DISCOR november 2001 that magazine from citr 101.9 fm free

almost transparent blue

ursula rucker

vandana shiva rebecca godfrey 31 knots mike patton and more DER 2 november 2001 SONSR 66 WATER STREETVANCOUVER CANADA

Events at a glance:

WEDNESDAY NOVEMBER 7 G-NIOUS DJ BATTLE/EBONY & IVORY SOUND CREW @ GRANDE $6 all night long, students free before 11pm. SATURDAY NOVEMBER 10: HOUSE OF VENUS & BIGTIME Present DJ SPEN (BASEMENT BOYS) @ INSIDE flfflM.!»^

SUNDAY NOVEMBER 11: SPECIAL SUNDAY SESSIONS open til 2a Just because we're losers doesn't mean iented by Bo that we don't put in an effort! ^r^TJWfl SILENCE, WOOD, &UNK Marc Crawford: FRIDAY NOVEMBER 16: 31 Knots by Jane and James p.l Christa Min " nTHEBIGSHMOOZE Rebecca Godfrey by Doretta Lau p. 12 Brian Burke: Vandana Shiva by Thomas Hicks p. 13 Barbara Andersen ry Friday aft Mike Patton by Naben Ruthnum p. 13 Jetone by tobias p. 14 Reg Dunlop: xwer, drink specials. Almost Transparent Blue by Steve Dipo p. 16 Steve DiPasquale SUNDAY NOVEMBER 18: Ursula Rucker by Maren Hancock p. 18 Daniel and Henrik Sedin: Lori Kiessling and Matt Searcy 2GUERILLA, XLR8R & CITR Present MR. SCRUFF (Ninjatune/Manchester) Box Office: J-!ay. R —"- Ann Goncalves Markus Naslund: Doretta Lau TUESDAY NOVEMBER 20: The Enforcer: PHATT PHUNK Presents PETE TONG (Essential Mix, RADI01) Vancouver Special p. 4 Donavan Brashear n confirmed. Pete will finally I Strut, Fret, & Flicker p. 5 Would've designed much better Fucking Bullshit p. 5 third jerseys: 7" p. 6 Mike Payette, Scott Malin, Andrea Nunes, Black Ding Dong, Jay Panarticon p. 10 WEDNESDAY NOVEMBER 21: Over My Shoulder p. 7 Douillard, Michelle Furbacher, GHOSTFACE ALBUM RELEASE PARTY @ GRANDE Culture Shock p. 7 tobias, Ben Lai Radio Free Press p. 8 Stats and Scorekeeping: before 11pm. Kill Your Boyfriend p. 8 Mark, Lucas TDS, Mark Rossi, Kiran THURSDAY NOVEMBER 22: Under Review p. 19 Dhanoa, Dave Fisher, Samantha, XLR8R + NORDIC TRAX Presents STACEY PULLEN (Black Flag, Detroit) DJ Profile p. 20 Mike Barter, Alexander Real Live Action p. 23 Play-by-Play: 1'—nd. No r Charts p. 27 Bryce Dunn !MA''.'jJ,»'tl^i^k^lC ii On the Dial p. 28 Colour Commentary: FRIDAY NOVEMBER 23: Kick Around (comic) p. 29 Luke Meat Datebook p. 30 Scheduling: wits DJ KRUSH (Sony, Jpn) @ SWITCH Sara Young Booster Club: Carolyn DiPasquale Trainers: The Ubyssey MONDAY NOVEMBER 26: Distribution: CAFE DEL MAR presents JAFFA - Live! Plus DJ BRUNO + NAPPY G Look, it's Jetone made pretty by Lori K lin9' Matt Steffich Thanks to friendly little Jerry, too. Cheering for team USA: Maren Hancock I^HgJBBgiHHlBB^^Mi Orca Bay: Linda Scholten FRIDAY NOVEMBER 30: SONAR Presents SWITCH - THE NEW FRIDAY NIGHT © "DISCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advdnce, to Canadidn residents dre $15 for one year, to residents of the USA ore $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag­ azine. ... DJ FOOD/DK/BONOBO/FOUR TET (12/6), DJ HEATHER (12/15) ai DEADLINES: Copy deddline for the Jancember issue is November 21. Ad spdce is available until November 28 and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are ovdildble MONDAY: LUSH - SEXY HOUSE FRIDAY (6-9) - THE BIG SHMOOZE upon request. DiSCORDER is not responsible for loss, ddmdge, or any other injury to unsolicited man­ uscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies), WEDNESDAY: AFTER WORK SOCIAL or any other unsolicited material. Materidl can be submitted on disk or in type. As always, English is GRANDE: R&B, REGGAE, HIPHOP FRIDAY - SWITCH - HIP-HOP preferred. Send e-mail to DiSCORDER at [email protected]. THURSDAY - WEEKLY ROTATION SATURDAY - INSIDE - FROM HOUSE OF VENUS From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as SPECIAL EVENTS SUNDAY - SUNDAY SESSIONS - DRUM'N'BASS through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.citr.ca or just Open: 9pm-2am pick up a goddamn pen and write #233-6138 SUB Blvd., Vdncouver, BC, V6T1Z1, CANADA. Club: [604] 683.6695 printed in Canada READYMADE THE FALCONS Cracker and Knock Down On Point and Red Rebel Jukebox Ginger, now publisher of (Endearing) (Falcon Beach Music) www.sugarbushmagazine.com It's been almost five y If Readymade makes you feel and pick-up bassist for about a Readymade's previo»u s long- generally dreamy, The Falcons zillion Vancouver bands. player (called The Dramatic are aiming for something more Somehow she's found the time Balanced), but fans of the first specific: their surf instrumentais for this project too, writing all release don't have to worry are apparently meant to trans­ the songs, gathering together about radical changes—the port listeners to an imaginary musicians who seem just as band is still delivering the pen­ beach in a past time. And while busy as she is, and she designed sive, melancholy, dreamy, the Falcons may have spent just a darned stylish CD package. understated, pretty, and yes, i their CD a: The resulting eleven tracks remind me only a little bit of Manitoba's Endearing label. On the -take, 1 Knock Down Ginger—the fre­ Point and Red arrived at the per­ primitive (although somehow quent layered harmonies and fect moment for me—a stormy squeaky-clean) kind of feel to basic guitar arrangements of fall day when I came home this recording that is well-suit­ that band are replaced on the from CiTR carrying a soaking ed to the genre. There are no best Thermos songs with a more wet plastic bag jammed to split­ fancy effects or studio trickery complex (yet still catchy) sound ting with a couple or dozen (!) here, and not even as much that puts together elements like CDs to listen to. Readymade echo as you might expect, but keyboards, electric and acoustic- seems designed to calm down just 13 straight-ahead guitar- guitars, various sampled even an overloaded, grumpy and-drum-driven originals, as sounds, huge Zeppelin-esque reviewer—pop this into the .•ell ,i e class drums, and a "Tomorrow Never machine and you'll instantly the band is joined by a former Knows" Beatlesy kind of psy­ feel ready to settle in with a hot member of the Fentones. Some chedelic grooviness. On the drink and fluffy quilt, (by the of the standouts: "Half Nelson" tracks where Wilkinson harmo­ end of the 20th track you might (with its huge drum solo), the nizes with herself, something just feel as if you've been prac- energetic "Jokers Wild," and of dark and assured comes that "The through in the songs. Where she sings alone, her voice is either a tapping Mini." ids- little tentative and wobbly, or made coming through th< perhaps honestly, girlishly, vul­ speakers: this could be the per THERMOS nerable—contrasting sharply against the carefully crafted, feet soundtrack to a dark winte Tourmaline and cool, instrumentation. evening in Vancouver. (Swell Sounds) www.thermos.net www.readymade-yvr.com Thermos is fronted by Annie [email protected] • [email protected] Wilkinson, once of Zolty

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4 november 2001 THE PLUG HOLE I once overheard some male FUCKING BULLSHIT! strut, fret, and friends discussing a falling-out they'd had with one of their y favourite Rolling realize that Curt Kobain isn't flicker mates. They put it down to Stones album is Let it around anymore. He was a "that Yoko thing." I knew right MBe. I mean, if I had to musical genius. Just like Ian away what they meant. One of choose, but no one would make MacCurtis. I don't like New their number had taken up with choose because who really Ordered as much as I liked Joy Division. It's a totally different a woman whose life was so es about the Rolling Stones band. But even more than Joy NON-EXTENSIVE COVERAGE shag on the floor with the feroc­ couple—and the hideous affair strong and inspiring that he lanymore? Mike Jagger is really Division, I adored In Excess. OF THE VANCOUVER INTER­ ity of starving animals. We climaxes in a kind of exorcism was spending more time in her old and ugly. He's always been ugly, but now he's old. I have to They were an amazing band, NATIONAL FILM FESTIVAL never find out how this in the tenement where it's set. world than in theirs. Or maybe admit that he has quite an ass. I and they were at their peak arrangement began; only that it Refreshing might seem an she was just a controlling and |don't mean that I want to touch when Michael Hutchance com­ BERLIN BABYLON can't continue in the same way odd word to use in the same manipulative bitch. Who because it turns me on, I mean mitted suicide. It's really too (Germany) once one of them starts to ques­ sentence as Svankmeyer, but knows? The interesting thing that if you just had a picture of bad. Anyone fascinated by the evo­ tion what it all means. goddammit, he is. He taunts was the phrase itself. The fact squeamishness with scenes ss, with pants on of course, lution of cities should see this The i that that Yoko Ono's name was still But I don't only like bands which would, after all, be quite tight ones, you'd never guess that aren't together anymore. extraordinary documentary. strings fucking can lead to attached to a syndrome so at home in our dreams, and that he was as old and ugly as I'm a huge Sonar Youth fan. Using footage gathered over the unexpected emotional attach­ many years after her liasson frames his child actress in ways he is. His daughter, Liz Tyler, They've been around for years, decade since German unifica­ ment when you keep doing it with John Lennon says much which most North American in amazing ass, too. I wish I and they've never broken up. tion, it follows the remaking of with the same person hits both about the demonization she directors would shrink from in an ass like that, all round Well, I guess the drummer, Bill the once-again capital on a scale of them hard, but it's particular­ was subjected to. Her prolific frighteningly close to that of ly heartbreaking to watch Jack's knee-jerk discomfort. By cut­ and like a pillow. She's a beauty. Berry, got cancer and left the career as an artist had been who really cares because Baron Haussman's redesign of emotional constipation shake ting to the girl as she studies the band after that, but they're still going on long before all the she's not a rock star. So I don't Paris in the mid-19th century. loose. Rylance gives a perfor­ source story in her book of fairy going strong as a trio. I also love Beatles-related press and her about her or her pops. Like Patrick Keiller's unfor­ mance that's simply monumen­ tales, Svanlcmeyer also seems to The Cure. Technically, they're work was so off the radar that I care about great bands gettable London (reprised at this tal. In fact, everyone is great be suggesting what the child still a band even though Robert even some of her contempo­ like Pavement. But they broke year's fest), it manages to be here and Marianne Fathfull is a already knows: that in times of Jones says that Bloodflowers is crisis, myth is the best guide. raries in the avant-guard art up. Still, good old Steven both factual and extremely special treat as Claire's wise and going to be their last album. world dismissed her as a flake. Malkmust is still doing his poetic. The camera pans the ballsy friend sailing gloriously I guess my absolute As a performance artist, she's thing. It's just super. I mean, I crumbling facades and still ele­ through late middle age. WALK BACKWARDS favourite new band has to be an undisputed grandmother to loved Busker Du, especially gant spiral staircases of old The Strokers. I think they're just Explicit and crazily intense (British Columbia) the current generation of practi­ their first album, Zen Arcade, fantastic because they sound blocks of flats like a caress. The as the sex scenes are, director I spent a good part of this one tioners. nd it's really too bad that they exactly like the Velvet Ground red and yellow S-Bahn snakes Patrice Chereau makes them wondering whether it was just The reason I'm chatterng broke up. I can still appreciate and Television, two of my all doggedly through the seem extremely private—as if plain bad or really good in a about all this is to draw atten­ Rob Mold's solo stuff. He's still time favourite bands. The upheaval. We know these you've walked in on the couple way that I hadn't yet grasped. tion to a play opening mid- a punk rocker. He's keeping it Strokers do bring their own things are doomed, and the and feel totally superfluous. Local actor and first-time direc­ November at the Firehall Arts fresh take on rock music, demolition explosions come at After a while, they don't so tor Laurie Maria Baranyay told Centre. The Yoko Ono Project, though. And that's why I like us like terrorism coverage. We written by Jean Yoon, uses per­ At least those bands didn't hear planners and architects [break up because someone them. Sure, they're young, but formance art to illuminate Yoko so am I, and I have to admit, for discussing the problem of new­ Ono's life, work and stigmatiza- killed himself. I loved Nirvana, We know these things are doomed, land I still do, but it really sad- a young buck, I sure know a lot ness ("It needs time to become tion, In it, the lives of three dif­ jdens me to listen to Forget It and about rock and roll. • real") and of what to do with ferent Asian-Canadian women some of the butt-ugly stuff and the demolition explosions come at are forever changed when they thrown up in the Soviet sector fall into Yoko's world. At this during the 1960s (now dubbed us like terrorism coverage. poin, I don't know anything "East German Modernism"). more about the production, but And there's some astounding it has the potential to be one of footage of the massive rave held the most fascination shows this a while back on the newly re­ much arouse, as elicit empathy. us that this tale of 24 hours in fall. It runs November 15-- opened Potsdammer Platz. As a setting for Hanif the life of a terminally messed December 8. Call the Firehall at The political implications of Kureishi's stories, London is up young woman was her 689.0926 for tickets and info. DREADLOCKS reconfiguring a city are insidi- like a big, patient container for story—and I subsequently Speaking of performance i the of o everyone's folly—all warm and shuddered in sympathy. art, the LIVE biennial is a whole lumbering, anarchic and hip— Flicking through a mental festival full of it. It;s been going Want 'em? Got 'em? and the soundtrack is perfectly checklist of as many of the on since mid-October andyou way, but filmmaker Hubertus bookended by the moody beau­ Dogma rules as I could recall still have four weeks to check Siegert remains admirably ty of the Tindersticks and helped to explain away some of out performance which either objective in letting what he's David Bowie. The film left me the technical eccentricities— combines genres or defies genre documented speak for itself. feeling upset, randy and grate­ such as the hand-held frenzy of labelling altogether. One of the He does, however, allow him­ ful as hell. the cinematography, irritatingly things catching my eye is self one beautiful indulgence odd camera angles and the Catwalk Envy: A Subverted Dreadlocks when a poem called "The Angel LITTLE OTIK reliance on available light (at Runway Show. As well as of History" slices through the (Czech Republic) times almost non-existent)—but being an actual fashion show of ?' to tottom of ea: $120.00 film like a runaway scene from The opposite of Disney is Jan didn't make it any easier to at toshoJder lenglfi: $140.00 local artists, it also includes a Icngsr than shoulder length: $150.00 Wings of Desire: "...He stands Svankmeyer. In his latest mas­ watch as protagonist Mikey piece critiquing NAFTA. That's Also included is a free jar of ar tread wax with his face to the past. His terpiece, the captain of the sur­ (played by Baranyay herself) at 9pm on November 9 and 10 a bar of our all-natural shampoo for after-c. mouth is agape... What we see real again mxes live action and kept turning the other cheek to at the Western Front. Also at the (a $23 value!). animation—this time, to bring a physically and emotionally Front on November 16 at 8pm, single catastrophe." Czech fairy tale to life. abusive males while mewling are two spoken word operas, Maintenance The fable seems to concern her lines inaudibly through a Empire and Au Pair. The for­ $50/hr. (aiotofm INTIMACY a pact with the devil, but one ridiculous, face-obscuring mer is an allegory about a big (Great Britain/France) that's more psychological than blonde wig. Much of the dia­ corporation and the latter looks Only Europe could handle sex, consciously Faustian. The hus­ logue was so over-the-top as to at European child-care workers emotion and the kamikaze con­ band of a childless couple be literally unbelievable. The and their affluent American nection between the two quite carves his wife a doll from a tree process of her awakening and employers. And you'd better like this. The UK/France co- stump which she, in her grief, redemption was more satisfy­ shake it or you'll miss David production turns out to be a for­ takes to be her real baby. ing, though—possibly because Young (a.k.a. Yellowboy) in tunate pairing, with graphic sex Against strong misgivings, he it's less difficult to recreate a Yello Diablo, which he getting the unflinching Gallic allows the deception to pro­ process than to convincingly describes as "equal parts treatment and emotion given ceed, and the stump, looking portray a condition of dissolu­ wrestling and sound assult." the reined-in but ultimately gut- fetching in bib and soother, tion and chaos. It's at Access Artist Run Centre raking depth of the Brits. comes to monstrous life. I've still not quite decided if on November 2 at 9:30pm. The sex between Claire As in many allegorically Walk Backwards is a go or a no, For more info on LIVE (Kerry Fox) and Jack (Mark loaded children's stories, the but in the end that's less impor­ event call 875.9576, go to Rylance) is casual only in the catalyst for unravelling the tant than the fact that Baranyay www.livevancouver.bc.ca or no-strings sense. Every Wed­ whole mess is a wise and intre­ has made a brave and stubborn­ be righteously analogue and nesday, she comes to his bleak pid girl-child—in this case, the ly personal film. Once seen, it pick up a brochure from South London gaff and they daugther of a neighbouring can't be dismissed. somewhere. • (Green Day), Dan Panic The Lobby." Say again? Also the folk in different pyjamas. Based (Screeching Weasel), Jason B-side, "Flight Of The Wounded upon simple repetitive patterns, White (Pinhead Gunpowder), Locust," makes me feel like I'm but in an upbeat and playful and Doug Sangalang (One trapped in an old Colecovision way. (Horizontalist Records, no address given, maybe under the assumption that you can get it by bugging Stereolab them­ THE selves, at www.stereolab.co.uk). FLAMING Come to think of it, I would sleep, period, if I listened to Beginning with a couple and The Flesh STARS THE BUTCHIES every night entries from Alternative punk with lly before bedtime, two tracks of Tentacles Records (PO Box humourous stre dual vocal, female pop AB withzzzzzzzz... oh sorry. (Mr. 419092, San Francisco, CA On the opposite end of the Lady Records, PO Box 3189 94141-9092), the first is a split spectrum, or should I say the Durham, NC 27715) Next between THE FLESHIES and opposite end of the smoke- month, a sackful of Christmas VICTIM'S FAMILY, both with filled, bourbon-drenched bar, coal (I hope not)! • a decidedly heavy bone to pick tinkering away on a rag-tag with the world. Victim's Family piano and crooning songs of sound like Gwar on a bender, lonely nights and remembering John Lee Hooker, is where you'll find THE FLAMING STARS. Bottom's up. Heads up, THE FLASH EXPRESS have figured out who stole the soul from the rest of us on a two-song testimonial channeled straight outta the garage. 1 shoulda known this ild be c< ,'lron inn with ex-members of The Countdowns, still exorcising Time Angels). Impressed? Then game gone horribly wrong—the those James Brown flashbacks, go get it, chum. (Lookout soundtrack to my video night­ I see. (Revenge Records, 5835 Records, 3264 Adeline St., mares. (Gold Standard Harold Way, #203, Hollywood, Berkeley, CA 94703) Laboratories, PO Box 178262, CA 90028) favt San Diego, CA 92177) "Am I On My Own" is a nth is San Diego's most mis­ I would sleep a lot better at song from the new platter from understood malcontents, THE night playing THE HORIZON- If you have a better mullet Jesse Michaels, aka COMMON LOCUST. They win top prize TALIST before bedtime, visions than Patrick O' Hearn, for the shortest songs of sci-fi RIDER. Evidently not, as this of old '70s European soft-core you can win his record! former Operation Ivy front thrash coupled with the longest flicks (as the song "Sudden titles to describe them, e.g. Death Overtime" demon­ Send pictures to "Alas Here Come The Hypo­ strates), dancing through my discorder@ •Uh Billie Jo< chondriacs To Wait with You In head, performed by Stereolab club.ams.ubc.ca

