@prefix ns0: . @prefix edm: . @prefix dcterms: . @prefix dc: . @prefix skos: . ns0:identifierAIP "3a92eb28-b93f-4951-9a0d-f1eddd1268a9"@en ; edm:dataProvider "CONTENTdm"@en ; dcterms:isReferencedBy "http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017"@en ; dcterms:isPartOf "Discorder"@en ; dcterms:creator "CITR-FM (Radio station : Vancouver, B.C.)"@en ; dcterms:issued "2015-03-11"@en, "2002-04-01"@en ; edm:aggregatedCHO "https://open.library.ubc.ca/collections/discorder/items/1.0050703/source.json"@en ; dcterms:extent "32 pages"@en ; dc:format "application/pdf"@en ; skos:note """ THAT MAGAZINE FROM CITR 101.9 FM DISCORDER NINA NASTASIA US MAPLE APRIL 2002 BILLY THE KID & THE LOST BOYS BIRD APRES AND DJ MOVE K - 0 S LEE HENDERSON 1 FRIDAY APRIL 5 r Back by popular demand Spiritualized with guests Tickets also at Zulu, Highlife and Noize I COMMODORE BALLROOM I with special guests -uowf^a/nti-rfaa^ the &ay J COMMODORE BALLROOM [ I FRIDAY APRIL 12 I I MONDAY APRIL 15 I I SATURDAY APRIL 20 P Tonv ieviu band [ MISTRESS JEN Naked Organ (Independent) Ah, the old sweet cover photo trick! The photo on the back of the CD shows what looks like a darling teenaged girl, but the lyric sheet tells a different story: songs about revenge, girl horni- ness (in graphic detail worthy of Frightwig or The Smears), various psychological problems, and being a dominatrix. This turns out to be a kind of cabaret, with Jen belting out songs that aren't easy to sing along with, accompanying herself on an organ that's sometimes rollicking, sometimes calliope-like, and sometimes sticks to tasteful repetitive arpeggios. The last track, "WWW.Dot.Corn (New Wave Version)," is the only one where our mistress is joined by another musician—it's also the track with the stand-out chorus. DOA Just Play It Over and Over (Sudden Death) Governments may come and go—hell, empires may rise and fall—but DOA remains with us, surviving innumerable lineup changes and the passing of countless musical trends. And thank goodness for that. Joey Shithead Keithley remembers that good punk rock means tunes that stick in your head, and a couple of the tracks on this five-song EP are downright anthemic. One, "Just Say No to the WTO," has obvious practical uses, and certainly makes sense coming from a guy who ran for the Green Party in the last provincial election. (Now don't you wish he'd won?) And on "All Across the USA," the first track, Bif Naked joins in on the vocals, making for one hell of a singalong chorus. All that's missing is a lyrics sheet so fans can join in the first time around. www.suddendeath.com RADIOGRAM All the Way Home (Endearing) Radiogram, led by Ken Beattie, plays songs that are nothing less than minimalist, urban, post-folk, alt-country, slightly jazz-tinged symphonies. "Chamber pop" is a term Beattie uses, and it makes sense, although it hardly does justice to the band's complex sound, which makes use of sometimes unbelievably slow tempos, dynamics, a wide range of instruments and influences, and uses silence almost like another band member. The songs are often long—even edging into eight minutes—multi-layered and complex, with repeating themes and distinctive sounds that come and go, frequently leaving Beattie's melancholic, nearly broken voice to drift on its own. The standouts may be "(Waiting for) The Merry Go Round," and "Not Here," which opens with a rich baritone guitar, but really, it's hard to choose. Apparently Radiogram have sold out every Vancouver show they've played in the last year and a half. Be warned—when they come back from their current tour you may need to line up early to see them! Radiogram play the Pic on May 2 with the Beans and the Secret Three. www.radiogram.org • 4 april 2002 kill detail, which makes everything on. You don't even have to read even more adorable. Your eyes it—just look at the pictures. will stretch when confronted by Kobayashi is also a master at vowr comics and graphic art by Robin Like most single girls, I've got a cat. His name is Sloan and he turned six this summer. He initially came as a set; my old roommate had introduced to What's Michael, a series of short stories from Japan by Makoto Kobayashi. The stories describe the misad- his twin sister Beck first. (Hence the musical bent to his name.) I can talk about him incessantly. He's my baby. He looks exactly like Sylvester from Looney Tunes. My perfect tuxedo cat. Anyway, if you're not a cat person, you should probably cease reading at this point. About three years ago I was malade cat named Michael. Basically, Michael is meant to represent all cats. He appears in different families, with his own family, wrestling, gambling, dancing, and having business meetings. It's fantastical and weird sometimes, but it's always hilarious. I especially like how when the Michaels get caught doing something stupid or something they shouldn't, they do this weird little dance to distract people. The stories are unorthodox in a sense because they don't revolve around punchlines. It's just everyday scenarios with people (and cats) doing everyday things. The stories are quite innovative as well. There's the recurring Japanese Mafia member who is alternately terrified by and turned to mush at the various sightings of the Michaels. Oh oh—and there's Catzilla, too—a huge behemoth of a cat who refuses to budge. Some of the stories have kittens. (Awww!) The talking cats at a sales meeting who can't help but let their natural cat tendencies overtake them will have you literally rolling on the floor. You learn things too— did you know that cats don't scratch themselves with their front paws? It's a comic book created solely for the real cat lover. The art is huge and expressive. Big lips, giant, bug-out eyes and epic drops of sweat abound. It's also heavy on the the Michaels' wide-eyed stares. capturing the cats' every Sadness, exasperation, and guilt nuance—like the story about are all clearly expressed, it's the Michaels being chased all quite easy to tell what's going over town because their tiny lit tle tongues were sticking out. As well, the humans that populate the Michaels' existence are full of character. Like the Yakuza gang member who goes into an absolute panic every time he sees a Michael: every second panel he's screaming, "What if! What if I turn that corner and there's a cat curled up in the middle of the street? What should I do?! What should I do?!!!" Oodles of silliness for the whole family. There are three books: Off the Deep End, Michael's Matnbo, and Michael's Favourite Spot. They are reasonably priced compact books, and they are also independent of each other, so you don't have to worry about getting the rest or more. (Oh man, I know this sounds sooo cheesey but I swear to you Sloan just came over and curled up in my lap. He's the cutest, a total purrry beast. And, as all cat owners know, that's my cue to go.) • VIDEO IN STUDIOS we offer technical training in video, audio and new media production and post- production including: we also have a 2000 sq. ft. studio available for rental for production purposes, screenings and audio and music events, for more information contact Tricia Middleton at 604.872.8337 final cut pro avid xpress protools digital audio editing / sound design camera, lights and sound aftereffects photoshop info@videoinstudios.com hours: 11-6 www.videoinstudios.com mon - sat THIS IS ROBIN'S CAT SLOAN. HE'S MUCH CUTER THAN THE BAND. aesLiiieaitm [tdviree F'sck up these dreadful goodies and learn ALL about d 5Efe£D£lS£ hft^l^^at^ S™^- *a silent art auction charity benefit. with musical preformances by: . •: ;•• m ; Wednesday May 8th/ 2002 ® Shine 9Pm"2am 364 Water St. /Gastown ■ ( S8 cover charge *all proceeds donated lo over my book reviews by Doretta I have many questions. 1 usually hate the rhetorical device of the question, or series of questions, mostly because the questions, once posed, go unanswered by the author. Also, in print, the use of the question sets up the false impression that there's a dialogue going on, when really, it's a monologue. This column will be filled with ?, because we all break our own rules. We're hypocrites by nature, and I'd be lying if I claimed to be any different. First off, why do we tend to delineate between "high culture" and "low culture," good and bad? Maybe I'm too into irony—when various media outlets pronounced it dead a few months back, I was puzzled. Had the cultural artifacts I found most joy in ceased to exist? Had I ceased to exist? How could I find my way back if all the signifiers I'd dropped like breadcrumbs as I headed into the dark wood of uncertainty had been eaten by the hungry bird columnists? Maybe' I've had too much caffeine, or perhaps I'm tired of debating meaning and value. Lately, The Province and Hollywood movies have taken priority over Punk Planet and indie films shot on digital. I'm struggling with finding meaning and steeping myself in the esoteric, because my obsession with the periphery and "the other" is as hardline as being a sympathizer for right wing causes, in that both perspectives fall back on good/bad dichotomies. I've come to the conclusion that I can't complain about feeling alienated when I read books, see movies, listen to albums, or attend shows that few people care about if I don't also immerse myself in the everyday, the accessible. Can I leave my lo-fi elitism behind and get along with my neighbours? Without irony, will I be doomed to be like the man at the Capitol 6 Theatre, who, during a screening of Showtime, kept sighing at the deliciously lame plot when he should have just laughed, and then ended up becoming so disgruntled that he walked out after 30 minutes? I say, dude, what did you expect when you pay money to see a film that involves Rene Russo? Me, I'm ready to take my dose of Eddie Murphy alongside my dose of (insert name of sexy critical theorist here) and sus low culture: April is National Poetry Month, because the League of Canadian Poets has told us so since 1999. Nothing divides people into camps—with the exception of last year's "I love/hate The Strokes" rumble—like poetry. My favourite zine, Turf, is emphatically anti-poetry (and for the record, I'm pro-poetry). In Turf V: The Bedside Companion, there's a section entitled "Make the Connection: Poetry is to words as feet are to smell." The gist of the Tur/argu- here are my words of wisdom for this column: just because there are line breaks. it doesnt mean its poetry: my daily B12 vitamin. In the meantime, I have other questions too, such as: why don't boys call when they say, with such sincerity, that they're going to call? But there I go wasting column inches on selfish girly topics when I'm trying to write about books. Oh, who am I kidding? Every opportunity to write is an excuse to write about me, me, me. Okay, back to the topic I wanted to discuss when I was thinking about high culture ver- 6 april 2002 ment is: "Unless someone tells you explicitly 'Hey, your feet smell really nice' please assume that your feet stink. The same goes for your poetry." I thought that "Poetry is to words as feet are to smell" wasn't writing off poetic expression, but rather, it was dismissing sentimental, diary-personal fragments posing as poetry. A more damning appraisal of poetry appeared in Discorder last month when Panarticon columnist tobias v observed that "Contemporary poetry, on the whole, is nause ating. It is lost in soppy, personal reflections on love—boppin' to a beat that should have died long ago—or stuck in a wannabe framework of avant gardism that collapses in on itself through overt seriousness or lack thereof." To this I say, the same argument could be applied to fiction, music, film, art, and yes tobias, even your one true love, critical theory. Here are my words of wisdom for this column: just because there are line breaks, it doesn't mean it's poetry. Call it a hunch, call it "Doretta's rule of thumb for poetry," but don't call it poetry unless it breaks your heart in exactly the right way, with the perfect string of words. MOVING TO THE CLEAR Jason Dewinetz (NeWest Press) Jason Dewinetz is the founding editor of Greenboathouse Books, a small press based in Victoria that puts out beautifully made, content-lush chap- books. I'm most familiar with Greenboathouse's poetry, including a collection by Anthony Schrag called Moving Pictures, which I read and reread, so I was very curious about Dewinetz's own poetry. The book is divided into four sections, beginning with the immediate, physical and tangible "A Guide to the Birds of the North Okanagan" and ending with the intellectual "In Theory," a series of four poems casting theorists as poetic protagonists. The poem "Jacques Derrida reconsiders the stricture of definition" features a Margaret Atwood epigraph, and coincidentally, the lines "And so these moments/when I am not ruined by question/my heart, instead, forgets itself." I've committed those words to memory. In addition to a knowledge of theoretical thought, literature, and a deft touch for describing geography as if he was describing the face of his mother, Dewinetz is the master of specificity, to the point that I feel I could navigate North Okanagan using his poetry as guide, his images as landmarks. As I read, I knew that I trusted his control over language because he can lend words such as sucker, wiener, ass, and shit an air of dignity. All the thoughts I had at the beginning of this column regarding high/low culture came together in a single image in moving to the clear: "'Raft of the Medusa' coasters" (from the "Gericault's Severed Limbs Paintings"section). Can I have a set of those "Raft" coasters so that I can set a cold glass of Diet Coke atop a work of art I saw when I was twenty and idealistic, without ruining the faux wood finish of my second hand coffee table? • IMCl Spring is here, and the smell of fresh wax is in the air, so let's not waste another minute, shall we? If all this rain and snow has got you down, then take cold comfort with SONGS:OHIA (a.k.a. Jason Molina) and two dust- bowl Americana anthems ("The Gray Tower" b/w "Black Link To Fire Link") for those long lonely nights that harkens the second coming of Neil Young. Could Songs:Ohia be secretly Canadian? No, but the label is... (1021 South Walnut, Blooming- ©irgan • •••••• §§•§••• ton, IN 47401 USA ). Since we're talking about by Bryce Dunn second comings, the boys of RYE COALITION resurrect the ghosts of Jesus Lizard and Killdozer with their two songs: the first ("ZZ Topless"), twists a Mountain-style riff over and over, and the second ("Snowjob"), features a lurching bass and scratchy vocal delivery reminiscent of David Yow and company. Fans of Steve Albini take note, the king of Chicago lends his trademark production techniques to this slab, so play loud! (Tiger Style Records, 149 Wooster St. 4th Floor, New York, NY 10012) I wish someone had called Albini to help record four Maritime acts on this comp I'm listening to right now. All four bands—ROCK RANGER, CONFIDENCE BAND, THE BURDOCKS, and THE RUDY HUXTABLE PROJECT—suffer from tin-can sound that ultimately, in cases, diminishes the energy that bands like the aforementioned Burdocks possess on their song "Attention Mockingbird." All things considered, this is a good sampling of what's going on the other coast of Canada at the moment. (Out Of Touch Records, 6209 Duncan St., Halifax, NS B3L1K4) Representing our coast this month is THE ORGAN with their DIY debut. They are five girls with their feet firmly plant ed in new wave shoes and armed with a simple philosophy: less is more. Both tracks here feature the band's namesake as the focal point (duh!), and melancholic vocals similar to early '80s art-punk like Au Pairs. These gals play often enough so go catch 'em April 15 at Mesa Luna or write if you want to get your hands on this offering. Over the Atlantic we go now to visit the hardest working man in the UK, thee Billy Childish. I need not remind you that your record collections, bookshelves, and living room walls should (or dare I be bold and say MUST) contain some form of work from Chatham's finest, but lest ye need reminding, pick up THE BUFF MEDWAYS latest three- song punk-fest and revel in all its stripped down, two-chord glory. "One More Letter" and "Every Moment" are perfect examples of this, and "Ivor" sees a more mod-influenced sound creep in and Billy tries his hand at falsetto vocals for a refreshing change. And the name you ask? It's derived from a group in Chatham who are working on genetically breeding a long extinct species of chicken only found in their home town! (Sympathy For The record Industry, www.sympa- tJivrecords.com) THE CYNICS are back! The Cynics are back! Okay, well they never really went away, but for these mainstays of the mid-'80s East Coast garage scene, it's damn exciting when you find new material from a group who's last record came out nearly eight years ago! Working their way toward an upcoming full-length later this spring, we are graced with two new 45s, one of which sees them covering Gonn's garage classic "Doin Me In," and on the flip a more folk-punk styled original with a cool 12-string break called "Last Day." A must for any fan of Pittsburgh's princes of psych-punk power! (Get Hip Recordings, Columbus And Preble Aves., Pittsburgh, PA 15233 USA). Last but certainly not least another band with an upcoming LP in the can and two 7" teasers to tide us over is THE BRIEFS, Seattle's pogo-party starters. Got my hands on the first one and haven't stopped bouncing since. "She's Abrasive" is pure manic punk- pop energy from start to finish, and "(Like A) Heart Attack" slows down only a little and helps you catch your breath so you don't have a cardiac arrest from jumping around as a result of the first track. Fans of The Buzzcocks, Dickies, skinny ties, and hair dye will need this, pronto! (Dirtnap Records, PO Box 21249, Seattle, WA 98111 USA). I'm pooped, see you next month. • HTTTiT klWH 19 E BROADWAY VANCOUVER, BC 604 675 9227 35® B SEYJVIOUR KAftlLOOPS, BC 250 S2S 0~ -(Battlecry tlncfer'a Wintersun- .