotmail.com> Website (under construction): www.almosttransparentblue.com Celebrate the 2nd anniversary of Parallela Tuesdays on November 8th—after all the other shows you have to go to. From the Mole to the Molar: Dirt, Decks, and Dub "Colin the Mole" is showing me his first record on his own label, Next Door. "Look," he says, pointing excitedly at a locked groove cut into the vinyl, "It isn't cut properly!" Oddly enough, the grinning Mole isn't upset. In fact, he seems to enjoy the manufacturing mistake that resulted in a single groove splitting into three—for it allows him, with just the precise weight adjustments on the tonearm, to make the groove skip at odd intervals. The same can be said for the dirt. As 1 walk into his small studio room, he plays me some very muffled and dense hissing sounds, obviously originating from some sort of turntable- record combination. "I took dirt from the floor!" he says—I look down at the dirty floor, and notice the sludge—"and 1 put it on my records!" The result? A dense, skipping atmospheric layer of sound that could only be captured by an analogue needle and a creative mind... Colin, a native of Victoria, BC, now lives in Montreal. In his former days at CFUV, UVic's campus radio station, he was known as the "Mole of Soul," although he tells me that now he goes by the elusive "Hans Molar" alias, even though he is known around Montreal simply as "the Mole." As a fellow ex-BC-patriate myself, I was immediately drawn to Colin the Molar Mole as someone I could talk to about trees and the ocean in this land of cement and pou- tine. But more than that, Colin the Hans Mole is a talented turntablist and electronic musician whose love of the warm, stripped, deep, and sensuous minimal groove has landed him residencies in the city alongside Algorithm and Mike Shannon as well as holding down Saturdays at the legendary new media hangout, Laika. Back in May,- Colin had the opportunity to open for Germany's dub legends Scion and Tikiman at the prestigious Micro_Mutek 5. This was no ordinary opening—Colin the "Octa-Mole" was going to be playing his own hand-cut records on five turntables, two mixers, and a couple of carefully chosen effects boxes. Hunting through old bargain bins and digging through crates of dub, he assembled everything from The Muppets to Monty Python and Walter Carlos, noting specific spots where a weird sound could be lifted out of context and heard as something entirely different. By tobias v Then, marking the spot— sometimes with tape, other times on the record label with a pencil—Colin the Soul cut the record with a knife, cross- hatching deeper cuts for smoothness and assembling cuts of different lengths and strengths across a total of 20 records for the performance. The result? A skipping locked groove that metamorphoses the sound of Eric Idle slapping his cheeks together into a percussive splatter, and transmogrifies the ending note of The Muppets' "Pigs in Space" into a spacey-tom-rim-shot. Mixed and blended with the precise use of effects—namely a space-echo—the ensuing mix is a soft homage to the loop and a wonderfully relaxing listening experience that is nevertheless precise, intricate, and surprising in its complexity of sounds. Deep, rich bass resounds while clicks pop across a spectrum of spatialised and atmospheric washes; it's a tactile performance-dub that contrasts sharply with the nano-bot rigidity of the all-too-ubiquitous laptop performance. I began asking the Mole how he assembled this many records and made it all work, and why he decided to play it the way he did. For despite his hip hop skills—the Molar originally mentored as a hip hop DJ—Hans had a different idea in mind for the Tikiman show. He shows me his yellow-bound notebook of drawings and handwritten notes that log conceptual ideas on how the performance should sound, as well as organizing charts for gear placement and the setup of five turntables. To make it all piece together without becoming one big mess, Colin invented a script for the looping of samples which represents the five turntables, their samples, their durations (1-4 beats), and gives markers for the placement of effects. In his notebook are two carefully elaborated concepts that define the combination of elements that comprise his style: "Don't dazzle them with all eight hands. Cloud them with the ink and pull them in slowly with all eight, surround and swallow. "The Question is not the speed which 1 can move, but the quality which I can deliver." In today's world of flashy showmanship on the one hand and mystifying technology on the other, this is a dedicated aesthetic agenda designed at creating a slow and deep relationship between audience and performer through a new arrangement of sounds and performance. Taking known techniques— turntables—and subtly turning everyone's ideas of this format upside-down, Colin breaks down the audience's conception of the DJ and the foi and purposes of the turntable—like a dub and beat- driven Janek Schaeffer. And it isn't easy. All of this thought and planning is to avoid sounding repetitive and boring. "The toughest part," says Colin, "is not sounding like a loop, but like it is music and not just skipping." To not get too caught up in the loop, to keep it moving, and most of all, to have patience—"Silence is always key!" it says in his notebook—this is the nut of the moment, the crux of the performance. Hans Molar the Sole Solar Mole has learnt his lessons well from John Cage, and I am happy to say that the elusive Octa-Mole performed spectacularly at the Micro_Mutek, slowly sucking the crowd of curious onlookers into a deep and mental sonic landscape spread across the physical environ of five turntables. What's next for the Molar Mole? He is currently hoping to release his mixed-cd of turntable-skip-work, titled The Starchy Root Machine, somewhere soon, and he has a record coming out on Portland's Starbass Records with his good friend Mike Bisco called Like Disco. Colin also has a track on Victoria's itiswhatitis East Meets West Vol. 1 compilation as "Bodensee," and a track with Mike Shannon on the Mutek 2002 compilation CD. "The Mole" continues to pump out the deep BC-influ- enced grooves every Saturday at Laika, 4040 St. Laurent, in Montreal, the City of Sin. • 22 GOLDEN NUGGETS FROM VANCOUVER/VICTORIA RJLNjGH. COMMUNITY GRAHAM BROWN THE BUTTLESS CHAPS CAROLYN MARK GEOFF BERNER FLOPHOUSEJR BOCEPHUS KING BUTCH MURPHY ffiS^rt* PLOUGHBOYS BIG JOHN BATES DAVID P. SMITH ROCKIN DADDYS I BLACK HEN MUSIC *r p.o-box -Nbbi. tot,*™ meanwhile back at... (# Vancouver BC VbK MPH wWW.ranch.ipfOX.COITI ir http://home.ifrir.cj/~Mvec 21 DiSCORDER iinder review B recorded media K9^s CAN 6E POUI^D AT C/ ' \U5 b^NMVILLE ST Tel: fc04-"55l-»\<Dii „ Fro.Acine K<xy /Wi Buttwrtlcxm Plo.xV / perWm «n a. yftni p>«*«©! 2.R<xA©n * Nevei*"** (f^W 3- Gf«<l r^oxpWrsoA (\^inn\^ EVEK1 Tot-sOAl PcvrclleW Uo«>irtri£- (,. rWXo^JoO-X 0w/CoWn rA^keV\ V^f1,'^..^v'^ ancvvver&oxvi paaN U. lytrxb.rte WrWk Ko^ko )H. A/V LoA^e, 16. Coa\ w/EA Oor-vdo \t.SparrouJ wj 5\«eio.CaoeS IS- Dan Q,ftoc^<- "Tr;0 2-0- 3o*fc WW v Ybeurt -I* 8rv*e. l\. Oeo£.r»eroie hrt £a«**>^ Z1. Brokfeo CYov-> Go*rk.T 2"*. Sealed ^o,a->j 2.4. GcWftetf ^ v 25. C\*seA i.7. rWtoWWA 2*. r\/v" UA^S/ 2.°l- Then*** , . ^)0 • Soo^er + 0 jco^ *-y- n^e Amplified pop musi become a huge menace public eve rywhei A LUNA RED SLMZK! (Action Driver) Industrial music, here is your much-needed blood transfusion. Stand up! Wreak havoc! Get the party started! A Luna Red have been playing with gizmos for a few years perfect balance of that which is hip (no-wave, if I dare) and that which was forgotten. In a cyclical scene, I suppose it's only logical that Skinny Puppy would eventually hump the right leg to create this new breed.... What the band started on The Death Birds has evolved (through numerous player changes, much hard work, and some silly dancing) into an insanely well-crafted oddity— and-the kids love it! A Luna Red was definitely ahead of the pack on this one, being the best in a small-but-growing pack of new- no-industrialists. Or whatever. This stuff defies both logic and classification, and would make any young Blixa start dancing in his gumboots. Yeah! Julie C. AK1200 Shoottokill (yrunrecordings) Don't hold AK120O s past failures in mixes (let alone his puerile militaristic vocabulary) against him: as a producer his perfectionist leanings have served him and his listeners well in the past, and the tracks on Shoottokill that are good are gold. Unfortunately, there are only a few of these ("Junior's Tune" with Junior Reid, "Midtempo Deluxe" with Timecode, and "Seared Rare," for my money) and there's no getting around the impression that AK1200 is a man of pre-simian intellect. Exhibit A: he thanks Linkin Park and Blink 182 in his liner notes (which might be excusable if the defence were, you know, 15). The rap tracks— "Contact" with Last Emperor and "Take You There" with Phife Dawg (of A Tribe Called Quest)— would make Vanilla Ice cringe— and I am not a man who speaks from a condition of unfamiliari- ty with the works of Vanilla Ice. We're talking "Huh/Uh huh/True 'dat"-bad. "Drum, and Bass/In your face"-bad. D&B sounds ridiculous with rap lyrics to begin with; this is the worst of the worst. "Lycan" with Dom & Roland—a far superior producer who, nonetheless, also occasionally struggles with mediocrity— was a disappointment, too. (Dom should know better than to collaborate with AK1200—it was all too predictable—"Lycan" is quickly written off as generic, too-fast D&B constructed without skill or real ideas.) And I would be shocked to hear "Fake," the first single, spun by any