6 november 2001 this, or we shall stagnate like make money out of sensational- question: is that enough? molluscs in a urine-filled swim­ istic stories, only this time it's We can all take differing ming pool. The fact is: a couple driving us to a World War. The views. Thank fuck we can. One "religious fanatics" could not fact is: this can only lead to can call the name of "defence" pull off the massive terrorist act more tumbling bombs and guns as if it were the name of a lover that happened in NY. It was a and slow motion collapse. The at orgasm, and one can invoke calculated attack. Is anyone fact is: war is wrong. The "justice" as if it were something really questioning the motives Muppet Shotv and Sesame Street simple and easy: a paid tor behind this act? It was not just told me so. And why would blowjob. And some can jerk-off a random act. The fact is: the US they lie? the words "political extrem­ has been (implicitly or explicit­ Everyone else seems to ism," or "terrorism," or "reli­ gion," or "capitalism," or any AMERICA'S NEW WAR! about anymore. difficult to catch, people have ly) involved in many Terrorist have a reason to lie. Except The multitude of words that are WITH 12 ESSENTIAL She once mentioned the being trying to send it in pack­ Acts in South America, else­ Muppet Show. Ironically, even nothing more than the sperm of VITAMINS desire to escape, but the rope ages for years, and very well where overseas and even on Sesame Street—the epitome of a one ideology or another. But AND NUTRIENTS held her strong, though she did lie, all felt and material, robot this does not stop the fact that have a dilemma, dear read­ pull at the peg and gnaw at the hands and plastic eyes—seems violence is wrong. That this is ers. A horned one, with a chain around her. After the to be the only one that never not the right way. That mastur­ soft coat and poisonous struggle she looked like a sick broke our hearts. They still tell I bating words do not make for a blood. I keep her chained up in puppet, rope and limbs mixed me it's wrong to hurt others, pleasurable action. my backyard, and while she up and oddly shaped. Anthro­ that it's wrong to lie and cheat. doesn't mind the rope and pomorphic. And that counting and spelling Perhaps we were all raised restraint, it's the rain that really The problem I have, dear and learning can be fun. And by idealistic Muppets, some gets to her. When she speaks, readers, is whether or not to that there is nothing wrong hippies that lived on a street she speaks in tongues and mention her at all. We have with purple skin or bright pink called "Sesame" with bright sometimes I cannot make heads been inundated with news of hair. Or Muslims. Or Ameri­ colours and an urge to count us, nor tails of her intentions. I have tumbling explosions and the cans. And even monsters and laugh and eat cookies and tried to ignore her, but especial­ gaunt faces of children. And do deserve a chance. ruffle us under the giant yellow ly since the Gray of Winter I lay my two cents down and I fear we've all become the wing of a beautiful, giant long- moves in faster and faster with speak too? Or do I politely skirt fanatics, some simply crying necked bird. Perhaps these are each day, it has become harder around the issue and instead "peace" and some rubbing their simplistic thoughts, which real­ to block out her sounds. speak about fags and sex and a crotch at the thought of war. ly amount to nothing but sex On particularly cold days, sickly sick culture? Because, We've all become the right wing, with puppets, in the sense that she is louder, and today, she is really, when it comes down to although I might suggest that their reality is as comforting as almost speaking in a human it, it's all about fags and sex, the people who read this maga­ the hand of some other body on voice. She's talking about isn't it? Isn't it? zine are perhaps a little more my back. bombs and guns and war, and In the long run, I went sane than those that read snotty Yes, we can laugh. Yes, this says something about the frag­ against my duty of slashing cul­ rags filled with the green snot of is odd, and yes, this is true. But ile state we are in, how we can ture in favour of random ram- may have succeeded, though this great sensationalism and capitalism. I want that now. I don't want this feeling that the world is still laugh and where's the com­ blings. I began with a list. I those that became ill may have and should deal with their track But while we sit and criticize the wrong. More wrong than it was. passion in that? My brother figured if 1 was cool enough to never known the real cause. record before moving on to people sitting next to us on the bus or stand and say, "What a And getting worse. How could heard her speak about injustice, get my ass a column, then 1 am Let's not panic. The fact is: other countries. The fact is: the but my father thought she said disgust, what a crying shame," the same TV that once gave us going to do whatever the fuck I planes have been hijacked Taliban is a repressive regime, "justice"—as if it were a word or point at the TV with a sharp love can give us this hate? What want with it. Here is my list. before, they will be hijacked yes, but this is not the right way. any one of us knew anything finger and say, "Lies!" I have to kind of a parent is that? • The fact is: anthrax is very again—we cannot live in fear of The fact is: TV and newspapers

only know how to interact by creator of zine The Makeout collection of lyrics and poems perpetrating acts of violence. Club, decided to put together plus a CD. I was unsure Maybe it was supposed to be her own festival, "Crash," in whether I would enjoy the ironic and ever-so-funny, but all music and I wondered how the it served to do was highlight the poems would sound. My fears stereotypes we have of Asians were put to rest; everything that in North American society and occurred onstage was great. in film. My disappointment (Offstage during intermission, with the trailer stems from my the schmoozing was too much perception of the festival as a to bear.) site of cinematic exploration Why I Sing the Blues Brad Cran opened with a the present? It's time for stu- val that I found offensive. It beyond mainstream expecta­ reading from Ceist on the blues, dents, professors, and curators went like this: the theme music tion. In the films shown, the which had everyone laughing. alike to let go of our over- from Casablanca runs under, characters—Asian or other­ The Bill Johnson Blues Band he heater in my room is whelming sense of entitlement Two Asian lovers enter a train wise—have space to grow as successfully set a number of the finally working, but I am over these artifacts. While pur- station. One is gripping a single human characters, rather than poems to music, bill bissett Tstill a cold, angry person. as predictable Hollywood was his usually eccentric self Aside from the unnecessary drones. and his performance was more violence being unleashed upon In other distasteful festival Violent Femmes than it was innocent Afghani civilians, this But as the pair approach each other, they pull out big news, there were trailers that blues. For me, Don McKay was month several things irked me, exploited images of poverty for the highlight of the evening. His including the ever-apparent swords and start screaming in "Kung-Fu language" laughs. Were we as audience poems transcended the form corporate takeover of arts festi­ members expected to be so 1 and sang not because of the vals and my trip to UBC's while the VIFF slogan "Same Planet. Different complacent that these images musicality of the structure, but Museum of Anthropology. would be palatable to our target because of the quality of his If you haven't thought Worlds" flashes across the screen. Surprise! They market, middle class taste words. about it, the Museum of buds? Was the "otherness" of The entire time, Brad Cran Anthropology is filled with arti­ aren't lovers but shifty Asian folk who only know the "violent Asians" and "stu­ reminded the audience that facts stolen from First Nations pid poor" supposed to make there was a book available. Why families. All this is done in the e feel n I Sing the Blues also features name of academia; the museum how to interact by perpetuating acts of violence. s left think- order to give young writers the such CanLit masters as Fred is spindoctoring the ill-gotten exposure they deserve and Wah and Loma Crozier. Seeing gains of colonization into "a programming is great, while the young readers the material that the poems on paper allows for learning experience for the pub­ suing knowledge, we should rose. This seems to be a roman­ underlying corporate interests most relates to their lives. The a sense of the form, though lic." Another problematic issue not perpetrate the very crimes tic tryst, a rendezvous between three-night event took place at some of the poems don't adhere is that the museum is based on we claim to abhor. two people who haven't met in Speaking of corporate inter­ the Sugar Refinery and due to to blues constraints. the hypocritical idea that the In addition to museum the longest time. But as the pair ests, the Vancouver Inter­ its success, Kelly plans on Why I Sing the Blues—the colonizing forces that disman­ going, I had the privilege to approach each other, they pull national Writers and Readers expanding "Crash" next year. book, the accompanying CD, tled the First Nations' way of attend the Vancouver Inter­ out big swords and start Festival took place once again. Despite my cynicism and and the launch—was the per­ life are the only forces that can national Film Festival. So, I did­ screaming in "Kung-Fu lan­ This year, with the exception of support for "Crash", I still fect antidote for my month of "save" First Nations culture. n't read as many books as I guage" while the VIFF slogan Smoking Lung Press, attended the Writers Festival discontent. It made me remem­ When are we going to stop say­ usually do. I actually left my "Same Planet. Different Vancouver's small presses launch for WHY I SING THE ber what is good about festi­ ing that the colonial damage apartment and dealt with peo­ Worlds" flashes across the failed to place authors in the BLUES (Smoking Lung Press) vals, even when they are was done in the past and take ple. But alas, before every film, screen. Surprise! They aren't increasingly star-studded line edited by Jan Zwicky and Bran backed by corporate interests. • responsibility for our actions in there was a trailer for the festi- lovers but shifty Asian folk who up. In response, Trish Kelly, Cran. Why I Sing the Blues is a through the better part of their but a better listing of those project to cover what you are day to receive round metal involved might have been a passionate about. If you build it, objects and pieces of paper to good thing. they will come. Just have some trade for things they could have A fun little indie product tissues nearby. spent a couple hours hunting called RENF (renfmaga- Here's a weird phenome­ for.... Oh well. Some folks have non: A zine that has been on to spread the discomfort they hiatus for six to seven years but feel to the next batch of peons. raises its fierce noggin once There's also an interesting piece more. ADVERSE EFFECT (PO on Canadian Tire money as a Box 63, Heme Bay, Kent, CTU viable currency (I never real­ 6YU England) Volume 2, #4 ized!) and a biting commentary nother month of post which comes to us from our Spaceman and runs the No was released last year but is on the evils of managers: "At "attack-on-democracy" American pals in Seattle. This is Media Kings website. Damien making it to local shelves at pre­ most jobs, managers just have living. How wonderful Jurado has been doing home sent. If you like your music and A to keep track of who came in 10 media coverage highly inde­ it is to see how the corporations recording, writing and whatnot. minutes late that morning." are not letting the terrorists win. In Little Engines he donates pendent, honestly vicious, and (Thankfully the managers No, they're fighting evil by get­ some of the transcripted mes­ generously compiled, you where I work are saints, okay?) ting good, God-fearing, patriot­ sages he's found on recycled should grab this up. Editor Anyway, all that and more in ic North Americans to get out answering machine recordings. Richo and a group of cohorts this beautiful little production. there and buy stuff (or in some Nice stuff. Included also are deliver what I could compare to Turf held its fifth birthday cases, like the airline industry, comics by Zak Sally and Al a hybrid of zines like Ptolemaic party at Ms. T's on the 6th of getting governments to bail Burian, other articles by David Terrascope, Angry Theroean, and October [see show revieios] and their asses out). I certainly hope Drury, Gerald Beckman, [email protected]) issue #2, is Negative Capability. This issue hosted a fine zine display area you are not falling behind in Susannah Felts, Adam Voith, subtitled "The Story Issue." The includes Mr. Brinkman of where folks could flaunt their this regard. You've seen the ads, and Andy Jenkins that make stories are clicked-out on a Kompakt label/shop/distri­ publications. I picked up BUT- right? It's time to prove your Little Engines one of the most typewriter, errors included and bution, Finland musician TERFLY DREAMS—A BOOK loyalty to the capitalist system welcome new reads this year. white-out avoided, just x's over Ektroverde, Noise makers OF DREAMS (Pregnant by doing your part to fight the Evidently issue #2 is available the fuck-ups. And the tales? Not Contrastate, and an informative Embryo Productions, Box 694, enemies of freedom. Buy some­ now also. bad at all. Stylish, low-fi comics piece on JG Ballard. 185-911 Yates St., Victoria, BC thing! Here's where I tie this in The much anticipated TURF are plentiful and amusing too. Thanks for reading, or am I V8V 4Y9) and was much enter­ with the article; since one of the #5 (1125 Pacific Drive, Delta, BC It's always a good thing when­ being presumptuous? I'm start­ tained by the lovely comics, and main reasons for setting-up V4M 2K2) zine/chapbook is ever someone takes the time to ing work on a new Speck a few written pieces, all based camp on these shores (killing now available. Once again make themselves the media. fanzine soon, so some good on dreams by the artists. perhaps millions of the previ­ in the digest form like The Andrea, Joe, Randal, Barb, et al, The same can be said of the contributions are welcome. Tell Scenarios appear and re-form as ous inhabitants and starting the Baffler and Hermanaut, and it fill up this "bedside compan­ small and spotty little zine me something about your only dreams can, in very surreal whole revolution thing) was to offers many of the fictional and ion" with fascinating ideas and called STABBED IN THE favourite pet. You can contact ways. It's one of the weird have the option of a "free odds and ends inclusions that opinions. In response to last FRONT (stabbedinthefront@hot- me at [email protected] things about being human, I press," it's our patriotic duty to said periodicals sport, but with issue's "Youth Pension Plan," mail.com). Former issues have for just about anything since I guess, understanding that go out and buy zines! May I some familiar Puget-sounding an incensed reader writes a shown some humble potential know just about everything, of another's dreams are nearly suggest a few.... names—Jim Munroe, for windy rant concerning the cor­ but issue #4 takes on a decided­ course. Remember that I'm way impossible to fathom or control. While I usually try to stray instance, has been writing for ruptness of such brainstorming. ly odd structure, acquiring all more patriotic than any of you Here's a big compilation of from any glossy material, I have Seattle publications tor some I'm sure if we were to go back its contents from email. assholes too, so get out of my those nocturnal visions set to to say a little something about time. He's the author of the in time and tell a caveman that, Apparent-ly anyway. I would comic and type. Mind bending, LITTLE ENGINES issue #1, lauded book Angry Young one day, someone would work urge anyone considering a zine

Limits is a history and critique to get caught up in his writing FORMS STRETCHED TO of Plastic Man and the man style. Spiegelman has a genuine THEIR LIMITS!: JACK COLE behind him, Jack Cole. (Plastic love of Plastic Man and his kill your AND PLASTIC MAN Man was a comic book super­ wonder and excitement about Art Spiegelman and Chip hero that Cole used to challenge the art is contagious. Every Kidd the genre in the '30s.) Written design element in this book has boyfriend (Chronicle) by Pulitzer Prize winner Art been carefully calculated. It's I gotta say, this book is a true Spiegelman and designed by the genius of Chip Kidd. This is comic fan's wet dream from its Chip Kidd, this book is stun­ a gorgeous book. colourful size down to its ning. There are almost complete unorthodox plastic covers. From experience I know reprints of impossible-to-find THE SYSTEM resplendent with strippers, is intricate and detailed. The Plastic Man issues in breathtak­ Peter Kuper gumshoes, suits, and skaters. ing full colour. I'm a sucker for (Vertigo) The story lines weave and jum­ chockablock with hidden books that have a lot of visuals Back in 1997 Vertigo published ble, culminating in one big design and symbols. You stare, to back up what they're talking a three-issue miniseries by Peter crash: it's the only way for the immersed in one section, only about. Plastic Man is an interac­ Kuper called The System. When to find your eyes travelling to tive, bombastic, crazy, goofy, I first saw it I marvelled at its another bit of the puzzle. Like a wavy, silly, fly-all-over-the- beauty and was surprised by its well-running system, all things place kind of guy and you need violent honesty. are presented as being in perfect to see every little detail to feel it. Reading The System now is With Kidd's design savvy this like a familiar nightmare. If you The art is chaotic yet book all but knocks you over. haven't read it yet, you need to refined, soft and furious, explo­ I really enjoyed this book be schooled. "The System" sive, concise, and tempered. because I didn't really know referred to is the cyclic route of Kuper is conducting a sympho­ much about Cole to begin with. life, as well as the system ny. He also uses every possible So it was like, "Yay! Something money creaies. Each panel has a visual aid to get his message new to learn about and clue relating to another part of across. Symbols weigh heavy, oooooooh look, it's so pretty." the story. A camera follows broadcast with media familiar­ This book was completely each person after every ity. Newspaper clippings and enjoyable on all levels, much encounter, a la Slacker. A money fly. Tattoos and graffiti like Plastic Man. • screaming face becomes the segue into each other. With the gaping entrance to the subway. intensity of a modern day war A spinning Saturn becomes a poster, Kuper's The System is listen to the dying man's eyes. iconoclastic and utterly stun­ Kuper creates these seem­ ning. Though it's all been said onomatopoeia ingly unrelated tableaux to be system to stop. It's engrossing, and done before in this day scrutinized and explored. The fluid, and everyone gets their and age, I find that Kuper does show every great thing is that they are all just desserts in the city that it with grace. Yes, this is a slice loosely related. A couple of of New York living, but the thursday never sleeps. . (Ever so durable, and a tribute that Spiegelman is a writer to be underlying story lines dominate story could've been anywhere Kuper, as an artist, is quite to the protagonist, dontcha trusted. The book is informa­ from 2-3 pm throughout—a murder mystery at anytime. Kuper's telling of it versatile. From scratch board to know.) Initially upon seeing this tive, fun, critical and interest­ and a political scandal, to name is a work of art that slips in airbrush, it's all very vivid, book, I didn't simply like it—I ing. Spiegelman doesn't pander on citr 101.9 a few. It's the modern rework­ under the radar and should not which is perfect, because The lusted for it. to anyone, telling the story ing of Will Eisner's New York, be forgotten. fm! System has no dialogue. The art Forms Stretched to Their from all sides. It's also hard not 8 november 2001 THE (INTERNATIONAL) NOISE CONSPfRACY

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AVAILABLE AT YOUB FAVORITE RECORD STORE www.g7welcomingcommittee.com Cities. Perhaps this was the real Refrains: Music Politics Aesthetics CLONING BAUDRILLARD problem: Dawn was getting all on September 29th drew out the Around 600 people showed up of the attention instead of head- masses to absorb talks on con­ to see Jean Baudrillard speak at liner Sara Graham, whose temporary electronic music and Emily Carr in a classroom that detailed line drawings and pan- politics as well as hear the only held 150. While I appreci­ tone paintings spoke less than sounds of the future. Brave ate Emily Carr and the Charles the artist's statement. Mean­ post-ravers mixed coffee with H Scott gallery's efforts to bring while, a lowered skatermobile weathered academics at 8am, in one of the world's foremost spins into the back parking lot, Green College at UBC, a little postmodernists, the absolute the hooded brothers hop out, out of their element; later, the shortsightedness in not finding beers in hand, to see Andrew tables were flipped as Kim a larger venue is inexcusable. What Ithe US is] responding to is wills. In the back room, per­ Dadson's Stylotech exhibit in the Cascone (SF), Ben Nevile Lesson learned: despite all the not September 11th, but the begin­ forming her piece clown, perfor­ back gallery, a.k.a. the wash­ (Victoria), Cid+Eric (Seattle), pragmatic-school cynicism of ning of a permanent and precipi­ US Foreign Policy expert Noam mance artist Kim Dawn sings room, home to a silver tag and and locals Jovian Francey and postmodernism in the North tous decline in worldwide oil Chomsky and Middle East jour­ over and over an off-key rendi­ backlit tagger paint pens. Artificial Intelligence per­ American academy, the kids production, the beginning of a deep nalist Robert Fisk are ignored tion of "Every Time I See You," "That's it?" one of them says, formed live sonic experimenta­ know what's up—people like and protracted worldwide reces­ by the corporate media, and surrounded by embarrassingly "You're in the washroom?!" I'd tion at the Video In, while DJs Baudrillard described what is sion, and the unraveling of the UBC's Sunera Thobani is con­ personal photos and video-art have the same response. Better tobias (yes, me) and Construct occurring now 30 years ago. empire. -Stan Goff, US Special demned by all those Boys (With of a makeup application gone off to keep tagging trains and showed that experimental tech- (But that doesn't mean they've Forces Master Sergeant (Ret'd). Their Toys), from Gordon berserk, whereas the rest of the no-electro shit can also get your actually read anything by him. Campbell to Vancouver Sun gallery is home to Open Cities, groove on. Highlights of the A quick survey showed that out THOBANI, AL-IAZEERA, AND journalist Pete McMartin. featuring suave contemporary day's talks included Steven of ten people, only one could THETRUTH Thobani is right. The Marxists minimalist paintings with Shaviro (UW) taking on lesbian name a single text by The US media machine switch­ say this war is the continuing heavy post-structural explana­ Bjork-bots, Michael Jarrett Baudrillard.) In any case, power es into high gear. OBL's broad­ destruction of global imperial­ tion. The battle between the (Perm State) discussing Plastik- to the shit-disturbers who casts are now edited or pulled, ism, but what is missing from curator and Dawn's friend man and trains in the same rapped on the big folding doors for reasons of "national securi­ the standard Leftist analysis are erupts out back, each arguing breath, Discorder's own Steve that could have been opened to ty," and the US moves to knock the patriarchal structures at the merits of the performance's DiPasquale dropping the Live let the people hear Jean. The out the remaining media outlet work on all sides, from the vio­ necessity to stop as it is "making on everyone (with Mr. Cascone "fire regulations" excuse was in the Middle East, Qatar's Al- lently repressive Taliban to the people uncomfortable" versus saying he will cite Steve in a poor and nonsensical, and I'm the artist's integrity to drag it Jazeera, the only news agency phallic anger of the West, new paper!), SFU's Brady glad a little postmodern ironic out as long as possible. The to scoop footage from inside replete with the World's Cranfield dialect-ing with Oval, juxtaposition threw off the curator makes the call, and asks Afghanistan. Not to mention Greatest Ball Licking Competi­ Chris Lee making the connec­ opening remarks. Dawn to stop. She does. The the recent raids on Infocom, a tion. (Who Can Suck Dubya tions between Duke Ellington Best?) Biohazard, indeed. It's a problem is two-fold. 1. The Texas ISP for Muslim and and Paul Gilroy, Charles ANDREW DUKE: Whoops I battle of cum-shots, where gallery is too small for a loud Palestinian websites and chari­ Mudede throwing down hip fucked up in my "Andrew every sticky dose brings not life, performance artist and paint­ Kim Cascone @ Refrains by Tanya G. ties. An FBI spokeswoman: hop, pleasure, and Heidegger, Duke Dukes It Out" interview. but death. War becomes the ings that desire conversation: "We're hoping to find evidence buildings (check out the alley Janne VanHanen mixing Mix- 1. He's the Program Director, ultimate one-shot orgasm. the curator should have real­ of criminal activity." Hoping in behind the Sugar Refinery for master Mike with rhizomes, and not Station Manager, at Spread your lips for the ized this from the beginning. 2. desperate abandon at the some amazing work) than to and general mayhem all over—• CKDU Halifax. 2. He's still sin­ anthrax, baby. What's so wrong with making prospect of an enemy, drooling attempt to get a good spot in a not to mention the op-art green gle, girls /guys, and not mar­ over Anti-Terrorist legislation people a little uncomfortable? Dawn's performance was gallery (long live Basquiat and vinyl floor and furniture extrav­ ried. So go get 'em. 3. He's a so broad that, as one Arab DAWN AT THE PITT Futura). Until Nov. 10th @ 882 aganza of Triina Linde, and midget. American said last week, evocative, edgy, and cause for Open Cities at the Helen Pitt Homer. line-drawing Ample Lamps of Until the margins marginalize the "Simply giving blankets to the greater discussion than Open Gallery became a contest of REFRAINS: PEOPLE PEOPLE Olo J Milkman at the Video In. majority! •

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10 november 2001 by Jane Srisar and James Squeaky did. Listening to it recently, I was really kind of embarrassed, because I was young and... I don't know ...