■^PNsnj,! ^f^fy AVAILABLE NOW STREETS / BILLY THE KID AND THE 10ST BOYS OUT SOON!!! 7E the sonnt) IN STORES NOW COLLABORATIONS BY: MOS DEF & MASSIVE ATTACK ICE CUBE & PAUL OAKENFOLD CYPRESS HILL & RONI SIZE REDMAN & GORILLAZ MYSTIKAL & MOBY THE ROOTS & BT AND MORE... MOVIE IN THEATRES NOW TVf VVWIW ?ww www.. TlWS, ?:90-?:00 Record played most often on your show: I have this strange rule that I only ever play a record once on my show. Record you would save in a fire: None! Because then I would fret over all the ones I did not save. Record that should burn in hell: Every record I didn't save from the fire. The worst band you like: All music makes me smile, but a band that really makes me "smile" is Enuff Z'Nuff! First record you bought: Tlie Pointed Sticks Perfect Youth LP. Last record you bought: The Accident s/t CDEP. Best interview ever: Iggy Pop, Tommy Chong, Kim Shattuck of the Muffs, and... Mark Kleiner! Please let me say something about Mark Kleiner! He has been in great bands (The Sisters Lovers, Jungle, The Mark Kleiner Power Trio) and is truly an incredible talent! His knowledge of the rock scene is unsurpassed and Mark owns the shirt that Peter Tork of the Monkees wore in the movie HEAD! Worst interview ever: Sebastian Bach of Skid Row threatened to "beat me up for fun" and stole my favourite toque! Plus, he smashed the videotape I was using to "capture" the interview. The shitty thing was the tape also contained interviews with Pierre Eliott Trudeau, Sandra Bernhard, and George Clinton! Almost this exact same thing happened again a few years later with Quiet Riot! Now I only do heavy metal interviews over the phone! Musician you would most like to marry: Cynthia Plaster Caster! To see why check out my website at w w w. n a rd w u a r. co m. Favourite show on CiTR: Vancouver is so lucky to have CiTR! And it's CiTR's 20th Anniversary this year, don't ya know! Tlie show that I first sat in on was Thunderbird Radio Hell, which is still going! So, okay, Thunderbird Radio Hell is my favourite Strangest phone call received while on air: Somebody phoned to ask if anybody wanted to interview Courtney Love. I gladly obliged! • ) april 2002 tf» in STORES M 4 SUPERB C| "—-ass.-- KLU LOVE (HMtlllARIREf :*♦* .©r II I ALSO AVAILABLE... fcw^^ig^^lSplo^PTo'gtfl [sound] strjtiaht 59031 nmui newmusicwest For more information: www.newmusicwest.com or email: info@newmusicwest.com May 08-12 Vancouver UBCs downtown campus at Robson Square The West Coast's Premiere Music Festival Wristbands on sale now I Win 25 hours of recording time at the I world renowned Mushroom Studios BY BOON KONDO K-os is everywhere these days. Canadian hip hop is alive and Here's 8 answers out of the 15 I kicking but we're not just asked. Tlie two other questions I duplicating the American art wished lie would liave answered forms, we're just doing it were: musically, period. We got the 9. The "Vivrant Thimg" video. Pocket Dwellers, Esthero, It wasn't tliat bud (misogynistic) Danko Jones, Ivanna Santilli, and lyrically, it ain't at all but it's yourself, of course: artists that obvious why it jaded many Tribe are unique in any enviroment. fans. How hard is it to make sexy And I just found out today that music or a sexy video -without Remy Chand is Canadian and being sexist in this day and age? the first to have a deal with 20. The Beastie Boys were ait- Motown. What's up with all icized for overlooking America's this? own native cause when they were k-os: I think Canada is a unique doing shows for Tibet. I wouldn't environment because we are the say that support has to be exclu- "observer." This awareness sively local or domestic but it does stimulates a different quality of make sense to shed light on a his- intelligence. All we need to do toric social problem in your own now is recognize what Canada land if you are going to great needs and supply it. This is the lengths to shed light on one half- job of the artist... to provide way around the world. Here in nourishing food for thought. Canada we say chink, pun, nigger, I think it's kinda fitting that etc., and eyebrows will raise, but you're now a Van City resident people say chug like they say good because of the fact that you morning and it's largely unnoticed. were in "Top of the World" Hip hop in the States hasn't neces- which is like our hip hop sarily championed native rights anthem here and because I either, but is or should there be a think it is the perfect place for it in Canadian hip hop? Vancouver hip hop song; I / wished he would have think that sample is the best answered #9 because he is a huge sample anyone could have Tribe fan and, like many, felt kinda possibly came up with to do a put off by the whole "Vivrant Van City hip hop anthem, Tlmng." And #10 because, well, intentional or not. Plus, I just rend the question again. But think you complement the answers lo other questions tire unique entities that the right below... Rascalz and Swollen have created as far as hip hop goes. Is DiSCORDER: I think it means it kinda funny that you're here a lot to the newer generation of now? Canadians to have Choclair, I love Vancouver, it is a spiritual the Rascalz, Swollen, etc. rep- centre—nature is strong there! I resentin' in the music game. do not live there now, but I did for a year or so. The Rascalz! Well, I'm a huge fan. I am so fortunate that they let me rock on that track... thanks for the LOVE. I'm glad you felt it. "Spreading the vibe!" What does it mean to you that you could open up a show at an underground hip hop night (like the one you played Mar. 7 at the Formula night at Element's) with the song "Yesterday" and have half the place singing along with you? Music is the univeral language... as long as you do it for them, hip hop heads would sing Neil Diamond! It's kinda funny because you are filling a void in hip hop that I have been thinking about for awhile. The reason I usually change a disc to something non-hip hop is because my ears get tired of the strictly beats and bass from time to time. And no one can accuse the Roots of creating music that ain't organic, but it's still a bottom heavy type groove, right? And I think the fact that your performance at Element's was only a half hour was a good thing because I don't think the stripped down acoustic set that you provide can really hold the "heads'" attention quite yet; but at the same time, I know a lot of people there fit into the category of growing up on hip hop but have also moved onto the other more acoustic, organic-type genres as well. What type of assumptions do you hold when you do a show at a hip hop night? I make a lot of the assumptions you just did. Still people are receptive to an energy that resonates "freedom." This is what I try to bring. You are right about holding people's attention... this is very important. I am a critic myself, I just always take into consideration what I would think about k-os if I was in the audience... then I can never lose! "Heaven only knows, so I'll just move the crowd." Do you remember the line with the phrase "...follow for now" in Public Enemy's "Bring the Noise?" There was even a band named after that phrase. Is your line kinda similar to that? If you can't remember the phrase, please just explain your line for us. Just moving the crowd? Well, this means that all I can do is make the message accessible; if people decide to transform themselves or, better yet, allow themselves to be transformed, then that's up to them... all I can do is rock the mic... the rest is up to heaven! Nigel from the Pocket Dwellers said that while it's an obvious "blessing" to be compared with the Roots, he emphasized that while the Roots are hip hop, the Pocket Dwellers are not, strictly speaking. Is k-os hip hop? I'm not a hip hop head, I'm a whole body! The Source Magazine just pro claimed Biggie Smalls to be the #1 MC of all time. Rakim, one of the contenders for the crown, said once that he felt blessed to come out when he did because, like many, he felt that that was the purest era of hip hop. Hip hop today may not be as "pure," but it's definitely more broad—and that is why BIG was proclaimed #1— because he was more broad than the rest. Would you have preferred to have come out during that "Golden Age" (I know you came out shortly after), or would the k-os of today not be possible back then? Here's the thing. K-os is nobody and everybody at the same time. K-os is Poor Righteous Teachers. K-os is Rakim, etc. This vibe has existed forever... and even though Kevin Brereton was not exposed to the world during the so-called "golden age," there were always various rappers seeking knowledge of self! That's so much more important than if Kevin had a record deal. You mentioned in another article that "people have an aversion to love" or music with that kind of angle and that after a turning in your career, you got over your "hippie love phase." How hard is it to remain positive and produce positive music when your initial positivity was met with negativity? One thing I am meditating oil right now is "unconditional love." • 10 april 2002 DJSHO By Donovan A Vancouver expatriate temporarily making his home in Victoria to take advantage of their superior education standards, Ian Rodgers spins atmospheric and jazzstep drum and bass the first and third Thursdays of every month at Evolution as DJ Sho. I dragged him away from a mob of under- dressed teenaged hookers on one of these nights to give him my e-mail address, from which this interview blossomed. DiSCORDER: You said you were originally from over here—how and why did you end up in Victoria? DJ Sho: I came over to Victoria in September for school; I found a program that I liked here at UVic and moved out here to take it. And where in Vancouver are you from originally? I grew up in Maple Ridge and then Vancouver for high school. After that I lived in Whistler for a couple of years, taught snowboarding for the mountain, then came back to Vancouver and that's when I started getting into the rave scene, got hooked on drum and bass and now I'm in Victoria. What are you taking at UVic, and is that going to have any impact on your DJ career? I'm currently enrolled in the AMIT program at UVic; it's basically an intense overview to jam as much information about computers down your throat as humanly possible in eight months. I don't see it affecting any career as a DJ for me. Basically, geeks work geek hours and DJs work DJ hours and those two rarely cross paths. You mentioned you're also into hip hop: are jungle and hip hop still culturally connected in your mind? I think the two tend to draw the same type of person. Both have an urban heart. You see the crossover of producers and rap artists all the time and it has been happening for ages—especially these days with Adam F's Kaos and Rawkus putting out tons of drum and bass tracks with their Rawkuts sister label. John B remixing Mos Def? Yes, I think they're still deeply connected. What do you mean by "urban heart"? I think they're both derived from the street, from the urban heart. When I think of music I picture the different landscapes they represent—kind of like when you hear a saxophone playing a cappella you can't help but think of the streets of New York on a wet night. So when I think of D&B I picture the MCs, the B-boys, the dark hall full of kids going nuts. I mean, as far as electronic-based shows go, nothing is like a drum and bass show when it's going off. It's not a bunch of people just grooving to some four-on-the floor beat, it's a mass of kids going loony, fists pumping in the air, screaming for the rewinds—I mean, that's the raw shit, that's what makes me love this so much. You also seem to use a lot of material with jazz elements like E-Z Rollers—do you listen to jazz, and do you think jazz as a genre is attractive to your average, screaming Joe Jungle-kid? You know, that's my biggest problem. I love jazz. My digital music station is on the jazz station all the time and my Coltrane CDs are worn out. But I don't think that the average Jungle Kid is coming out to hear me drop the latest Fellowship joint. So I have to say "Am I gonna play the crowd, or am I gonna play what I'm feelin' right now and hope that they're gonna feel it?" and I usually end up half way. I'll get them revved up on some Digital and then start dropping the Calibre joints and that seems to work out well. I think drum and bass has a sound for every mood and people should be more open to the stuff that isn't coming from Ram or BC or Virus. There's great plates coming from Creative Source, Defunked and Certificate 18. Fellowship is ruling my world lately. Recently, I was interviewed for an extremely lucrative government job through the UBC Arts Co-op. Despite being blindingly charismatic, amply qualified for the position and riding a wave of unbelievable academic success (i.e., a 90% average last semester), I was rejected from the job on the basis that I was, (and I quote from actual interviewer comments forwarded to the Co-op office) "unkempt." I want you to think back to when we met briefly, in the early hours of February 22, 2002; despite being exhausted, and having already taken the dance floor by storm several times that night, I'm sure you'll agree that my appearance at that time was not a lick less than "kempt"—and this is, I assure you, entirely standard. Please feel free to express your personal disgust and dissatisfaction with the administration of the BC Film Classification Office over their extremely poor judgment. I also invite you to share a story from your own life in which you feel you have been discriminated against based on your youth and/or alleged "counterculture" associations. Man, I hear you—I hate the BC Film Classification Office; they always watch you and then put a label on you, like: "he's dramatic" or "Parental Advisory Suggested: Ian has foul language." Anyway, you looked fine—you could barely see the chocolate stain on your Coconut Joe sweater. Anyway, it's funny that you should mention it 'cause I'm feeling it right now in my school. Usually for work I'm really clean-cut, all shaved and looking slick in my Gap sweater vests, but now that I'm in school I've let myself go a bit. I'm working on my mullet and shave maybe once a week. Well, I tell you: The Man (my teachers) had it out for me pretty much instantly— they cut me zero slack. You see, I'm the youngest person in my program (at 24 that's kind of weird) and everybody else is like 40. So when they need a little extra time to do some work it's because they're old and they don't get computers; when I ask for a little extra time it's because I'm selling crack to children and partying all night with hookers and Robert Downey Jr.