reputable DJ: an excellent example of how not to do a vocal D&B track, the harmonies sound like they were pulled off of a Christina Aguilera song. It occurs to me that AK1200 is trying to address the "Where the Drum and Bass at/Go back to Europe"-mentality still in effect on the American party scene and win himself some mainstream credibility (not to mention mainstream-scale profits). But the negative trend in D&B is to push it towards this uncreative, anti- intellectual juvenility—by taking the genre backwards, the man known as AKI 200 shoots himself in the foot by making it boring. With his association with brain- dead, machoistic MCs, and his contemptible predilection for pop formulae, nothing on this album is going to win AK1200 any converts that "Porn Breaks" didn't already entice. Donovan BECK Sea Change (DGC) Please stop saying that this album is a masterpiece. This is one extremely bunk idea. Beck has, of late, gotten very good at copying interesting things, as evidenced by his fine work on Midnight Vultures. Sea Change is no different. Boy, is Beck doing a great job of manipulating other people's musical ideas! Most of this album sounds like it could be any old alt-country extravaganza, which is nothing to complain about, but—and here's the key—it's nothing to get excited about either- The most blatant of the rip-offs is "Paper Tiger," which has the same guitar riff and sound (not arrangement) as the first track off the Serge Gainsbourg album Histoire de Melody Nelson. Now if you want to talk masterpieces, that album would be a much better contender. It is true, however, that I can be a bit of a polar-opposites type of girl when it comes to reviewing music. I should stress that this is not the worst album ever, just kind of dull and uninspired. 1 was never a "Folk- Beck" fan, but am not opposed to the idea that it might be his thing. Just need a little more to work with, is all... Julie C. DZIHAN & KAMIEN Gran Rise'wa (Six Degrees/Couch) It distresses me that people think it's okay to make music this boring and then sell it. empo 1997. This is garbage: unoriginal beats, irritating vocal samples and nauseating, watered down jazz thrown in to complete the illusion of substance. Avoid this like you'd avoid an uncooked seaweed stir-fry that you found in a pail in the cafeteria. Donovan DREAM ON DREARY S/T (Black Bow) The number one reason to get this record is because you can't get it on CD. The number two reason to get this record is because it's WAY BETTER THAN CAT POWER Christa Min FLIPSIDES Clever One (Pink & Black) Holding The Flipsides Clever One in my hand, I looked at the cover and thought, "Here's a girl who seems gung-ho to be fronting a three-piece band." I was biting my nails with fear, expecting to hear severe candy-coated voices like those of Nina and Louise of Veruca Salt. I have this deep- down feeling like I should support females who play in cute little guitar-driven rock groups, but not if they're going to nause- Instead, the lead vocalist Sabrina Stewart is, well, not (Her lyrics about puking don't count.) Her voice is refreshing to listen to as she has a raw yet perky quality; it suits the fast-paced So-Cal punk songs found on this 12 track album. She's also the gal responsible for the band's catchy guitar riffs which typically stick to the three-chord punk format. To put in a shameless comparison, I couldn't stop thinking that the Flipsides were like a sarcastic, punky cub. Maybe it was the rawness of Sabrina's voice, or the cute stories told within songs. Maybe it's because the songs are interlaced with vocal harmonies? I don't know. There are funky neo-Rancid bass lines that dance up and down the fret board, quite apparent in "So Disgusted," and while the pessimistic would claim that the ninth track, "Tough Love," kills the rapid flow of the album, I'd say that this jazzy number is a welcome change in pace; it also highlights Sabrina's singing ability. The first two songs, "The Best of Times" and "Two Weeks," are fun and fast-paced— and they introduce the Flipsides' catchy punk style—but it can lose its originality after that. The songs—while short, sweet and to the point—start blending into each other, especially after a few listens. There's nothing innovative, although the Flipsides seem to realize this, and therefore have fun with the genre. Sure, the Flipsides are stereotypical punk pop. While a chorus or two may get stuck in your head, the lyrics aren't necessarily worth writing home about. Perhaps the Flipsides' music is not so clever after all, but they're definitely solid and genuine. Don't buy this expecting a new format, but if you're a fan of the punk frequently associated with the San Francisco/So-Cal scene, you'll enjoy The Flipsides' Clever One. Robyn KOTTONMOUTH KINGS Rollin' Stoned (Capitol) Do albums like this really matter that much to people that don't smoke mad chronic? I ask because apparently these So-Cal dudes have managed to put out five full-lengths so far and I can't imagine that there's an enough appeal outside of the head-shop market to sustain them. I mean, come on—they've got two guys in the band who dress up like nu-metal clowns! And not even the scary ones like Slipknot; the loser kind like Insane Clown Posse. Is there anyone who's not constantly high who thinks the antics of dope-smoking evil clowns is in any way interesting at all? I mean, all they do is talk about dope and killing people! How is that interesting? As for the rest of the band, they also enjoy the loco weed Drawing By Andrea Nunes 22 November 2002 and discuss it on such tracks as: "Light It Up," "Pot Head," "Strange Daze," "Rest of My Life," 4-2-0," "Full Throttle," and, well, pretty much the whole damn album. Cypress Hill did it better, Cheech & Chong did it funnier and any other clown on the face of the planet did it scarier. Let's face it, if you have the need to puff mad ganja then $20 worth of weed is going to do you better than this sad-act CD will. Chris Eng LOW Trust (Kranky) Over the course of six LPs, Low have maintained an admirable faith to their artistic vision, altering their sound so subtly with each record as to render the changes nearly imperceptible—but all the more significant for that. Low's music has a fragility that should not be casually tampered with; there is a sense that one misplaced snare, one over-enthusiastic guitar solo, could render the intangible beauty of it all irre- trievably lost. You can imagine my worry, then, to see that on Trust Steve "Safe Hands" Albini has been usurped on production duties by someone called Tchad Blake. Admittedly I haven't heard of this guy, but his resume— including Pearl Jam and, er, Latin Playboys—doesn't exactly inspire confidence. Before we hastily proclaim Low to have abandoned all artistic integrity in the hope that they might attain the star-struck heights of the Latin Playboys, however, it should be noted that Albini has a few skeletons as well— Bush being the name that immediately springs to mind. Anyway, a cursory listen to Trust revealed my worries to be unfounded. There are new elements to Low's formula— notably enough reverb on the drums to make any self- respecting '80s pop outfit jealous—but they serve to delicately complement the intense solemnity of the songs. Sonic integrity aside, Trust demonstrates Low's continuing commitment to a more fundamental ethical vision—their unflinching confrontation of whatever emotional depths they encounter in the writing of their songs. The funereal results) reflect this particularly, both songs demonstrating the sense of life's difficulties being confronted—and ultimately , transcended—that characterizes Low's best work. It's tempting to ascribe this redemptive quality of the songs to Low's religiousness, but this fails to explain the universal appeal of their music; Low's music is religious, but in the spiritual, not theological, sense. Their relevance in an age dominated by irony and lightness might, instead, be attributed to a common instinct to derive meaning from life. Low articulate a yearning for spiritual commitment to the unknown, which transcends the merely religious: Trust. Sam Wiseman NOAH23 Quicksand (Plague Language) This marks the second full- length independent release by hip hop recording artist Noah23. Produced by label- mate The Orphan, the album is a mix of breakbeats and melod- yet slow unpredictable verbal manoeuvres. Noah23 pulls words and phrases out of the stratosphere and makes them move and sing in laughing, playful rhymes. Sometimes the deliberate disconnection between words energy and obvious vocal skill carry the album . He flows "I'm the verbal version of those green/With my germ terminology protean/And there's no machine" with an early '90s- style jazz-sampled flute loop and alongside drums fluctuating between 80 and 160 beats per minute. I find the album reassuring and warm—there is coldness to his rapping. It sounds and is so good to listen Arthur Krumins THE ORGAN Sinking Hearts (Global Symphonic) Let's face it, the '80s are no place to spend your life. Pastel golf-shirts, leg-warmers and Duran Duran are not worth worth putting on an altar and venerating. The only fashion example from the entire decade worth emulating was Judd Nelson's "John Bender" in The Breakfast Club, and only a fraction of the bands that released albums were worth listening to. When you narrow '80s music down to '80s dreamy synth-pop, the number of viable candidates drops to less than five. Trying to track those select releases down would drive a sane man mad, but luckily you don't have to. You can just listen to The Organ, a current band that's distilled the essence of those