Joe H: [Laughs] Yeah! In a bad way. For awhile, lyrics were kind of on the back burner. That's tlie thing that frustrates me about the ^3 i Yi whole math rock tag. Math rock seems to indicate that it's just the music, and the words are just something to fill the void. "We *LJ should have words here, just for the sake of words." That's why it's I Iv i sometimes hard for me to get into a lot of math rock. Sometimes 32 Knots holds the distinct privilege of there's parts that I come up with and Joe and Jay will want to do being the first band that has completely half the length that I want to do, but I wrote words to accompany blown me away by their live perfor­ it—I guess I grow attached to it and I don't want to just hack it mance. I was awestruck by their ability Jay: And then it develops into this big fist fight, and we kick the to maintain an intensity that never shit out of him. turns smug, despite their skillful and Joe H: "But this is my magnum opus!" prolific musicianship. The jazz-like Jay: "Fuck your magnum opus!" tempo and meter changes in their music What are your lyrics usually about? Joe H: The thing that bothered me so much about writing words are an impossible puzzle; they drove me and looking back on them was sometimes how blatant I would insane. There is a healthy dose of make things. I begun realizing how self-involved and melodramat­ numerical finagling, a pinch of dark­ ic it was. Now I just take a feeling and create a secret language out ness, and a splash of stark expression. of it. Not so that people don't understand it, but so that it will be Tying more universal. That also lets the message be felt in the music. The Their previous, self-released album, words might not necessarily carry what it's about. It sounds so Climax I Anti Climax, collected songs fucking... that they recorded at various times over Jay: Pretentious? a one year period. Their latest work Joe H: And cliche. But 1 just have a tension burner. I'm trying to be it all ultra sincere about things. This being the last frontier of sincerity includes the Rehearsal Dinner EP on and seriousness for me, maybe? I can't write funny music for the Fiftyfourfortyorfight and a full band. But you know... length, A Word is Also a Picture of a ...you don't want to indict someone either. If you have a failed Together Word, is forthcoming. love affair, and want to write about it, you don't want the person to know exactly what you're writing about. Joe H: Yeah. Sometimes singing about the exact event that happened in your life is just redundant and not that big of a deal. If With 31 you take the time to put it in the context of a larger paradigm, it DiSCORDER: What stage of production are you at with the can reach people. I don't want to alienate people with words. I forthcoming EP? don't want to write stuff that I feel has been said a million times. Joe H: Pretty much just overdubs, which we're doing next week. Because it's all been said, but you can at least try to do it different­ We're going to have a bunch of friends record stuff over what we ly. On our last album, 1 just wish we could have included the lyrics Knots have. We all agree we want to make it bigger than just our live in the album. I don't like to mix words super up-front, but I don't show. We have had ideas for other instruments that we just can't like it when you can't hear it either. do with three people live. Like keyboards? IN A POLITICAL FASHION Joe H: Some keyboards. How do you guys feel about bands that have a political agenda Joe K: Horns. Violin. Cello. and their cause comes before their music? Jay: Maybe cello. Joe K: I think that's all fine and good, and very roots-sensible, but Joe H: Who "maybe cello?" [Laughs.] unfortunately it's become a fashion trend for hardcore kids. Just Joe K: Um, Sam. like any other trend in music, I don't really buy it anymore. If there Jay: It's such an ambitious project, it's fucking hard to bring it all are people that do buy it, then more power to them. together. Jay: Personally, I'm not that worldly-minded or political enough to Joe H: Especially when you're broke. We've been taking our time, necessarily care. It sounds callous and ridiculous but... and it's been really nice to space out the recording, even if it's The thing that really bothers me about it is that it just seems real­ because we have no money. We'll record two days, then a month ly pretentious and bands will use it as "This is our activism." later, record for another day. One day in between, we've mixed Jay: Yeah, it's esoteric, you know? down some of the first stuff that we did, and we decided that a Yeah. You're not really doing anything. You're just performing couple of the songs didn't turn out, so we re-recorded them. But for a bunch of kids. it's to the point now that we're just antsy. Jay: It's the whole idea of, if you're reaching a larger audience and Joe K: Right. We have a back-catalog of over 30 songs now, and so making a difference, then, theoretically, you're doing good. But... I it's like, "What the hell?" you know? It's so irritating. don't know. Joe K: Not to mention that you're usually preaching to the convert­ WHY JOE PLAYS HIS GUITAR WAY UP HERE ed, which really is the point. They want to get a positive response. Why do you play with your guitar way up here? Is it just more Jay: Just self-contained ideology or something. comfortable? Joe H: It's feeding into this mentality that everyone in the audience Joe H: It's sort of because I used to and still play a lot of stuff on already believes. It boosts everyone's egos. There's definitely a acoustic guitar, so I just got used to that. And actually, to be com­ small percentage of people who are oblivious to this factor and pletely honest, I was a heavier kid. I had this super heavy cheap champion a cause because they really do believe it. guitar, and the way it clung on me, the straps would pull my shirt. Joe K: That number is just so small. It made me feel weird about my weight. But mainly it is leftover Well, like Rage Against the Machine. Some kids out there who from playing that acoustic guitar, and getting so used to it. When had never thought about these things before are gonna see it and Jay and I started writing more stuff... get into it. Joe K: ...you were stacked. Jay: Or Marilyn Manson: the backwoods kid in Nebraska who's Joe H: I was stacked. I had boobs. gay and considered a weirdo and doesn't have any other outlet. Marilyn Manson might be his only link to any freakish subculture SEMANTICS thing, even though he's a trite piece of crap. What is the songwritinj like for you guys? How does it Joe H: Marilyn Manson or the kid? Jay: It's a messy subject. Joe H: Before Joe [K] played with us, it was definitely more me Joe H: It's something that has been on my mind—the politics to writing the songs. Over time, Jay and I started writing stuff togeth­ everything, you know? Not just world politics or United States pol­ er. Since Joe started playing in the band, it's been more of all of us itics. The politics of indie rock makes me sick sometimes. It claims writing together. There's the occasional song where I'll explain to to be all-encompassing, but there are all these little rules that you the band, "I really like this song as it is." It's hard though. We're have to secretly abide by. really accustomed, I think, to all the songs being pretty equal. Jay: And that's another universal theme—that just extends in every Are the lyrics kind of secondary? facet of life. Even more fucking depressing. Joe H: They're secondary in the step, the process, but not necessar­ Joe H: "Because I want the indie rock bubble to be perfect!" • ily in importance. The way I used to write a long time ago, I defi­ nitely had a—once we released something—an old, old thing we IIE^SESS like her might turn off the sensible reader. I could hear this Christian Hosoi— (The skater; I added this one) Hot. Except n imaginary reader saying, "she shouldn't do that," but after a while, he's in jail for smuggling speed. Lately, I have been lamenting the slate of women's willing in Canada. It's I just stopped caring about the sensible reader and let her have Cutex Quick and Gentle—Hot. Just cause I like those two words not that tliere isn't a wealth of novels, short stories, and poetry by women. her way. She's moving really fast; she's not the kind of girl who together: quick and gentle. It's jusl thai many women arc a-nting on really banal, unli feminist topics spends a lot of time contemplating in her bedroom, so to keep that Seventeen—Not hot. See The Torn Skirt pg. 88. that claim lo be "the woman's experience" and "feminist." I'm tired of the kind of energy, to keep the book fast and quick, I ended up tossing Maybelline—Hot in heavy doses only. critics and professors who hold these books up as literature and tell tne that Led Zeppelin—Unfortunately, undeniably hot. What do you have to say to critics who think that the protagonist Who or what do you find influential? character is going through a had divorce, hut finds herself sleeping with her of The Torn Skirt, Sara, is too naive to be believable? Chan Marshall (Cat Power), Denis Johnson, Jane Eyre, Jean Rhys, ex-husband and hates herself for it.The women and men 1 surround myself I haven't heard that. Do you think she's too naive? some bratty boys I knew and know. wilh never act according to these prescribed gender roles. I'm tired of No. I remember being very trusting at that age. I was with Sara What is it about Jane Eyre that you find influential? Do you mean "woman equals weak" and "man equals exploitative jerk." the whole way through the novel and thought you did a great job the book or the character? Enter Rebecca Godfrey and her first novel. The Torn Skirt. Godfrey, with her voice and the tone of the novel. Why did you choose to The character, especially the first chapter. Considering when that daughter of Dave Godfrey (House of Auansi founder) and Ellen Godfrey write about a teenage girl? book was written, it's pretty radical. She's so fierce and unwanted. (respected mystery writer), wanted to write about the Canada tlmt "Can It's an interesting time because everything that happens to you She's like the OG orphan girl. Lit" didn't cover. The world ofThe Torn Skirt is a world that Victoria tries really matters. Every person you meet is really important. They have What are you reading right now? to repress. There are high school rapists, stoners, teenage prostitutes, the potential to completely change you. You think you know it all, Detective novels. runaways, und young girls in detention centres. As well, there is no line and you don't really know it all, and that creates a lot of potential for Current ones or old school noir titles like The Maltese Falcon? drawn between "culture" and "popular culture." The two co-exist, because mayhem and peril. I also just found most books with young girls Old school. Like Chandler and Simenon. that's how it is in life. Our so-called "popular" culture is what we know are pretty lame and off-base. Name a few of the last albums you bought. ami it is no better or worse than ballet and afternoon tea. Godfrey sums it In your novel, the kids have titles like "Burnout." How would you The Red Thread—Arab Strap, White Blood Cells—The White Stripes up best on her website: "A good thing about being raised by artists or describe your high school self? Did The White Stripes album live up to expectation? writers is tliat you don't see 'culture' as something in museums or the I thought I was Hardcore. Punk. But, really, 1 was probably more of Yup. I like it a lot. CBC. It's just something you can do yourself." a timid little goth girl. I wore a lot of black eyeliner and wrote What was the last movie that you saw? The protagonist in The Torn Skirt is a teenage girl named Sara, but painfully bad poetry. Band of Outsiders—Godard gangster film. this coming-of-age tale doesn't involve topics such as "my first period" or I see from your author's photo that you've renounced the black When the Converse warehouses shut down, did you have to find "my first crush". Instead. Cod frey arvcrs the territory usually reserved for eyeliner. Do you still write poetry? a new shoe to support? male protagonists and male experience. Sara metis girls who can pick locks No, I renounced the poetry as well. I don't support shoes. and rob Johns. Stint herself is wanted by police for questioning. There are What bands were you listening to in high school? How long have you lived in New York? no "why am 1 not prom queen?"and "does he like me7" self-esteem issues By Grade 12 I discovered The Birthday Party, Pussy Galore, X, stuff Seven years. here. Godfrey is aware that tliere are greater questions tliat need answering. like that. I was obsessed with Sonic Youth. Are there any local bands there that you're really into? When I approached her for an email interview and told her it was for Did you ever wear Love's Baby Soft? Do you wear it now? In NYC? I like seeing Cat Power play. There's all these bands now Discorder, she wrote back to tell me tliat she liked CiTR and Nardwuar. I think I might have worn it when I was 12. I entered the "Be Miss that are kind of fashiony art-rock and play galleries, like ARE On her website, she reveals that when she moved to Nrw York at 22, she Love's Baby Soft" contest—the prize was an all-expense paid trip to Weapons and FischerSpooner. They're okay. "thought all the boys would be like Thurston Moore." It's safe to say: New York City. I didn't win. A girl in my book is addicted to it. She What was the Creative Writing Program at Sarah Lawrence like? Rebecca Godfrey is cool, and her book lives up to expectation. drinks it like poison. They have bean bag chairs in the library. It was a good school. I What did the contest involve? An essay detailing the greatness of found there was a subtle pressure to write or copy the "well-crafted" DISCORDER: When did you start writing Tlie Torn Skirt? the product, or just a draw at random? short story, the New Yorker, Raymond Carver kind of stuff. I like Rebecca Godfrey: About five years ago. It was strictly based on photos. An essay would have been good. I stuff that's unrulier and dirtier; I don't really want to read or write What prompted you to begin a novel? might have had a chance. something I've read a hundred times before... stories about house­ Insanity. High hopes. Where was your author's photo taken? I like the any-city feel it wives and adultery. Still, I learned a lot. What was the process like? has to it. I'm relieved that you didn't feel the pressure to write like Carver It was pretty rough. I have bad work habits. My best friend took it this summer on a roof, in the Lower East Side. or explore lame topics. What's your next project? I read that you Do you write everyday? What's your routine like? The hot or not section: Tell us whether the following items are hot were either finishing or finished a non-fiction book on Reena I don't have a routine. You always read about writers who work or not. You can even tell us why, if you wish. All of the following Virk. strictly from 6:00 in the morning until 1:00 or whatever, but I appear in The Torn Skirt. Yeah, I'm working on that now. It's not about Reena Virk particu­ definitely do not have that kind of discipline. I just procrastinate a ACDC—Mildly hot back in the day. Not hot now. larly, more about the milieu of those kids who got involved in what lot and then force myself to stay at home and miss parties. Trans Am (the car, not the band) —Not hot. turned out to be a murder, and the police investigation and capture, I heard you wrote about four novels worth of material before you Leonard Cohen's Beautiful Losers—Very hot, always hot, forever and then the trials. hit the right tone and voice for the novel. Is that true? hot. What makes you angry? Yeah. I wanted to have a main character I liked, and it took me a Chatelaine—Hot. If you're looking for a casserole recipe. I'm not really that angry anymore. I used to be angry about every­ while to do that because I had to let go of having the more tradi­ Hammer of the Gods—I never finished it. It scared me. thing. I think writing the novel was cathartic because Sara is angry tional type of narrator, and instead, let myself have a girl who is Princess Diana—No comment. all the time, and to get into her head, I had to constantly psychmy- kind of fucked up and out of control. It also took me a while to find Wonder Bread—Not hot. No protein. self up into that "fuck-you" mode. I probably worked out my own the drama. I wanted her to be constantly tempted, to be in situations Charlie's Angels (the TV show)—Not hot. Except for brief Tanya anger issues that way. that were loaded or precarious, but also realistic. When I found what Roberts interlude. How did September 11 affect you? those were, I censored myself because I knew what tempts a girl Happy Days—Not hot. Except for brief Pinky Tuscadero interlude. I heard the streets of New York silent for the first time. •

12 november 2001 By Thomas Hicks with Jackie Teed By Naben Ruthnum

In July, I had the pleasure of interviewing Dr. Shiva, a quantum physicist turned ecologist and winner With a brand neio band. Tomahawk, a recent album with the popular Fantomas, and sundry rumours about other musi­ of the Alternative Nobel Prize Award (The Right Livelihood Award, 1993), to find out more about the cal activities, Mike Patton seems to have ignored the conventions of what is supposed to happen to aging rockers. I sent impact biotechnology is having on traditional and sustainable farming practices. Dr. Shiva traces the ori­ him a batch of questions to satisfy my curiosity on certain topics, and he answered litem promptly. The moral of the gin of biotech patents to Pope Alexander VI. His 1493 "Bull of Donation" granted ownership and con­ interview is to never trust what you read on the internet—it's ahvays premature or wrong. trol of non-Christian lands to the Catholic Church. According to Dr. Shiva the Church acted out of DiSCORDER: The new Fantomas album was extremely successful, even reaching the Billboard 200... extreme arrogance and societal desperation in response to the depletion of European resources. "No why do you think this album of soundtrack covers had such mass appeal? society that lives with justice, that lives with sustainability has to create the kind of project of coloniza­ Mike Patton: Not real sure. It has been more successful than we expected. The first one was too. I don't tion that Europe had to in that period," states Dr. Shiva. This pattern is being repeated today by many try to figure out why. We have toured quite a bit and I really think a chunk of people are looking for multinational corporations through WTO treaties. something different from what is shoved down their throats. Europe's need to colonize non-Christian countries arose from the pre-existing colonization of their Would you be interested in scoring a movie someday? own resource base and the people who cared for it—women. Traditionally, it was women who held the Someday, when I slow down, if it was the right project. lcnowledge of the environment how to use it and how to care for it. But this power was seen as a threat Your new project with Dan the Automator seems like it may enjoy a lot of mainstream success... to the Church. "It was a culture that had put a handful of men in such situations of absolute, irrespon­ having been in a platinum band before (Faith No More, of course), how do you think a second bout sible power that they could construct whatever excuse they wanted to. They could find any learned of popular recognition will affect you, personally and musically? woman... declare her a witch and get away justifying it in terms of religion," states Dr. Shiva. Today a First of all, 1 don't know what would make you think it will be a mainstream success. We have to record similar persecution of outspoken scientists is carried out under the name of corporate science. it first! [Note: bootlegs of early sessions that were illegally circulated earlier this year got a very favourable response Dr. Shiva feels that to accomplish change today we must undo the three colonizations: the colo­ from those who heard them. Internet rumour A] Secondly, I really don't think of success in commercial nization of Nature; the colonization of women; and, the colonization of the Third World. She argues that terms. As a matter of fact I think things are better for me right now then they have ever been. I'm in four we must create a "new ecological pact with the Earth," and Nature; a pact enriched with the knowledge full time bands that are each very different from the other. of indigenous peoples and ancient relationships. She also believes the reversal of the colonization of Each Mr. Bungle album seems to have a distinct flavour and approach. Is there a conscious decision women is essential to realign our economic values toward those of sharing rather than plundering. made to write in a certain format each time around, or is that just the way the band's musical tastes "For all the historical periods where women were left to look after sustenance, they are the ones where have developed during the four years that have separated each album? we really have an economy of well-being still maintained." It just happens, without much thought. We all trade tapes of ideas and melt them all together. Finally, Dr. Shiva points out that "the Third World colonization cannot be undone by sucking in the Red House Painters frontman Mark Kozelek is thanked in the liner notes of Mr. Bungle's 1999 album last remaining resources of the Third World into world markets. To really decolonize the Third World California. Is he a friend of yours, or of someone else in the band? Any chance we'll see a Patton/ includes beginning with the people of the Third World and their needs, their cultures, their philoso­ Kozelek collaboration? phies, and their values." Dr. Shiva argues that in most cases, the ways of Third World peoples' are He helped out on the record. A friend of the bands'. No collaboration planned. founded in connectivity and their "universe is the creation of the Supreme Power meant for the bene­ How do you, personally, pronounce Fantomas? I like to say it the French way. fits of [all]." I pronounce it many ways. Dr. Shiva believes in the interconnectedness of all things. In her writing she quotes the Taittreya Your upcoming collaboration with the Dillinger Escape Plan is being eagerly anticipated by metal fans Upanishad: Whatever exists on earth is born of anna [food), lives on anna, and in the end merges into everywhere. What is it that attracted you to Dillinger? Will the album be released on your label, Ipecac?