—which is only half true!! Clubs in Victoria always seemed more laid-back to me than those in Vancouver. More precisely, club life in Victoria always seemed to me to be built around the noble institution of teenage sex, whereas in Vancouver it's all about violence and posturing—a scene I find myself tragically under-equipped for. Do you find this with your own experience as a club-goer or as a DJ, or am I just going to the wrong clubs? Well, I don't think there's enough teenage sex going on in Victoria clubs, but I'm not really a club goer per se—I'm not sure what really resides outside of the drum and bass club nights. I'm in the same boat as you—not really built for the club scenes. I have no pick-up lines, white jeans or a good right hook so I tend to stay away from your average club night. You'll see me at a drum and bass night or a special event like the Living Legends show the other week. PS: If anyone involved with Spectrum Entertainment reads this: Bring Slug Out!!!! I was basing my analysis on an actual incident that took place at an Evolution D&B night sometime last year, in which myself and the other occupants of the men's washroom were locked out of the only stall by some party kids who were evidently having some very unholy fun—and, judging by her voice, there's no way that girl should have even been in the club (let alone in the stall in the men's room). Evolution's still a damn good venue, though— despite lax washroom supervision—and is doing great things for D&B Vic City. What about your scene—what's cOq been up to? Well, I'm just on the sideline of all their projects right now due to my location, unfortunately. But they're really dedicated to keeping drum and bass strong in Vancouver. It's basically a bunch of buddies of mine that I grew up with. Me and Fatal got into D&B together back in the day. They're pretty new at this promotions gig but they're doing a wicked job with it. They brought out Freq Nasty last week and they're lining up a ton of other shows for the summer. We have some parties we're putting together as well. Basically we think you have to make your own fun. We want to put on nights that we want to go to. There's a couple of good D&B nights in Vancouver now, but one day I hope I can pick any night of the week and go listen to D&B. Do you even know what "Sho" means? If so, you may take Japanese at UVic—do you know Riddington-sensei? Hmm, I'm a little embarrassed about this question: I have no idea what Sho means. It just kind of reflects my obsession with Japanese culture after spending a month and a half there; it was my first and only culture shock. So I thought of the Shogun mini-series, which, as we all know, is the story of an English ship navigator who gets stranded in Japan and becomes the first Shogun. I guess I kind of felt like him sans the "me becoming a samurai"—but I plan to do that on my next visit. In unrelated news, apparently they have a university course in Japan that will make you a ninja. That's pretty cool. You can take kendo (sword-fighting) classes at UVic through the Kendo club—might be a good place to start out if you're interested in becoming a career samurai. Plus there's a ninja dojo off Fort Street. It looks like a garage. Ha ha, that's funny you should mention that club—I contacted them a month ago and am gonna hit it as soon as my ankle is 100% again (frisbee golf accident). Actually, "sho-" means "first" or "main," but it's only meaningful as a prefix connected to a longer word. Suppose diplomatic relations between Japan and Canada were, God forbid, to become tense. Would you consider changing your name to the more syntactically accurate "DJ Ichiban" ("number one") as a show of cultural sensitivity? It means DJ #1, eh? That's a little self-indulgent, now isn't it? Well, I'll just stick to my story that I don't know what it means. If my country wanted me to do that—if they felt that, somehow, this drum and bass DJ from Vancouver could change the course of the world simply by changing his name to something he can't pronounce, then YES (salutes), I would do it, even though it reminds me of an unhealthy noodle snack. While we're on the subject, what's the D&B scene like in Japan? I was 18 when I was in Japan and wasn't into D&B at the time. One of my favourite producers—Makoto—is Japanese, however. So I guess there is one, but I've never heard anything else about it. You throw the best D&B producer in the world and the worst D&B producer in the world into Thetis Lake, telling them that they can only leave the grounds of the park when one of them brings the head of the other out in a shopping bag (which you supply). How does the best producer (Dominic Angas) kill the worst producer (LTJ Bukem), how long does it take, and how do you dispose of Bukem's remains? Try to think of something ceremonial for the last part. Oh, wow, man—I think we might have very different views on how we rate the production for LTJ Bukem—he's a producer that defined a genre of drum and bass. He's created a sound that has inspired some of the best producers around right now such as Big Bud and Pariah. So I'm going to replace LTJ Bukem with Brockie and I'll leave Dom where he is (even though we all know Klute is the best producer). So I drop them off at Thetis Lake with their instructions and Gap shopping bags. When it gets dark, with Brockie sleeping soundly in his D] Zinc sleeping bag that he got at the Frontline records going out of business sale, Dom instructs his Roland RS2002, a prototype Synth/Android of Death named Lloyd, to decapitate Brockie with a copy of Turnatable 1. Afterwards, Dom places Brockie in the coffin for Brockie's Gemini turntables and ships him to DJ Slip (Dom still hasn't been able to forgive him for the Superman track). Dom returns home and produces a track called "D.N.B" that is known in some circles to stand for Decapitate n Brockie. The End. • Tlie bloodthirsty DJ Sho plays Element Sound Lounge with residents Marvel, Fatal, Holee Molee, B-dub and Contec on Monday, April 1—and, with a little luck, he'll be drojiping some Dom & Lloyd into the mix just for me. 11 EiF\\§Sa£3& ^E ,^l sf^^ai ^1i r I |k 1 f! . -'I j! 'H <*JL B Ak. Billy the Kid and the Lost Boys are not a euro-disco band. They are not a country band gone wrong. They do not have an organ player and they will not restrain themselves from swearing just because your mom came to the show. They xvill, however, make you realize that punk still writhes in the dusty saloons of No Fun City, and it's just as fast, tight, melodic, and fun as you hoped. I joined Rob Danyluk (bass, vocals), Allan Boyle (drums, vocals), and Billy the Kid (guitar, lead vocals) in the seedy underbelly of the Pic Pub. Billy the Kid and the LOSt BoyS by Dave Gaertner photos by bill danyluk DiSCORDER: So where does the name come from? Jilly the Kid: Well, these guys wanted to be the Lost Boys, but I was like, ' n a girl." Al Deviant: So we just combined two good movies together, in a way. I just wondered if it was two separate entities coming together. B: Yeah, like vampires and cowboys together at last. A: Like nuts 'n' gum. I thought it might be a Peter Pan thing. Anyway, give me an idea of how the band came to be. B: Well, I knew Al from school and Rob from his days in the Retreads and I used to play in this band called the Blue Collar Bullets. We played together for like two years, but right near the end I didn't really want to be in the band any more and the other members just weren't doing it for me. So for our last show the drummer showed up on ecstasy, and I basically said "Okay, I can't be in this band anymore," but I still had all of these shows booked. It was 12 days before this show at the Cobalt so I called Al up, and Rob had been at the Blue Collar Bullet shows saying "You need a new bass player! Let me play bass for you!" So 12 days before the show I called up Al. A: She left a note on my door. B: Right, so I left a note on his door saying I need a drummer and we have a show in 12 days. So we had, I think, three band practices and then we played our first show, and that was like eight months ago. Wow! That's pretty impressive. How did that show turn out? B: Actually, it was not that bad. Most of the set was these three chord punk-pop songs and it was basically because I was like, "Okay, I have 12 days to write a new set." So how does the writing process work now? Do the different punk backgrounds mesh together? (McRackins, Retreads, Deviants, Blue Collar Bullets.) A: Well, after that first show we all started writing, and the cool thing is that everyone has ideas and we all use them. And you can totally hear on our current album—coming out on Teenage Rampage—a progression, which I think is cool for a first album. B: Yeah, we all come from a pop-punk background; I think we're just growing up a little bit now. So what distinguishes Billy the Kid and the Lost Boys from any other punk band out there? B: We have two "the"s in our name A: I think you have to take your band seriously, but never yourself seriously on stage. Not to name names or anything, but a lot of people, especially here, are worried about the hairstyles at a show; it's like a fashion show. Not to be cheesey, but we're the same fuckin' people on and off the stage. Rob Danyluk: We just don't give a shit. A: Well, I give a shit, but some people just take it so seriously. B: For me, basically, it's like we all go to our jobs that we don't wanna be at and we wait for the night when we're gonna play music. So we build up the energy all week until we can play a show and just love every second of it. I think that shows up, whereas some people do it 12 april 2002 for the money—they're playing in cover bands or whatever—and some bands do it for the glory. Whereas we do it because we have to, I think. A: It keeps me going, I don't know what I'd do if I didn't play music. R: A lot of bands have the formula "We're hardcore," or the formula "We're emo," and, I mean, we are a pop-punk band, but that doesn't stop us from fusing everything we like together. A: As soon as you say "I want to write a Fugazi instrumental" you know, as soon as you start labelling the kind of song you're gonna write you're not doing it the right way. It should just come out, and we don't care, sometimes it comes out mellow or as a rock song, and we either keep it or we don't. So we have a pretty big plethora of songs. [Laughing] That sounds dirty. But enough of that, what was recording with Jesse Gander at Rec-age Recorders like? B: D.b.s. was one of the first punk bands I ever saw, so it was pretty amazing. He sang on one of the songs on the record, so to this day when I'm listening to the record I'll be like, "Wow, that's Jesse from d.b.s!" A: I've recorded a couple times before and a lot of the time the producer or the engineer wasn't into punk rock and with Jesse he has tons of ideas and he's not afraid to be like, "Okay, I think you guys could do this..." He knows what he wants because he listens to it, and he's just the raddest guy to work with. Anyone can place a microphone, but he can make it fuckin' bleed. So with the advent of things like Rec-age and Teenage Rampage, among other things, how do you think the Vancouver scene is shaping up? B: Great. Really? B: Yep. We opened for the Hanson Brothers a while back and it was a packed house at the Cobalt. Anyone who thinks the scene is dead or there's not enough shows, they're just not getting out. A: There needs to be more people like Ryan [Walter Wagner, Witness Protection Program and Teenage Rampage Records]. The scene still needs a lot of work, and there's always gonna be cliques and people with attitudes, and there's assholes everywhere, but I mean, it seems bands are working together a lot more. I've heard from a few other bands that it seems more like a community now. R: Well, it isn't so cliquey anymore: like in the last year you see the hardcore kids, you see the punk kids, and the crusty kids at the same shows, but before you never used to see that. A: On Saturday I went and saw Three Inches of Blood, and Streets, and another band. And you could totally pick out the crusty punks and the scenester kids, and they're all squashed in the same bands. The vibe was a little weird, but there still needs to be different kinds of bands on a bill. B: Back to that other question about how are we different—we'll accept anybody. We write any kind of song we feel like and there's all kinds of kids at our shows. There's a song on the album for everybody. It seems like Vancouver and its suburbs are losing some important venues that once showcased local rock. How does this affect bands like yours? A: I think it makes you work harder. It brings it back to a community where kids are putting on shows in their basements. B: As far as losing venues, I mean, it is like we're losing places to play, but whatever doesn't break us makes us stronger. We just have to be more resourceful when we lose a venue. And as long as kids are writing music there's always going to be places that pop up. R: Now there's a lot more kids who aren't in bands putting shows on. Whereas before, shows were always put on by the bands—not by outside people. I'm gonna have to ask about the whole country thing. Where does that come from? R: Billy the Kid should answer that one. B: Country is fun. I dunno, we don't like to take ourselves too seriously and it's fun to dress up like cowboys. A: And people wouldn't get it if we were called Billy the Kid and the Lost Boys and we were euro-disco or something. B: We really want to bring back cowboy hats, that's what it all comes down to. So what can we expect from the record? Any surprises? A: It's a pretty straight-up punk record, with amazing production care of Jesse. The drum sound will rip you a new asshole. Name a band that you like that nobody has ever heard of. B: That's hard! Uhhh... The Blackjacks. A: The Hangmen. R: The Witchdoctors. Well I don't have any more questions. What else do you guys want to say about this band? R: Come see us live! A: Visit Teenage Rampage Records or the blood will flow. • tee hende^en Lee Henderson's first collection of short stories is called The Broken Record Technique. If you're in a bookstore picture of a -woman in a blue dress holding a metal contraption over her head, wrestling-style, chasing after little g teddy bears. Some don't have ears. One has a beak, and other has a jack-o-lantcrn for a head. Henderson's clwract slightly strange. Time's a boy with a football sluipcd head, a girl with the ability to recant conversations word for tlie treadmills one fitness club has to offer across Vancouver, a little boy in a sumo-suit, and a talking toy marmot wh there is a sense of unity in the collection, tliere isn't a feeling of repetition in the characters or plots. Born in Saskatchewan and raised tliere and in Edmonton, Henderson chose to do his BFA and MFA in Creative Writing ed to avoid academic learning." After reading his stories, I'm glad that he decided to be a writer, rather than a philosopher, a. DiSCORDER: My editor told me that you were once involved with this magazine and had your own show on CiTR. What did you write about? What was your show called and what was its focus? Lee Henderson: Yes, I used to write music reviews for Discorder. I think I wrote a review of Boredoms album Super Roots 6, and a couple others. I had a radio show for about six years on CiTR every second Tuesday night. I played a lot of different types of music, whatever was turning my crank at the time. Then, because of a minor indiscretion (I missed a couple shows and forgot to get a fill- in), I was fired. I was fired from a volunteer position! I read in your bio that you once did a video for Sonic Youth. What song? How did you land that gig? Yes, I drew the animation for a Sonic Youth video, the song "Tunic" off their album Goo. The video was directed by the New York video artist Tony Oursler, who spliced my animation with strange shots of the band. They were all really pleasant people. Thurston Moore and Kim Gordon liked to read the National Enquirer. I had no idea who they were at the time—even though I was in to punk rock—because I lived in Saskatoon. We listened to a lot of Misfits and Dead Kennedys and NoMeansNo, but no one told us about Sonic Youth. Then we got into Sonic Youth later. When did you decide to abandon drawing for writing? I didn't abandon drawing, I just hit the ceiling early. After about the age of 151 realized I wasn't going to get any better at it. I'm basically just a doodler. I love to read and I love visual art, and writing excites me. But I will always draw, because there's something in words and sentences that can't ever replace what you can do with a little picture. You've lived in a number of places in Canada. How does that inform your