albums and transended them. The bodies of work from Echo and The Bunnymen, Siouxsie and early Depeche Mode have been put under a microscope by the five girls who make up The Organ. They've figured out what made them work the first time round, and adopted and transformed their styles, creating a wholly classic yet thoroughly personal style for themselves. You can't own the '80s (and why in God's name would you want to?), but you can take parts of it and make them your own. If you're lucky and/or talented, they'll be the good parts. And if you're The Organ, you'll not only score the good parts— you'll release of a six-song EP that has audiences clamouring for more. FYl: Nostalgia sucks, but The Organ rule. Chris Eng SAINT ETIENNE Finisterre (Mantra/Beggars) A dance pop band that's been together for over ten years? That has a devoted cult following? Such things usually require some manner of divine influence, but in Saint Etienne's case, perhaps it's just a matter of skill, perseverance and some catchy tunes. Their latest album, Finisterre, finds them combining the stripped-down, subtle pop of 2000's Sounds of Water with the sophisticated lounge/disco hybrid of older albums—along with some new surprises. Songs like "Language Lab"—a violin/keyboard/drum machine chill-out instrumental—sit alongside "New Thing"—and its primitive synthesizers—and "Action," a standout dance track which features the always-sultry Sarah Cracknell cooing over a set of beats that sound like they were lifted from Kylie Minogue's last album. Then there's "Soft Like Me," with female rapper Wildflower (a rapper on a Saint Etienne album?) rhyming over the verses. Even more amazing is that, whereas a band like Morcheeba would horribly mangle such a concoction, Saint Etienne makes it sound effortless. Between songs are spoken- word pieces by a chap with a haughty English accent, who shares revelations like, "The world began in Eden, and ended in Los Angeles" (chuckle). The title track ends the album, with Cracknell declaring: "Finisterre/To tear it down/And start again." If they keep making records this bubbly and fun, Saint Etienne could go another ten years without having to tear anything down. Neil Braun UBERZONE The Digital Mix (Moonshine) This is an unexceptional album in a moribund genre. As I listened to it I had to keep turning it down, so concerned was I that my neighbours would think I actually listen to this kind of thing—and 1 am not a man easily swayed by the opinions of his neighbours. On closer inspection: although the songs are dull, the multi-platform digital mix is excellent. In my limitless mercy, I have contrived three possible uses for this disc: as a mixing primer (Dick, Jane, etc.) for beginning DJs, as a wheel for a small, lightweight wagon, and, if it can be found as a 33 on vinyl, as a 45. Donovan UNDERWORLD A Hundred Days Off (Junior Boys Own) Underworld returns—sans former member Darren Emerson. The songs are full of hypnotic, groovy beats, and Hundred Days does a good job of repeating Underworld's past musical palettes. For one, the group's trademark of using snare drums along with stream-of- consciousness lyrics is back in full force. Their current single "Two Months Off" is the standout track and does an admirable job of building up the main beat, eventually having Karl Hyde's hypnotic vocals kick in for the better part of five minutes. The only other track that gets close to replicating its energy is "Dinosaur Adventure 3D." Don't let the name throw you off—it's a rich ride through a landscape of trance and jungle—but then again, Underworld has always been good at breaking the traditional genres of dance. "Sola Sistim" is a seductive track that plays like hip hop in slow motion. You won't find any dance floor-friendly tracks here, but what you will find is an enjoyable, ambient ride. Don't expect immediate payoff: it's a record that gets better with repeat listens. James Hsu "Candy Girl" and sublime "In The Drugs" (on which the insatiable lust for reverb is extended to Mimi's backing vocals, with startlingly beautiful ic samples, often cutting in with double-speed rhythms and jungle programming which flows toward and against the alternating speed and sweet . ,:*-■. A DIVISION OF VITAMIN INDUSTRIES, INC. 23 DiSCORDER real live action live music reviews MOONEY SUZUKI SAHARA HOTNIGHTS THE ENGAGED Monday, September 30 Piccadilly Pub Opening spot jitters got The Engaged, who started things off a little cautiously and never quite caught the audience's attention long enough to make a lasting impression—seems to me they need a bit more practice and less attention paid to pulling their friends on stage for birthday songs. However, that 30 minutes of awkwardness was quickly erased by current Swedish fan- boy crushes Sahara Hotnights who, without a word, launched into "Out of the System," from their North American debut disc Jennie Bomb, and never looked back. Half the crowd stood stone still, like they had been hit by lightning; the other half imnrediately flipped out, banged head and screamed, "Sahara HOT DAMN!" in utter amazement. Barely in their 20s, these gals had more chops than a butcher shop and style to spare. We were treated to most of the tunes from their new record, with notable standouts including "Keep Up the Speed," "Fire Alarm" and "Alright Alright"—all souped-up doses of glam-pop rock-'n'- roll—but midway through they blasted through an awesome version of Suzi Quatro's "Can the Can" that had all the subtlety of a sledgehammer pounding your skull into little bitty shards. "Not fair, you sul try rock vixens!" I wanted to shout as they left the stage with a wave, coy smile and a thank you, but I was too busy trying to pick up the pieces in time for New York's answer to the energy crisis, The Mooney Suzuki. Yes, they sarcastically claimed to have created the solution to our West Coasters' wanton misuse of technology— most importantly, our personal foot massagers—but they indeed produced enough electric sweat to probably power a small Third World country. They needed no stage to accomplish this feat either, as both guitarists spent more time in the audience than on what ended up being no more than a platform for the drummer to prance around on with a cobra held up over his head. This form of worship was a bit troubling to me, so instead I paid my own form of idolatry by hoisting my index finger in the air at the appropriate times. Not the middle finger, folks—INDEX finger, as in "Number one!" Songs were not simply played, but sliced, diced and served up hot and spicy in an R&B-mixed-with-Motor- City-madness stew from both LPs. The current hits "in A Young Man's Mind," "Natural Fact" and "I Woke Up This Morning" were given equal billing with older cuts from their Estrus debut, like "Make My Way," "Half of My Heart" and "Everything's Gone Wrong." On the contrary, r~' fee r , D^ 3*fk Ortt "fa everything went right for those who braved a school/work night to check out a stellar evening of rock and roll. I went home thoroughly spent, going straight to bed and giving my personal foot massager the night off. Bryce Dunn DOVES MY MORNING JACKET Friday, October 4 Commodore Ballroom An enormous crowd of 20- somethings packed the Commodore for the Manchester band Doves who have been gaining a powerful Vancouver following, widened further this year with their latest, The Last Broadcast. The opening band, My Morning Jacket, won the crowd over with a high energy set of songs that started out sounding like Sigur Ros, but ended in a fiery retro-rock jam session. The five-piece band from Kentucky amused the audience with their face-obstructing curls, making them look like lost Fraggle Rock characters. Lead vocalist Jim James displayed some impressive stage presence, really getting the crowd going and the beer flowing, and drummer Patrick Hallahan wins the award for best musical performer of the evening. The audience was pumped for Doves when they hit the stage, starting things off beautifully with "Pounding." "There Goes the Fear," the weakest song off The Last Broadcast, became a mesmerizing number that ended with Doves' signa ture guitar-swirl melting into a wicked percussion samba. Songs like the crowd favourite "Words" and the soaring "Satellites" were performed with tripped-out perfection. Unfortunately, lead Jimi Goodwin's voice began to tire near the end of the set resulting in so-so vocals on "The Man Who Told Everything," my favourite Doves tune. Guitarist Jez Williams proved to be a great sport though as he entertained the crowd during "technical difficulties" with some psychedelic guitar licks. A three song encore ended with an incredible surprise as the band brought out an old favourite from their years as mid-'90s house act Sub Sub and invited the crowd onstage. That's right... the crowd. It was chaos as I found myself squished right up against Jez, and we, the drunken onstage mass, rocked like Weebles to their bass-heavy electronic musings. Doves cranked the volume to 11 and made the evening with that final, unsafe invitation. (That's gotta be a fire hazard!) They proved that they can deliver a wild show and, as they say, they're "not at all like U- fucking-2." Keep an eye out for My Morning Jacket, who had not been forgotten at the end of the night. Expect big things from them. Jeff Sanders SAFA Wednesday, October 9 Vancouver East Cultural Center In the two long sets of their CD- release concert, Safa only played a few numbers of their beautiful Persian-inspired ethno-fusion jazz, but all were extended improvisational versions of songs from their new debut CD Alight. But this was expected since Safa's whole concept is essentially