anna. "I personally feel that [The Upanishads) are very, very important because the core of India has First of all nothing is confirmed. [Note: I guess that was internet rumour B. But it was from the official been the core of a mode of non-violent thinking A deep connectedness where the human species is not Dillinger website. Hmm.] They asked if I would consider doing vocals on an EP with them. I said I would more privileged than the rest of Nature. We are all part of One. The highest human evolution is to live consider it. That is all so far. No idea when it would/could happen or what label it would be on. Very within limits. The less you consume the more sophisticated you become." premature for that kind of talk. I love that band! They are great musicians and great guys. I'm sure if it Although remonstrated by scientific peers for her outspoken beliefs, she intends to go on quoting does happen it will be a major label bidding war. It will probably be all pop songs!. these works. "You cannot do good science without doing good philosophy... every inspiration, whether Besides Dillinger, do you have any other favorite metal bands currently? Actually... while we're on it is of Bohr or of Einstein came from connecting to a deeper philosophical level. You cannot have good the topic... I realize you probably get asked this question constantly, but what groups/artists in ways of living in the world without a good arrangement in your head about the place of every being." general are you listening to now? Dr. Shiva argues that our fear of spirituality combined with our worship of technology and commerce I do hate this question. I listen to a lot. Sigur Ros, Sade, Melt Banana, Enon, Chicks on Speed, Bob Wills, etc. has led to many of today's destructive practices. "We need to have a far deeper spiritual grounding While you're still annoyed from that last question, I'll go ahead and ask another oft-repeated one... and Gandhian politics are very spiritual," states Dr. Shiva. who are some of your influences, both on your composition and on your vocals? Today's biotechnology industry claims food biotechnology is essential if we are to feed our grow­ You are on a creative roll! ing population. Robert Shapiro, CEO of Monsanto states, "There is a need for agricultural productivi­ Is your composition process solitary, or do ideas in your bands (Bungle, Tomahawk, Fantomas) get ty... to double... so I think this is unequivocally a good product." According to Dr. Shiva the current developed by a single member and get shown to the rest of the band as an almost complete product? paradigm of biotechnology is too mechanistic and reductionist to be used even as a starting point for Different bands that I am in work differently. Bungle is completely collaborative, Fantomas is mostly me, discussion of humanitarian uses. "It begins with the assumption that genes create organisms, which is Tomahawk is mostly Duane. But the process changes from record to record. not true, and then it goes on to say that genetic modification is the solution to everything. It is false with At the recent Fantomas show in Vancouver, there was a "significant female presence." Has this been respect to the objects which it is dealing with. Which are not just objects alone, they are also subjects." pretty standard around the world on this tour? Is it strange to have a more balanced audience? In fact, In our discussion, Dr. Shiva points out several alarming indicators of the degradation of tradition­ does the audience at your shows matter to you at all or have any bearing on your performance? al and sustainable agriculture in India. Local food production is unable to compete with subsidized Of course the audience matters!!!! Without an audience we would not tour. We love the ladies! Trevor food imports to the degree that India now imports traditionally grown crops from Canada. As a result, is not married!!!! "our farmers are committing suicide. Our poor people are already literally dying of starvation... because There seems to be a pretty obvious connection between your enjoyment of noise music and your the national laws and policies that created obligations of the state to ensure that food reaches everyone transformation of traditional word-based vocals to pure sound. Has this different approach to vocals are now being dismantled under World Bank policy," she explains. changed your approach to lyric writing? Does the sound of a group of words take precedence over Dr. Shiva advocates self-governance in food production and opposes food subsidies. "Those sub­ the literal meaning of the words? sides are what are creating climate imbalance. The are creating destruction of livelihoods of farmers Everything is based on sounds. Instruments make sounds, the voice is an instrument. Most times the everywhere. They are creating food hazards. It is time to localize that which can and then have mutual music dictates what is needed. Sounds can convey feelings as easy as words. People are so used to partnerships of cooperation for that which we can't produce locally based on sustainability and jus­ being told how to feel through art. A lot of people feel the need to understand. I don't get that. tice. I don't think it takes too much effort to redesign the world away from the non-sustainability; injus­ What do you do to insure that your range-stretching yelps and screams don't do any damage to your voice? tice and dispensability that the globalization model is based on. Because this model will devastate us, Nothing. whether it is by making the poor starve, denying them their right to water, denying farmers the right to You have a new band, Tomahawk, which features the guitarist from the Jesus Lizard, bass player seed or just creating climate disasters of scales humanity cannot respond to." from the Melvins, and the drummer from Helmet. Along with playing with all the other bands we've Dr. Shiva follows in the footsteps of her spiritual namesake, Shiva the Transformer, with inspira­ mentioned, you're running the Ipecac label. Why so busy suddenly? Are these projects going to be tional writings, speeches and actions. Her dream of having a non-violent, justice-based world for her continuing bands, or one-time ventures? "symbolic grandchildren around the world" to live in is truly a transformation worth seeking. "To me," I am a multi tasker. You don't even know half of the projects I'm working on... project with DJ crew the she says, "spirituality is about connectedness. It is about relationships. It is about responsibility." • X-ecutioners; project with Massive Attack and Prodigy people; etc. Plus I don't "run" the day to day business of the label, my partner/manager does. Fantomas, Tomahawk, Peeping Tom and Mr. Bungle are full time real bands. Staying busy is a lot more interesting than writing a book, for me. • www.ipecac.com

1 Montreal came alive (as it ahvays does, time and time again, no matter how shit poor they are) this past May for the Mutek festival of experimental electronic music—covered in the July Discorder. During Mutek, I had the chance to interview many artists, including original Vancouverite Tim Hecker, aka Jetone. Along with Canadians Tomas Jirku and Mitchell Akiyama, Tim is redefining the dub traditions of experimental and minimal glitch beats and ambient soundscapes. I met up with him at the SAT Gallery on the third day of the five-day festival and after seeing him perform the previous night. We sat outside on Ste. Catherine's and watched Montreal's mid-after­ noon night-life swing into gear. Tim lias a way of agreeing with you and telling you to piss off in the same sentence. Quite incredible, really. We talked about live laptop performances, his despisal of Herbert's philosophy, and Mille Plateaux. To facilitate reading, the interview has been divided into numbered aphorisms with titles taken from The Gay Science.

2001: Of the Jetone finding the correct juhtone

14 november 2001 [4] To Harm Stupidity. I didn't see [Rechezentraum]. I was out in LTJ Taking Seriously. How do [oj In Media Vita. What do you think about Kid 606's comments the lounge drinking. You get to a point in these festivals where you you correctly pronounce "Jetone"? about minimal techno being totally dead? just don't care anymore about most of the artists. There is no such correct pronoun- He's trying to do minimal techno right now, he is trying to go in that It's only Thursday! It's the second day... direction, but I understand his sentiment, it is kind of cannibalizing I lcnow, but I have to save myself for the weekend—I've got a little Je'tone...Jet-tone... itself right now, I don't really like minimal techno as a general blan­ priority. I thought Matmos was cute, but they had these sort of win­ I would go "J(g)uh - Tone" not ket statement. There are particular artists which I like, Cologne dows of improvisation, they had these pre-ordained parts that are "Je'tone," that's how I conceptual­ [Germany] artists mostly. Most of it, I am not that into it. Minimal to basically—you could hear these flutes and saxophones, you could ized it in my brain. Since living in me equates being boring. tell that these are samples that are done and pre-set and just loaded a French part of the world it's lAt this point, a vehicle cruises down Sic. Catherine playing loud '80s and ready to go. So it seemed like they had segments of improv and been adopted "Je'tone" more Glum Rock. We both look at the sunglassed dude toho is YELLING along to segments of pre-set programming. It worked nice, it was a "cute" often. Yep. the lyrics in leather with the top down. In Montreal, the '80s never died. 1 kind of show, with all of their probes and cameras. Does it mean anything? 'Citess minimal techno pales in comparison with glam rock.] So what does "cute" connotate for you? Ayah, it kind of had a play on Man that guy is rocking. OK, Mille Plateaux, you were talking "Cute"? Well, it's like a quirkiness, a playfulness that a lot of people words for me, jet tones and like about Jackson Pollock, do you follow the theory behind that label, don't have. Yep. sounds of like, real loud noises, in terms of it being named after Deleuze and Guattari's book of Do you think that they are up there with Herbert? Do you place and things like that. It was also the same name? Herbert on a pedestal....? kind of a rip-off from a film pro­ Sure, I'm a student in critical theory. I've fully read all of [D&G's| No, no, not at all. 1 find [Herbert's] philosophies about music com­ duction company based out of essential works and I understand what Achim [Schezpanski, Mille pletely outdated and boring and traditionalist. 1 don't listen to his Hong Kong. Plateaux label founder] is writing about. Sometimes I disagree with music. I think he does nice "house" but I don't—demi-god? Not at Is that Jet Li related at all? certain things, but I think that ultimately what he is doing is a posi­ all. I mean, it's more industry hype bullshit basically. That's just my No, I think it is Wong Kar Wai's tive thing, trying to think about what is going on, and that is a good opinion. films. Something like that. Yeah. [9J Thoughts. He is practical and, uh... I.5J Being Profound and Seeming Profound. If his philosophies He puts his rhizomatics into the real world and turns it into a [Dogme-styled music making] are outdated, what would you say moneymaking venture that keeps him well fed, I assume. [2]J ,Homo Poeta. Your perfor­ is an emergent philosophy that would make Herbert out of date? I don't know... that's a tough question... contending philosophy— mance last night went through [10]| VWe Fearless Ones. And this is where I -wanted to say something but it is not like his was the one that ruled before. I don't know if you this whole melange of sounds. I really felt a classical ambient influ­ smart, to spark a good philosophical discussion, but right at the verge, BAM are familiar with his belief structure, he has this doctrine of like, ence in mere. Do you have classical ambient vinyl lying around? I am shut down. 1 begin telling him how awhile ago I 'was talking to Seth "You should use a sample once, you should never use it again." All My head is always in that space. You can give the obvious references Horvitz, aka Sutekh, and how he has an upcoming album on Mille of this, all of these ideas he puts out from what I have read to works like the classics in that genre like Aphex Twin's Works Plateaux. And so explain how I was talking to Sutekh about the are kind of futile quests for some sort of purity. This is the Number 2, things like that. I'm more influenced by stuff lately like philosophy, and how he liasn't read Deleuze and Guattari, and tliat idea that, pure samples: pure sounds, and I come at it from Gas... a lot more things with a texture to it and a lot more abrasive, he isn't really into it from that perspective. I wanted to know if a completely opposite perspective, I assume that my sam­ like Christian Fennesz, some of the Mego artists, and even old skool Tim thought about these ideas while he tvas making music. ples are contaminated, and the more contaminated the bet­ stuff I was into when I was a teenager like My Bloody Valentine... I Do you think about the deterritorialization of music and ter, the more filled with segments of memory, melodies, and strive for all those types of elements. I can't explain it really. go, "Hmm, I wonder what I can sort of do," in terms of the bits of sounds from other pieces the better. I relate what I Your performance was really neat; you started off with some beats, process of making music? do to—I think Jackson Pollock did these inkblot paintings in they were really well cut, you did a couple of reversal techniques Nope, not at all. It's not to say that that doesn't round-about which he... he had a stack of Japanese paper, and he threw and drops with the beats, and then you sort of moved out of the affect you. It's not like you read a fucking book and think, ink over them and kept pulling them off, and each time he beats and into ambient again. I got the feeling that instead of just "Okay, I want to do some fucking philosophy that relates to would start a new painting he would already have four pre­ working with a patch, I'm going to show you all of the places I this chapter," it's just you've read it before and your brain vious works that would soak through. So each piece was can go, in terms of my releases and so on... has been altered by it, and it just kind of changes itself. It's contaminated by all of the other works. There was no iso­ I kind of wanted to play a few tracks, instead of showboating all of like once you've read Nietzsche it's poisoned you forever. lated work that was pure, and removed in and of itself. So... my styles, I wanted to do something a bit cohesive, and so what my There's nothing you can do about that. You are tainted for I mean that would be the sort of rebuttal to that kind of idea. live set ended up being was just loading a bunch of sound files, and good. And it's not like you are trying to make a track that Does that make sense to you? I could drop them in and out and process them as I wanted, and 1 sounds like The Gay Science. That would be retarded and it It does quite a bit. I was very interested in that because felt that these beat-oriented tracks were good for a little while, but would be the biggest disingenuity you could do to everyone is all wanking off about his new—he is trying to that it was time to drop it out. So I processed my way out of it, slow­ Nietzsche. Nietzsche works within you. make the musical equivalent to the Dogme-style of film­ ly... and then left it empty for about 20, 30 minutes, and just drifted I respond to him that I get -what he means. But secretly, in my making, blah blah blah... off into ambient world. I had a hard time, you know, basically fig­ head, I already am preparing the opening loops for a track called It's total bullshit, to me. But, whatever. Everyone has their own uring out whether I should put—what would be suitable—I didn't "2001: Of Tim Hecker." let it ride out for too long. way, it is good to have ideas about what you do, you know. [ii]/J In. Favour of Criticism. A friend of mine was saying that you don't even need to read Mille Plateaux, because by tobias v photos by lori kiessling you are already living it. No! What, the book? Well, it's an indispensable text, it's such a relevant—to now, it's not the doctrine of exploration of all details on the Earth, but it's a great sort of life-guide it's essentially a work of romantic mysticism—that's what it has \_3 J Excelsior. At this point the discussion gets technical and 1 ask Tim if [bj Herd Instinct. Do you feel that there is an energy in been called—and I think that is true, and beautiful in a time he was using Logic Audio, a sequencing program environment, and he tells Montreal right now? I come from Vancouver, and there is when pragmatism has completely encapsulated the world. me yes, he ivas. "It had a whole chain of processing programs, like granu­ nothing going on like this. I grew up in Vancouver, and I kind of left, but I stayed here It's someone who dreams about other ways. And thinks of lar freezers and things like that, so it wasn't really just like playing tracks idea systems that can accommodate those thoughts. You can straight up." This allows Tim to be quite flexible in his live performance— because of that reason, things were happening... there isan infrastructure that supports that here, whereas in dis it all you want, but it doesn't mean shit to me, basically an anomaly in electronic music. "I could drop things in and out, no prob­ ]siren gets loud] and I think that's a positive thing. lem. I could throw things in, throw things out. I could run basically on Vancouver there is nothing [Maybe now, after Refrains and samples and the possibilities of sampling samples, and sample them con­ New Forms, things will change—tv.]. You go to a festival tinually, create these internal feedback loops, I could just play off what's like this, you see artists, who are incredible, and instead of 112J What one should learn from artists. Do you find your being generated itself for 20 or 30 minutes. "This begs the question of what seeing some dude who is playing on some bullshit rave machine, it sounds terrible—you think OK, I can do some­ music approaching that possibility of escape, or opening he thinks about live versus not-so-live perfo thing better than that, and it is incrementally better. up any sort of spaces, for that sort of thing? Is it important for you that laptop perfc Well... not really. For me, it's just more of a meditative pur­ somewhat "live," these days? There seems to be a bit of debate, pose. The music—cheesy cliches about, you know, affecting people are like, "Oh, they are just pressing play or watching their somebody—if it affects somebody, then that's good. I don't DAT or letting a sound file run." What's your take on that? believe in doing just some cold noise that's completely I kind of oscillate between "It doesn't matter"—you could just put machine-like. It's finding a balance between all of these on Chess Master and play chess—or, actually have a real live per­ [7J The Fool Interrupts. It is somrwhere around this point things. You can't explain how you work. You just do it. You formance. There is just so much in between the complete chaotic... tliat I forget who I am interviewing. This liappens often, actually, can try to explain it in retrospect, thinking back and trying to if you leave a set that is just completely left to improvisation, there's and especially at festivals where I liave not slept, yet, liave imbibed analyse yourself, but, whatever. the likelihood it is going to sound like shit, because you can't do vast quantities of cheap dejeuner eggs, beer, and joints. Staring what you want to do. It is such an abstract concept, [my live set] is into Tim's face, the only connection I can suddenly make is tliat he partly based on a rehearsed, pre-ordained direction, but having said is the roommate of an old friend of mine. Quickly, I recover. He is [13]J TlieT Madman. That's pretty much what Matmos said that, there is just a wide open margin of interpretation that allows stunned. too: "Uh, whatever." the way I set up my live set. You can tell people's live sets that are What is Michelle Rainer like as a roommate? Thanks, tobias. just pressing play, muting and unmuting loops, I think it is absolute­ She is OK, she's clean in her aesthetic but she doesn't do [Uh... whatever.] ly boring, it's a terrible thing to see and I despise most "live" elec­ her dishes, and I find that this really bothers me. Out now: "Ultramarin" on Force Inc.; "Ginotopia" on Meow 12, tronic shows because of that. It bores me to no end. Yup. What sort of roommate are you? the Tigcrbeat 6 compilation: cm album on Alien8 will also be out Last night there was Matmos, and Rechenzentraum. So what did I'm the non-existent roommate. I don't see her very much, I soon; and some tracks for some Mille Plateaux compilations. Tim you think of Matmos vs. Rechezentraum? One that was quite keep to myself. Yeah, basically, yeah. So we've drifted off will be playing in Vancouver at the Video In on November 9th. live—Matmos—and one that was a DAT—Rechenzentraum. ! land? [He gives me a quizzical look. Again.] Check www.shrnmtribe.com for more information. How did you guys all meet and why is Almost Transparent Blue Have any of you ever been in just one project or is this how music genealogy of it. Do you guys think that that kind of energy, not happening? school culture goes? necessarily fuels the music, but that you can read that energy Masa J Anzai: We all know each other from music school. VCC. K: We just like playing with each other. We like playing a lot—all investing itself in it? King Ed campus. That was a while back. kinds of things. S: You can feel it. When I play with someone, I can really feel if Kelly Churko: Vancouver Community College. '94 to '97 we were M: Yeah, I wouldn't be satisfied with just one thing. It just wouldn't they've ever really been into that kind of thing or not. You can just there kind of overlapping. I was there the first year and then Masa satisfy my tastes. feel if there's something there. Like, I played with this bass player came and then Skye came after. K: I think you see that happening a lot though, in a lot of different the other night from Berlin, Trevor Williamson, and I'd never played What did you guys study? scenes in the city. You see a lot of different people being in a lot of with him or met him before and I could—I mean, his bass was Skye Brooks: Jazz. Traditional jazz. different projects. But it helps when you're theoretically educated. I covered in stickers, so it was kind of a giveaway—but even aside All of you guys play in different outfits around town. Can you mean, I don't think that's the be all and end all of being a musician from that I could tell, even though we were just doing free improv, mention what those are? 'cause it's not at all, but it helps to facilitate ease of communication I could tell he had played that kind of full on music before, even . K: I'll simplify things for myself anyway: I play in another band of different styles of music: if you can read music, you don't have to though we were doing nothing that really sounded like that. with Masa called Hospital—that's our noise band—and Masa and rehearse as much. Is it something that can actually be understood in terms of the I also play in another band called Eye of Newt Collective which I don't know how long ago it was that you were all formally notes, in that kind of positivist way, that you could actually notate plays at the Blinding Light once a month doing soundtracks of silent educated, but has music changed for you since you started it out, or is it something else? movies, and also doing things on Tuesdays here which are thinking about it in those terms? K: A feeling. What do you think? organized by these guys. What about you guys? S: I play a lot more technically challenging music now as far as my M: Yeah, a feeling, the camaraderie, it's always going to be different M: Right now... 1 don't know. bands go. Before I only played rock 'n' roll based music and I would with different combinations of musicians. You can't really notate it. Do you lose track? That was going to be one of my questions: is it be the drummer in a band, and yeah, I would be in one band only, K: I think you can hear that in Almost Transparent Blue, you can difficult to focus creatively when you spread yourself out like and I was in one band for years and it was kind of a punk rock band hear the punk genealogy. Like, I wasn't so much into punk, I was that, or does it keep the momentum going? and Masa and I played in another incarnation of that band later on. more into thrash, but it's the same kind of thing, but you can hear M: Not really. I guess lately this past year I've been dealing with Then I went to music school and I met all these ai that in our music, and we have that camaraderie as well. I mean, we

A-ir ffl 0 S t I F-i'TJr-ft

freely improvised music which is the more main focus of the who had a really wide variety of tastes and were into lots of differ­ play with all different players, but we play with each otJier a lot, Tuesdays here [at the Sugar Refinery]. I was lucky enough to do the ent kinds of stuff. and we like playing with each other, and we like each other. That's Time Flies thing in February which Coastal Jazz and Blues put M: It all kind of works together. It comes out in every situation. part of the punk thing too, I think. It's not just showing up, doing a together—I got to play with musicians like Wayne Horvitz from It expands your knowledge. gig, reading your music and then going home and taking your Seattle and Gino Roberts, a percussionist from Oakland, and I just K: I grew up playing music. I've played music ever since I was five paycheque—like, we love it, right? And we work as a team. got back from the States playing with Ron Samworth and Dylan years old because I grew up in a family of musicians. I grew up in a S: It's a collective. Van der Schyffe. family band—we traveled around Canada playing country music K: That's the key to this band. We didn't want to have just like one What was this Time Flies thing? when I was a kid. I grew up playing classical piano my whole life guy doing everything. We work as a team, and that's kind of the M: It's a meeting of eight musicians in different combinations over until I went to VCC—well, you know, when I was in high school punk thing too: hopefully, everyone helps each other out. like three or four days. So yeah, I got to play with Paul Plimley and I started playing like Slayer guitar—I loved thrashing—then I went Do you think that, aesthetically now, that it's one way to make a Peggy Lee. So that's been good. to VCC 'cause I wanted to learn how to play and I think I actually turn towards—I mean, in a strange way because to me now, What about you Skye? got worse [everyone laughs]1. Technically. They had to fix a lot of "Punk" capital "P" is a really narrow, confining thing—but do you S: As far as regular projects or bands that I play in, there's one, Little things, technically, so it was like starting all over again. But then think that taking that energy is ( Stitches, and it's an improvised bass band—it's kind of electronical­ I discovered a lot of cool music when I was going to music school, an open creativity in a lot of v ly-influenced. Then there's another new band I play in, kind of and these guys got me into a lot of different things. your music. swing bass jazz stuff. Then I have my own band where I play guitar You've all mentioned punk or metal. I have this really idealistic M: Yeah, I guess. Some of the n r elements of improvised rr and sing, too, which is really the one I'm concentrating on right now bias that lots of bands that I like that don't actually play punk something that people who have experienced a heavier land of music and that band's called Vague Demons. music used to be punk, and I think that I can kind of read the are more open to, or they can understand it a little easier somehow.