writing? I would like to think I am a Cosmopolitan, but I am just a Western Canadian boy. My whole life I have lived only in Saskatchewan, Alberta, and now British Columbia, and each of those places has been a source of anxiety and terror and disgust, and general wonderment. What is your writing process like? It is tremendously mundane. I wake up and drink some tea and eat some Mini-Wheats and share a banana with my rabbit Quimby. Then I spend some time looking at the internet, reading the news and becoming upset with America's shit-brained President, and our own meek, bitter, foul Prime Minister, and try to find some funny stuff as well, and then I put on a CD and sit in front of my computer until my fingers start moving. Writing all day is a cold business. The blood is cut off to the feet and you need to swaddle yourself like an invalid, and your back muscles start to hurt. Generally, I listen to electronic music while I write, these days the new Boards of Canada. But I'm getting into Clinic and The Dismemberment Plan, so maybe I'm starting to accept rock music in to my diet again. Why do you choose not to use quotations marks to designate speech? me across it: a beige book with a ■s. Some of the creatures look like are like that: they are all different, and all ■d, a man trying to run a marathon on till the only witness to a kidnapping. Though t UBC bet use. he, "I want- By Doretta Lau They look like accessories, like earrings. It's an entirely visual thing, I hate the look of a cluttered page. I also hate question marks, but 1 know most people think they are a good idea. What are you reading at the moment? David Foster Wallace is great. I have finished two books by Richard Yates, and I think he must be a kind of god. I occasionally look at my book of art and writings by Henry Darger. I loved local writer Annabel Lyon's book Oxygen. What does Yates write? Yates wrote a novel called Revolutionary Road, that is just hugely impressive. He was Raymond Carver's teacher, and I get way more mileage out of Yates than I do Carver. Do you have any magazine or tabloid fixations? I try and stay current with what the Bush twins are up to: www.the- firstwins.com. What are you listening to? Clinic's new album Walking With Tliee is blowing my mind. I listen to it all day long. I love Boredoms, and Autechre. I think my two favorite albums from last year were Squarepusher's Go Plastic and Four Tet's album Pause. I buy a lot of music and I steal a lot of music off the internet. I liked Vincent Gallo's album a lot, and I liked Fugazi's newest album more than their last few. When Astralwerks re-released all those Neu! albums I went through a phase of listening to them and my mind was thoroughly boggled. I'd never heard them before. Suddenly I thought I understood the change in style that Boredoms had initiated after Chocolate Synthesizer, and what might have inspired that, and I heard a hit of Tortoise in those albums, and etc. It seemed like a lot of modern music was wrapped up in those rare albums by a couple of Germans. Speaking of Germans, I like Alva.Noto. and some of that clicks & cuts stuff. But, you know, I love Bruce Springsteen and I love Slayer. Having a radio show for so long really opened me up to just about everything. How did you come by the quote at the beginning of your book that lends the book its title? It was from a book that a very nice doctor gave me, to help me with some problems to do with anxiety that I have. For some reason, I thought that book was published in the '50s or something. Did it help? Time will tell. On your story "Mirage/Fata Morgana," where the protagonist is a pop star: did you know that Mariah Carey's nickname in high school was Mirage? (I learned this from Pop-Up Video.) I didn't know that, but that's very fortunate for me. Mariah Carey is an incredible singer, just like the retarded pop singer in my story. I have a lot of sympathy for Mariah Carey, she is obviously under a lot of pressure to please billions of people, which is impossible to succeed at doing, so it's natural that's she having some troubles. That story is about loneliness and how, at a certain crucial place in loneliness, you can become your own ghost. I think pop stars are pretty much ghosts of themselves, and it's amazing to watch them, looking so desperate to find their bodies again. That's also what it's like to break up with someone you love, and suddenly a huge part of yourself just seems to vanish, like a mirage. Did you choose the artist whose drawings adorn the cover of your book and accompany each story? Yes I did. I suggested Marcel Dzama to my editor at Penguin. From the very beginning I imagined that Dzama would be perfect for the cover, and that he would draw pictures for each story, as well as his own version of the Penguin logo, and that's exactly what happened! It all came true. I couldn't be happier. Even if everyone else hates the cover, I really cry when I look at it, because it turned out so wonderfully. Marcel Dzama is a fucking incredible artist, I'm tremendously proud to have his drawings in the book. How did you come across Dzama's work? I had been following The Royal Art Lodge for some time. Then Dzama got a gig with Saturday Night when Conrad Black bought it for the National Post and every week I got to look at his drawings and I loved them. Marcel Dzama is Canada's pre-imminent illustrator. Unfortunately a Canadian company bought out Black and turned the National Post into a graveyard, and for that, I say to whoever makes the big decisions at the National Post, "Fuck you." Do you watch TV? If so, what is the worst show that you like? I watch TV. For a while I used to love watching Rendez-View. The later the hour, the better the TV. The show tliat comes on at 12:30am, after Rendez-View but on a different channel, Crossing Over, also blows my mind. I think people probably think it is bad for me to watch wrestling, but I don't think it's bad, if it's muted. It's too loud and I don't really care who I'm watching. But muted wrestling is fantastic, very inspiring. When you say wrestling is inspiring, what do you mean? Does it relate to your story "Spines a Length of Velcro," where two boys in sumo suits fight each other for the entertainment of their relatives? It relates to that story, yes, and to highlights from the "Young Boy Vs. The Ram," and to so many other things. Everyone knows professional wrestling is fake, but what people don't seem to know is that it is, in fact, REAL. Those guys are working hard up there. You can't "fake" a ten-foot fall on to a concrete floor. You have to know how to do it right so you don't die. That's fantastic. Kevin Chong [author of the novel Baroque-a-nova] told me to ask you about Kenny G. What's the story there? Ha ha. I am related to him. He is something like my third cousin. We've never met. But really, a Jewish sax player? No one has proven it can be done yet. • If your computer doesn't suck as much as mine does, check out >J' I etc.lcelieihicrson.com. Iocs, check out lIlliiilWlMWI 1ISII! mm THE LION with guests P^SfflO RICHARDS ON RICHARDS 1036 Richards st EARLY SHOW! Doors 7pm Tix at Ticketmaster, Scratch Zulu SATURDAY APRIL 13 EMILY SHOW! AND YOU WILL KNOW US BY THE TRAIL OF DEAD A BOBBY CONN RICHARDS ON RICHARDS loae Richards st EARLY SHOW! Doors 7pm Tfac at Ticketmaster, Scratch Zulu FRom new work cnv L(S SAW FAV HOT HOT H€flT TH€ Uim6S PROTKIlOn PROGRfldl "GO FORTH Les SavyFav's latest release, TUr Dlf*f*Anil IV Dl ID is definitely in my top 5 favorite records I TIC r IVVHVlUil rWD of 2001, and is one of my favorite bands rw#%»* onm cIimii Ohm to see live periodl" UOOTS Bpm 5hOW 9pm • Jason Lajeunesse: aka some dude. 620 W. Pender St 682*3221 MEDITERRANEAN H0MEC00KIN'- DRINKS • LIVE MUSIC Monday, April 1 Wednesday, April 3 Thursday, April 4 Friday, April 5 Saturday, April 6 Sunday, April7 Wednesday, April 10 Thursday, April 11 Friday, April 12 Saturday, April 13 Sunday, April 14 Wednesday, April 17 Thursday, April 18 Friday, April 19 Saturday, April 20 Wednesday, April 24 Thursday, April 25 Friday, April 26 Saturday, April 27 Sunday, April 28 New Art by Steven Norwood JP Carter Trio Lisa O'neill Mac Pontiac Thirsty Shine Jason Michas Dave Seymour The Falcons Resin / Jon Wood Dustin Kiellor Audio-lava T. Paul Ste. Marie presents... Lit nite The Parlour Steps Heather Grittin and Good Wood From Winnipeg... Cara Lult Robyn Carrigan (from Bottleneck) Johnny Wisdom Dave Gowans / David P. Smith Kick in the Eye For booking info contact Amy Honey: amyhunnie@hotmail.com THE MAIN 4210 MAIN ST. @ 26TH V5Y 2A6 604.709.8555 BYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOM BIRDAPRES What is Canadian underground rap? With Buck 65, Moka Only, and Swollen Members blowing up all over, has it become commercial? Local crews such as tlie City Planners, of which Moka is a part, and the Alleged Legends with Birdapres and DJ Moves can help us to see links between underground and commercial rap. While Moves lias worked with Len and Governor Bolts, Birdapres (pronounced Bird-a-prey) collaborates with the City Planners, Stace Prints and, recently, John Smith. Discorder spoke with Birdapres over a Denny's grand-slam breakfast and pinned Moves outside FWUH. Producer and DJ for the Alleged Legends, Moves slices and stretches vinyl grooves to create dark crashing beats for Bird's hit of lyrical splatter. Enter Alleged Legends ... DiSCORDER: Where are you from? Birdapres: I grew up in Vancouver, specifically Broke Street, East Van. Who do you roll with? Who do I roll with? Specifically the Twelve Inch Rulers Sound System Crew, Low Pressure, Peanuts and Com, City Planners . . . But you're not exclusively tied to any of these crews? I'm a solo artist. I know you collect a lot of records and you've been known to DJ a little bit... A little... .. .So are you interested in getting into production? I co-produce a lot. I tend to stack stuff up. I get breaks and little pieces that I like and then I'll hit a producer in the head with it and say let's do this . Kinda like the cold chillin' days when Masta Ace or Biz Markie would give Marly Marl a record and he'd flip it. Yeah, I'm of that school of thought, I guess. I'm a little lazy [in that] I've never learned how to properly use a sampler. At the same time, I think I have an ear and I know records pretty well, so I'm always hippin' people to stuff. So you like digging for records? Yeah! I've pulled a few things out of the hat around here. Vancouver is a good city to do that in. I was living in Toronto for about a year and found a good portion of my collection there. What's your best bargain-bin find? I found the Canadian version of "Dazz" [originally done by the band Brick] on 45 and I got it for free. By Brick [the Brick version is not rare at all]? No, by a Canadian group. I'm not at liberty to say which one. So in Toronto did you make any connections in the hip hop scene? Can we be expecting a Big Sox/Birdapres collaboration? Probably not, mostly I just worked. I did the nine to five and I did a few shows. I already have an established clique in Toronto, though. You're famous, you know. How does it feel to have fans come up to you and show love? I've just put in a lot of time. I got started doing the tape thing and the record thing around '94 with a group called RTA [Running The Asylum] and from that people start to know who you are whether you're on TV or not. What do you think about shit like Jay-Z, talking about ho's and money when you rap about taking the skytrain? I love Jay-Z. I think Jay-Z is probably the best MC out right now. If you really listen it runs a lot deeper than the material subject matter. It's a hook, you catch people with the quick references and kids like to play it loud to piss off their parents, or so they say. But hip hop has always been about a variety of subject matter. A lot of it seems pedestrian to people now seeing as we've had people like NWA and Slick Rick cursing for years. I think Jay-Z's lyrics are still relevant and they're good. As long as it's good that's the key. The other day I was listening to the Alleged Legends CD and my bro turned it off and put on Biggie. If I had a choice between going home and listening to my own album or Biggie I'd probably listen to Biggie, too. Is it important for your lyrics to be about real experiences or do you prefer to fictionalize? I just let it happen. I don't like to put up filters. If I really feel something then I'm gonna do it. If it ends up being some real life stuff, that's cool, and if it's some way out space shit that's fine too. It's all upstairs, whatever pours out on the page is gonna happen. I find people have a tendency to censor themselves and stay within their specific image. When I got started I was more street, a little more hardcore. Lately I've been more experimental but I haven't changed, I'm still doing the same stuff I was always doing. How long have you been rapping for? Way too long. How many tapes have you put out? The first track released was with my group RTA and it was called "Hall of Fame." It appeared on the QC [Quantum Continuum] compilation which included Prevail who I hooked up with when I moved to Victoria in high school. This was followed by the "Indecision" 12" again with RTA. I've also put out a 12" with RKV, a few tapes, and recently, Alleged Legends with DJ Moves on produc- What's your favorite kind of bird? I'd have to go with the peregrine falcon. Who was your favorite character on Degrassi High? Wheels. Why do you rap? At this point, rap for me is like a bodily function. I wish I could tell you how many times I've gotten sick of people and wanted to walk away, although I'm not the easiest person to work with either. Every time I say "I'm going back to school to study modern psychology and the implications of whatever" I find myself back on that mic. It would be nice to start making some money from this because it is an addiction. It's better when your addictions pay you than you paying into them. DJ MOVES After speaking with Bird I decided to find out what DJ Moves had to say for himself. DiSCORDER: What was it like working with one of the most difficult men in hip hop, Mr. Birdapres? DJ Moves: It was a good experience. It took about a year to make a Whole album of 12 songs. It was kind of hard, he's kind of a bitch; If he doesn't get his way he's kind of bitchy. We're working on the second album now. He'll tell me to make him four songs, I'll make him five and he's still bitching at me to make him more. How did you guvs hook up? He sent me a bunch of his 12"s when I still lived in Halifax, and I sold them for him. When I moved to Toronto we hooked up and did "Bird Is," that was our first song—it was on four track (before I had an eight track). Then I moved out here and he started coming over and we just worked on shit. It was pretty easy, other than him being a bitch. Why are all of these Halifax dudes coming out here to live? It's 'cause of the coldness there. It hardly even snows here. I toured across Canada a couple of times in the mid '90s with Hip Club Groove and I liked Vancouver the best. Vancouver is the Jamaica of Canada. Except there are hardly any black people here, so I guess it's not Jamaica. Halifax is freezing cold right now, under five feet of snow. Shitty old shit balls. You gotta wear boots all the time—that's not my steez. You don't like rockin' the Tims with the puffy coat? That's why Bird moved to Toronto, actually. He was wearing the Tims and the puffy coat here in Vancouver, but he stood out too much so he moved to Toronto and then once he got to Toronto there were too many people that looked like him so he sold his damn coat and his boots and came back. Now he's wearing a leather Roca Fella coat. So you and Bird are working on a new joint? You see. I wanted to call Alleged Legends "Bird Shit," spelling it as "Bird's Hit." Bird didn't think that was cool enough. I'm pushing for that title for the next one too. After we were done Bird didn't even want to put it out, he thought it was too underground. He'd already gone to Toronto, so I just went out on my own and named the songs, put them in order, mixed them down and put it on a DAT. Then I gave it to Rod (of Peanuts and Corn) who put it out. At this point I directed my attention to That Guy, who I've been mistaking for Josh Martinez for the past six months, and asked, "What does Josh Martinez think about tlie Alleged Legends CD?" Moves started chuckling. That Guy ("Josh"): I think it's awesome, it's my favorite