coming up with a sketch of the piece and then getting into the prop er headspace to figure out to how to play it that time around. The members of the group all seem to function as three parts of the same mind when playing, and they have all talked about feeling a deep instant kinship with one another that allows them to be of a single spirit when playing. This incredible unity is something that is all too rare in music nowadays and the effect was mesmerizing, holding the near- capacity audience at rapt attention despite the extra- long length of some of the pieces, which lasted up to 20 minutes. The group played wonderfully well together as a result of this unity of mind and spirit; seamlessly flowing from one piece to another and from one solo to another as the players traded solos in the traditional Persian call and response style. Amir Koushkani sung beautiful songs in Farsi while accompanying himself on the tar, an exotic and delicate sounding instrument related to the guitar and lute. Francois Houle played some incredible solos on his clarinets, exploring different effects and sounds to add to the moods of the music. Being a percussion freak, I of course took note of Sal Ferreras' great metronomic timekeeping on various drums when he wasn't doing amazing intricately-rhythmed solos in complex irregular meters. Special guest Celso Machado sang, played additional percussion, guitar, and a great solo on the kora, a kind of West African harp with 21 strings. It's somewhat difficult to adequately describe the experience of hearing Safa play. Time seems to stop and you get caught up in the moment of just being absorbed in the wash of sound. Vampyra Draculea SHiNDiG! ' H -~T<* V"Hr The Goxxipl Photo By Lindsay Sung MOTORAMA BLACK RICE BULLBUCKER Tuesday, October 8 Railway Club It seems that every year's SHiNDiG! has one night during its preliminaries where the, shall we say, heavier bands of the competition are showcased. Well, this round was that night. Ears were left a-ringin' after sitting through this one, no doubt about it. The first band up were Vancouver stalwarts Motorama, who seem to have gigged around town in the past more than the majority of peers featured in this year's competition. Maybe it's just me and the places that 1 frequent, but this is the only band this year who I was even remotely familiar with. They were noisy, abrasive and rocked! The drummer flailed away like a man possessed and provided much of the visual focus for the band. The only thing that I could complain about in their set was the lack of any really memorable riffage. This apparent deficit could, however, say more about the fact that I am getting old and require more melody. That aside, they were decent. The next band, Black Rice, were heavy as well, but in a way which juxtaposed different styles and musical eras in one cool hard-rockin' package. Consisting of two rather hairy mustachioed fellows on 6- strings and vocals, a Jack Bruce-circa-1969 looking bassist, and a heavy-hitting lady drummer, they had many memorable elements to their set. The two guitarist/vocalists (who looked like brothers, incidentally) sang late '70s UK punk sing-along choruses while banging away on their Telecasters. The bass player played John Entwistle-like lead bass runs, but with a heavy, distorted bass sound. The overall effect sounded like a mixture of musical eras: a bit of Stooges/MC5, a bit of English punk, a bit of newer stuff like Royal Trux. They were hard to describe but don't worry, readers—seeing as they won this round, you'll be able to see them again in the semi-finals. The last band of the night was a heavy, sludgy Fu Manchu-esque power-trio from the woods outside Nanaimo called BuIIbucker. Stripped down to their shirts, they sure stood out visually— especially their beast of a drummer. A great big guy with a mat of hair on his chest, a bald pate with long shaggy black hair down the back and sides and a prodigious belly, he pounded the drum kit into total submission. The wah-wah'd bass and guitar, both fuzzed out to match, provided a set of cool heavy stoner rock. The only unfortunate part of the evening was that whoever was doing sound made himself scarce for much of the 24 November 2002 Fly Pan Am. Photo By Lori Kiessling night. As a result, the mix was shoddy at times, handicapping some of the bands to a fair extent. Other than that, it was a great night. All three bands were good fun and my ears kept ringing their approval for the entire walk home. Michael Staniszkis HARD RUBBER ORCHESTRA HUGH FRASER QUINTET WITH STRINGS Thursday, October 10 Vancouver East Cultural Centre Hard Rubber were their usual magnificent selves. The band started off with a swing chart and then played a 9-movement orchestra piece written by Hugh Fraser. The pieces contained alternating movements of full-band sounds and instrumental duets. Notable were solos by Dennis Esson on trombone playing a beautiful muted ballad, an introspective duet by Rebecca Whitling (violin) and John Korsrud (trumpet), and a humorous exchange between Daniel Miles Kane (bari-sax) and Brad Muirhead (trombone). Hard Rubber finished with a blistering tune that saw Bill Runge (sax) and Vince Mai (trumpet) exchange hot hot solos. The Hugh Fraser Quintet with Strings opened the night with a pile of cool bopesque pieces. I appreciate the fact that Fraser was experimenting by adding a string quartet to his regular quintet, but I found them a tad distracting. They took away from some of the spontaneous chemistry that makes a tight group like his so entertaining to watch. Still, there were some great solos in that set—notable were Fraser himself, who pounded the piano with expressive enthusiasm, and drummer Dave Robbins, who plays with such explosiveness at times that you get the idea during some of his climaxes that he will not be done till he snaps his drum-set in two with his sticks. It's really something to see. I can't think of words to sum up this concert. After it was through, I had a conversation with a friend of mine, and he summed it up better than I could. To paraphrase: "Hard Rubber is, no question, consistently the best Vancouver band event you can see. It's such a simple idea, I wonder who thought of it: 'Hey... let's get all the best jazz musicians in the city together and make a really big band. Hey, then let's get all the best musicians/composers in the city to write for our band. Okay, now let's play.'" I found that funny. Such a simple idea and it works so well. Lucas TdS ENON HEUO SEQUENCE Tuesday, October 15 Piccadilly Pub Something has to be done about the scourge of annoying baby boomers at local clubs. I mean, let's consider the boisterous, barrel-chested fool with a misguided loyalty to CCR. This yahoo (who no doubt dwells in high school sport-hero glory) yakked-up everyone that made eye contact, flirted with the Pic staff and extolled the virtues of classic rock. So now I'm setting aside some time for a personal business venture. I'll set up something like a 911 number that you can call and a member of my team will speed to the scene of the crime and begin cutting out tongues. Send your resumes. Helio Sequence fuzzed the club with reverb-heavy, shoegaze pop. Nice sound, really. I've always been a sucker for that guitar "Bwawawawawaw" sound since it's the closest I ever come to illicit drug use. Reports from scenesters all over Vancouver tell that this Tuesday night after Thanksgiving day was a dull one and few were out to do much of anything that night. Too bad: ENON gave a good show. John Schmersai led the band through much of their new material while handling a load of small electronic devices and showing a penchant for hammy showmanship. Recent ENON and former Lapse member Toko Yasuda has added her very yummy and gifted new presence on bass, keyboard and occasional vocals. Both she and John made their way into the audience, singing into our faces—you know, "keepin' it real," as you kids say. In many ways ENON is primarily a studio band, a goulash of pop genres colliding with found sounds and unusual instruments, so I wondered what they would do to present this mix in a live performance. Of course, through the miracles of digital recording, they were able to bring some of the studio to us—you know, "keepin' it fake." Would I see ENON again? Hell yes. For those that missed it, find yourself some ENON and a pair of headphones. You may be pleasantly surprised. Blique SHiNDiG! OLDEN DAYS SUBCONSCIOUS SATELLITE RAKSASHA Tuesday, October 15 Oh, the institution that is SHiNDiG! If you haven't been down to the famous Railway Club for CiTR's battle o' the bands before, then don't let this review discourage you. Some of Vancouver's now known bands have gotten good and drunk and started their long journey into rock 'n' roll stardom in this hallowed railway car. Unfortunately, none of the bands this night compared to their predecessors. Arriving early to get a seat was unnecessary since this was the most poorly attended SHiNDiG! I've been to. I'd like to think the poor attendance was a result of ENON playing that same night, but I'm not entirely convinced of this. Shit, even the ubiquitous hecklers weren't present! Unlike other preliminary SHiNDiG!s, this night was a musical grab bag comprising three very different sounding acts. The Olden Days took the stage first and looked to have potential. They're a quaint little band of a handful of members with a soft singer, keyboards, and violin, as well as the multi- band member Chris Harris on guitar. This band has potential, but instrumentation seemed to take a back seat to the vocals because the sound was pretty much inaudible. Looking as