16 november 2001 Yeah, because in your music there are these fairly, I'll say, legible, absolutely fucking fantastic. I love the music; it was recorded, in M: Punk's definitely in there, especially the heavy parts. A lot of the traditionalist jazz motifs and then things really change, and that's my opinion, very well. I love the way you guys mixed it, every­ tunes are Kelly: very heavy, rhythmic, from metal. what sets the music apart. How is the music written? thing—top to bottom.... Regina? K: First of all, what do you hear as influences? S: All the tunes are written by one person. A lot of the tunes on the K: Everyone wants to know [everyone laughs]. I was working as a There are these really tight, single-note passages where you and album were written by Kelly—I got two tunes and Masa has one. recording engineer in Regina at a recording studio for the last eight Masa seem hooked up and they remind me of Uz Jsme Doma a Masa has another tune that couldn't fit 'cause it was so long. months, and it was a really good studio and because I worked there, little bit. Do you guys listen to them? M: There are written parts that we go through, and then sometimes I figured I could get a pretty good deal. So we were talking about K: Well, not regularly, but I think we all like them. there are segue parts that are left free, but then a lot of it is realizing recording out here, but I would have had to fly here and fly back, M: Yeah, Uz Jsme Doma, Zappa. cues, when to come back, a lot of eye contact. and also I would have had to take like two or three weeks off work, And then, some of my favourite parts is when you guys are doing K: But sometimes the lines are blurred though, partly because we've so it was more economical for these guys to drive to Regina like in a the really abstract things, like when you really stretch time out played together for so long, and because we played the material for day, then we rehearsed for two days, then we recorded for two days, and the song takes two minutes to build up and get going—that this particular CD for like two years—it's been a long time—but then we mixed for two days, then we drove all the way back. I was takes guts. I love the kind of restraint that takes. I sincerely think because of that, it's a lot easier to blur the lines between improvisa­ working at the studio but because the music's live, we had to have that silence and quiescence invested into this kind of music is still tion and composition. another engineer, John Gasparic, and he's one of the other guys who one of the most radical things that can be done, and it takes a great M: And I find that one of the more interesting aspects of this kind of works there, and he's this really nice guy, and he put in extra time deal of discipline to restrain oneself from getting into Les music is the segues: when the music sections change, how's it going after the day was done to help us record our album. Claypool jam time. to change? And how is this going to happen? M: And it's a really nice studio. S: That's taken some time, I think, for us to be able to do that, for S: Because you can make it as spontaneous as you want to make it. K: Yeah, Touchwood Studio in Regina. sure. I've noticed that we've all started to realize the importance of There were things that we did in the studio that we never performed; M: Direct into the computer. that in the last few years. I didn't notice that in playing with people the songs took on a new thing. So, one of the great things about the You guys went digital? right away, and in myself, too, the importance of leaving space and experience of recording that album for us is that there were some K: Yeah, we had originally talked about certain recording concepts, letting the music breathe, and giving other people space, and where moments that we got that were spontaneous, truly spontaneous. like we kind of wanted to have more of a lo-fi, sort of punk record­ you're fitting into the music. ing aesthetic to this album, but to do that you gotta record on tape, What about you on the saxophone? There are a lot of sax giants and that costs a lot of money There was a tape machine there, but that I could possibly hear in there. we never used it. Pro-Tools is just so easy to do it, to get it all done M: Oh, god. Obviously, John Zorn is a big part of my development, and mix, for this kind of project anyways. They hadn't seen any­ I guess. Maybe too big—I'm trying to shed it. I don't really listen to thing like us before. They had never recorded a full band live like that much sax. that before and used all the tracks. Masa was in the vocal booth, and S: [Ken] Vandermark, Ornette [Coleman]. Skye was in the drum room, and I was in the drum room with Skye M: Yeah, Vandermark, all that stuff, Ornette, it all comes in there. but my amp was in another room. S: [Eric] Dolphy, too. M: And then we had video monitors. M: Yeah, Dolphy, yeah. Pharaoh Sanders. But you know, the tune K: Yeah, they rigged up a video monitor system with cameras so that I wrote for that CD, at that point I was listening to a lot of that Masa could see us and we could see him. But it was still kind of Pennywise, and Bad Religion—that was what I was into at that time. hard. That's how we got even more of that hanging-by-a-thread feel­ Skate punk stuff. ing in the studio: I'm looking at the TV, but Masa's looking at the S: Yeah, the fast punk tune on the album—that really short one— camera, so our eyes aren't meeting. But it seemed to work. We had a couple train wrecks in the studio. M: I grew up, like Kelly, I started on classical piano, then got into a S: By the time we got home, Kelly and I had been up for forty hours. Metallica cover band playing guitar—I was really into metal. Right It was the most insane I've ever felt, 'cause we had worked so hard now I listen to pretty much nothing but metal. Progressive hardcore and then we drove all the way home. stuff. The drums sounded really good. What kind of mics did you guys Do you guys like Zeni Geva at all? use? K: Well, we did a show with KK Null and... K: Well, on the kick drum we used a Shure SM-91 which is a flat Fuck off! mic, which went inside the kick drum, and then on the outside we K: ...and Masami Akita from Merzbow, they did a duo, we opened had a Beta 56 which is a Shure mic as well. Then we had stereo mics up for them in Tokyo one time in Hospital. That was like two years overhead which are AKG C-414s. One on the ride, which was anoth­ ago 1 guess. He's a nice guy, real nice guy. er condenser mic. Anything else you guys want to talk about before we wrap up S: Two on the snare: one on the bottom, and one on the top. And then one way back in the room to capture... K: Well, getting back to the influences thing... like Masa says, he doesn't really listen to a lot of sax players, but also, as a guitar Yeah, you can sense that. The great thing about jazz recordings is player, I don't really listen to music for guitar players. I've always they've always understood the idea of that ambience. just listened to the whole band and that's always what I've appreci­ K: Well, filling the space, you know? Because the sound changes ated, more than individual virtuosity. I've just appreciated bands, when it's way out there. But, you know, they'd never recorded and that's what we really hoped to achieve with this band is to drums like that either, the studio where I work—we replace all the achieve a group unit—nobody stands out. We play together and we drum sounds. A drummer will come in, he'll play his tracks and work together and that's the concept, that's the focus—it's a group then we'll take his tracks and just put in samples where he hit. But effort. And hopefully we have a balance between all the players, and with something like this, I mean, they wanted to start tweaking shit, everybody gets their moments to speak, but also can pull back and and it was like, "No, man. That's how it's supposed to sound." let the person speak or people work as one solid unit. And that's the So you work in Regina at this place? music I've always liked to listen to, even though it may be K: I did, yeah. But I'm moving to Japan next week. composed by one person like Naked City, John Zorn's band, still it's Well, what's going to happen to the band? a band, that's the point. He lined up those players to play his music K: We're, uh, taking time to write new material [everyone laughs]. because he knew that they could be a good band and that's what S: I hope—I think we all hope—that we're going to play festivals I've always liked is good groups rather than good players. • next summer. We're gonna try to get in, we're gonna try to submit stuff to Victoriaville, obviously Vancouver Jazz Fest, maybe [email protected] Montreal. What kind of influences do each of you have personally and/or what kind of aesthetic influences this band? S: The Boredoms, Mr. Bungle, Nomeansno.

M: And that's very exciting to me because it's full of so much ten­ sion, you just don't know how the hell we're going to get out of this (il h e n section, and then all of a sudden, "bang!", we're there, and that's -song 1 s—-a- very rewarding when that happens. K: I feel the same way. When we're playing live, we all know where we're going, but we don't know how we're going to get there and that's, I feel... we're always hanging by a thread. Always. And that's secret handshake- the most exciting part, and hopefully the audience can feel that as well in the live show, and I think they do, I think it does translate. M: Yeah, as a listener, I like that a lot when a band does that. K: 'Cause I'm on the edge when I'm playing, I really am, but we trust each other, we trust that we can pull each other out, and we b y~ always have. M: Some of your tunes have been tried before but... K: Some of my tunes have been tried before but couldn't find the guys that could play them right. That's why we started this band-- we knew that we could trust each other. Steve DiPasqua i e Let's talk about the record for a minute. The record sounds

i7tsS?§aBissi uRsula rueker Poet, musician, public intellectual, and hip hop Mommy

had to get up earlier then usual to get to CiTR to record a phone the importance of the family she has made with her male partner fabulous) I would make an analogy between Rucker's work and interview with Philadelphia spoken word artist Ursula Rueker. and their two sons in response to a question I asked her about the the work of somebody like bell hooks: at the same time very origi­ INormally I'd be swearing to myself and scowling at my bus-rid­ 4Hero-produced track "7," which deals with the straightforward nal and extremely intelligent, and yet the language and ideas are ing comrades, but this morning I was more wired than tired and tale of falling in love and trying to make it work: totally accessible. Although accessibility isn't first and foremost in looking forward to speaking with one of the most exciting voices I wondered if "7," evoking the biblical creation myth, also illu­ Rucker's mind when she writes, she does see it as "very important on the hip hop/spoken word scene—the ultra political and poetic minates an actual moment in herstory when women were over­ that the ideas are accessible. So that people don't feel alienated, Rueker. You don't know her? You do know her. Her poems close come and subjugated to men, so I asked Rueker about the accura­ they don't feel that the ideas are too lofty for them to get with or each Roots studio full-length album; her voice floats upon the cy of my interpretation, and it turns out that I had failed to factor understand. These are common human experiences for someone, transfixed beats of Jazzanova, 4-Hero, King Britt and others and race into my hypothesis, and not that I was "reading too much into maybe if it's not your experience you can still appreciate it and now... each track from her debut solo album Supa Sista will not it" as a friend had suggested the night before. As Rueker pointed respect is and understand, that's important, it's important to every­ leave my head. But it was through the Roots albums—through hip out, it is poetry after all and I can hear/read into it any damn thing one to connect at this basic human level— that we persist. Because hop—that I first heard Rucker's voice and so I when I first heard I want to: "I wouldn't say that you were reading too much into it, we get so caught up in everything that is going on, in technology her voice on the phone—much softer and less assured than when but that [idea of a women struggling to experience heterosexual and the media and we forget to really connect with each other." on record—we started off by discussing—what else? The begin­ romantic love outside of patriarchy] wasn't my intention. But, Currently, Rueker is "getting through this tour," doing another nings of hip hop. again, I love when this happens because it confirms the idea that track with Jazzanova, and working on a book of poetry. Don't miss At 34, Rueker was becoming a teenager in Philadelphia just as art is open to interpretation, that it works on many levels. But her and her band kick the shit out of Richard's on Richards on hip hop (or rap) was fusing itself from all the diverse styles in black [what you're interpreting] is interesting. I did have another inten­ Tuesday, November 6. music, spoken word—basically the oral/kinetic tradition. I asked tion besides just discussing the love relationship between a man Ursula about her experiences sharing adolescence with hip hop, and a woman. I have issue with America thinking that black fami­ From "7:" and she confirmed by saying, "Hip hop was a big part of my life, lies can't thrive and exist and be full and together, so ["7"] is a kind Day 7...my world is yours 'cause that was pretty much the main influence on me and my of commentary and celebration of one black family, which is my Whose world is this? peers musically and culturally at that time. I remember being hos­ own, that fought and struggled and stayed together despite the It's his pitalized for three and a half months when I was 14 as I had sur­ odds, despite the statistics. Not willing to be a statistic. Because Do you remember the sweet surrender? gery because I had scoliosis. I couldn't keep my radio there with years and years ago I was in college and I saw a documentary Do you remember that sineet surrender? me, so my mother brought my radio every Saturday, so I could lis­ called "The Vanishing Black Family" and I'll never forget it. You yeah, you better ten to hip hop." She repeats, "You know, it's a big part of my life." know, they just showed a lot of single women, a lot of families that I dig deeper for more tales from back-in-the-day, and Rueker offers were headed by a matriarch, and a lot of black men kind of a brief example of hip hop's maternal roots; "There was an all day absconding without responsibility, and it's not always like that. hip hop show here [in Philadelphia] every Saturday, and all the There could be another way." And Rueker is living it. When she is kids would carry their boomboxes around outside, get cassette on tour, her partner looks after their kids: "You know, I'm really, tapes, and tape the show which was hosted by Lady B. She's pret­ really grateful to him because he really supports me and I can't ty renowned here, at least for doing that at that time. [As] she was honestly say that I would be supportive if it were him going out on the host, everybody connected the show to her." From the begin­ the road all the time. He's a different kind of bird." Even with a ning of the Philly hip hop scene and right into the here and now partner to share the immense responsibilities of parenting, mother­ there continues to be many kick ass women representing. ing takes up a lot of time. Could motherhood account for the delay I asked if, from her vantage point of being roughly the same in releasing her full-length album? Or was Rueker wanting to wait age as hip hop itself and having lived her life in a major American while she further honed her craft? Rueker responded, "I guess, you urban center, she had observed a far greater power balance and know, until now it just wasn't the time. I was signed to a label at more respect between the sexes in hip-hop during its puberty. one time and got dropped. So I thought it was going to happen a "Um, I wasn't really thinking about that at that time," she laughed, couple years back and it didn't. I just kept on going with the daily and then said thoughtfully, "looking back, yeah, women didn't routine, and then !K7 popped up, and they showed interest and we have to strip, you know, or talk about any kind of suggestive thing looked into them; their company; at the way that they represented either. They were just seen as dope lyricists and MCs like every­ their artists, and figured that they would be a good place for me to body else. The Real Roxanne, Roxanne Shante... everything was be and we took a chance. And everything's been good so far." just ditfereut, sou know? It had a different purpose and a more In an interview that I had read online she discussed the differ­ meaningful purpose in terms of hip hop being a culture and not ent tensions at play when performing pieces like "Song for Billy" just some music to be on the radio." live [a brutal story of a baby girl, not yet a toddler, who is pimped This little morsel made me even hungier and the women's out by her addict mother as payment for drugs], so I asked her if studies major in me took hold, I couldn't help but ask if Rueker she would discuss this and she acquiesced. "Um, I'm never quite linked the shift from female positivity into female objectification to sure how it's going to work in front of an audience, it's always dif­ commercializ; capitalism infiltrating hip hop? Rueker was ferent, and sometimes even when you're done you don't know sure in her reply: "In a b /ay. That's not the only reason though how it was received. Some people, some audiences are vocal, and but it's one of the big 01 I was thinking about he significance of some aren't, so you aren't quite sure how it fell, or if it fell at all.

the name "Elizabeth" i a the title for the introductory track on her And so it's always just like a crapshoot, which is fine, because it URSULA RUCKER. LOOKING album, "In her Elizabeth," written and performed by Daniel always keeps it fresh. But yeah, to do things like "Song for Billy, or "Gravy" Thomas. I brought this up, and Rueker offered me anoth­ if I ever do "Return to Innocence," which was the last piece on the er glimpse into the rich herstory of black women's communities: "I last Roots studio album..." I interjected, "That's not in your live think it's a pretty obscure historical note. Daniel had to tell me repertoire right now?" "No," she continued "because it's the hard­ what Elizabeth was, because I didn't know either. Elizabeth was a est thing for me to do, that one, because it is, like, ultra personal. social community or social club for Black women around the time It's difficult, it's difficult to expose yourself like that publicly in Now, I urns born a slave, a rebel, an inherent queen no thing, of the Harlem Renaissance, and it was somewhere they went after front of an audience." situation or person can steal my birthright I came forth in the working, you know, say, in white people's homes all day. Kind of, What can we expect from Rueker when she plays Vancouver night a force to unreckoned with you sure you want to get with feeling displaced throughout the day and then they went and November 6? "On tour I have three musicians with me, Tim this joined together, they found a place together to strengthen them­ Motzer, who has some cuts on the album, is on guitar, Phillip Some may attempt to falter my steps...knock me down...but lam selves and celebrate themselves, in this place called Elizabeth." Charles is on bass and he has a track on the album also; most of the resilient.. A just bounce The obscurity of black women's history in CanAmerica has album was engineered at his house. And Jim Hamilton who is a I... just...bounce been obscured by the heavy cloak of white supremacist capitalist percussionist. So it's very intimate, and it's very complete at the I... just...bounce patriarchal history, and throughout Rucker's album she moves the same time, even though there are just three musicians and me. I I... just...bounce mantel of lies aside to expand black female subjectivity. It is not used to go out with just me and an MPC containing my music. My Able to leap small minds in a single bound incongruent with Rucker's femcentric philosophy, though, that this friend Rob used to push his buttons and do his thing and it was just Land feet first on the ground piece of women's herstory—that of the Elizabeth Club—was us and it was all about the spirit and the intention and the sinceri­ I abound with. ..Shelectricity offered to her from a male friend; Rucker's poetics naturally ty and I don't think it matters if there are nine or three or no musi­ Tma gonna sing my ivomansong... make you listen to me accepts and celebrates, even as it challenges, the roles of black men cians, it's all where your head is at and how you put it out there." in her community. She elaborated on this theme in a discussion on After having listened to Supa Sista a great deal (because it is Ursula Rueker, "Womansong"