CD. (Back to Moves): Straight from Josh Martinez. Josh Martinez was supposed to have Bird on his new album. Josh had the good idea to take a real hard beat that I'd made and turn it into a diss song between him and Bird. So Bird comes with his first verse and rips the shit out of him and then Josh Martinez got scared and stopped. So the song never got finished—I still got it half-finished at home. Bird's hit was too hard for him. Then the next day when Josh saw Bird he said "Let's do the second verse being nice to each other." Bird said "Fuck that—that's bullshit." Or should we say Bird's hit? • BYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOMOBYMOM 15EiF?S3l®Ea 9\\£i n a 9^a st a s i a (By Christa (Min (Pfioto: Les fie Lyons Someone once told me that when they think of me, my mouth is always open, that I am always laughing, yelling, or generally being loud and annoying. I think I'm shy and quiet. No one agrees. When I got a copy of Nina Nastasia's album, The Blackened Air, / listened to it nine times in a row. Maybe ten. The whole time when I was listening to it, I didn't laugh once. I swear. But it's not because I didn't enjoy it. It xvas as if I was eating a chocolate cake (dark, rich, and bittersweet), my mouth was full, and I couldn't laugh because it was so good. This is how it is: she doesn't need so much. She has perfect pitch. She is clear. She's always there. She's not full of it. This is an email interview. DiSCORDER: Warm-up question: What did you do today? Nina Nastasia: I woke up around 12:30pm. Drank coffee for a couple of hours. Went into the bathroom to practice my guitar. Made something to eat around 3:00. Went outside for five minutes—I was going to go to the store then I decided against it. I went back home and straightened the apartment—which is novel. Then at around 4:00pm a friend, Philip, came over to play some music and have a drink before his show—he left the apartment at 7:00pm. This leaves me on the couch talking to you. My friend Randal likes to call you Nana Mouskouri. I think it's because he doesn't know how to pronounce your name. It's funny because I remember Nana Mouskouri and Simon and Garfunkel being my first favourite singers when I was young. Tell me about when you were 13. Where did you live? Where did music fit in your family? Who did you listen to? First of all, I have a terrible memory—13,15,12,11—it's very hard for me to remember one year's events in particular. I can tell you where I lived. I grew up in Hollywood, California, in a house, 1946 North Vine Street, right above the Hollywood Freeway and across from the Vedanta Society Monastery. My grandfather was a composer. I never knew him or his work, but my mother inherited his piano, which I played on growing up, and my aunt sang in clubs in Salt Lake City and Las Vegas. As far as I know, those were the only two other people in the family who had a strong interest in music. I used to sing with my aunt whenever we were at my grandmother's house because she had a grand piano we could play and a bench filled with sheet music of show tunes. A few of the records I remember my parents had were by Judy Collins, The Beatles, Edith Piaf, Billy Holiday, a lot of classical music, Frank Sinatra. There was probably more obscure stuff, but I wasn't a real music buff. I gravitated towards The Beatles and classical music mainly, partially having to do with my piano lessons. I don't remember my parents listening to the radio much, so I never bothered with that until I realized how out of it I was. I had a crush on a kid at my school, Bobby Bowman. He was excellent in math and baseball, and he loved KISS. I had nothing in common with him, and I felt com- U april 2002 pletely ridiculous that I hadn't ever heard of KISS. I started listening to KROQ, but I continued to play my parents' records, so that's my education. On the Southern website the genre of your music is listed as "Americana." What does that mean? I don't know what that is. My dictionary (though not British) says: "Writings, records, objects, or the like, related or pertaining to America; things American." Why bands like Rapeman, Slint, The Jesus Lizard, etc., don't fit into that category, well, my guess is that "Americana" is a kind of euphemism like "alt-country." I really don't understand what it means. Maybe it intends to mean very little, so people don't think they've heard anything like it, or maybe it preys on the assumption, "Hell, if it's American, it must be good." Or it means, "Music for Americans, like American mustard and American beer, tailor-made for the uniquely modern American sensibility." The songs on Dogs were written between 1993 and 1999. It took six years for your first album to come out. The Blackened Air was recorded less than two years later. Why did Dogs take so long, or why did The Blackened Air take so short? I didn't start writing songs until 1993. It took a few years after that to develop a band and start performing regularly, so what does look like six years is more like two by the time I was ready to record. If we had unlimited funds, I'm pretty sure I could turn out another three this year. Lack of money is always the thing that slows us down. It rains a lot in Vancouver. Sometimes the air is yellow above the city, but the rain dilutes it. Here, it smells like water. Since The Blackened Air was recorded in February, 2001, the lyrics to "Run, All You..." were written long before September. It's a strange coincidence. It's hard to think of the title of your album without considering where you live. When did you decide on the album title? How is living in New York different for you now? Decided on the title in June 2001. The routine changes and becomes the new routine, so it feels normal here. I'm unemployed. Otherwise, I don't know. There's a given uneasiness that people here have when a bunch of fire trucks goby. The new album seems a bit darker, more personal than the last album. In the liner notes there are two gigantic roman numerals. Is the album meant to have two distinct parts? OBVIOUSLY, this is a concept album. No, seriously, is there something thematic about the album? The record is divided into two parts, as is necessary for the vinyl copies. Since it's a pain to go and flip a record over, it becomes a significant moment to do so, so it's nice to have a sequence that doesn't feel interrupted when side one is over. Who is Kennan Gudjonsson? He handles the administrative duties of the band, like correspondence (because I am generally shy) and money (the burning of it), and he is the president of Socialist Records; however, he also has a strong influence over the musical arrangements with the band, occasionally playing, generally sitting back and asking other people not to play. He doesn't like to take credit as a producer, but Kennan has a great deal to do with what you ultimately hear. He is the person who curates some of my more entertaining shows, as well. Kennan's a funny man, by the way. Have you noticed? The musicians on your albums are obviously very talented. Some of them have played with the following bands: The Wallflowers, Natalie Merchant, Duncan Sheik, Laurie Anderson, Paula Cole, Burning Spear, Kelly Joe Phelps, Suzanne Vega, Cyndi Lauper, and John Zorn. I noticed that you have a different drummer and viola player on the new album. Do you have a "band" or are they just "session" musicians? How did you come to play with them? Some list. What a talent show that would be. I would say yes, I have a band, but at the same time, everyone in the band has other projects. We have been playing together for a while now, and we are all good friends at this point, so when Gonzalo, the saw player, joined the circus it was heartbreaking for all of us. We miss him and still try to book shows with him whenever he's available, but his schedule is tight being a clown in the Cirque du Soleil. Beyond Gonzalo, the conflicts are usually temporary, having to do with a musician needing to take a high-paying gig to cover his rent, or one of them having to go direct a play, do a comedy show, make a court date. Only occasionally has a musician gone off to do something for so long that we don't expect to see them any time soon. Will you be comfortable when Celine Dion asks you to open for her show in Las Vegas and when Stephen Malkmus asks you to make a duet album with him? Do you want to make a living with your music? I think I understand the questions. I wouldn't want to open for Celine Dion, I don't know what Stephen Malkmus' music is like, and I like making my money from my records and performances. I mostly just like to do my own thing. I don't know what it's like in New York, but in Vancouver there's Didgeridoo Mania'. What other projects have you worked on besides your own albums? Not really any serious work. When I first started singing, a few friends would ask me to do some la las [sic] on their records, and I said sure. I was very excited to sing, but my significance in those projects would be relative to a choir member's. It would be fun (though probably embarrassing) to hear some of that stuff now. I was considering going to All Tomorrow's Parties in Camber Sands, but when I think of it I imagine myself passing out when I'd have to decide whether to see Shellac on one stage or Silkworm on the other. I'd come to when people were stepping on me running in one direction to see you play and in the other direction to see Zeni Geva, and I'd just pass out again. Have you played outside of America before? Is there anyone in the ATP line-up that you're really excited to see? The largest crowd I've serenaded abroad would be Kennan's relatives in Iceland. I imagine myself running around like you. Since I have seen virtually none of these bands live, I have a generally strong curiosity about them all. But The Ex is a band I really enjoy and have never seen live, so let's say The Ex. That's it. I hope my hilarious jokes come through on the computer. I apologize for questions #5 and #6.1 don't like them, but I guess I had to ask. I laughed at #s 3, 7, and 11 most. I like answering your questions. I hope I come through as genuine as you do. • Tfiotos: CEvans Warcf 175^§2S£3S By Brace Paine Photos By Lori ifcrttt^ It was August 27,1997, and I was attending tin/friend Laura's birthday parly when J overheard two weird girls, both clad in -white from head to toe, discussing a band that -was supposedly punker than The Germs and would singlehandedly reinvent rock and roll music forever. The girls kept describing the men in tltis band as incredibly creepy and eccentric to the maximum. 1 had to find out who this band was. As I continued to eavesdrop on their conversation, I finally came to learn that this mysterious band was called "US Maple." The day after the party 1 took a bus to the first record store I could find and bought the US Maple LP Sang Phat Editor. / stared at the cover the zuhole bus ride home and got increasingly creeped out by this band. The cover of the record was nuclear camouflage, and it didn't say US Maple on it anywhere. There was also a picture of them at the bottom and they looked like they could all be my father. All very hairy and looking as though they had just returned from a two week hunting trip. When I made it home and actually got lo hear this record 1 continued to listen to US Maple everyday for another month or two until the record had almost literally worn out. After seeing US Maple play I realized that their sound can only be compared to the feeling you get -when a parent barges into your room amidst a very romantic encounter with your loved one. US Maple liave no respect for privacy. It is time that I, Brace Paine, must now proclaim that all you Vancouverites must now cast your Smugglers compact discs into the ocean, gain 22 pounds, grow a beard, play your guitar way outta tune, and go buy the new US Maple LP Acre Thrills right now. DiSCORDER: Please state your name and instrument. Al Johnson: I'm Al Johnson and I'm the singer for US Maple. Mark Shippy: I'm Mark Shippy and I'm one of the guitarists for US Maple. Jeremy Lemos: I am the soundman for US Maple. So the new record Acre Tlirills, who recorded that? A: We recorded this record with Brian Paulson. Brian's been around for a long time, and on an independent level, is best known for recording the Slint Spiderland LP, which is a really good-sounding record. He also records really popular rap bands. He works on both sides of the fence. How long did this recording process take exactly? A: We were recording the music for nine days and mixing for four days. How did the selection process for chosing the songs that were to appear on the LP go? Do you throw away a lot of stuff? A: Oh yeah,we throw away about 90% of our songs. We will literally work on a song for months and then just decide we aren't happy with it, and we'll just throw it away. M: We all have to be 100% content with the song in order to release it and/or play it live. What's the songwriting process like for US Maple? A: There's no real set formula—sometimes Mark will generate something or whatever. It's different every time. There's no real set formula. So I'm sure that some people that come to your shows or hear your records have no idea what's going on and probably leave totally confused and distraught. Does that seem to happen a lot? A: Oh yeah, for the first three years every show was like that. People just didn't know what to think. Yeah, you guys toured with Pavement. I'm sure lots of boring indie rockers were totally scared by what you were doing. What you're doing is very insular in ways. I'm sure some people thought you were doing total improv. A: Definitely, while we were playing with Pavement we were playing for 5000 people?—that's 5000 middle fingers all pointed straight at us. By that time though, we were accustomed to people staring at us, so Pavement fans were mere puppy dogs for US Maple. Yeah, the first time I saw you play I was reminded of the time I saw Metallica on MTV when I was seven years old. It was just the weirdest, creepiest shit ever. US Maple seems to be presenting rock and roll in its true state—totally creepy and weird, as opposed to just being every other band and just standing on stage looking bored holding guitars. A: Yeah, when I used to go see Iron Maiden it scared the shit out of me. They were telling a scary story and I didn't know what was gonna happen next. I think that's really absent from the current music scene. It's gotten much too boring. M: I'm glad you get that impression from us. I don't think most people have such an extensive musical background as you. What is the history of US Maple and is it true that Mike Tyson was once in the band? A: Me and Mark were in a band called Shorty for a few years. We released some LPs and 7"s and toured Europe a few times. After that petered out I decided I wanted to start a new project and so I kept Mark and asked Todd [Rittman] to play. I saw him play with another band and he was a great guitarist. Was that with his other band Robert Johnson and the Browns? A: No, that band came after US Maple. I'm not sure the name of the band at the time. So we grabbed the drummer from the Laughing Hyenas, Jim Campbell, and he eventually quit for other projects and then we moved on to Pat and he quit about two months ago. Our current drummer is Adam [Vida], and he's great. He's young with no ego. Also Mike Tyson was in the band for a while, but left to pursue a career in boxing. So what's with the first LP? Wasn't the cover all steel or something? A: Yeah, we made 1000 of those at a steel factory all by ourselves. That took a long time. All hand polished by us. Yeah, I gotta get that record. A: I could give you one. I have four. So I love the cover for the Sang Phat Editor LP. How did you come up with that? A: Azita from the Scissor Girls helped me out with that. Yeah, I love the Scissor Girls!! She's also in that band Bride of No No. Azita is a great artist. Her Music For Scattered Brains LP is rad. J: Yeah, I recorded that record. That record sounds super good. J: Thanks. A: Yeah, Azita helped me finish the art for the Sang Phat Editor record. That cover is funny because it reminds me of this total dickhead at my school because he used to have a shirt that was all nuclear camouflage. He used to slap me and my friends in the back of the head during pep rallies. M: What an asshole. Sounds like a guy that would wear a nuclear camo shirt. So any weird stuff ever go down at a US Maple show? A: Yeah, once at a show in Cleveland four dogs ran up on stage and just sat there and stared at the crowd. It was really odd and seemed very staged but it totally happened by chance. What were four dogs doing at your show? Weird. A: I'm not sure what they were doing there actually. Who came up with the name US Maple? A: A mutual friend of ours. I actually am not pleased with that name. Really. What would you change it to? A: You Fantastic. But that's already a band. A: Yeah, but I thought it up, and now they are broken up. So you just gave them that name? A: Well, I sold it for $8. What do you do in Chicago when you're not practicing or playing shows. M: I work at a group home for mentally disabled adults, plus I do illustration work. A: I was a pawnbroker for awhile, and our drummer teaches drum lessons, and Todd is a painter and was a teacher. 