if they just started playing together, perhaps they are yet to blossom. Next up was an inspired, but by no means phenomenal, twenty minutes by Subconscious Satellite. These guys were definitely into their Yes/Genesis-era prog rock. Avoiding the typical shortfall of most SHiNDiG! bands, Satellite's songs were varied in composition. A weak-ass Jokes For Beer followed the second band—the highlights being the drunks yelling unintelligible words at Ben and another pint successfully quaffed by yours truly to dull the pain. Although I enjoyed their enthusiasm, Raksasha was a hard nightcap to swallow. All their youthful exuberance and angst resulted in a Creed-esque cacophony of sound that didn't make my peanut brittle. I endured long enough to learn Subconscious Satellite was the night's winner. This was truly an anomaly of a night for SHiNDiG! Robert Robot MELT BANANA STREETS THE NONS Sunday, October 20 Piccadilly Pub Slightly delirious with anticipation at the prospect of finally witnessing Japan's finest deranged punk/thrash/hardcore merchants, my appetite was pleasantly whetted by the detuned twin-guitar antics of The Nons (think early Sonic Youth with less ambition and a greater predilection for garage). They didn't blow us away, but support bands aren't supposed to, right? At this juncture it would seem apt to proclaim that STREETS demonstrate an admirable lack of respect for this axiom. Their irrepressible blend of West Coast punk and twiddly metal—the songs, apparently without exception, based around extolling the virtues of skateboarding- seem to be beloved of just about everyone who likes to ROCK in Vancouver. Finding myself unwittingly squished into what might grandiosely be termed the photographer's pit (that is, the square meter or so between the monitors) for Melt Banana, I was fortunate enough to be periodically hit in the face by Yasuko's microphone lead as she subjugated the Pic beneath a relentless barrage of frenzied vocal assaults. 1 should like to say I was also flecked with spittle, as a cheap device to try and communicate the intensity of this performance to the reader, but Melt-Banana are too focused—too calculated—for spittle. And therein lies the brilliance of their music. They confidently eschew the typical methods by which hardcore bands obtain their potency— random, chaotic aggression, and a deliberately low standard of musicianship—for something ultimately purer, more deadly in its precision. This is truly organized chaos. Admittedly, things went a little astray during an inadvisably long theremin workout, but ultimately this primed the crowd for the resumption of Agata's brutal chainsaw riffs, spiced with a bewildering array of effects, ensuring we all went home satisfied—if a little disoriented. Vancouver wasn't quite prepared for such an efficient attack. Sam Wiseman GWAR Sunday, October 27 Commodore Ballroom There are times in your life where there is a hole right in the middle of your being and you don't even know it's there until it gets filled. GWAR and its collective members filled my hole swiftly, efficiently and bloodily. To say that 1 was baptized would be putting the point mildly. By the end of the evening, I was covered in blood, cum, pus, viscera and all manner of fluorescent bodily fluids. Yes, it was a glorious baptism; but a rebirth? I dunno—I think I'm still covered in afterbirth. Chris Eng \nmmumm [anarjiirjAJSP nil k\ THE SPIRIT WRESTLER, ORCHESTRAL AMAZEMENT! BY08: i BRING YOUR OWN FILM ( ALCATRAZ IS NOT AN ISLAND FIFTH ANNUAL VANCOUVER UNDERGROUND I FILM FESTIVAL WALKING WOUNDED: THE FILMS OF LECH KOWALSKI Melt Banana! Photo By Sam Wiseman I 25 DiSCORDER WSBSic .srr; rmssmsm S tillllllMIl! I Look dMne. get part the Inel Disco oecr ensures priority entry-Prizes for bertdbcoduds I NOVEMBER 5 F Z& 1 SATURDAY NOVEMBER 9 \ BIC RUNGA / IHJIIIIiVll'lll *r \ J ^fc^pfflfci J THE GREEN ROOM - VANCOUVER'S MEDIA CLUB I I'll'iJ'I.HIN UiKiVmil Blue THE WARLOCKS WTH SPECIAL GUESTS THE CINCH & THE NOTES FROM UNDERGROUND * Mk I RICHARD'S ON RICHARDS 1 Z02CT ZM LIVE 11-ITECE BAND! TICKETS ALSO AT ZULU AND HIGHUFE J COMMODORE BALLROOM 1 4 N0VEM^R19f'llti^i™| !• -), ' 9 jfi\ o ail**fe*l special EARLY SHOV mmm xmrnm NOVEMBER 271 I COMMODORE BALLROOM I mmm I RICHARDS ON RICHARDS I HfliMH )u>*Mjr\, yy^jcut^ I RICHARDS ON RICHARDS | \m\\i\\ m 1 FRIDAY DECEMBER 13 f THIEVERY CORPORATION THE RICHEST MAN IN BABYLON I COMMODORE BALLROOM I I DECEMBER 161 J The •Ataris I DECEMBER 18 [ IGORDIE JOHNSON I -n & KELLY HOPPE ^n^ RICH HOPE I RICHARD SON RICHARDS r UnrtA what's being played at CiTR 101.9fm November Long Vinyl November Short Vinyl November Indie Home Jobs 1 The Organ Sinking Hearts Global Symphonic 1 Gentlemen Of Horror 5 Song 45 Independent 1 Bikini Shop Sick of Charlie 2 Destroyer This Night Merge 2 Frog Eyes/JWAB Split Global Symphonic 2 The Department Be Your Friend 3 Ladytron Light And Magic E nperor Norton 3 Destroyer The Music Lovers Sub Pop 3 Video Tokyo S/T 4 Loscil Submers Kranky 4 New Town Anima s Fashion Fallout Dirtnap 4 Felt Phallus Slip it In 5 P:ano When It's Dark... Hive-Fi 5 The Spitfires Juke Box High Glazed 5 Winks April Fell 6 Notes From... S/T Stutter 6 Kevin Blechdom Jelly Donuts Four States Fair 6 The Feminists Me and My Army 7 Thievery Corp... The Richest... ESL 7 The Lollies Channel Heaven Evil World 7 Bent Sinister Untitled 8 Sahara Hotnight Jennie Bomb Jetset 8 Kung Fu Killers S/T TKO 8 Jordan Mackenzie If You Were My Girl 9 Amon Tobin Out From Out Where Ninjatune 9 Cato Salsa Picture Disc Emperor Norton 9 Byronic Heroes I'm a Drunk 0 Hot Hot Heat Make Up The Breakdown Sub Pop 10 Get Hustle Who do You Love Gravity 10 Hinterland Destroy Destroyer 1 Neko Case Blacklisted Mint 11 Chromantics/Monitor Split GSL 11 The Perms So the Stories Go 2 Dirtmitts Get On Sonic Unyon 12 The Evaporators Honk The Horn Nardwuar 12 Chris Lindsay Electronic Free Trade 3 Low Trust Kranky 13 Gene Defcon Baby Halleujah Modern Radio 13 The Organizers Grannysmith 4 Op. Makeout Hang Loose Mint 14 Mirah Small Scale K 14 Crop Circle Mexican Cock Fight 5 Danko Jones Born A Lion Universal 15 The Riffs Such A Bore TKO 15 End This Week With Kniv Let's End This Here 6 Interpol Turn On The Bright Lights Matador 16 The Agenda Are You Nervous? Kindercore 16 The Accident Just Relax 7 Spoon Kill The Moonlight Merge 17 V/A Modern Radio Modern Radio 17 Barfburn Softserve 8 Nasty On Citysick Stutter 18 Scat Rag Boosters Side Tracked Zaxxon 18 Cat Piss Toque Surrey Gurls 9 Cinch S/T Stutter 19 Veal 1 Hate Your Lipstick Six Shooter 19 The Red Scare Wil Always Come For You 0 Liars They Threw Us All In... Mute 20 The Cleats Save Yourself Longshot 20 Collapsing Opposites War and/or Peace 1 Zubot V Dawson Chicken Scratch True North 2 Sleater-Kinney One Beat Kill Rock Stars 3 Ron Sexsmith Cobblestone Runway Kicker In Tow Got What We Want Rice Lightning Linus Constellation Of Rome Independent 4 Hanged Up 5 Sights c HOW THE CHARTS WORK } 6 Black Rice 7 Black Dice Beaches And Canyons DFA 8 QOTSA Songs For... Interscope The monthly charts are compiled based on the number of times a 9RFTC 0 Nightmares on.. 1 Beck 2 Tegan and Sara 3 Reyksopp 4 Pattern Hot Charity Mind Elevation Sea Change If It Was You Melody AM Real Feelness Swami Warp DGC CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home jobs") on CiTR's playlist was played by our DJs during the Superclose Astra Iwerks Lookout! previous month (i.e., "November" charts reflect airplay over October). Weekly charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts." • 5 Mecca Normal The Family Swan Kill Rock Stars The Blinding Light!! Cinema 36 powell street (between Columbia and carrall) info: 604 878 3366 HUMANFIVE 27 DiSCORDER om "lite; dial your guide to CiTR 101.9fm SUNDAY ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00- 3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00- 5:00PM Real cowshit-caught-in- yer-boots country. CHIPS WITH EVERYTHING alt. 5:00-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your jet set hol- QUEER FM 6:00-8:00PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver. Lots of human interest features, background on current issues and great music. RHYTHMSINDIA 8:00-10:00PM Rhythmslndia features a wide range of music from India, including popular music from Indian movies from the 1930s to the present, classical music, semi-classical music such as Ghazals and Bhajans, and also Qawwalis, pop and regional language num- TRANCENDANCE 10:00PM- 12:00AM Join us in practicing the ancient art of rising above common thought and ideas as your host, DJ Smiley Mike lays down the latest trance cuts to propel us into the domain of the mystical.