18 november 2001 tioned to produce truly original BOBBY CONN cise running time, this album is work. The world of electronic Vie Golden Age a charming and very welcome music is ripe for colonisation by (Thrill Jockey) surprise. Plus, it's got Jim a new wave of laptop-wielding O'Rourke on it, which is still fembots. Sadly, given the cli­ always a good sign as far as I'm mate of cynicism and bigotry concerned. that pervades the UK music Sam Macklin APPLIANCE sounds from different cultures necessary task of comparing the scene, they probably won't be Imperial Metric and fusing them in a somewhat failings of this EP to those of British. FUGAZI (Mute) unique way. The best tracks Neotropic's La Prochaine Fois Sam Macklin The Argument I thought that, since this was on showcase great ingenuity. At (Ntone). After all, tarring two (Dischord) the Mute label, it might be other points, however, the records by British, female elec­ COIN GUTTER HEY. Guess what. This sounds worth some attention. Sure, it musicians stick to a less creative tronica artists with the same truth lifting up its head above exactly like the new Fugazi deserves some praise. Here's format—and although they brush smacks of discrimination scandal album. some expertly crafted psyche­ don't sound like St. Germain against a disadvantaged minor­ (vanityrecords.com) It includes: more singing, delic pop that flirts with the knock-offs or anything, you get ity. Nevertheless, both of these For the first time in a long time I less yelling, three women, and a succubus of success. As much the feeling that if the Batidos discs use the same musical for­ sat down to listen to music. The cello. It's fancy, but yes, it's true, as Appliance may share com­ had stuck to their game-plan, mula and both fail to capitalize blinding high-pitched noise at it's amazing. monalities with the spooky the album would have had on its large potential for the the beginning of the CD com­ C/insf,7 Min instrumentation of bands like more staying power. As it is, it's manded me to do so: I had no Seefeel, Scala, or Tarwater, a good fix of catchy beats, nice The formula is one of the choice but to put away my TOMMY GUERRERO they also tend to come close to melodies, and solid musician­ jay Douillard most productive in music today: reading, sit back in my chair, junk Collector that unfortunate Coldplay ter­ ship that'll keep a summer smile (Mo' Wax) the combination of grainy, digi­ and breathe in the subtle work­ ritory when singer/songwriter on your face on the rainiest of DRAG CITY Happy skating, happy birds on tal noise with unabashed melod­ ings of drones, harmonies, and James Brooks breathily spews SUPERSESSION the cover, happy birds singing ic sentimentality. This is the barely coherent minimal beats forth like a tranquilized Bono. Lucas TdS Tramps, Traitors and Little inside the music, rolling, rolling very juxtaposition that made that pulse through a stream of Appliance apply plenty of on my skateboard. Brother Fennesz's Endless Summer soothing electronic effects and BOOKS_ON_TAPE moods. As my mind attempted (Drag City) takes off with his camera and (Mego) this year's one absolute­ organ pumping, with a bit of Test Pressure to relax, it began conjuring my There's nothing like the prospect comes back with shots of ly essential purchase for music guitar strum for filler in the (Beatpunk.com) imagination into spectacles of of yet another fantastic Chicago jumps, flips, slides. Somewhere right places. I want to say that this is experi­ lovers and, indeed, all other vision: I dreamt of picking up jam session to fill this writer's the sun must be shining, happy Negative bitch-rants like mental jazzy breakbeats. But it's human beings. Furthermore, in rocks on a windswept Northern heart with a sense of dread (in colour robots are dancing under mine aside, Appliance WILL not just that. Todd Drootin my defence, it should be noted BC Coast, grey clouds approach anticipation of the seemingly the sun, pink, orange, purple, gather plenty of fine reviews takes the time to place every that it has been brilliantly used from the east—the wrong direc­ endless, numbing tedium that green, pink. Drums, bleeps, and and wads of fans. They could be single sound exactly where it by at least one female, British tion for weather, and then I am will doubtless ensue). So you my brother goes out again. He the next Spiritualized or Verve, needs to be, creating a carefully electronica artist—namely Leila chilled from the cold even though can imagine that the prospect of says he likes it. I do too. It's if they aren't already (what do I constructed and conscious down- on her LP Like Weatlier (Rephlex). my house is warm, very warm, a "supersession" from Windy dedicated to him; know, I refuse to watch music tempo excursion that moves These records work because rising in temperature, and then City indie rock label Drag City videos). Currently, the band is from piano riffs to noisy sound­ they counterpoint dissonant before I know it, the speakers was not an entirely welcome touring with Hefner. So, some bites. It sounds nothing like noises and tonal melodies in a have swollen and the bleeding one. But, damn, if this little get- HOT LITTLE ROCKET good points of reference for y'all Kinder & Dorfmeister, or any­ dynamic and challenging fash­ noise, which was always there, together didn't turn out to be Danish Documentary out there, and I think that over­ thing of that sort. It's jazzy in ion. What becomes clear with waiting to pounce, from the quite the wing-ding. (Endearing) all this is a "thumbs up" album the sense that it plays with records like Prickle and the dark of the trees and the forest Well, this is, after all, A Drag For a band from Calgary, Hot and for the price, I'll let you sounds—but it doesn't always aforementioned Neotropic deba­ and the eastern wind, defying City Supersession and not a Little Rocket is pretty dang know it is also a generous help­ have a jazzy feel or use jazzy cle is that, if the melodic side of the west, she attacks in waves, Thrill jockey Supersession. That ing of sound at 12 songs in samples. It's "jazz" in the sense the equation is unspeakably a rising gray wave from the ' >'M""'' ing t( Danish Documentary is their about an hour. This is one of of free-play within a structure, banal, then things just ain't ocean, back turned, echoing hear a pack of slack-jav second release and was preced­ those lonely Sunday morning and for Books_On_Tape, that going to balance out. redemption, rising moon where music school grads indulging in ed by an EP titled Laika, which I type albums, not one for trying structure has been reworked Mira Calix's four-part opus there should be sun. All too sterile post-Slint instrumental have not heard. Those smiling to get the party going. and refined into a honed and (bad sign, huh?) starts things soon, it is over, it has felt like circle jerks will be severely dis­ folks from Endearing Records Bleek precise craft, using pop conven­ out promisingly with what hours, it has been only 36 min­ appointed. Instead, we get a want everyone to know that the tions—riffs, refrains, choruses— sounds like a heavily processed utes: not too long, a capturing collection of originals and latest from this four-piece B ATI DOS where today, many choose field record a la Francisco moment that is enough to grab covers arranged/played/sung "would sound good on a mix minimalist repetition. This is Lopez. But then the keyboards you, dissect you, and then place with considerable aplomb by tape with" the likes of Blonde (Six Degrees) not to say that the sound is pop­ kick in with a faux-classical self- you back down where you some of American indie rock's Redhead and Modest Mouse. like or commercial; on the con­ more distinctive personalities. Ol-jope's opening track, "Just A importance that would make could have been, a bit off, like Perhaps this is because Hot trary, the result for the listener The most noticeable voice Dream," starts out with house Jennifer Lopez cringe. Ponder­ coming back to the world and Little Rocket sounds exactly like is the awareness of an artist at here is ex-Royal Trux driver beats by Ron Trent, adds Jay ous piano lines and portentous noticing one subtle thing is Modest Mouse would if they the peak of his element, playing Neil Michael Hagerty, although Rodriguez's saxophone, some analogue synth chords kick in, wrong with it—the majority of were fronted by a muppet. Like with standard conventions of Smog's Bill Callahan and alt- nice vocal arrangements, West establishing an irrevocable people are now left-handed, Modest Mouse, they combine songwriting, performing subtle torch singer Edith Frost also African drums, and features mood of pretentious bad taste. say. Thirty-six minutes is a good cacophony and harmony to Cuba's legendary Chucho sound mindfucks, and produc­ make prominent contributions. This mood is only alleviat­ time. Kim Cascone and other great effect, but with added Valdes on Fender Rhodes. To ing very tight downtempo Of these three major players, it's ed when Andrea Parker (the experimental electronic musi­ twang. These guys seem reluc­ say that this album is a mix of material. This is to be somewhat Callahan who benefits most first lady of British electronica?) cians are working with albums tant to reveal any personal genres is an understatement. expected, considering that from the unique setting—being shows up to remix "Skin with of that length, cutting out need­ information on their website, Genres aren't merely stirred a Drootin's music has been used forced to ride above his usual Me" in the "nu skool electro" less sound to reduce the experi­ and the same is true of their bit on this album, they're blend­ for MTV spots, among other snail's pace by the rest of the ence to core elements; other lyrics, which are rich with things. In a way, he's like a style she helped to make fash­ posse, he's very nearly persuad­ ed so thoroughly that the result streams of unrelated and Brian Eno or Bill Laswell, ionable a few years ago. This artists, such as Tomas Jirku, can't be classified as anything ed t. ind obscure images revolving around straddling the commercial mix may not be the best thing Jetone, Tanaka Fumiyaka, Frank other than tasty. "Batidos," is even inspired to get a little the themes of movement and knowledge of technical studio since sliced samples exactly but, Bretschneider, and Mitchell writes Jay Rodriguez of his anthemic at times. stagnation. Notably, "Vive production with an inherent by shifting the emphasis from Akiyama, are experimenting group's name in the liner notes, However, it's the back-seat Death!" and "Did Yr Ship Come curiosity in the nature of sound texture and melody to rhythm with track lengths of 12-30 min­ "are in Latin-American cul- drivers that steer this particular In?" are the only two songs on and music. For Drootin, this and harmony, Parker adds both utes, allowing the electronic rock juggernaut on its most Danish Documentary with punc­ takes the shape of oddly sam­ levity and depth to a disc that palate—be it beat-oriented min­ shake." And a milkshake is scenic diversions. Tara Key's tuation marks in their titles. pled downtempo breakbeats was previously as shallow as a imalism, sample-laden experi- what this album somehow tastes wild, ragged guitar playing in And so I give them a punctua­ that aim to engage the listener puddle of piss. It also—ahem— particular, is a real treat. But like. The ingredients couldn't be tion mark, as in "Hey, these in a productive session of inquis- helps me further distance myself develop itself over time, to take what really lifts this very loose- more varied, but somehow they guys are pretty doggone good!" from any accusations of minori­ time, enjoy the time, make the ly-themed album above the are combined in a way that But I also give them a question ty discrimination that may arise, level of played-out trad rock is leaves a pleasant aftertaste that opposed to primarily satisfying most of this time. Vancouver's mark, because "Why does that the string work of Jessica Billey is both a bit traditional and dis­ the dance floor with the worn- as discussed previously in this Coin Gutter dreams the guy's voice have to be so and Matt Bauder. Their contri­ tinctly urban. The song "Dear out grooves of repetitious and absence of horror, creating their nasal?" Hot Little Rocket will be butions make perfect sense in Neven" has hand-clapping predictable breaks. Returning to that touchy own time, defining continuum opening for Eric's Trip, who spite of being (or perhaps looped into the track, reminis­ theme, if we must, I've often not by clocks, but by elastic will retry the West Coast leg of because they are) rough-hewn cent of Miles Davis' "Black pondered the possibility that stretchings of frequencies that and disconcertingly off-key. their reunion tour, playing Satin." "Tengo Sed," in my MIRA CALIX the future of music could/should drone high-pitched screams, Richard's on Richards on opinion the best piece, begins Prickle be in the hands of female elec­ begging, begging, for the truth From these string arrange­ November 4 th. with a sample of a police siren. (Warp) tronica artists. All things con­ behind the scandal. ments to the band's choice of At its best, this album is an Any remotely sensitive music sidered, they seem to be the cover-versioas (Randy Newman, Sara Young interesting experiment, taking critic would balk at the entirely people most naturally posi­ Black Sabbath) to the set's con­ 19H^§£5^2B KARP but this gets so redundant I that you never had it so good; of hip shake and dis­ wraps itself around his warm bly sweet voice of Ms. Warner Action Chemistry can't see the light at the end of to "name the phenomenon" cordant keyboards. I could say yet simple guitar lines, so seam­ herself. All the rhyme-free ultra- (Punk in my Vitamins) the sewer tunnel, dig? that belittles political sincerity that it reminds me of Refused at lessly drawing the listener into indie rock lyrics might grate on Before metal became hilarious­ Blique while enacting repression. It's times. They even have a few his off-kilter world of pixie-ish some, and many will question ly de rigeur again, Karp was also a call to relearn pleasure, to singers (I don't know who they lovers, junkies, frozen Polish the fundamental coolness of doing it. The band has since LE TIGRE enjoy your body, to savour lan­ are because they aren't listed) peasants, street kids, forest crea­ naming the album after a mean­ passed into the land of the Feminist Sweepstakes guage, to make art. and the vocal textures are pleas­ tures, fractured families, mice in ingless punctuation mark, but nonexistent, but this anthology (Mr. Lady) If revolutions actually had ing to these ears. I think they walls, warmongers, neurotic for the most part this album of 7"s, compilation tracks, and Cher—of all people—was once soundtracks—like if real life have blonde hair, though. I inner voices, schoolyard bullies strikes an excellent balance of other bits and pieces is a pretty quoted in US magazine—of all were some sort of music video— hope that isn't a problem. It and vengeful gods that it is intelligence without pretension, good representation of the kind places—as saying, "If Roe vs. "On Guard" would sound good might be. Join me or be crushed! more surreal than what one and childlike happiness with­ of pleasurable punishment they Wade ever gets overturned, behind a crowd of women Jay Douillard would expect from something out the company of its ugly, tag- dished out. And there's noth­ women will shut this country storming the Supreme Court. so stripped down and simple. along friend coy. ing funny about it. down." Well, as we speak, Bush Wanna talk about internal ter­ MARTIN TIELLI Spike Donovan Barbara is stacking the US Supreme rorism? I got yer speculum right We Didn't Even Suspect That Court with anti-choice judges; here, baby. He Was the Poppy Salesman TRIANGLE TRANSCHAMPS LANDING Attorney General John Ashcroft Barbara (Six Shooter) Double Exposure Oceanless advocates a constitutional amend­ Every now and again an album (File 13) (Thrill Jockey) (Strange Attractors Audio ment banning abortion; Roe vs. MILEMARKER comes along so intimate in its The cover of this album is a Roger Whittaker. House) Wade may very well be in its last Anaesthetic delivery, so idiosyncratic in its washed out picture of a bare Every once in a while Landing days. Our sisters to the south (Jade Tree) very nature, that one feels as if and frozen urban park. In the The busker who plays the (previously known as May are suffering an unprecidented Why does this album have a one is eavesdropping on some­ centre of the image, hovering Harp on Granville. Landing) lives up to the under­ backlash against decades of pink graphic that reminds me of body reading their diary aloud above a grey puddle, is a bul­ Philip Glass. ground hype which proceeded feminist progress. Dear Cher, I "My Little Pony"? 1 have no instead of listening to an album bous, translucent orange oval Fine musicianship, for sure; this release, sharing some dark never thought I'd write you a idea, but it certainly got me intended for everyone's listen­ that warms the entire land­ but who would have guessed ambient territory with Windy love letter, but I'd pee my pants hooked. Well maybe it's actual­ ing pleasure. scape. The liner notes are a col­ that the apparent likeness of and Carl and some of the buzz with joy if your prediction came ly the lack of information in the Rheostatics co-frontman lection of unappealing scribbles. such influence would be pre­ we like in Bardo Pond. Oceanless album booklet. The front just Martin Tielli's first official solo That cover image, however, is a sent in a work which also boasts does provide a fine mindfuck, Le Tigre have made the has the cute little flying pony album (he released an album of perfect metaphor for the accom­ the influence of comparatively especially over the first three album of the year this year, the and some stars. The back tells material that was essentially plishments of Brian Tester and more modem composers such tracks, but when it comes to year when it is probably most us the album name and the solo stuff in '97 under the Amanda Warner of Minneapolis, as Foreigner, Iron Maiden, or songs four and five, each clock­ needed and necessary. Miles band, and that it is on Jade Tree moniker Nick Buzz) initially Minnesota, the main members the brothers Van Halen. ing in at just over 21 minutes, I past their great self-titled debut records. There is nothing on the left me feeling this uneasiness of Triangle, who reproduce Imagine, if you will, a one- often get the feeling that Landing and even further beyond their inside. Not a word. The front of intrusion which quickly melt­ exactly this sensation of the off collaboration of the afore­ is just building a huge sonic recent EP From the Desk of Mr. panel is just one sided card­ ed into a case of the dizzyingly explosion of something beauti­ mentioned influences, complete wall to hide the dead body of Lady, Feminist Sweepstakes is so board. If you were paying atten­ warm fuzzies which one gets ful and enticing from terrain with flute, cello, an Italian Brian Eno. good I can barely get my pulse tion you will have a great when treated to a bottle of that seems at first to be sparse Crumar synthesizer, and duel­ Perhaps if we could hang a down long enough to write question for me. WHERE ARE Bushmills and new songs from and empty. The songs all use ing electric guitars. A tremen­ the same basic instrumental for­ carrot (or a huge spliff) in front anything coherent about it. THE SONG TITLES? I couldn't your guitar-plucking friend dous "coming-together" of the mula, laying a foundation with of them, they could see a desti­ The aim of the album, if tell you. There are about eight around the fire in the living creme de la creme of synth/ clipped electronic rhythm and nation. Some sort of goal is "Keep on Living," the final songs with unknown names— room. Just so happens that liv­ orchestral/guitar instrumenta­ maybe they are all part of one cold noises a la IDM, then trans­ always good. Instead what track, is to be believed, is to give ing room is alternately in a tion. A dazzling display of semi- piece called Anaesthetic. Hardcore forming that base into some­ hangs is a 300 pound slug over activists the strength to contin­ house with a smiley face on it in instrumental magic, soothing, gone baroque. This album thing thoroughly human by the head of the listener. Not a ue the struggle for freedom: to Toontown and in a lonely cabin yet hyperactively stimulating, should be huge, if the kids give in Poe's Dark Valley of Death. adding humble guitar strums, pleasant scenario at all. Hey, I ignore the voices that tell you with its abundance of axe rif- it a chance. It has just the right innocent lyrics, and the incredi­ like drone... no, I love drone, you're crazy, that you're a freak, Tielli's raw yet agile voice fery. CiTR DJ PROFILE TrANCENDANCE Suki and Lisa RESIDENT: DJ SMiLEIY MiKEI Evil VS Good Alternating Mondays 6:00PM-7:30PM Record played most often on your show: Jerry's Kids, Final Conflict, and all things 9 Shocks Terror. Record you would save in a fire: Suki: Negative Approach 7", Cheap Trick at Budokan. Lisa: Misfits, Collection 1. Record that should burn in hell: Suki: Anything that makes a guy in a pickup truck want to mosh. REQUE5T5: CBD4D BBBi-24B7t Lisa: Anything by Jane's Addiction. Book you would save in a fire: Dm :,«| Suki: Something about Japanese toy robots, or the devil. Lisa: A book of ghost stories. Worst band you like: Suki: Maiden and the Priest, dude. Lisa: Cradle of Filth. First record you bought: Suki: Alice Cooper, Killer. Lisa: New Kids on the Block, Hangin' Tough. Last record you bought: SUNDAY NiEHTS Suki: Lip Cream bootleg; Shark Attack 7". Lisa: Slayer, Reign in Blood. 1D1.3FM CiTR Musician you'd most like to marry: MiDNiEHT-EAM Suki: Debbie Harry circa '77. Lisa: Dave Gahan of Depeche Mode. Favorite show on CiTR: Suki: These are the Breaks, word. Lisa: Powerchord. Strangest phone call received while on air: Suki: Some stud that wanted a date with an Evil vs Good host, and it didn't ••••aw matter which one.... Lisa: This creepy Australian guy begging to hear Anal Cunt every other week. •