18 april 2002 How has the tour been lately? How did you like Vancouver? A: Tour's been good so far. We have a sound guy with us, so that makes for better atmosphere. There have been some coffee house shows that were not really appropriate for the band. Vancouver was fun, too. Canadians always seem to dig US Maple. Sonic Youth are also big fans of our band, so we got invited to play that festival [All Tomorrow's Parties]. It went over really well. Yeah, I really wanted to go to that. Some really amazing bands are playing those shows. I really wanted to see Cecil Taylor, Dead C, Television, and all that. A: 1 didn't get to see much stuff. We weren't there for too long actually. What have you been listening to on tour? A: Lots of ZZ Top, The Fall's Unutterable. I love that Fall record. It's one of the their best, especially for being so new. A: Yeah, they are a great band. They haven't done anything that good in a long time. What bands do you guys play with in Chicago? Are there any new bands your excited about? A: Not really. US Maple has always been such an isolated band. As for new bands, I'm excited to hear Darren Grey's new band. Darren Grey from the Dazzling Killmen? A: Yeah, he's a phenomenal musician. I trust all the things he does to be good. I think his new band is called Grand Uldena. M: I like Cheer-Accident a lot too. What prompted the move from Skin Graft records to Drag City records? A: Well, Skin Graft is just bad business. Yeah, they seem to be going downhill. I do like the new Arab on Radar record a lot. A: Yeah. We were just touring a lot at the time and trying to get records from the label and calling them, and no one was getting back to us. That's just bad business. Drag City is much better for us. We're in a better place now with Drag City. Al, tell us about your acting career. You had a small talking line in the movie High Fidelity. A: Yeah, I got $1000 dollars for one day. It was really nice. In the movie you walk into the record store and you ask for the Captain Beefheart Safe as Milk LP. Did you specifically choose that record? A: No, that was already set up actually. I also play the devil in an internet soap opera called Milwaukee. You play the devil? That's hilarious. A: Yeah, the devil's name is Jill. That sounds crazy. Is it like that soap opera Passions or something? A: Yeah, it's a lot like Passions, actually. You can view it at zerotv.com. At this point the battery from the tape player falls out and lands in Mark's blueberry pancakes and the tape player dies. We continue to eat our pancakes, bid farewell, and plan to meet up in Chicago and go record shopping at a later date. • The art and the craft of Turntablism: Part II Continued from the March issue of Discorder... By Tobias V is that TRI tea! Underneath the cultural signifers of turntablism is the underlying question surrounding the very existence of the DJ school: why are people paying to learn a skill that has never been taught up to this point? The majority of today's DJs are self-taught or learnt from a mentor. DJ Leanne, director of The Rhythm Institute, situated in Boomtown records in Vancouver, recognizes this and attributes the need for a DJ school to a breaking-down of the previous DJ culture that provided mentors. Although I can understand her answer, I find it hard to believe. Locally, organizations such as wickedhouseparty.com and blackholeclub.com have created organized gatherings for DJs and musicians to meet each other and learn in a supportive environment. Personally, as a self-taught DJ, I know it is still possible to pick up decks and figure it all out. DJ culture is alive and well—obviously well enough to sell it. The question is, if you are going to pay to learn from a teacher, what are you learning and is it worth the money? Technically, the students are taught the very basics—from how to put a record on the deck, to how a mixer works—and then get on with learning to cue and beatmatch the record, eventually moving on to EQing and programming. The style of beatmatching is purely mathematical. Building upon the basis that most dance records are in 4/4 time, TRI teaches students to bring the record in on the 16th or 32nd bar. Such a mix creates a numerical purity to the mix, a very precise style that results in a strictly conventional and safe mix. On the one hand, it is a basic mix; on the other hand, it is the dominant style of complacent mixing that leaves most Vancouver DJs lacking in creative versatility. And is it really the "basics"? Is teaching numbers a good way to teach music? In a way, the mathematical style can be seen as a simplified DJ equivalent to the Royal Conservatory style for violin and piano, as opposed to the Suzuki method, which requires learning by ear, and not by sight or counting. Traditionally, DJs have learnt by the "Suzuki" method—as well as the "Let's Try This and See What Happens" method that brought about the art in the first place. Considering the experimental background of the art, and the general realization that tliere is no proper way to DJ, is math a good idea? Leanne tells me that most records change every 16 bars—a break down, a new kick or high hat, a riff comes in or out, etc. But this is really only true for certain, perhaps basic, genres of house, techno, trance, and their offshoots. As a teaching tool, it teaches students to look for these conventions in their records, and the 16 bar tactic is a pop-music convention that some producers use and others don't. The se music with records that follow this limiting the student's exposure to different styles of n't strictly follow this convention, such as repetitive, ir techno, cut-up Montreal glitch styles of minimal house, much of Detroit techno and house, German minimal funk, a good chunk of electro, etc. Are DJ schools really teaching the "basics," or are those "basics" already tailored toward a particular style and genre of music—i.e., the acceptable house norm in Vancouver? There may not be a way around this, given the cyclical nature of the beast: but perhaps it is the responsibility of the teacher to provide as much information about differing musical points of view as possible, to expose the student to different platforms of basic mixing. Mind/Body, Wax/Needle The DJ school is a concentration of both the Icnowledge gained so far in this young history—including the knowledge of insurrectionary potential—and of that history's desire to sell itself out, which can be seen as a classic example of commodified cultural appropriation: black music, taken out of context by white people, is bought and sold as a commercial skill to the dominant class, thereby once again excluding its cultural origins through a class-based (i.e., financially based) user-pay system. The music is an industry, not a cultural responsibility. On the other hand, the music has transcended racial boundaries from its inception; and the school can be seen as a positive development in increasing the art's potential: as an aesthetic, as a form of rebellion, as a community. The DJ school gives the opportunity to those interested in DJing to try it out without having to invest several thousand dollars in equipment, and in this sense it acts somewhat as a way to optimize involvement across class barriers. (However, it still requires payment for the lessons—money that could be put toward equipment.) It is also an opportunity for the teachers to discover new methodologies, techniques, and strategies of DJing through the art of teaching. By gathering students and teachers together, the DJ school contributes toward creating a community of sorts, albeit one mediated by money; or at least trying to recreate what is now a somewhat dead community through commercial means; and, like the DJ record store, provides a focal point for the wider music community. The school is overall a positive development as it at least teaches solid beatmatching techniques before turning students loose. But loose to what? Theexpectations are still there that all one needs to have are some good records and some beat- matching skills to land a clubnight or play a party. Until this changes, DJing will forever be constrained as a commercial craft. We are founding a new history of a radically new instrument, a sonic system that significantly redefines the relation between human and machine. We are doing this in and through the production of an art that has the power to aurally control, destabilize, inspire, and explosively revolt a mass of people through a sonic pastiche of cultural memories, meanings, energies, and directions that rewrite the future past. And what we need now are visionaries. We need the Mozarts and the Glenn Goulds, the Brian Enos of the world, who will take the math of DJing and expose its soul through the dissonance of breaking the strictest conventions: and we need bold teachers to expand this knowledge through an exploration of the turntable instrument with their students. • 19E?F\\s£5®lffi Photos Jane Weitzel r*a di O IIIIHIIIIIM PRESS FREE RADIO Zine accumulation has dwindled significantly, but unluckily there are peripherally related concerns that should be addressed, especially concerning free speech. I can think of at least a dozen online zines that take advantage of streaming audio as a sideline to the articles, reviews, rants, and whatnot that usually appear on their websites. In fact there are undoubtedly hundreds of zinesters and thousands of radio enthusiasts who are broadcasting on one of many internet radio servers; Live 365, Shoutcast, Launch, and Spinner being a few. Already very lucrative companies are set to profit, again, from muscling in on these servers and attempting to charge ridiculous royalty charges. "Broadcasters currently pay in excess of $300 million annually in music licensing fees to compensate songwriters and music publishers," says Edward O Fritts, president and CEO of the National Association of Broadcasters. "Any additional fee to compensate record com- zines, etc. by Bleek panies would be unfair and unreasonable." ASCAP, BMI, and SESAC, the organizations that license and charge radio stations to play and promote the recording industry's music over the airwaves have determined tliat they wish to extract additional fees from broadcast- 1, for one, listen to countless college radio stations around the globe as well as offering two of my own webcast stations through Live 365 as an extension of Speck fanzine. If this piece-of-shit money grab goes through, everything will be down the drain. Live 365 potentially exorbitant fees. Here's a direct quote from the ABC news: "On Aug. 1, District Court Judge Berle M Schiller in Philadelphia upheld a decision made last December by the US Copyright Office which determined that radio stations must pay royalties to record companies on music played over the Web. The double whammy of the Copyright Office's decision and last week's ruling has broadcasters steamed." Will these changes affect commercial, community, and college radio stations as well? The answer is YES. National Association of Broadcasters' position is that since radio stations don't pay record companies fees for songs broadcast over the air, they shouldn't for songs played on Webcasts, either. So what does this have to do with Canada? Silly thing, haven't you noticed? The playing field has been leveled. We're all one big happy free-trading world now. Why, the Canadian Recording Industry Association (CRIA) (speaking about file trading) even quotes the beloved Recording Industry Association of America, saying "CRIA is participating in a glob- WILL THESE CHANGES AFFECT COMMERCIAL. COMMUNITY. AND COLLEGE RADIO STATIONS AS WELL? THE ANSWER IS YES. ers for streaming that same music online. These fees have not been determined yet, but many observers have predicted that they will be retroactive for several years, and may be so exorbitant as to end streaming radio once and for all. As one angry broadcaster declared, "Pretty soon the RIAA (Recording Industry Association of America) will start arresting people for humming or whistling a song without paying royalties. Or they'll be raiding people's houses looking for CDs that were purchased in used music shops or from online auctions." says, "Curiously, the per-perfor- mance rate set by the CARP (Copyright Arbitration Royalty Panel), when applied to many webcasters, far exceeds the rate it deemed higher than that which the market would bear." On-air commercial broadcasts will continue their slow but headlong dive into shitland and diversity will be set back even more in an increasingly homogenized planet. Maybe you think I'm being overly dramatic, I don't know. I'm just passionate about freedom of speech and public access. In fact, hundreds of stations have already gone down due to the threat of these Radio stations do not currently pay fees to record labels for the songs they broadcast over the airwaves—only to music publishers and writers. But the court ruling compels broadcasters to cough up cash even if a radio station simply streams its content over the Web, as many stations do. The same goes for Internet-only operators, like NetRadio of Minneapolis, one of the first Web music stations, and music services like AOL-Time Warner's Spinner.com. As a result, Internet music outlets that can't afford the fees could quickly go out of business. The al response to internet piracy that is orchestrated by the International Federation of the Phonographic Industry (IFPI) along with the Recording Industry Association of America (RIAA). High tech automated web crawlers search for sites on the internet where unauthorized copies are available for downloading and identify the location and site operator or service provider. CRIA takes action to secure evidence of infringement of copyright in sound recordings offered on the identified sites in Canada. Notification in writing is sent to the website operators, service providers, or both, informing them of the infringing copies of sound recordings on the music files of the sites they host and the legal implications if they do not voluntarily cease and desist offering the infringing copies on these sites." And, going even further, "(Our government) has not reacted fast enough to the changing environment." [Quotes from an article by Jason Scott Alexander from broad- castdialogue.com.