<tran- cendance@hotmail.com> THE SHOW 12:00-2:00AM BBC WORLD SERVICE 2:00- 6:00AM MONDAY BBC WORLD SERVICE 6:00- 8:00AM BREAKFAST WITH THE BROWNS 8:00-11:00AM Your favourite brown-sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! LOCAL KIDS MAKE GOOD alt. 11:00-1:00PM Local Mike and Local Dave bring you local music of all sorts. The program most likely to play your band! GIRLFOOD alt. 11:00-1:00PM PARTS UNKNOWN 1:00- 3:00PM Underground pop for the minuses with the occasional interview with your host Chris. SANDBOX THEATRE 3:00- 4:00PM A show of radio drama orchestrated and hosted by UBC students, featuring independent works from local, national and international theatre groups. We welcome your involvement <sandboxtheatre@hotmail.com> Nov. 4: The Order of Good Cheer (UBC production). Nov. 11: A spotlight Beckett. ABSOLUTE BEGINNERS 4:00 5:00PM A chance for new CiTR DJs to flex thei Surprises galor WENER'S BARBEQUE 5:00- 6:00PM Join the sports dept. for their coverage of the T-Birds. CRASH THE POSE alt. 6:00 7:30PM Hardcore/pl fuck from beyond the gravi SOLARIZATION alt. 6:00- 6:30PM Kenneth Chan brings you a current affairs sh< the core of the show is engaging young people from all walks of life and all spheres of influence in .xplor other. Sola issues that make the headline: form a different perspective, but MY ASS alt. 6:30-7:30PM Phelps, Albini, V me. WIGFLUX RADIO 7:30-9:00PM Celebrate the triumphant return of DJ Vyb. Listen to DJ Vyb and Selecta Krystabelle for your reggae education. THE JAZZ SHOW 9:00PM- 1 2:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 1 1. Nov. 4: The Modern Jazz Sextet—a one-time only all-star band with trumpet master Dizzy Gillespie and alto saxophonist Sonny Stitt. Nov. 11 Arguably the finest tenor saxophonist in Canada, Kirk Macdonald has come up with a winner in Pure and Simple with drum master Terry Clarke, bassist Neil Swainson and British piano genius John Taylor. Nov. 18: One of the best Big Bands ever! Tune in to find out! Nov 25: Never before released material from pianist Dave Brubeck's alma mater. Dave and alto saxophonist Paul Desmond live at the College of the Pacific. VENGEANCE IS MINE 12:00- 3:00AM Hosted by Trevor. It's punk rock, baby! Gone from the charts but not from our hearts— thank fucking Christ. PSYCHEDELIC AIRWAVES 3:00- 6:30AM DJ Christopher Schmidt also hosts Organix at Club 23 (23 West Cordova) on Friday nights. TUESDAY PACIFIC PICKIN' 6:30-8:00AM Bluegrass, old-time music, and its derivatives with Arthur and "The Lovely Andrea" Berman. HIGHBRED VOICES 8:00AM- 9:30AM THIRD TIME'S THE CHARM 9:30-11:30AM Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier than the most dangerous criminal! <borninsixtynine@hotmail.com> BLUE MONDAY alt. 11:30AM- 1:00PM Vancouver's only indus- trial-electronic-retro-goth program. Music to schtomp to, hosted by LA BOMBA alt. 11:30-l 2:30 Sunday Monday Tuesday Wednesday Thursday Friday Saturday ~\*^ REGGAE LINKUP ARE YOU SERIOUS? MUSIC ROCKERS SHOW BLOOD ON THE L SADDLE CHIPS WITH I Po I SAINT I Po everything!—— TROPEZ l_ BBC WORLD SERVICE BREAKFAST L~ WITH THE BROWNS 0 GIRLFOOD^ LOCAL KIDS MAKE GOOD IE PARTS L UNKNOWN ABSOLUTE BEGINNERSL MEAT EATING VEGAN(Ec] PACIFIC PICKIN' HIGHBRED VOICES L THIRD TIME'S THE CHARM BLUE MONDAY (G) BEATUPRONIN [fl CPR Dc/Ik i) MOTORDADDY RUMBLETC BBC WORLD SERVICE SUBURBAN JUNGLE FOOL'S PARADISE L THE ANTIDOTE1- THE SHAKE fe. RADIO FREE PRESS £ UMBLETONE BBC WORLD SERVICE END OF THE L WORLD NEWS PLANET LOVETRON CANADIAN LUNCH RHYMES & REASONS BBC WORLD SERVICE CAUGHT IN THE RED SKA-T'S L SCENIC DRIVE THESE ARE THE BREAKS |Hh~" LEO RAMIREZ SHOW NARDWUAR PRESENTS THE VAMPIRE'S BALL | Rts THE SATURDAY EDGE GENERATION pu~ ANNIHILATION POWERCHORD CODE BLUE WENER'S BARBEQUE (Sp) 10,000 VOICES (Tk) QUEER FM t R CRASH1—1 THE POSE RACHEL'S SONG NECESSARY VOICES (Tk) ELECTROLUX HOUR FLEX YOUR HEAD OUT FOR KICKS WIGFLUX RADIO L so^™sPo/Ec S'a RHYTHMSINDIA TRANCENDANCE ~7^e S JAZZ SHOW SALARIO MINIMO ON AIR Li WITH GREASED HAIR FAREASTSIDE SOUNDS venu: FLYTRAP JE FOLK OASIS SOUL I SONIC WAN DERLUST LIVE FROM... '—I THUNDERBIRD HELL IE AFRICAN RYTHMS T* HOMEBASS SYNAPTIC SANDWICH STRAIGHT OUTTA [ JALLUNDHAR VENGEANCE IS MINE! HANS KLOSS' MISERY HOUR BREAKING HI WAVES IN YOUR HEAD PLUTONIAN NIGHTS ~H BBC WORLD SERVICE AURAL TENTACLES PSYCHEDELIC AIRWAVES FIRST FLOOR SOUND SYSTEM WIRELESS CRUELTY MORNING AFTER1 SHOW IE THE RED EYE m THE VAMPIRE'S BALL1 REGGAE LINKUP Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk Rg= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world 28 November 2002 makes REEL TO REAL alt. 12:30- 1:00PM Movie reviews and BEATUP RONIN 1:00-2:00PM Where dead samurai can program music. CPR 2:00-3:30PM Buh bump... buh bump., the sound your hearl when you listen to science talk and techno... buh bump... ELECTROMAGNETIC PULSES alt. 3:30-4:30PM ELECTRIC AVENUES alt. 3:30- 4:30PM Last Tuesday of every month, hosted by The Richmond Society For Community Living. Music and spoken word program with a focus on people with special needs and disabilities. THE MEAT-EATING VEGAN 4:30-5:00PM 10,000 VOICES 5:0O-6:0OPM Poetry, spoken word, performances, etc. FLEX YOUR HEAD 6:00- 8:00PM Up the punx, down the emo! Keepin' it real since 1989, yo. http://flexvourheod.vancouver- hardcore.com/ SALARIO MINIMO 8:00- 10:00PM VENUS FLYTRAP'S LOVE DEN alt. 10:00PM-12:00AM <loveden@hotmail.com> SOULSONIC WANDERLUST alt. 10:00PM-12:00AM Electro-acoustic-trip-dub-ethno- groove-ambient-soul-jazz-fusion and beyond! From the bedroom to Bombay via Brookyln and back. The sounds of reality remixed. Smile. <sswander- lusK§>hotrr>ail.com> AURAL TENTACLES 12:00- 6:00AM It could be punk, ethno, global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by DJ Pierre. WEDNESDAY BBC WORLD SERVICE 6:00- 7:00 AM THE SUBURBAN JUNGLE 7:00-9:00AM Bringing you an entertaining and eclectic mix of new and old music live from the Jungle Room with your irreverent hosts Jack Velvet and Nick The Greek. R&B, disco, techno, soundtracks, Americana, Latin jazz, news, and gossip. A real gem! <suburbanjungle@chan- nel88.com> FOOL'S PARADISE 9:00- 10:00AM Japanese music and talk. THE ANTIDOTE 10:00AM- 11:30PM ANOIZE 11:30AM-1:00PM Luke Meat irritates and educates through musical deconstruction. Recommended for the strong. THE SHAKE 1:00-2:OOPM RADIO FREE PRESS 2:00- 3:00PM Zines are dead! Long live the zine show! MOTORDADDY alt. 3:00- 5:00PM Cycle-riffic rawk and roll! RUMBLETONE RADIO alt. 3:00PM-5:00PM Primitive, fuzzed out garage mayhem! RACHEL'S SONG 5:00-6:30PM Socio-political, environmental activist news and spoken word with some music, too. www.necessarwoices.org FILL-IN 6:30-7:30PM AND SOMETIMES WHY alt. 7:30-9:00PM (First Wednesday of every month.) REPLICA REJECT alt. 7:30- 9:00PM indie, new wave, punk, and other noise. FOLK OASIS 9:00-10:30PM Roots music for folkies and non- folkies... bluegrass, singer-songwriters, worldbeat, alt-country and more. Not a mirage! <folkoasis@canada.com> STRAIGHT OUTTA JALLUND- HAR 10:30PM-12:00AM Let DJs Jindwa and Bindwa Promo mix the undergi hop, old school classics inal breaks. THE LEO RAMIREZ SHOW 2:0O-3:30PM The best mix of mentary from around the local and international Latin American radio Bhungra! "Chakkh de phutay." HANS KLOSS' MISERY HOUR 12:00-3:00 AM FIRST FLOOR SOUND SYSTEM 3:00-6:00 AM THURSDAY BBC WORLD SERVICE 6:00- 8:00 AM END OF THE WORLD NEWS 8:00-10:00AM PLANET LOVETRON 10:00- 11:30AM Music inspired by Chocolate Thunder, Robert Robot drops electro past and present, hip hop and intergalactic funkmanship. CANADIAN LUNCH 11:30AM- 1:00PM YUKON HO alt. 11:30AM- 1:00PM STEVE AND MIKE 1:00- 2:00PM Crashing the boy's club in the pit. Hard and fast, heavy and slow (punk and hard- THE ONOMATOPOEIA SHOW 2:00-3:00PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00- 5:00PM LEGALLY HIP alt. 5:00-6:00PM PEDAL REVOLUTIONARY alt. 5:00-6:00PM Viva la Velorution! DJ Helmet Hair and Chainbreaker Jane give you all the bike news and views you need and even cruise around while doing it! www.sustainabil- ity.com/dinos/radio OUT FOR KICKS 6:00-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30-9:00PM The best in roots rock 'n' roll and rhythm and blues from 1942-1 962 with your snap- pily-attired host Gary Olsen. <rip- itup55@aol.com> LIVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bandz from 10-11. http;//www.stepan- dahalf.com/tbirdhell WORLD HEAT 11:00PM- 1:00AM An old punk rock heart considers the oneness of all things and presents music of worlds near and far. Your host, the great Daryl-ani, seeks reas- i <worldheat@hot- WIRELESS CRUELTY 1:00AM- 6:00AM FRIDAYS BBC WORLD SERVICE 6:00- 8:00AM CAUGHT IN THE RED 8:00- 10:00AM Trawling the trash heap of over 50 years worth of real rock V roll debris. SKA-T'S SCENE-IK DRIVE! 10:00AM-12:00PM Email requests to <djska_t@hot- THESE ARE THE BREAKS 12:00-2:00PM Top notch crate diggers DJ Avi Shack and ound hip and orig- NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30- 5:00PM CiTR NEWS AND ARTS 5:00- 6:00PM A volunteer produced, student and community newscast featuring news, sports and arts. Reports by people like you. "Become the Media." To get involved, visit www.citr.ca and click "News Dept." FAR EAST SIDE SOUNDS alt. 6:00-9:00PM AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa, and African music from around the world. HOMEBASS 9:00PM- 12:00AM Hosted by DJ Noah: techno but also some trance, acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more. BREAKING WAVES IN YOUR HEAD 12:00-2:00AM THE MORNING AFTER SHOW 2:00-4:00 AM SATURDAY THE VAMPIRE'S BALL 4:00- 8:00AM Dark, sinister music of all genres to soothe the Dragon's soul. Hosted by Drake. THE SATURDAY EDGE 8:00AM-12:00PM Studio guests, new releases, British edy sketches, folk music calendar, and ticket giveaways. 8-9AM: African/World roots. 