20 november 2001 Now picture the n Life Raft Gaza released one particular with Floyd, aside from the bly big Floyd fans who would original samples, mostly strings while recording together over a (Patsy/Radio) record in 1982 called Drumming namedrop in the title. Even bet­ find this a tough listen. and guitar, although several of few day period—it was nearing Ideologically, I hate namedrop- the Beating Heart on Cherry Red ter is their howling '97 debut, It makes you wonder the tracks lack in bottom. the end of the sessions, which ping without a good reason. I'm that you should get, because it's Hurtiti for Certain. If you really whether Roger Waters really Lyrical content is usually the have proved to be laborious pretty sure probably less than good.) want to know what a great needed the royalty money to hallmark of P&C material, and and saturated with constant ego 2% of the people reading this band they can be, check out okay this one. Factory Seconds provides no adjustment and introspective review know who Martyn Bates either of those albums, instead. Spike exception. Pip Skid demon­ turmoil. Alex Van Halen had is and even fewer are likely to LUTHER WRIGHT AND Wright does score by bring- strates perhaps the best started complaining to Edward, be familiar with his work— rhyming and by far the most THE WRONGS By Andrea Nunes his brother, and Roger Whittaker, either with '80s synth duo Rebuild the Wall mic presence on the roster, both about Philip Glass' insistence Eyeless in Gaza or, more recent­ (Snakeye Muzak/Universal) in his solo tracks and in his on playing drums instead of the ly, solo and teamed up with In the context of this project—a group Fermented Reptile. The synth he had been hired to play. low-end guru Mick Harris. country-twang remake of Pink other artists hold down as well, "Eddie, he's gotta stop Since Bates is a cipher to most Floyd's The Wall, in its entire­ polysyllabically shooting down playin' my drums. I let him Discorder readers and has noth­ ty—Luther Wright and the wack MCs, corporate MCs, play my drums on the first ing to do with Trixie's Undersea Wrongs comes off as a novelty wack corporate MCs, and cor­ track, now he thinks he's Phil Adventure at all, I should really band, at best. porations in general. In Collins," Alex lamented. "He's not mention him. But what the Some history first. In 1979, "Earnings Warning" and "Good hell, I'm a lazy snob like every­ gotta go, tell him to get back to avant-garde British band, Pink one else here and want to show his keyboard or I quit." Floyd, sets a new standard for pairs his anticon-like vocal off my vintage underwear. The ultimatum was consid­ the concept album with its epic styles with his own production ered by Eddie and Roger, and Life Raft, the first album by of alienation and insanity, The ing Harmer back on board to VARIOUS ARTISTS on these issues. While the social discussed thoroughly. Trixie's Undersea Adventure, Wall. In 1991, a four-piece rock- produce and to guest on a few Factory Seconds commentary is well-informed How to tell the confident tracks as a backup singer. The (Peanuts & Corn) and welcome, a few numbers Glass that the drums were real coup was having her sing For a few years, Peanuts & Corn find artists just having a good Alex's domain on this piece? co-leads on "Mother," which Records has been one of time (see "Legos" by Yy and There was to be no switching of easily rates as the album's best Canada's fastest-rising indie hip The Gumshoe Strut), and intro­ teams during this session, they track and is a faithful cover— hop labels. With successful spection gets a word in edge­ all agreed. the only one that really does not product out by Fermented wise on tracks like "Rainy Day" But to no avail. come off as comical. Reptile, Park-Like Setting, and by Josh Martinez. Notably, one While Alex pondered this If you like the stinky fro- other Winnipeg artists, label of the most powerful moments predicament, Eddie Van Halen mage of novelty acts, get this head Rod Bailey (aka mce'nroe) of the album finds Pip Skid dis­ was experiencing his own. CD. The band's tongue-in- has moved from the prairies to cussing an attempted rape his During the recordings, Zamfir, cheek take on each song—com­ Vancouver and added some mother experienced. Other the oldest and most distin- plete with cheesy inflected west coast talent to his stable. tracks devote more time to the guishably pretentious, decided nasally cowboy drawl courtesy Now, Peanuts & Corn has a issue of misogyny, adding to it was time for him to experi­ of Luther Wright—becomes sampler of new and unreleased the rails against discrimination that fill many of this compila­ ment with foreign instrumenta­ either funnier or more trying material, strangely titled Factory tion's 64 minutes. Doing what tion. While playing Van Halen's (depending if you are a hard Seconds, to add to the constant stream of new releases. needs to be done in this manner prized guitar during one track core Pink Floyd fan or not) with is what largely defines Peanuts was enough for all the other col­ each passing song. The album, Producer/rapper mcenroe & Corn as a label, thankfully laborators, Zamfir, confident in as an entire work, seems like does most of the production on one of the least jiggy crews out his pan-flute playing wizardry, either a big inside joke or an this album, and The Gumshoe may have been a little too confi­ extremely peculiar way to pay Strut and Gordski make a few dent in his guitar ability. He tribute to Pink Floyd. contributions. Factory Seconds Micliael Schwandt Nevertheless, there are proba- was okay. But being okay was has plenty of banging beats and not going to cut it for this spec­ tacular experiment in musical expertise. While open and com­ VANCOUVER INTERNATIONAL FILM FESTIVAL REVIEWS. municative during the record­ The Legend of Teddy Edivards had to leave the band in LA and go to San ing process, all the musicians in The Legend of Teddy Edwards is a loving tribute to Francisco to attend the birth of his son. Like his the end could not bring it upon one of the great unsung heroes of the tenor saxo­ saxophone playing, Teddy is honest and straight­ themselves to belittle their com­ phone and Jazz. Theodore Marcus Edwards was forward. He is also an arranger and composer of rades' overzealous nature, and born in Jackson, Mississippi on April 26, 1924. word and music. His two closest friends, Clora the result was a mediocre com­ Teddy tells his own story of his youth in Jackson, Bryant (a great female trumpeter who began her position which fell short of the then his move to Detroit in 1940 and his early career as a teenager on Central Avenue), vocalist masterpiece they had anticipat­ career and musical dues playing in territory Ernie Andrews as well as senior Jazz Historian ed. bands and blues groups. Landing in Los Angeles Dan Morgentern are heard at length as well but it Much like our esteemed in 1944 (as an alto saxophonist and clarinetist), is the statements of Teddy Edwards Jr. that have brothers of the collaborative he found the hotbed of music was Central the most impact and insight into his father. kraut/crotch rock... TransChamps. Avenue in Watts. From 1944 to 1949 Central Along with all the talk and history is the Trans Am are good at what Avenue was the home of every kind of Jazz and music of Mr. Edwards, the movie includes full they do... they should stick to every kind of club from the huge Club Alabam tunes played by his present working band plus By Andrea their Deutsche-influenced bass- to the little "after hour" joints. Central Avenue verbal commentary by the members of his group. reminds me of one Bates album ball; The Fucking Champs are pop outfit, called Weeping Tile, was as important to Jazz in LA as 52nd Street was Now, Teddy works every weekend with his in particular—Mystery Seas. to Jazz in New York. Central Avenue featured excellent, too. But they should forms in Kingston, Ontario, and band, even though he is in his mid '70s. He is Time works differently in Bates' Rhythm and Blues bands, big bands (Lionel not be giving free guitar instruc­ proceeds to release an EP and playing as well as ever. As Teddy says, "When I universe: endless synth chords Hampton, Duke Ellington, etc.) and small groups tion to synthesizer players. A two albums. In 1997, Weeping start to sound bad I'll quit... I'll hang it up, man." are stretched over deep seas of that were reflecting the new sounds of Charlie satisfactory listen, but overall Tile goes on self-imposed "hia­ Judging by his present day playing in the echoing melody. Nothing ever Parker and Dizzy Gillespie called bebop or as the film..."hangin' up" his horn will take a long the presence of Trans Am just tus" and splits into country really starts, stops, or peaks in musicians preferred "modern Jazz." Central time. The only major niggle I have with the weighs down the C4AM95 Riff band Luther Wright and the this world—it just keeps tracing Avenue boomed, munitions plants brought peo­ movie is one short vintage scene with young after Riff after Riff mandate. I Wrongs—featuring guitarist the ripples in pools of melan­ ple into the city and everyone was employed and Teddy (around 1959) and his group playing his guess the contrary might be Luther Wright and the 'Tile's choly. Trixie's live in a similar had money. Central Avenue was cookin'! It all most famous composition, "Sunset Eyes." The said by others like what my former drummer Cam Giroux netherworld: though eight dif­ came to a crashing halt in 1949 due to an eco­ members of his band are unidentified. Teddy friend Ben said to me after hear­ and frontwoman Sarah Harmer. ferent tracks are listed, Life Raft nomic downturn, fifties middle class values set­ could have been asked who they were but was- ing it: "Awwww, I dunno man... Harmer is currently touring on is more accurately described as ting in but most of all the onset of tough rules kinda sounds like Trans Am, her second solo album, while an extended suite, a single and regs regarding clubs and a vehemently racist This is a wonderful and warm portrait of a but way too Iron Maiden-y." Luther and band are knocking excursion into the stunning LAPD (a huge number of new recruits were Jazz musician who is still undeservedly unrecog­ While Ben is a good buddy who out tunes live from their own dark drone of Nicole Huterbise's white southern "crackers"). The police harassed nized only because he chose to stay in LA and skateboards and is growing take on that aforementioned accordion and Matthew Bailey's the clubs, busted heads and despised the friend­ not to relocate to "The Big Apple." a beard right now, one which Floyd classic. keyboards. Huterbise's vocals ly mixing of the races that Central Avenue and Gavin Walker rivals a Michael McDonald/ Rebuild the Wall—not to be are Biblical, monochromatic, Jazz music brought about. Norelco-style beard, I disagree confused with the head-scratch­ Gavin is host of The Jazz Show on CiTR Monday sometimes conjuring up Nico Teddy talks modestly and eloquently about with his negative response; ing teaser of Rebuild the Wall Pt. evenings from 9:00 pm to midnight. Listen in on and a young Sinead O'Connor. his heroin addiction, (he was "clean" by 1952), some people like Iron Maiden. 1, which came out last April—is November 12 ..elicit I li he presenting tin hour and a half Though the lack of variation his is marriage and subsequent divorce, the birth I love Iron Maiden. the band's follow-up to 1999's (9:30 pm to 11:00 pm) of one of the true bosses of the tenor from song to song can be wear­ of his son, Teddy Junior, (who makes some lucid saxophone... Teddy Edwards! HotDogzzz! intimate Roger's Waltz. Which, ing, patient listeners are in for a statements in the film), and how he missed out incidentally, is a far superior hell of a ride. on Jazz history. He preceded Harold Land in the album in almost every aspect, historic Max Roach-Clifford Brown Quintet but (Incidentally, Eyeless in and has almost nothing to do 21S^§33ISB ONE MAN'S VIEW OF (MOST OF) SHINDIG 2001 Following over two decades of Vancouver independent music tra­ dition, CiTR's legendary SHINDIG! Battle of the Bands carried on at the venerable Railway Club (one of the few places in this city that seems to have any character whatsoever since the Commodore received its embalmer's-style makeover). The September 25th round was carried by Restore, a drums, bass and vocals avant-jazz trio. Their smoothly crooning vocalist contrasted well with her band- mates' percussive, dare I say aggressive, attacking of their instru­ ments. The bassist did an excellent job of filling the empty melodic spaces by resorting to unconventional techniques such as playing the odd guitar-style power chord and using distortion and other effects. It was the drummer, though, who really stood out, hammer­ ing the hell out of his little jazz kit with passionate abandon. All in all, they sounded to me like Portishead meets some John Zorn project. Two girls/one guy pop trio Shrimpmeat also made a strong showing that night. Sweet girl vocals with an overall tinge of eight­ ies new-wavishness, the band, while not as blow-you-away-impres- sive as Restore, still made a good impression on the audience with their catchy, no-frills little numbers. The evening's openers, verticalsmile (get it?) were a group of wholesome-looking young lads who played a commercial radio- friendly style of middle-of-the-road new-rock. The singer closed his eves and danced around while he sang, kind of like Axl Rose used to do on the really emotional Guns 'n' Roses power ballads. Not real­ ly a bad band, just perhaps a bit more suited to the talent contests hosted by other local radio stations The following night of Shindig, held on October 2nd, was won by Disco Incognito's frenzied punkishness. With the singer/gui­ tarist spewing forth in a demented piv.u her-hellfire and brimstone fashion, backed by a wicked rhythm section featuring yet another high-energy drummer as well as a keyboardist summoning a slew of space sounds from his analog board, Disco Incognito succeeded in winning over the panel of judges. Disco Incognito was followed by the solo acoustic comedy mus­ ings of Mr. Plow. While some of his numbers drew appreciative chuckles from the audience, his sometimes forced-sounding rhymes negated the effect of some of his material. By the end of his set, Mr. Plow seemed a tad pissed-off at the reaction (or lack thereof) from the audience and cut it short early. Oh well. The final band of the night was the band whose name caused much confusion around the CiTR offices since the Shindig Contestant list was tallied: OASIS!!! Were we to have our humble little contest graced by the presence of the loutish monobrow Mancunians so beloved by the British tabloid press? Well, appar­ ently no. Their name is pronounced "zero as is" (another shining example of side-splitting band-name humour) and they played eighties synth pop complete with fake leather trousers and fake English accents. Regaling the audience with smoke machines, dis­ plays of rock-star hedonism including (but not limited to) a bag of Like cocaine and a smoke machine, "zero as is" seemed quite disap­ pointed that they did not win the coveted Prize Drumsticks despite all of their effort. Talking later to the vocalist, I learned that the rea­ son that they did not win was their reliance on a drum machine, which automatically put them in the negative with such a "rockist" station as CiTR which "didn't understand" what they were trying to do. Sorry, but I think that the reason that they didn't win was that while they were a pretty brilliant joke, they were, nonetheless, still a joke. I think that maybe they read too much into the symbolism of Restore verticalsi the Prize Drumsticks. The next show was won by the evening's first band to perform: monies backed up by solid, muscular riffs, managed to sway the effect went over well. If their sound had not been rendered so shrill Six Block Radius. A trio of young women, their catchy vocal har- judges in their favour. When this band's instrumental musicianship and off-balance by all of the evening's band's equipment piled in reaches the level of their vocals and offers a bit more variety to their front of the bass speakers, they could well have won the round. sound they could really become a force to be reckoned with on the That's not to minimize the quality of the set played by Bestest, Vancouver music scene. Hell, they're still young, by the looks of it. the night's final band. By the time this pop-punk trio came onstage, Give 'em a few years. the Railway Club was nearly empty. Whereas many bands would Next up were Flipswitch A tight-sounding new-school-semi- have thrown in the towel at this point, these lads played their asses punk band, they once again presented the evening's judges with the off. Straddling the fine line between melody and power, musician­ "good band but better suited for commercial radio" dilemma so ship and abandon, Bestest rocked the house. Maybe the beer in me common to Shindig. Though generally pleasing sounding, their was making me all weepy-eyed and sentimental, but the sight and overall vibe was a little too similar to what is heard around the clock sound of this band giving their all despite the lacklustre crowd was on our local "alternative" stations. Talking to the judges after the pretty damn awesome. That attitude is what Shindig is all about, show, the general consensus seemed to be that bands of this genre dammit, and the judges seemed to agree as Bestest carried away the have all the help that they need out there in commercial radio land Prize Drumsticks that night. in terms of contests and airplay. Sure, maybe it's a bit of a pro-under­ One comment that I have to make, though, before signing off is dog bias on our part, but hell, somebody's got to root for the under­ that whether a band wins or not is often determined by how good dog, n'est-cepas? the competition is on a given night. For instance, a band that won on Tuesday the 23rd of October was, so far at least, one of the most a night where the competition sucked could easily have lost against consistently solid nights of this year's Shindig. The evening began a band that came in second on a night where the competition was with Ether's Void. They were pretty much like the band last week tougher. I know it would really complicate things, but I wonder if it that didn't win due to their radio-friendliness. They didn't win for would be possible to bring in some sort of cumulative-point system the same reason. to determine who makes it to the finals. It's just a thought. They were followed on stage by Mermaid Engine. Sounding Well, anyway, that's what's I've seen of Shindig so far. I strong­ like a cross between, say, Jane's Addiction and some semi-electron­ ly urge anyone out there with a free Tuesday night to head down to ic band like Econoline Crush, these guys presented a set of finely- the Railway to check it out. It's good wholesome fun. • crafted tunes. While the audience was a bit taken aback by the taped electronic sample interludes which began each number, the overall Mike S

Motorcy( 22 november 2001 like a radio ad for penis ei early '90s, finally getting some ment, and puzzling visuals increased widespread recogni­ (provided by the Video In) that tion recently when Californian alternated between geometric label Anticon Records released shapes and some weird, home- his Man Overboard album. With video type footage of a guy in a or without any American r?f;rmy ) radiation suit. arbiters of cred, Buck 65 puts on A few giggles and a stroke an impressive one-man live of the goatee later, Cid + Eric ty\»rAVi of-k? THE DAMNED city regulations) and a new was a cover of "Anyone Who from Seattle were up. Their per­ In his recent Vancouver UlY cvmr;sp THE NASTY ON exhibit there entitled "Exhibit F: Really Had a Heart," although formance consisted mainly of appearance, the live vocal deliv­ THE SWINGING UTTERS Art in Progression" featuring a initially garnering a few ambient drones and later on, a ery was far more enthusiastic Friday, September 21 variety of pieces (visual, textu­ shocked stares, the confidence few clicks and barely-there per­ than the deadpan that Buck 65 <\ KAonfVUs ccrHft Commodore Ballroom al, dolls) from young Vancou­ and expression with which he cussive elements, but it was the brings to releases like Man Disliked by the '76 punks for ver artists. All proceeds went to played made the song listenable visuals that stole the show. Overboard and his Language being unable to hide their hippy support the American Red and powerful. Always hits you Their music fused perfectly Arts albums. Although he never pasts, the Damned have never­ Cross efforts in New York and when you least expect it. The with some nicely-chosen seg­ seemed especially worked up, theless proved to be relatively Washington, DC. band itself played equally well, ments from Rene Leloux's he kept things fun by using a enduring and probably boast I missed Marcel de mixing a good blend of techni­ Fantastic Planet to create a per­ few different voices to praise (fortvifvV/ ^Wt^CC,) about 10 genuinely classic tunes Montigni (a.k.a. Tyler Mount- cal skill with sincere enjoyment fectly ominous psychedelic himself, tell strikingly personal (seven more than most English eney solo, former bassist for the of their music—if you're into atmosphere. I was glued to my stories, and give shout-outs to punk bands of the era). A bril­ Instrumen and one of the dri­ that kind of thing—even suc­ spot until the set ended with the his favourite foods. liant debut album (Damned ving forces behind Worldwide ceeding in prompting a few of escape of the little Oms from Having spent over a decade Damned Damned) and a string of itself) by seconds, but the gen­ the aforementioned scenesters the clutches of the menacing hosting a program at Dalhousie bonafide hits in the early years eral consensus among people I to dance. The 20-minute jam blue giants. University's CKDU, Buck 65 eventually gave way to a Tap- talked to was that he was good. tacked on at the end, however, There was a short break, has heard his share of beats, esque revolving line up and He was followed within 20 min­ was truly terrible. I spent the followed by the long-awaited and there's almost nothing that ,+V \o,z.~i 9reS^ they have been condemned to utes by the evening's highlight, latter 10 minutes conspiring performance of San Fransisco he won't incorporate into his the farewell/reunion tour Sharkforce, leading the way in ways I could disrupt the set, microsound artist and respect­ live set. The samples that he treadmill since about 1986. post-Tortoise backlash in Van­ like maybe I could just casually ed writer Kim Cascone, fresh throws into the mix show just S;OK oq- This tour sees the return of couver. The only band playing walk by the stage, pretend to from his recent releases on Mille how open he is to ideas that prodigal son Captain Sensible tonight that I'd seen before, I trip and knock out the key­ Plateaux. Earlier in the day he many others wouldn't go near. (he's quit and returned at least came anticipating another ter­ boardist's patch cord (he struck provided a keynote speech on Using turntables, as well as three times) with singer Dave rific show—if you can ever real­ me as being the most obnox­ the "Aesthetics of Failure" for some electronics that gave him Vanian's missus Patricia Morri­ ly be prepared for the intensity ious)... just horrible. the conference end of Refrains. trouble all night, he put down son on bass. Something of a and energy that pours off a I'll leave the art reviews to Until his set began, I took the the mic a few times to demon­ goth super-sub, she's propped band like this. This is the sort of the experts, but the piece direct­ free earplugs at the front of the strate a decent repertoire of up the later line-ups of the Gun power that can and does send ly opposite the stage (signed Video In as a novelty, but once scratches. joVi? c\o\T6^ v Club and the Sisters of Mercy, palpable shock waves through "KATIE"—or Katie Piasta, his sublime ambient noise The crowd that assembled so on paper this could be the the audience. Not only were the according to the card on the onslaught was underway, I was was unjustly small, but happy most satisfying version of the songs brilliant, the visual per­ wall next to it) was too good to damn glad I had them—the vol­ to be there. Only a few got loose Damned since their 1988 tour formance aspect of the show be missed: the piece was called ume was deafening. It was a lit­ enough to actually dance, but featuring all four original mem­ was an end in itself, from the "Pick-up Line #69" and it was tle difficult at first, but laying all of the heads in the venue WVS -\oPsXc\y bers. In reality, the results are demented messianic posturing made out of two large panels of back in a soft couch in the cor­ were nodding in unison patchy to say the least. "Love of the lead guitarist to the rough wood painted green with ner and letting the ocean of throughout Buck 65's set. Song," "Grimly Fiendish," trance-like hyper-kinesis of the life-size, ghost-like figures in sound annihilate my frontal Unfortunately (but inevitably), "Eloise," etc. are rousing drummer, and right back the centre. On the left panel was lobes, I was soon swimming one of Vancouver's most pre­ enough, but does anybody have around to the obscene sophisti­ a woman wearing a dress and a blissfully in the sea of static, posterous bylaws brought the a use for a four minute version cation of the bassist. This per­ man behind her cupping his thinking what a particle of light show to an end by midnight. *°&i\ \>Y VvYe Wis of "Neat Neat Neat"? How sonal chemistry between the hands over her breasts and in must hear while coursing Michael Schwandt about "New Rose" with a band members is how they can the air above him it says "This through a fiber optic cable. I dubbed-out middle eight and a pull off what would otherwise could be WWIII we should do was sorry when it was over. SIGURROS twiddly guitar solo? New be lacking lyrics (they opened it." Then on the next panel it's Victoria's Ben Nevile was St. Andrews-Wesley Church album, Grave Disorder, is heavi­ the set with a song the title of just the woman, smiling and up next, and he didn't disap­ Monday, October 1 ly featured and you've got to which I can only presume to be naked, and it says, "OK then." point, coming through with I marvelled at the church set­ °s^ **k cVcs admire their confidence in "Refrigerator")—the style of the The woman's '60s-vogue, some laid-back micro-house ting: the hymn list on the wall, choosing to ignore guaranteed performance makes them worth swept-over hairstyle and ab­ grooves, simply arranged but the pews, the mass of worship­ crowd-pleasers like "I Think listening to—a totally successful sence of pubic hair made this overflowing with glitchy funk pers. To my relief, Sigur Ros ?r.l-c\oSeA I'm Wonderful" and "Nasty." one a killer. renovation and reinvention of and granulated minimal dub. It hadn't taken the stage yet. C*,OCOM/\AO n. However, the restless crowd punk conventions. Another Donovan was exactly what was needed to A while later, four spindly •SP-^W \oorAt \C\7-Z~ indicated I wasn't the only one plus was the semi-hostile audi­ finally get people up and sway­ guys took the stage. From wishing they'd reach into their ence banter between songs. REFRAINS feat. ing. As soon as he wrapped up, where I was sitting, the lights past a bit more frequently. The charged atmosphere KIM CASCONE tobias and Construct set up made the band look larger than Tragically, I missed The induced by Sharkforce did BEN NEVILE shop and quickly turned the life for the duration of their Nasty On, but experience tells nothing to enhance the perfor­ DJs CONSTRUCT + TOBIAS joint upside down, laying down lengthy set. Jon Birgisson sang me they must have blown the mance of Nicely Nicely, whose CID + ERIC some experimental techno and like a Vienna Choir Boy, played cuhT second opening act off the brand of benevolent enthu-pop JOVIAN FRANCEY electro tracks that positively his guitar with a bow and even \t stage. The Swinging Utters seemed lacking in comparison ARTIFICIAL INTELLIGENCE exploded with danceability. sang into it. That's really his play graceless punk rock whose to their predecessors' calculated Saturday, September 29 How so much funk can squeeze voice and not some machine or <±cC\ teav'itS noOco sole nod to originality consists antagonism. Wearing suits and Video In Studios out of such a sweetly micro­ some girl on the record. I was n scopic bassline is beyond me, of a talent-free (and largely hopping nervously, they blared The performance end of the amazed. ScincXocy redundant) accordionist. They out song after song of decent Refrains: Music Politics Aesthe­ but I was right up front shaking One song became another fall somewhere between a "Cut but uninspired pop rock. tics conference/performance my ass with everybody else. and another. It was a little like \? 15 so^S the Crap" era Clash and a post- Towards the end of their set, was a raging success. I came When I finally headed home being at a symphony. My mind Shane Pogues, only (believe it however, as they seemed to get expecting a lot more chin- sweaty and satisfied, there was­ wandered and then returned to n't a soul in the place standing or not) worse. a hold on the atmosphere and scratching than ass-shaking and the beautiful music. When the l[ U!\cV Vor^ib Quentin Wright became more confident in their ended up with loads of both still. A fitting end to the Open show was over, the audience own material, their perfor­ and some fun surprises, too. Circuits festival and the best gave Sigur Ros a standing ova­ BOSSANOVA mance improved and the room Unfortunately, I missed Artifi­ free show I've seen in ages. tion, which was met by the NICELY NICELY filled up again with happily cial Intelligence's set but was Saelan band bowing in acknowledge­ rv"\ \\oo3ajcc\ Voo\.yV\. SHARKFORCE nodding scenesters. told that it was a raw explo­ ment. The set was so long that MARCEL DE MONTIGNI The final act of the night ration of techno from these up- BUCK 65 there was no expectation of an ^j Saturday, September 29 was Bossanova, for whom the and-coming locals. Vancouver's Sunday, September 30 encore. People were pleased, s£' - i. Progression Mixed Media lights were dimmed and a fresh Jovian Francey served up some but I felt a little conflicted. The Gallery batch of friends of the Red ramshackle nuts-and-bolts Buck 65 (aka. Stinkin' Rich, 2.4 a?. c^n?r Worldwide Domination pro­ Cross herded in. As the rest of beats, fascinatingly arhythmic a.k.a. Rich Terfly of Halifax) has pered by my ass feeling sore ductions brought us this the band got ready, the lead gui­ in a cold, detached vein remi­ been one of the Maritimes' most from the wooden pews. And evening of post-rock pandemo­ tarist took the stage for a quick niscent of Autechre. He was all prolific hip hop arl like the church services that I og seouiilsari f nium against the backdrop of solo set, chewing gum and car­ over the place, though, mixing the Progression Art Gallery (an rying off a wicked Morrissey in the sadly unsexy buzz of a UN THE PAGE UN THE PAGE. AND THERE WBi "k^[ r-oorloOT^><^ ^ excellent venue on Hastings impression. The last of his live vibrator, a few funny vocal soon to be shut down due to exceptionally well-played songs samples from what sounded BE MORE REAL UVE ACTION THERE