| To be fair, the CRTC weighed in on the topic in 1999: "The Commission does not believe that regulation of the new media would further the objectives of the Broadcasting Act." It's been obvious for quite a while that, when it comes to what is called the "public airwaves," it costs a hell of a lot of money to go on the air as an independent (or anyone else, frankly) broadcaster and that leaves most everybody unable to start broadcasting legally on what is essentially public terrain. It's like being charged for the air you breathe. Many promises and predictions were made about the freedoms we would enjoy through internet technology, but as lots of conservative dupes like to say, "Freedom is not free." • See www.saveinlernetradio.org for more info and links. pq Mart icon the sound of spectacle by tobias Gordo, The Green Zombie "A New Error in BC" is the name of CUPE's "Strong Communities" pamphlet featuring the wickedly satiric cartoons of the Straight's Dirk van Stralen. Obscenely drawing the shits of politics is a time-honoured tradition, and van Stralen hones his acidic mind and sharp pen to depict Gordo as a frothing, sharp-toothed, and electrified green zombie. As the evil creation comes to light from privatized electricity, the MLAs/corporate whores grovel with enthusiasm: "He has the brain of Ralph Klein!" "The gall of a Socred!" "The heart of Mike Harris!" and "The tongue of a leech!" Zapped Zombie-Gordo has no memory of his election promises... The pamphlet lays out a double-page spread of the destruction being wreaked- upon this province by the cold- hearted ineptitude and cruelty of the Liberal government, complete with boarded up social housing (New Business and Convention Centre with Casino!), a medical clinic (All Major Credit Cards Accepted!), Treaty Referendum Headquarters (Vote Yes to Divide Your Community!), Texans shooting bears—kudos to van Stralen and CUPE for taking on the Liberal muck machine with a frontal assault. www.cupe.bc.ca April 1 is Doomsday: No Joke April 1 is when this province will look back in its history of the Dark Gordo Era, and pinpoint the exact date from whence the flood of crime began, the day when welfare was cut on average by 15%, when applicants waited three weeks, when single mothers had to work once their child turned three. The result? An increase in property crime and muggings and a boom—a desperate bid, for the majority of thieves are strung out and starving—for the thriving "Bar Shopping" scene (March 24 Courier). Frank Gilbert of DERA: "We are already starting to see a new level of desperation on the street and if the police and merchants think they have a problem with stolen property being sold in the bars around here—well, I hate to say it, but they ain't seen nothing yet." Signal and Noise The Video-In's Signal and Noise festival of experimental audio and video (March 21-24) collected an eclectic array of work by underground/contemporary artists. Curated by Jen Weih, there were too many exhibits to mention, but certainly highlights included post-9/11 guerilla media, ssiess's "Baby" installation in the bathroom, the numerous film shorts including the poignant "The Fine Arts" by Emily Vey Duke and Cooper Battersby, Susan Schuppli's "Eavesdropping" installation— comprised of alternatively arresting and banal, yet always fascinating, found-sound answering machine messages— and Luis Jacob's "Ten Attempts at running into a wall, with commentaries" (self explanatory porno humour). But all of this is reductive and I missed a good number of films; and there is no room to mention the hundred or so audio short works picked for the listening booths including work from Halifax's Andrew Duke and Winnipeg's Ken Gregory. So, don't miss the next Thing, which is... Link-Age: Vancouver New Music Giorgio Magnanensi, the new Artistic Director of VNM, has positively shaken things up with events featuring the experimental electronic and turntablist underground, starting with the "Mixtophonics" series at the Havana. The Vancouver New Music Festival "Link-Age" (April 19-21), embraces this spirit by combining the traditional avant garde with underground electronics through the unlikely—yet pertinent—theme of music from the "Soviet repressed" Baltic countries. It is through this theme that Magnanensi hopes to enlighten Canadians of the potential of (their) cultural diversity- something which he observed to me many months ago. The two primary composers of the festival are Vancouver's Allison Cameron—who describes her work as "experimental... this 'attitude' is essentially political (whether conscious or not) and it establishes the inherent social nature of musical activity"— and Estonia's Udo Kasemets, who works in a wide range of mixed media, sound texts, elec- troacoustics, and open forms. Of particular interest is Kasemets' "Future Is Past Now," a conceptual script for six electronic musicians which will be performed April 19 at the VECC (10pm)—to be honest, I am involved in this weird concotion and results should prove disturbingly engaging. But that is not all: an installation of the Silophone by Montreal's [The User] at the Western Front; an "e-lounge" every night at the Video-In; performances by the Helikon Ensemble, Gallon Drum, the CBC Radio Orchestra—the last remaining radio orchestra in all of North America—"Saxophilia," piano sonatas from Stephen Clarke... To eat the whole schedule: www.newmusic.org. Tickets: 604.280.3311. Info: 604.633.0861. Danish Global Warming Anyone who doubts the danger of global warming should be immediately sterilized—they are counter-productive to survival. A huge chunk of Antarctica recently sploshed into the sea, so wake the fuck up. There is more smog than ever in Vancouver on this fine sunny morning as I sit here and type, which makes me ask: what the hell is wrong with the Danes? Take Hans Henrik Ramm, who believes that responding to global warming is a "precautionary" measure advanced by political agendas of the Left. WHAT? Of course the agenda is political, as long as politics has something to do with living collectively for mutual benefit—the polis— which amounts to asking: do we massacre and destroy the entire goddamn planet or not? Ramm's answer is the "wait and see, and is it really worth it?" approach mixed with polemics and hasty "scientific conclusions." Then there's Bjorn Lomborg. He at least believes in global warming, but figures that it would be better to give the money to the poor—using figures from the despicable World Bank—instead of making the Kyoto Protocol work, which amounts to the chimera of colonial/imperialist humanism/ anthroprocentrism which has driven the world to the brink of annihilation. Not to mention that the practicalities of his arguments include the participation of the US, which has no interest in helping the world's poor unless it involves amphetamine-slavery in a sweatshop making Nike shoes; furthermore, the US is trigger-happy and wants to increase their bomb budget. The solution is clear: ratify and give teeth to the Kyoto protocol. The "wait and see" approach is the Christian theological paradigm; the "is it worth it?" approach redefines "worth" to equate only monetary gain, investment in symbolic nothingness; the "give money to the poor" approach skirts the issues with dogmatic humanism. Until... ! • 20 april 2002 At rut, fret & flicker performance/art by Penelope Mulligan MODERN BAROQUE OPERA 720 Songs for the Marquis de Sade Sunday, March 3 Vancouver East Cultural Centre Confidently rude and mannered to a smirk, Modern Baroque's 220 Songs is a sprawling tour through the life of history's most famous pervert. The Alcan Performing Arts Award for Music/Opera 2002 enabled Artistic Director Kate Hutchinson to commission the piece from composer Peter Hannan, who felt that Sade's story had ongoing relevance for today's sexual and social politics. Whether or not the company succeeded in demonstrating this is moot, but one thing is certain: as a stunning aesthetic experience, the opera is worth ever Alcan nickel and every moment of an audience's time. Within the first minutes, it became clear that we wouldn't be teased, but hit full-on with the money shots. No sooner had the baby Marquis been born than double doors opened and a falsetto-singing countertenor walked in wearing nothing but a powdered wig and white stockings. Alan Brodie lit the production with a searing whiteness in which nothing could or would be hidden. It seemed more suitable to a pathology lab than an opera, but looked gorgeous and actually fit the song by song dissection approach to Sade's life. Although Thomas Hassman's lavish costume designs were heavy on the rococo, his set was not. It consisted of pale, tastefully gilded walls and a big long table around, and more often that not, on which the action took place like a buffet of debauchery. In a baroque kind of way, it was almost clinical, and whenever I needed to snuggle up to a warm body, I'd pay special attention to the music. Performed by the Pacific Baroque Orchestra with guests from the jazz camp, it was layered and wonderful. I loved the way Ron Samworth's electric guitar would scrape across the orchestra's floating strings, and how Robin Reed's percussion could turn a song Arabic. The cast of 13—most of whom played multiple roles— deserves some kind of ensemble award. In spite (or perhaps because) of the fact that they come from wildly diverse vocal backgrounds in classical, jazz, musical theatre, opera and rock, everyone seemed a good fit. In the huge and demanding role of Sade, American baritone Michael Douglas Jones was both dangerous and playful. Modern Baroque regular Phoebe MacRae (oh, that exquisite voice) made his long- suffering wife Pelagie fabulously pasty and passive-aggressive. Peter Hinton's libretto eschewed poetry and imagery for a pretty literal narrative and this worked in nice contrast to the elaborate goings on. But despite all the suffering and intrigue, the bare bums and buggerings, I was neither moved nor shocked—just transfixed—and deep down, wanted more than a mere parade of personal deviance, however audacious and elegant. If ever a production wasted the chance to seduce us with a few psycho-political insights, it was this one. Sade's social and historical milieux were strongly present, but there was never a satisfying connection made— although to do so was apparently the intention. In his Creator's Statement, co-director Hinton writes that he wanted to investigate "when politic meets sexuality and society attempts to legislate free thought and desire". Yet Sade was imprisoned for sexually abusing unwilling prostitutes and servants—a life style which seemed more like an extreme symptom of the aristocracy's power than a threat to it. The production also glossed over the possible origins of his perversions in one tidily obvious scene where he is whipped as a boy and it didn't even get into his psychology of pain and pleasure. After Sade's temporary release into post-revolutionary Paris, things felt a little rushed—as if so much fun was had with the raunchy bits that there wasn't a lot of time left to explore his life as a citizen and relationship to the revolution (if he actually had one). As for his descent into madness, incarceration in Charenton Asylum and death in 1814, they whizzed by and then it was over. All too soon, I might add. Even after four hours, I felt wide awake and bright-eyed and could have watched this spectacle well into the night. If more time were given to bouncing a few ideas around and we were given breakfast in the lobby afterwards, I'd be all for an even longer version. THE MENTOR'S CO-OP The Resistable Rise of Arturo Ui Sunday, March 17 The Jericho Arts Centre As I stood waiting for buses in the freezing cold, I never expected to be so well rewarded for the trek out to Jericho. The Mentor's co-op deserves a triple shout for its taste in material, skill in performing it and— in view of the world we currently knock around in—its timing. Bertolt Brecht wrote The Resistible Rise of Artuo Ui in 1941. The play chronicles the proliferation of protection rackets and graft in 1930s Chicago and runs in flagrant parallel to Hitler's ascent during the same period in Germany—its title character is a mob boss played as a Hitler lookalike. Director Tom Kerr didn't try to be cute or contemporary in mounting the piece—he just wound it up and let it go—and he gently shaped his actors' physical and vocal mannerisms for a period feel that was consistent and believable while remaining slightly carnivalesque. The gangsters declaimed with that burly beauty that toughs have in the movies. Their rhythms were almost Shakespearean. As per the company's mandate, less experienced performers were mixed with the seasoned pros, and despite one or two painfully superficial minor characters, the overall acting standard was impressively high. In the role of Arturo Ui, Adam Henderson was beyond impressive. All tense shoulders and flailing arms, he oozed a lust for power that was driven by manic insecurity. His loose-limbed agility also allowed him to turn into a cartoon at will. Other standout performers included Ryan Nelson—tough, gentle and intense as Ui's right- hand man Ernesto Roma—and Bert Steinmanis as a washed-up Shakespearean actor hired to give the mob boss lessons in elocution and deportment. (That scene was a howling masterpiece of actor synchronization.) The set was minimal almost to the point of non-existence but did use a scrim on which to project text newsreel style, documenting parallel events in Hitler's career. I don't know if this is a convention or was a choice of this production, but in any case, Brecht's own audience would hardly have needed it. And as dubious "businessmen" made deals with government, causing prices to rise and unions to lose their rights, we were providing our own subtext. When Henderson let his voice slide momentarily into a Bush impersonation as Ui put pressure on a neighbouring city to accept "protection" from his mob, it didn't feel overdone— just inevitable. When the packed house rose to its feet stamping and cheering, you knew that it was applauding the production for its politics as well as its art. The really good thing is that neither were compromised. Brecht would have approved. THE PLUGHOLE The Blinding Light!! Cinema always beckons with its outfield programming, but this month looks especially heavy with reasons to visit. Here are three of them: Rockaction! on April 4 is another installment in the BL's series of commissions on a theme. This time, the camera packing artists have been told to pick any song and make an accompanying film which is informed by rock video without actually being one. Making that potentially subtle distinction could prove an interesting exercise in itself. With the usual suspects in the local and national indie scenes taking part, the films should be a riotous and thought-provoking alternative to MuchMusic. Damn those radical French intellectuals from last century— so wordy, yet so skilled at galvanizing with their euphoria-inducing brain massage. In the 1973 film Can Dialectics Break Bricks?, Rene Vienet scrubbed the dialogue from a trashy Kung Fu movie and replaced it with Situationist rhetoric. The combination of thinking in overdrive while laughing yourself silly might be too much to bear. Risk it on April 12. The Quay Brothers' Institute Benjamenta is one of a small, but remarkable canon of films dealing wholly or in part with schools for servitude. Ermano Olmi's bizarre, but ultimately humanist Long Live the Lady is another, while the terminally creepy brothers in Guy Maddin's Careful also attended a college for waiters. On April 18, the Eye of Newt Collective will perform live to the Quay Brothers' 1995 masterpiece. Set in a German Expressionist butler academy from hell, it stars Gottfried John, Alice Krige and the wonderful Mark Rylance. At first, I worried that we'd lose the dialogue—most of which is quite mad and absolutely essential—but a recent conversation with EON's Stefan Smulovitz banished my fears. They plan to edit out only the music and weave their own instrumental soundscape through the film. With Masa Anzai on sax and effects, Chris Kelly on sax and electronics, and Smulovitz on waterphone and viola, this will be a dark dream evening for first-time viewers and devotees alike. • y UUIUHU HJJUA.. u. ^ KPhL T . r\\SS-efl\\orkj k ^oj 7.^ a/, rv\\ Monro? I r^Aj\\V»s.V V^lw WW) L*US-f Surv^ \\g) ^fv ^pS /-. nrnwi/Mio r»- . /• "A I" CiTR's playlist was played by our DJs during the previous month (ie, "April" charts reflect airplay over March). Weekly charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr- charts." • ATTENTION: NERDS Discorder magazine needs more Mac-literate computer geeks to help us not die every month. If you think this sounds like a volunteer opportunity you can't refuse, email with the subject heading "I'm-a big nerd." advertise with discorder we're unbelievably cheap!!! contact steve 604.329.funk discorder@yahoo.com 27EtRs2®£3S OM your guide to CiTR 101.9fm SUNDAY ARE YOU SERIOUS? MUSIC 9:OOAM-12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00- 3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00-5:00PM Real-cowshit- caught-in-yer-boots country. CHIPS WITH EVERYTHING alt. 5:00-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your jet set holiday now! QUEER FM 6:0O-8:0OPM 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 Quawwalis, pop and regional language numbers. THE SHOW 10:00PM- 12:00AM Strictly Hip Hop- Strictly Underground—Strictly Vinyl. With your host Mr. Rumble on the 1 & 2's. TRANCENDANCE 12:00- 2:00AM 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. . 