9AM-12PM: Celtic music and performances. GENERATION ANNIHILATION 12:00-1:00PM Tune in for a full hour of old punk and Oi mayhem! POWERCHORD l:O0-3:0OPM Vancouver's only true metal show; local demo tapes, imports, and other rarities. Gerald Rattlehead, Dwain, and Metal Ron do the damage. CODE BLUE 3:O0-5:0OPM From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy, and Paul. ELECTROLUX HOUR 5:00- 6:00PM SOUL TREE 6:00-9:OOPM From doo-wop to hip hop, from the electric to the eclectic, host Michael Ingram goes beyond the call of gospel and takes soul music to the nth degree. SYNAPTIC SANDWICH 9:00- 11:00PM PLUTONIAN NIGHTS 11:00PM- 1:00AM Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs and performers. http://plutonia.org THE RED EYE alt. 1:00-4:30AM EARWAX alt. 1:00-4:30AM "noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/distort da source full force with needlz on wax/my chaos runs rampant when I free da jazz..." Out. —Guy Smiley REGGAE UNKUP 4:30-9:00AM Hardcore dancehall reggae that will make your mitochondria quake. Hosted by Sister B. • • S-f^Ury • j. W>lc\4,C • datebooL lllllllllllll what's happening in november SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE JANCEMBER ISSUE, THE DEADLINE IS DECEMBER 2. FAX SHOW, FILM, EVENT AND VENUE LISTINGS TO 604.822.9364 OR EMAIL <DISCORDER@CLUB.AMS.UBC.CA> FRIDAY, NOVEMBER 1 Shelley Adler@State Gallery (1564 W. 6th, exhibit ends Nov. 9); Hildegard Westerkamp CD release@Western Front; Blinded@Langley Civic Centre; Lester's Wagon, Bush League, Lauren Klein Band@Brickyard; Andy Stochansky, Emm Gryner, Luce@Richard's; Shoofly@Silvertone; Badly Drawn Boy@Vogue; Blue Rodeo, Sadies@Commodore; 7e#tovvne@Blinding Light!!; Heather Griffin@The Main SAT 2 Blue Rodeo, Sadies@Commodore; Floyd Favel-Starr@Native Education Centre (285 E. 5th); Echophone, Good Night Irene, Hunter Gracchus@Brickyard; Tegan and Sara@Richard's; ye#cowne@Blinding Light!!; Blackfeather, Rob Wilks@The Main SUN 3 BB King,JustinKing@Orpheum; Hoobastank, Greenwheel@Richard's; ye^ftowne@Blinding Light!! MON 4 Filter, Exies@Commodore;Je/frovvne@Blinding Light!! TUE 5 CiTR PRESENTS SHiNDiG! WITH COLLAPSING OPPOSITES, KIDS THESE DAYS, AND THE HEARTACHERS@RAILWAY CLUB; Ben Lee, Vanessa Carlton@Vogue; STREETS@Snacker's (Surrey); Je_#towne@Blinding Light!! WED 6 NoMeansNo, New Town Animals, Moneyshot@Richard's; Scene Creamers, Red Light Sting, The Accident@Pic Pub; Neko Case@Commodore;ye#toivne@Blinding Light!!; Origins@The Main THUR 7 Low, Pan American@Richard's; Remy Shand, Dayna Manning@Commodore; Guns 'n' Roses, Mix Master Mike@GM Place; Vicente Amigo@Vogue; Diese!boy@Sonar; Prison Ce//u/oi'd@Blinding Light!!; Clay George, Amy Honey@The Main FRI 8 CiTR PRESENTS RYE COALITION, FEDERATION X, WITNESS PROTECTION PROGRAM@PIC PUB; Lazarazu@Anza Club; Blue Rodeo@Queen Elizabeth Theatre; John Zorn's Electric Masada@Vogue; The Spirit Wrest/er@Blinding Light!!; Eugene Ripper@The Main SAT 9 Bowling for Victory: COPE Fundraiser@Commodore Lanes; Engine Down, Hot Hot Heat, Dismemberment Plan@Commodore; Diamanda Galas@Vogue; Superstar:The Karen Carpenter Story@Blinding Light!!; Blind God@The Main SUN 10 George Clinton and Parliament/Funkadelic@Commodore; New Town Animals, Wednesday Night Heroes, The Riffs@Brickyard; Jackie and the Cedrics, Go Devils, The Satisfaction, Ramblin' Ambassadors, The Radio@Shenanigans (1225 Robson); Fata Morgana w/ Eye of Newt@Blinding Light!! TUE 12 CiTR PRESENTS SHiNDiG! WITH HUMAN HI-LITE REEL, MY PROJECT: BLUE, AND IN MEDIAS RES@RAILWAY CLUB; Blue States@Richard's; !CTV@Blinding Light!!; comb Brent Sopel's hair; Ev'rybody Wants to Be a Cat@The Main WED 13 Julio lglesias@Orpheum; Painters Painting@Blinding Light!!; Joel Gibb (Hidden Cameras)@The Main THUR 14 Black Heart Procession, Jerk With a Bomb, Pleaseeasaur@Richard's; Kid Koala@Sonar; Mr. Otto Biograffiti@Blinding Light!!; Robyn Carrigan, Heather Griffin@The Main FRI 15 Paul Plimley, Mei Han, Ellery Eskelin, Akikazu Nakamura, Jason Robinson, Robin Fox and Anthony Pateras@Planetarium; The Anniversary, Burning Brides, Pris@Pic Pub; Mediaeval Baebes, Cirque Vampyre@Croatian Cultural Centre; STREETS, Burnside Brawlers@Cobalt; Radiohead Vs. Matrix@Blinding Light!!; Coal, El Dorado@Sugar Refinery; Aaron Booth, Dave Gowans@The Main SAT 16 Paul Plimley, Mei Han, Ellery Eskelin, Mia Zabelka and Le Quan Ninh@Planetarium; In Medias Res, The Feminists, Second, Pnuma, Me@Basment 62 (62 E. Cordova); Kim Mitchell@Commodore; Destroyer@Crocodile (Seattle); Suffering and the Hideous Thieves, Blood Merridian@Blinding Light!!; Carolyn Mark@The Main SUN 17 Destroyer, Frog Eyes@Thursday's (Victoria); The New Deal@Richard's; braid Brent Sopel's hair MON 18 Del the Funky Homosapien, Lifesavas, Motion Man, People Under The Stairs@Commodore; The Warlocks@Richard's; Legendary 30 November 2002 Pink Dots, Origami GaIaktika@Graceland (Seattle); Shifting Light: Films by David Rimmer@Blinding Light!! TUE 19 CiTR PRESENTS SHiNDiG! WITH THE FEMINISTS, BLACK RICE, AND SUBCONSCIOUS SATELLITE@RAILWAY CLUB; Add N to X, Soviet, Cobra High@Richard's; Beth Orton@Commodore; BY08@Blinding Light!!; stroke Brent Sopel's hair WED 20 Stephen Fearing@Cap College; Alcatraz is Not an /s/and@Blinding Light!!; campaign for a Brent Sopel bobblehead THUR 21 John Prine, Todd Snider@Orpheum; Captured By Robots@Pic Pub; VUFF@Blinding Light!!; The Circus In Flames Trio@The Main FRI 22 Mad Bomber Society, Dance Craze@Royal; David Wilcox, Barney BentalI@Commodore; VUFF@Blinding Light!!; The Colorifics@The Main SAT 23 SK Robot@Anza Club; New Town Animals, Knucklehead@Brickyard; VUFF@Blinding Light!!; Late Tuesday, Conrad@The Main SUN 24 Joe Satriani, Ned Evett@Commodore; Cato Salsa Experience, The Soundtrack of Our Lives@Richard's; VUFF@Blinding Light!! TUE 26 CiTR PRESENTS SHiNDiG! WITH THE STUNTS AND TBA@RAILWAY CLUB; Walking Wounded: Films of Lech Kowalski@Blinding Light!! WED 27 DJ UFO, Kuma, Mechwarrior@The Drink; Sigur Ros@Vogue; Thievery Corporation@Commodore THUR28 Brundlefly, Hinterland, Anabret@Purple Onion; Afro Canadian All Stars@The Centre; cut my hair like Brent Sopel's; Antoine Baby Harry Calaway@The Main FRI 29 Tom Landa and the Paperboys, Ivonne Hernandez@WlSE Hall; Richard Buckner@Sunset Tavern (Seattle); Daisy Duke, Ann Louise Genest@The Main SAT 30 Jim Brickman@Vogue; Brent Sopel's hair gets tangled with Ricci's hair in a scrap; Kris Demeanor, Chantal Vitalis, Matt Allen@The Main SUN DECEMBER 1 Beck, Flaming Lips@Queen Elizabeth Theatre MON 2 Rocket From the Crypt@Commodore TUE 3 CiTR PRESENTS SHiNDiG!@RAILWAY CLUB; Nelly, The Clipse@GM Place; The Blue Pony Videos of King Anderson@Blinding Light!! WED 4 Film 1999@Blinding Light!! THUR 5 Strange Grey Day Thi's@Blinding Light!! Apecial event* CiTR PRESENTS: RYE COALITION, FEDERATION X, WITNESS PROTECTION PROGRAM FRIDAY, NOVEMBER 8 PIC PUB If you want to get kicked in the face by accident, you should go to this show. JOHN ZORN'S ELECTRIC MASADA FRIDAY, NOVEMBER 8 VOGUE THEATRE If you want to piss all over yourself by accident, you should go to this show. DIAMANDA GALAS SATURDAY, NOVEMBER 9 VOGUE THEATRE We at DiSCORDER are so frightened by Diamanda Galas that we can't even talk about it. We're just going to go and cover our eyes. KIM MITCHELL SATURDAY, NOVEMBER 16 COMMODORE What the fuck? SHiNDiG! TUESDAY NIGHTS! RAILWAY CLUB! place* ta he bassix records 217 w. hastings 604.689.7734 pic pub 620 west pender 604.669.1556 beatstreet records 3-712 robson 604.683.3344 railway club 579 dunsmuir 604.681.1625 black swan records 3209 west broadway 604.734.2828 richard's on richards 1036 richards 604.687.6794 blinding light!! 36 powell 604.878.3366 ridge cinema 3131 arbutus 604.738.6311 cellar 3611 west broadway 604.738.1959 red cat records 4305 main 604.708.9422 club 23 23 west Cordova royal 1029 granville cobalt 917 main 604.685.2825 scrape records 17 west broadway 604.877.1676 commodore ballroonr 868 granville 604.739.4550 scratch records 726 richards 604.687.6355 crosstown music 518 west pender 604.683.8774 sonar 66 water 604.683.6695 j futuristic flavour 1020 granville 604.681.1766 sugar refinery 1115 granville 604.331.1184 highlife records 1317 commercial 604.251.6964 lotus hotel 455abbott teenage ramapage 19 west broadway 604.675.9227 the main cafe 4210 main 604.709.8555 Vancouver playhouse hamilton at dunsmu ir 604.665.3050 mesa luna 1926 w. broadway video in studios 1965 main 604.872.8337 ms. t's cabaret 339 west pender western front 303 east 8th 604.876.9343 orpheum theatre smithe at seymour 604.665.3050 WISE club 1882 adanac 604.254.5858 pacific cinematheque 131 howe 604.688.8202 yale 1300 granville 604.681.9253 j pat's pub 403 east hastings 604.255.4301 zulu records 1972 west 4th 604.738.3232 vancouvers newest and most connected record shop r-n Octive Pass records Vancouver's providers of house, techno, idm, drum&bass, hip hop, trance, downtempo,broken beat & nu jazz, electro and 2 step. Featuring exclusive white label and limited promo runs you will find no where else! VJ Seasons clothing line. Plus bags, gear and all dj supplies. APR002 Coming Soon : Vernell de Long People Get Up Ep' STORE OPENS + FIRST SHIPMENT g GRAND OPENING z 6PM SUNDAY we are custom order specialists seasons recordings nordictrax HT* store location **e 324 W. Hastings | Vancouver, B.C. | R 604.646.2411 E. info@activepassrecordings.com WWW.activepassrecordings.com ikara colt chat and business "Entirely admirable-brilliant!" NME "Insane genius" KERRANG! "Intense and exhilarating" UNCUT "This could kick start everything," ORGAN Debut record out 11.12.02 on Epitaph ikaracolt.com epKaph.com mm mwmm «n, mu^ i ulu mm. LOSCIL SubmersCD Calling Vancouver home, Scott Morgan's smooth electronic music is always tasteful and subtle, an exercise in cool and intelligent restraint. Triple Point, his debut for Kranky records, was played at Zulu a lot, its low tones, steady pulse and crackly textures drifting nicely around the store. We've even had Morgan in for a mesmerizing in-store performance, a lesson in laptop dynamics. Submers, his second recording, is a concept record, each song dedicated to a different submarine, the final track a requiem for the truly terrifying yet darkly poetic sinking of the Kursk. As the fine people at Kranky describe it, "Submers is an album that easily merges ambient, contemporary classical music and minimal techno in defiance of the current mania for micro-genres." Indeed. And we must add, "Highly recommended," too. CD 16.98 PAVEMENT Slanted and Enchanted Luxe and Reduce 2CD Nothing sums up the '90s pop underground quite like Slanted and Enchanted. Basement suites and university dorms everywhere were filled with the slack, self-reflexive and smart (maybe too smart for some) music of Steve Malkmus, Spiral Stairs and the rest of the boys. Yes, this record changed the field, spawning many, many imitators, but none as inspired as the lackadaisical original. At a time when notions of "the canon" and "great works" were assiduously called into question, Pavement went ahead and produced an era-defining album anyway. Ah, those were the days. Now re-released as a deluxe, embossed 2CD set (with bonus tracks, Peel Sessions, the Watery, Domestic EP, a live recording and more), Slanted and Enchanted reaffirms its much-celebrated status in the recent history of popular music. Probably see you in ten years for the box set - and we don't mean that ironically. 2CD Re-issue 22.98 SMOG Accumulation: None CD Talk about your mixed signals. Smog has long employed the emotionally challenging mind- fuck as an aesthetic device, not only in the content of his moody, moody songs but also in the very practice of producing records. Each Smog release is a mixed blessing, both great and terrible. We're thrilled to get knocked down and kicked in the guts by Smog's grim and dark sensibility. Even when he seems happy he's so damn black. Of course, however, we love and savor every last sadomasochistic minute of it, always ready for more. Oh, make it bad, Smog, real bad. Accumulation: None is a collection of past Smog singles and EPs, from 1991 to now, including one new track, the stirring "White Ribbon". Ah, sublime. AVAILABLE NOV 5TH CD 16.98 SALE PRICES IN EFFECT UNTIL NOVEMBER 30, 2002 ROCKET FROM THE CRYPT Live From Camp X-Ray CD/LP Someone call their management! These guys have been playing the circuit so long they should get a residency at a classic Las Vegas hotel like the Flamingo. Have you seen them live? The uniforms, the big band, the giant snakes, the stage presence - they'd feel right at home. Here's the basic equation: experience + skill + a tight as fuck band + Americana = RFTC hard rock action all night long! Las Vegas? Hell yeah. Seriously. They play the crowd like putty. They ask for a call out, we call out. They want to see our hands in the air, we put them up. It's as easy as that. More undeniable proof comes in the form of Live From Camp X-Ray, their latest full length. Okay sure, it's a studio album. But it's all there, man, every last guitar squeal and rocking refrain. Sweet. CD 16.98 LP 14.98 GODSPEED YOU BLACK EMPEROR YANQUIU.X.0.CD/2LP Transmission received from Godspeed HQ, dispersed and noisy: "u.x.o. is unexplod- ed ordnance is landmines is cluster bombs... yanqui is post- colonial imperial- s \ ism is international police state is multinational corporate oli- -^MlSM^ '* garchy. you! black complicit is guilty is resisting... the new album is just music... recorded by steve albini at electrical audio in Chicago... mixed by howard bilerman and god- " / ^ speed you! black emperor at the hotel2tango in montrfeil... available on single compact disc and double phonograph record... stubborn tiny lights vs. clustering darkness forever ok?" Transmission over, decoded: redouble the efforts, storm the barricades, and change the world one living room at a time. Massive new ambient instrumental rock from this progressive-minded collective. Heralding times to come? OUT NOV. 11TH CD 12.98 2LP 16.98 MR. SCRUFF TrouserJazz CD/LP Nice n' groovy new recording from this always welcome, regular Vancouver visitor. Andy Carthy, also known as the lovable Mr. Scruff, knows his stuff. Heavy on the 70s funky-jazzy soul, with some quirky genre hopping here and there, Trouser Jazz is classic Ninja Tune material: a playful, entertaining romp; some honest, right-on party music. Like his appealing, childlike graphic art, Mr. Scruff's music is completely and straightforwardly light- hearted and good. In short, Mr. Scruff wants you to get down and enjoy yourself, something his famous DJ sets are, well, famous for. So lighten up, Vancouver. SEE PAGE 4 OF THIS ISSUE FOR MORE NINJA TUNE SPECIALS THIS MONTH AT ZULU. Stack these new logs on the hearth! UTTERBUG Pablo CD CD/LP 16.98 CATHERINE IRWIN Cut Yourself A Switch CD W! 'ith her stirring Appalachian timbre, THE DONNAS Spend The Night CD/LP Now on a major label, The Donnas seem right at home. Glossy and bright production really brings out the truth of their style, like all those high '80s rock records rolled up into one, a cool hybrid of the Runaways in Kiss make up. Full of sing-along choruses, thick power riffs, awesome leads, pick slides and a little cowbell to take it to the next level, Spend The Night is the real deal. With driving tunes like "You Wanna Get Me High", "Take It Off", "I Don't Care (So CD/LP 16.98 There)" and "Too Bad About Your Girl", this album should blow the roof off your next an night house party. Bug your neighbors, buy The Donnas. (For a limited time, Spend The Night comes with a cool DVD with a band interview, a video and more). CD 16.98 LP 14.98 Irwin has always been much more of a traditionalist than most of the alt- country scene. With The Carter Family, Hazel / Dickens and Roscoe Holcomb in the background, Cut Yourself A Switch, Irwin's first solo album, draws on this rich history to produce some awfully mournful, stripped ± bare country downers (but ^ with alew lights on the horizon, too). With excellent playing and great production, this recording is mighty fine country music. While you're at it, make sure to check out our newly developed Roots Section, bringing together traditional folk and country with the newest wave of alt-country music. CD 19.98 BADLY DRAWN BOY Have You Fed The Fish? CD/LP No sophomore slump for this toque wearing singer-songwriter and former Mercury Prize winner (and we certainly don't mean to under-appreciate the quality soundtrack music he did for About a Boy, which was great as well, but not exactly an "album" album, if you follow our distinction). Both poignant and irreverent, Have You Fed The Fish? shows a maturing Badly Drawn Boy (or Damon Gough, to his family), honing his craft and lyrical depth, culminating with the first single, "You Were Right." Not a moment too soon! AVAILABLE NOV. 5TH The relative isolation of Canada's prairies can inspire bursts of idiosyncratic creativity in some. Take Litterbug, for example. They handily prove that the frosty great white north can be a hotbed of creative sublimation. With lots of different instrumentation (including clarinet, trombone, violin, and glockenspiel), Litterbug brings together elements from the Feelies, Danielson Family, Yo La Tengo an Neutral Milk Hotel to create an enjoyably wide-ranging and sometimes off-kilter pop album. This one's for those of you who long for the heyday of the late-'80s indie boom as much as those who enjoy the somewhat weirder indie rock of today. Some dancing required. CD 14.98 SIGUR ROS ()CD The long awaited new capital "C" Concept Record from these mysterious Icelanders. With a cryptic symbol for a title, {) is a thoughtful follow up to the atmospheric and beautiful Agaetis Byrjun. Often subdued and understated, the eight long untitled tracks on () - each track guided by one central, repeated musical idea, such as a piano figure or spooky guitar line - form a 71-minute progressive rock masterwork. Like the absent album title, untitled tracks and blank-paged CD booklet, the possible meaning of the lyrical content - now sung entirely in Sigur Ros' imaginary language, Hopelandic - is also up to the individual listener. Yet, for all its "absences," () is heavy with powerful emotional content, invoking a truly moving journey in sound. CD 18.98 YEAH YEAH YEAHS Machine CDEP/10" Haven't heard of them yet? Sure you have. The/re a dirty rocking three piece from New York City, fronted by the commanding, fashion-forward Karen 0 (chutzpa-wise, fast in the footsteps of punk icon and other famous "0", Wendy 0. Williams, we wonder?). They recently opened for Jon Spencer, and from all reports taught the old man a thing or two about rock and roll. This second EP is the lead-in for their anticipated, soon-to-be-released full length (check this space for it, too). More of the screaming bump and grind that they do so well. How much noise can three people make on voice, guitar and drums? Check it out, man. CDEP/10" 8.98 MORE FALLING LEAVES ADD N TO X- Loud Like Nature CD/2LP CADARET VOLTAIRE- Nag Nag Nag CDEP CHRISTMAS DECORATIONS- Model 91 LP/CD DEADDEAT- Wild Life Documentaries CD DEATH CAB FOR COTIE-You Can Play These Songs With Chords CD HANGED UP-Kicker In Tow LP/CD RICHIE HAWTIN & SVEN VATH- The Sound of the Third Season CD I AM SPOONBENDER- Shown Actual Size CDEP RONI SIZE- Touching Down CD SUICIDE- American Supreme CD ANDREAS TILLIANDER- Elit CD KEITH FULLERTON WHITMAN- Playthroughs CD VARIOUS- Clicks & Cuts 3 2CD VARIOUS- Digital Disco CD VARIOUS- Trash Companion #1 CD IN THE AFTERNOON EVENTS: Sunday November 3rd at 4:00 PM The Carrie Walker Art Opening: 'Two primates, three varmints and some docks." I K£CdPb3\ Zulu Records 1972-1976 W4th Ave Vancouver, BC tel 604.738.3232 wvvw.zulurecords.com STORE HOURS Mon to Wed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9:30-6:30 Sun 12:00-6:00
Periodicals
English
Vancouver : University of British Columbia Library
Vancouver : Student Radio Society of the University of British Columbia
Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca
Original Format: Student Radio Society of University of British Columbia
Rock music--Periodicals
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