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! BLUE MONDAY alt. 11:30AM- 1:00PM Vancouver's only industrial-electronic-retro-goth program. Music to schtomp to, hosted by Coreen. ELECTROMAGNETIC PULSES alt. 11:30AM-1:00PM PARTICLE 1:00-2:00PM Incorporated into the soul are Sunday Monday Tuesday Wednesday Thursday Friday Saturday H REGGAE LINKUP ARE YOU SERIOUS? MUSIC ROCKERS SHOW BLOOD ON THE L SADDLE CHIPS WITH I PO I SAINT IPo EVDTiTHINGl—-J TROPEZ I QUEER FM RHYTHMSINDIA | Vto| IE TRANCENDANCE BBC WORLD SERVICE BBC WORLD SERVICE BREAKFAST "- WITH THE BROWNS 0 GIRLFOOD LOCAL KIDS MAKE GOOD(EC) PARTS L UNKNOWN STAND AND BE CUNTED(CF) ABSOLUTE BEGINNERS! N REEUORmtTK CRASH"—• THE POSE WIGFLUX RADIO u THE JAZZ SHOW VENGEANCE IS MINE! PSYCHEDELIC AIRWAVES |Rs| PACIFIC PICKIN' WORLD HEATL THIRD TIMES THE CHARM )AY^ ELECTRO MAGNETIC PULSES CPR MEAT EATING VEGAN(Ec 10,000 VOICES (Tk) FLEX YOUR HEAD SALARIO MINIMO VENUS FLYTRAP SOULl— SONIC WANDERLUST AURAL TENTACLES BBC WORLD SERVICE SUBURBAN JUNGLE FOOL'S PARADISE L SHAKE [H STEVE & MIKE RADIO FREE PRESS H MOTORDADDY H RACHEL'S SONG POP GOES THE I Ec I WEASEL STRAIGHT OUTTA \\^\\ JALLUNDHAR HANS KLOSS' MISERY HOUR FIRST FLOOR SOUND SYSTEM BBC WORLD SERVICE END OF THE WORLD NEWS PLANET LOVETRON CANADIAN IH LUNCH RHYMES & REASONS OUT FOR KICKS ON AIR LU WITH GREASED HAIR LIVE FROM... "- THUNDERBIRD HELL HIGHBRED VOICES PLUTONIAN NIGHTS BBC WORLD SERVICE CAUGHT IN THE RED SKAT'S l SCENIC DRIVE THESE ARE THE BREAKS m LEO RAMIREZ SHOW NARDWUAR PRESENTS FAREASTSIDE SOUNDS AFRICAN RYTHMS BREAKING Lf WAVES IN YOUR HEAD THE MORNING AFTER SHOW(Rr) BBC WORLD SERVICE THE SATURDAY EDGE GENERATION [Pul ANNIHILATION POWERCHORD CODE BLUE [rk j RADIO FREE AMERICA SYNAPTIC SANDWICH SOUL TREE 13 THE RED EYE ~B PIPE DREAMS |Hh/Dc EARWAX REGGAE LINKUP 8 9 10 ' 11 12pm 1 2 3 4 5 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 Re= reggae • Rr= rock • Rts= roots • Sk = ska «So= soul • Sp= sports • Tk= talk • Wo= world 28 april 2002 the remnants of digital sound. Unleashed, cryptic economies accelerate the sound particles through states of Becoming, breaking the flesh, whirling, hydra-head, rhizomatic sky. www.shrumtribe.com CPR 2:00-3:30PM Buh bump... buh bump... this is the sound your heart makes when you listen to science talk and techno... buh bump... LA BOMBA (First three Tuesdays of every month) 3:30-4:30PM ELECTRIC AVENUES 3:30- 4:30PM Last Tuesday of every month, hosted by The Richmond Society For Community Living. A variety music and spoken word program with a special focus on people with special needs and disabilities. THE MEAT-EATING VEGAN 4:30-5:00PM 10,000 VOICES 5:00- 6:00PM Poetry, spoken word, performances, etc. FLEX YOUR HEAD 6:00- 8:00PM Up the punx, down the emo! Keepin' it real since 1989, yo. hup: //flexyourhead .Vancouver- hardcore.com/ SALARIO MINIMO 8:00- 10:00PM VENUS FLYTRAP'S LOVE DEN alt. 10:00PM-12:00AM < loveden@hotma i I .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. 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 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! FOOL'S PARADISE 9:00- 10:00AM Japanese music FILL-IN 10:00AM-11:30PM ANOIZE 11:30AM-1:00PM Luke Meat irritates and edu- strong. THE SHAKE 1:00-2:00PM RADIO FREE PRESS 2:00- 3:00PM Zines are dead! Long live the zine show! MOTORDADDY 3:00- 5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat." RACHEL'S SONG 5:00- 6:30PM Socio-political, environmental activist news and spoken word with some music w.necessaryvoices.org POP GOES THE WEASEL 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, noise, and other. FOLK OASIS 9:00-10:30PM Roots music for folkies and non- folkies... bluegrass, singer-songwriters,worldbeat, alt. country and more. Not a mirage! STRAIGHT OUTTA JALLUND- HAR 10:30PM-12:00AM Let DJs Jindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay." HANS KLOSS' MISERY HOUR 12:00-3:00AM FIRST FLOOR SOUND SYSTEM 3:00-6:00AM THURSDAY BBC WORLD SERVICE 6:00- 8:00AM 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 inter- galactic funkmanship. CANADIAN LUNCH 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 (hardcore). THE ONOMATOPOEIA SHOW 2:00-3:00PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00-5:OOPM 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.sustainability.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- 1962 with your snappily-attired host Gary Olsen. LIVE FROM THUNDERBIRD RADIO HELL 9:00- 11:00PM Local muzak from 9. Live bandz from 10-11. HIGHBRED VOICES 11:00PM-1:00 AM PLUTONIAN NIGHTS 1:00- 6:00AM Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs and performers. http://plutonia.org 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 'n' roll debris. SKA-T'S SCENE-IK DRIVE! 10:00AM-12:00PM Email requests to t ^ ^ € w ^ & % _^ 9%£$m 29E|^S®lffi 1_ date: boo L what's happening in April SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE MAY ISSUE. THE DEADLINE IS APRIL 29. FAX SHOW. FILM. EVENT AND VENUE LISTINGS TO 604.822.9364 OR EMAIL FRI 29 vampire /imf(er@blinding light!!; torn; irren@www.shrumtribe.com; de la si \\ jirku, tobias, daniel gard- il@commodore; rye coali- SAT30 the commitrnents@commodore; gaylord@video in (craft fair 12pm-3pm; art opening 8pm); jesus Christ vampire feiin/er@blinding light!!, martin tielli@richard's; sadies, beachwood sparksk'pic; jerry holland@croatian cultural centre; new vear, pedro the lion, se,i worth vV'.'graceland; canucks vsana- heim mighty fucks@gm place SUN 31 gavlord;".'video in (doors 7: >()pm); young and sexy@zulu records (4pm); jesus clirist vampire /iwift'r@blinding light!!; neil halstead@richard's MON1 aistonwksonar; spirin.ialized@commodore; new art by Steven horwood@main TUES 2 dickin' aroiiiiil'>'\\At\\\\t\\\\i\\y, light!!; parallela improvised music series@sugar refinery; fila brazillia, mark rae@sonar; add n to x, cobra high, helio sequence, neil halstead, sid hillman@graceland (seattle); canucks@l.a. slaves WED 3 artropolis revisited@blinding light!!; assertion@sugar refinery; jp carter trio@main; giant sand@crocodile (seattle) THURS4 rock action!@blinding light!!; Christine fellows@sugar refinery; trail vs rus- sia, holding pattern@ms. t's; moka orUy®element; Lisa o'neilJ@main; princess superstar@wett bar FRI 5 the new pornographers, young and sexy, the gay@commodore; cano capo- ro/(o@blinding light!!; chris cultler and masa John anzai@western front; dee daniels and denzel sinclaire@cap college performing arts theatre; parlour steps, clay george@sugar refinery; mac pontiac@main; da capo@anza club; eels@crocodile (seattle); Jonathan richman feat, tommy larkins@showbox (seattle); canucks vs minnesota child@gm place SAT 6 cano o?/'():'()/fo@blinding light!!; georg graewe Vancouver ensemble@western front; dee daniels and denzel sinclaire@cap college performing arts theatre; new old jass band, brian Jordan from san diego@sugar refinery; thirsty@main; baby blue sound crew, choclair@commodore SUN 7 heroes and j>i7/<7i/@blinding light!!; dave mcmurdo@cap college performing arts theatre; broken crow quartet@sugar refinery; parlour steps@main; les savy fav, gg dartray@pic; beres hammond@commodore SAT 20 tony levin band@richard's; jayhawks, cash brothers@sonar; a galaxy far, far (iu»rti/@blinding light!!; jim munroe book launch (7pm), golden wedding band (10pm)@sugar refinery; heather griffin and good wood@main; jayhawks@sonar (early show); david morales@commodore; trail vs russia, vermilion, building press@pic; ivanna santilli@sonar SUN 21 vrca record and cd sale@croatian cultural centre (llam.5pm); a galaxy far, far fluwi/@blinding light!!; erik truffaz ladyland quartet@norman rothstein theatre; spoken word with trish kelly@sugar refinery; fireballs of freedom, lost goat@pic; explosions in the sky, fridge@richard's MON 22 hard rock miners@main; jack johnson@richard's; nick cave and the bad seeds@paramount (seattle) TUES 23 billy bragg and the blokes, martina sorbara@commodore; a galaxy far, far flu'fli/@blindini sugar refinery; dj brian@sonar WED 24 a galaxy far, far «i«?i/@blinding light!!; lousy bum@sugar refinery; cara luft@main THURS 25 byo8@blinding light!!; cubanismo!@commodore; frog eyes@sugar refinery; robincarrig,n — need we go on?) this slab of wax is guaranteed to blow the roof off of any party. Straight up hip-hop, funky jazz and even some sweet soul on the title cut make this little gem something wicked indeed. CD 16.98 LP 16.98 SWAYZAK Groovetechnology VOI.1.32CD/2LP Boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom click, boom boom click, boom click, boom click, boom boom click, boom click, boom click, boom boom click, boom click, boom click, boom boom click, boom click, boom click. A grea CD collection of cool leading edge minimal piled and mixed by the increasingly populai Herbert, Monolake. Luomo, Studio 1, AVAILABLE APRIL 8™. 2CD 24.98 2LP 19.98 JAPANCAKES Belmondo/Blissout CD 19.98 Take out your camera and smear a little Vaseline around the lens. Shoot into the sun and overexpose the subject. Now develop the contact sheet. While doing so, add some sand for a grainy finish. The results are the kind of haphazard magic perfectly suited to accompany the music of JAPANCAKES. Their instrumental, reverb-heavy aesthetic makes for a sublime listen, with dreamy phrases that shift in and out of focus, and gently driving drumming that holds it all together. Excellent. AVAILABLE APRIL 9™. click, boom click, click, boom click, click, boom click, click, boom click, t and hypnotic two house sounds com- ■ SWAYZAK, featuring and more. Nice. 3 INCHES OF BLOOD Battlecry Under a Winter Sun CD A couple of months ago Discorder ran a nifty article on these local lads. This month they release their full length, in response to a near sold out EP of New New Wave Of British (Columbia) Heavy Metal! Things have been happening at quite a quick pace for 3 INCHES OF BLOOD. They've travelled to the center of the Minotaur's maze, avoided the Gelatinous Cube and charmed many a Gnome. You ask: "Will my life stay the same after hearing this record?" Quoth the Raven, "Nevermore." I TfecoPhsA Zulu Records 1972-1976 W 4th 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 CD 19.98 CD 12.98 DO MAKE SAY THINK & Yet & Yet CD/LP This album could be a possible alternative soundtrack to Godfrey Reggio's Koyaanisqatsi, replacing Philip Glass' beautiful but somewhat dour work. With a Jew years behind us, perhaps Reggio's vision of urban life - a life, Reggio suggests, out of balance - could be reconsidered as also a place of humanity and variety, not just a source of possible alienation and depression. While this is a lot to place on any record, and new images would be required too, there is something about Toronto's DO MAKE SAY THINK's picturesque post rock that conjures optimistic images of city life, a perspective that contrasts with the doubtful attitude of their Montreal-based compatriots, God Speed You Emperor. A wonderful new recording by this thoughtful and capable band, even better than their last already great work, Goodbye Enemy Airship the Landlord is Dead. CD/LP 14.98 THE CLIENTELE The Lost Weekend CD Upon the completion of my twenty-first year, I sold my sister's antique kite collection and used the funds on petrol for father's recently restored '65 Oxford Cambridge. Under cover of Northern England's darkest winter nights, I set out along my highlighted route of non-A roads towards London. I could not afford to be detected by the Bobbies, and feeling like Chaucer on a pilgrimage, I made good time towards the mecca: London's fashionable Soho high streets. There, I expected to reacquaint myself with all my nasty habits, not to mention my old mate, Rupert. The first club had a band, a three piece informed by many of my favorites: The Velvet Underground, Felt and The Feelies. They were good;-1 bought a pin. That plus a few dents in the Cambridge were the only reminders of my glorious Lost Weekend - now I'm spending the summer shoeing horses for the county fair pony ride. CD 14.98 ANTIPOP CONSORTIUM Anliythmia CD/2LP l» op the top on this verbal metropolis/the city speaks with U broken beats and analogue bleeps/the futuristic black moses semantic cyber surfer schtick/saying oh shit check what that kid just did/flipped your lid with the point and click boom bip/dropped two slabs of that apoplectic hectic eclectic/rock more go-go gadgets than general electric/block rocking splenetic/and although the psuedo intellectual white music critics hated/the real heads know this joint is crazy long awaited. AVAILABLE APRIL 4'". CD 19.98 2LP 22.98 MARK KLEINER POWER TRIO Love To Night CD For all those who have been on top of the Mark Kleiner Musical Adventure (Jungle, Sister Lovers, etc), this album should come as no surprise. Mark has always had an uncanny knack for a hook, and his latest concoction, Love To Night, is ten pop-rock gems showcasing Mark s slick razzle dazzle songcraft with a stellar hand- picked supporting cast in Pete (Flash Bastard) Mills and Kurt (New Pornographers) Dahle — arguably the first summer record of 2002! CD 12.98 BADLY DRAWN BOY About A Boy CD/LP The talents of BADLY DRAWN BOY AKA Damon Gough have been hotly debated. For the disbelievers, the fact that he constantly rolls out of bed and onto the stage with his knit cap on is mildly disturbing! Pop craft (and commercial success) is not supposed to be so effortless. But why - is this not the classic signifier of pop genius? Witness Mr. Wilson and Mr. Lennon - brilliance requires hours of sleep. Some may argue that brilliance also requires one to look handsome in Jeans and a T-shirt. Ok, change the topic... How many saw the film High Fidelity (a fascinating picture about record shops as nodes for the exchange of important cultural ideas and phone numbers)? It urns out Mr. Nick Hornby's latest tidy wel is also being made into a film - this is the soundtrack! Hum in the look scruffy, and boychild you'll do fine! 3LE APRIL 9™. 6.98 LP 16.98 CORNERSHOP Handcream For A Generation CD/LP It has been five years since When I Was Bom For the 7th Time was voted a critics fave in 1997! Quite some time for a follow up to the sublime moments of Brimful Of Asha, yet Tijinder Singh knew what he was doing and managed to keep busy with Clinton and DJ sets of rare white labels. The new CORNERSHOP would have to come along at the exact moment when London's boogie parties were becoming dry and chapped. So here it is. ..13 songs with guests Noelly G, Rob Swift, Otis Clay and others! Handcream For A Generation - Rub some on! AVAILABLE APRIL 9™. CD 16.98 LP 16.98 FANTOMAS/MELV1NS Millennium Monsterwork CD This release commemorates the third anniversary of Mike Patton's IPECAC record label. In this short time, we have all been blessed by new work from FANTOMAS, Tomahawk, and of course the only real grunge band there was, The Melvins. Well cult fans, you may now collectively say 'My Prayers are Answered!" as IPECAC does the impossible - assemble and document this product of the supergroup big-band Fantomasmelvins! CD 19.98 SALE PRICES IN EFFECT UNTIL APRIL 30,2002 PLUS NEW RELEASES: PINE VALLEY COSMONAUTS- The Executioner's Last Songs CD Jon Langford returns with Steve Earle, Edith Frost, Sally Timms and others! RED- Sketchbook CD/LP- UK's legendary graffiti artist makes his WARP Records debut! PAPA M- Mac CDEP CHICAGO UNDERGROUND DUO Axis and Alignment CD Various- NOISE POP CD- w/ Neko Case, GBV, Flaming Lips and more! HERBERT- Secondhand Sounds 2CD/3LP BREEDERS- Off You 10" A limited vinyl only release! ALFIE- A Word in Your Ear CD Delicate folk pop from the British Isles. ANTIBALAS- Talkatif CD/LP INTERNATIONAL NOISE CONSPIRACY- Up For Sale CDep Various- YOU DON'T NEED DARKNESS CD A comp featuring Kevin Shields (MBV), Pastels and more. rw— if MUSIC IN THE AFTERNOON SUNDAY APRIL 7 @4PM L£EHU1ZUUU( andCOUAPSING LUNG Lee exhibits his new wort 'She Cane From the Murky Light* and then offers some guitar improv. SUNDAY APRIL 21 @4PM STREAM) Crate diggm' tutorial and MPC beats. SUNDAY APRIL 28 @4PM RADIOGRAM Ken Beattie's burned out country jam band visits the shop!"""@en ; edm:hasType "Periodicals"@en ; dcterms:identifier "ML3533.8 D472"@en, "ML3533_8_D472_2002_04"@en ; edm:isShownAt "10.14288/1.0050703"@en ; dcterms:language "English"@en ; edm:provider "Vancouver : University of British Columbia Library"@en ; dcterms:publisher "Vancouver : Student Radio Society of the University of British Columbia"@en ; dcterms:rights "Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca"@en ; dcterms:source "Original Format: Student Radio Society of University of British Columbia"@en ; dcterms:subject "Rock music--Periodicals"@en ; dcterms:title "Discorder"@en ; dcterms:type "Text"@en ; dcterms:description ""@en .