23H^Si®SB recall from yesteryear, enlight­ yours truly the Apples played a IVA BITTOVA tions between women, an Starfish was the Faint's first this was a slimmed down ver­ enment was accompanied flash­ lot of old favourites including Friday, October 5 appropriate end to the Vox Canadian visit. So who do you sion of the original, which came es of sleepiness, possibly from songs that they claim they Vancouver East Cultural Femina series by New Music have open for the highly dra­ to Vancouver in 1998. His back­ boredom. This makes me think haven't played in over five Centre Rana El-Sabaaawi matic, now-wave bombast ing band, the Memphis Mar- that the show was a true reli- years; the most memorable of It all made sense until she which is the Faint's trademark? iachis, though wonderful as those being the instrumental brought out the kazoo. All of it: TURF ZINE BIRTHDAY Nobody had to look too hard or ever, were down to a four piece "Turncoat Indian" and the the fusion of jazz and folk vio­ PARTY: too far. Vancouver's own Radio (from six) while the beautiful not-so-old Beatlesy "Straw- lin; the hints of the classical and EWOKS Berlin were way freakin' obvi­ Elvettes numbered only two HAWKSLEY WORKMAN surreal; the shrieking, yelping, BIRTHDAY MACHINE ous, and what a great way to (the other two got lost some­ AND THE WOLVES The sound was fair, as howling in both English and BATTLES celebrate the new The Selection time in 1999). Still, this was a LILY FROST Richard's always seems to be. Czech, all of it made sense until Saturday, October 6 Drone album. Sure, references to powerful show. To see the ener­ Thursday, October 4 The band showed up a little late she brought out the kazoo. Ms. T's Cabaret the Cure are always made and gy, creativity and passion that Richards on Richards resulting in a few humourous Followed by the baby rattle and Picture a scene from a sensa­ they get an ass-load of grief this man puts into his perfor­ Having recently become famil­ pauses between sets. My only the bells. Iva Bittova is a genius; tionalist mob movie. There is a from the locals, but Radio Berlin mance is truly inspiring. iar with the music of Hawksley complaint of the night was that she can take any household table stacked with weapons, a is getting due respect as exotic Undeniably gimmicky, he may Workman, I was curious to see the lovely voice of drummer, object and turn it into a musical crowd is gathered around to imports from other, less cynical sometimes be dismissed as a how his brand of esoteric post- gander at the merchandise lands. Besides, they're way novelty act but his band are industrial folk-reggae would through a smoky haze accentu­ more Gang of Four these days! kick-ass rockin', his words are translate into a live setting. ated by one kitschy, hanging No, no, you're right, they funny, clever and (gulp) educa­ Indeed, Hawksley puts on a overhead light. Someone steps weren't the first band. The fun tional, and to those in the know live show to remember—com­ up, lays the money down and began with Saddle Creek plete with extended rants about walks off with the goods. Record's first non-Nebraskan Not kitschy, not ironic (that's his former life as a dog and the Give this script to a surreal­ signed band Now It's dead anyway, right?) but sim­ Turkey carvng abilities of key­ ist to rewrite and they might Overhead. Four kids with that ply a brilliant performer. Don't boardist "Mr. Lonely" to a twist in the pen is mightier than starving student look about spontaneous rendition of the sword theory, and change them, dreaming about a better Quentin Wright "White Christmas," there was the shady ruffians into idealis­ world. Tonight was my first never a dull or contrived tic young artists and bookish exposure to this (yet another) BEN FOLDS moment to be seen or heard. hipsters. Now comics, poetry band from Athens, Georgia and Tuesday, October 9 Instead, Workman somehow and prose are perused and trad­ Commodore Ballroom managed to be completely over- ed. Too far fetched? Well never­ impression. The rhythms took What kind of sorry state would the-top and ridiculous while theless, that is pretty much some original turns and the pop music be in today without still seeming sincere. what the Turf zine's birthday lyrics, sung by the 98 pound the'lead singer post-band solo Unfortuantely, to witness party looked like down at Ms. weakling, were emotionally spin-off? What would people this specacle one had to first T's that night, kitschy light and provoking. The album was have to listen to if they wanted endure the karaoke night that The Apples In Stereo: Smiles are free. all. bought by yours truly and to hear their favorite lead was Lily Frost's set. Complete Oh, and there were bands, found to contain all the charms singers dabble in ethnic chanti­ with feather boa, drum machine Hilarie Sidney, did not grace instrument. She has an uncanny doncha know. The Ewoks tor­ of the live show, if not more. All ng, country and soothing adult- and a keyboardist playing synth our presence. Robert Schneider, ability to pick up music in the tured everybody with minimal­ in all better than average indie contemporary soundscapes free bass, Frost followed her first the chief songwriter and band­ oddest places (street noises, the ist, snotty, post riot grrrl, rock, perhaps not what most of from the tension of their greedy song, which seemed promising leader, looked high on some­ conversations of children, etc). keyboard spaz. This was as this crowd wanted but appreci­ bandmates? Envisioning a mus­ until she insisted upon dancing thing more than life for the It didn't matter that things amusing as it was somewhat ated in the end. ical climate bereft of Peter to it, with a collection of half­ duration of the show, repeated­ stopped making sense because trying. Kind of like watching a The Faint claim to have Gabriel, Sammy Hagar and hearted songs that seemingly ly saying, "Take care of your­ the crazier they got, the better band of hydrophobic CEOs on changed their original tactic, Sting albums perhaps lowered aimed to insult as many musi­ selves" in an overly sincere the music was. Her perfor­ a sinking ship. Lots of fun, ya from a guitar band to more elec­ my expectations while I was cal styles as possible in 45 min­ voice as the band said their mance was also lively and per­ know, and more punk than tronic and keyboard oriented waiting for Ben Folds to take utes. farewells before Richard's was sonable. While playing her most guitar-carrying dopes synth-rock in order to produce the stage. It was in that state The Hawk-man, by con­ consumed by legions of bar violin, she moved around the with dyed hair. God bless them, a more entertaining live experi­ that my anxieties of wincing at trast, was able to inject life into stars. The band has recently stage, between the audience anyway. Try this shit in high ence. That's certainly what they an already unpopular, nearly each one of his songs. We were talked about getting back in the and behind the velvet red cur­ school and get mauled by an gave. Even a frigid Vancouver forgotten figure attempting to treated mostly to material from studio, and fans of Robert's solo tains of the Cultch. Her songs ape in a jersey. audience displayed signs of somehow re-invent himself his latest album (Last Night We work can look forward to a new alternated between melancholy The Birthday Machine what could be mistaken for were quickly relieved. Were) The Delicious Wolves, Marbles album. and child-like happiness. Most proved, again, to be one of dancing! I know, kinda fright­ The new band is essentially including recent hits "Strip­ RobertRobot appropriate, however, was the Vancouver's most competent, ening. The Faint chose as much the old band, plus one guitar tease" and "Jealous of Your song she ended with: "Divna unheard bands. I heard shades from the previous album as player (whose volume never Slecinka." Strange young wo- Cigarette." Thankfully, those NILS PETER MOLVAER of Low with some Galaxie 500 from the newest, playing the seemed to surpass two any­ sure-fire crowd pleasers, "Call who came solely to hear the for­ Friday, October 5 (at times) floating around here way). But like his old band, mer were bewildered and curi­ Rana El-Sabaawi and there. The subtlety of the Call," "Agenda Suicide," when he rocks, he summons ous enough to spend the night "Posed to Death," "The Nils Peter Molvaer delighted BM is what I remember later. this inexhaustible energy that with a really strange man. Conductor" and ending with the audience by his musical per­ TRIO IMPROVISATION : They have the consistent pace his contemporaries in guitar- the crazily spiky "Worked Up Daryl Wile formance on October 5 at Sonar. PEGGY LEE, LORI FREED- of a band that doesn't care pop rarely gather, and with the So Sexual." I used special press Nils is a reputable musical MAN, AND IVA BITTOVA much about fleeting, short-term towering melodies to match. privileges to sneak back and APPLES IN STEREO entertainer from Norway, hav­ Saturday, October 6 thrills, only the practice and Also like his old band, the bal­ meet them, but they wouldn't Friday, October 5 ing performed in various coun­ Vancouver East Cultural maintenance of structured, low- lads end up lacking that spon­ come home with me, the bas­ Richard's on Richards tries around the world. His key sound. Their limited-release taneity and fall flat. tards. They just sat there look­ I've wanted to see my favourite credits include the release of his After the first few minutes first recording was available on The quirky pop formula ing exhausted. I walked outside Elephant 6 band (with Neutral CDs KHYMER and Solid Ether. of this improv showed it was CDR and covered by stitched would've gotten stale had Mr. Milk Hotel running a close sec­ obvious that Bittova was lead­ felt. Very DIY. and suddenly it was 20 years Folds not eventually left his In his performance, he con­ ond) the Apples, for quite some ing and that Lee and Freedman The place filled. The show later again. piano seat, took centre stage nected stylistic extremes: jazz, time. Friends who had seen were either following or keep­ sold out. The atmosphere had Bleek Forest Ham and donned his demonic, ambient, house, electronic and them before reported a fun time ing things together, and having become awfully warm and Fisher-Price-neon-red "key-tar." breakbeats, easily melting them with plenty of smiles from both a great time. For a while, it those goddamned smokers ELVEZ Sure, the satire in his great new into convincing soundscapes of the band and audience alike. seemed that Lori Freedman did were determined to share some Monday, October 8 single, "Rockin' the Suburbs" deep intensity. Consistency is what this Denver not know what to do while Iva disease with everyone. The Richard's on Richards was pretty one-dimensional, Massive beats and throb­ five piece should be known for Bittova improvised vocally and Battles were set to close the Taking the stage in full boxing but it wasn't as smirk-coated bing grooves underpinned the since smiles were the fashion of on her violin. But she caught up show. Their retro-rock inspired gear may be a nod to Elvis's and emotionless as most critics trumpeter's fiery solos. His jazz the evening. eventually and made the most groove somehow made its way "Kid Galahad" but Elvez is far try to warn. It wasn't until the presentation was quite appeal­ Unfortunately, the Mind­ incredible noises on her bass through the smog to the happy from your typical Elvis imper­ very end of the song when ing. He also presented himself ers, who put on a wonderful clarinet. Iva went backstage crowd. Tired, hot and stinky, I sonator. "Say It Loud, I'm Folds actually started scream­ as a rock session player. show of baroque keyboards and (still singing) and got her bag of decided to split a bit early, say­ Brown And Proud" takes James ing and jumping and yelling, English-inspired guitar mel­ In his performance, Nils trinkets. Out came the Kazoo ing goodbye to the smiling, Brown's funk template and re­ "Pain!!!" that he blew it. odies a couple of months back, brought jazz's freedom togeth­ and Lori appeared dumbfound­ relieved faces of the Turf hon- jigs it as a Latino pride anthem. And then all seemed forgiv­ didn't show for reasons un­ er with the sounds of pop and ed and truly amused while Iva chos. Nice kids. Good futures "Lust for Christ" is a punk rock en after a special solo encore of known. If you missed their rock. Most of all, the electronic played it in her face. Once again hymn based on Iggy Pop's five (five!!) shimmering BF5 show at the Starfish let shame collages and the furious, dri­ Bittova was leading. Peggy Lee Bleek Liteposter "Lust for Life", while "If I Can songs. It was at this point of the rain down on you. ving beats spoke most elo­ kept it all together with her Dream" is a Vegas era Elvis ren­ concert that Folds demonstrat­ The Apples started off with quently through Molvaer's cello, which she played won­ THE FAINT dition of Bowie's "Rock'n'Roll ed that he is the greatest rock newer stuff from Discovery look­ trumpet. The audience sure derfully. I wished that I'd heard RADIO BERLIN Suicide" with the guitar licks pianist that has ever lived! You ing at each other and smiling enjoyed his superb perfor- more of her during the show. NOW IT'S OVERHEAD and vocal mannerisms of the can find better songwriting, while playing their instruments The show was quite an impres- Monday, October 8 Beatles "Oh Darling." singing and musical dexterity like members of the Partridge Raj s (and humorous) metaphor Starfish Room Although billed as the sec­ around, but maybe not all at the Family. Much to the pleasure of for The October 8 concert at the ond coming of his gospel show, same time by one person, live.

24 november 2001 If you've ever attempted to sing Bastard were okay. I especially DJ ASSAULT while busting out wild piano liked their amplifiers. Match­ DANAD licks and solos at a blurring less [Not true, man—C Min]. Thursday, October 18 speed, you know how much Like Silkworm's amps. I won­ harder it is than singing while dered if the guy from Flash DJ Assault holds the record for playing guitar. Bastard liked Silkworm. I won­ the longest freestyle poem LUTHER WRIGHT Ending in an insane "Song dered if Silkworm liked Flash about "My Nuts." It wasn't for the Dumped" jam (complete Bastard. I know that Silkworm entirely his fault. Afterall, his with mellotron solo) topped it likes a band called Beef Magnet, nuts are cop killers and Scooby off quite appropriately. While it but this is Flash Bastard. Not Doo snacks, and when it comes wasn't genius or salvation, it Beef Magnet. The whiskey was right down to the nut-action, & THE WRONGS was certainly more than anyone good. Damn good. I began to United Airlines did lose his could've expected! lose sight of the reason for records, meaning that he had to Mark Rosini being there. make do with Dana D's selec­ tion of jungle, hip-hop, and As I was becoming more about four ghetto-tech records. SUPERSUCKERS aware of my surroundings, I (Which begs the question: why FLASH BASTARD heard The Supersuckers didn't they call Vancouver's Sunday, October 14 announce that they were "The infamous Ghetto-Tech DJ, DJ Richard's on Richards best Rock and Roll Band in the Glyn? He could have pulled up When I predicted that maybe, World/The crowd cheered and and handed over a crate of after Must've Been High and the their naivete started to annoy booty-tits-n-ass-black-12"s and subsequent jamboree in May, me. They probably would have Assault would have looked at the cocaine and whiskey-filled cheered if this was a Christian him and gone: "DJ Glyn is [my] nights of yesteryear were over country/jazz revue. A revue for The Supersuckers. I was that offered $6 beers, and a $16 right. Better judgement told me price tag on the ticket. It was Assault still blew the lid off not to attend the show, because true. The evil powers that drove the place with some insane of my prediction. In consola­ this legendary Seattle/ Tucson scratching and a "Happy Birth­ day" song (it was his birthday) tion, I was glad to have seen band were gone. While the and freestyle rapping and some them when they were young band was tight, there was noth­ quick cut mixing and his gregar­ and belligerent, and when they ing new material-wise and ious, friendly personality on the are old and depressing. I didn't there was definitely a "been mic (if you can get past the need further proof of this. My there, done that" feeling after whole Ghetto-Tech thang and musical taste had put them to the show among the rock and realize that, at least in my opin­ bed, in other words. roll die-hards. ion, it is playful sexuality and When a friend dragged me I took comfort in knowing not downright misogynist—for I out to see them the other night, that I had the right to decline count Peaches in the G-Tech promising a "sure-thing," I future invitations to attend fold...). Star Watch: up front and made sure it was going to be a shows which I knew were central (hanging over the railing, whiskey night and an experi­ going to annoy me. to be precise) was Ishkur.com's ment in audio neutrality. I was Black Magnum infamous cur riimself, fresh from going to review the perfor­ mance this time. Relaxed. Focused. And they had better TORN THE PAGE, TORN THE PAGE ANO THERE Ml be ready for me. BE MORE REAL UVE ACTION THERE The show started. Flash

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25®£R&?e®iEa being tossed a possible lawsuit by Oprah's lawyers (right on, Ish, keep it up). The rest of the night went something like this: Assault tries to play some so-so records that he doesn't know, gets frus­ trated, gets on the mic and swc- il*% cessfully hypes the crowd while he raps over a CD of his new NOVEMBER LINEUP ! release. You've got to give him credit for doing the absolute 6th Naked For Jesus best with the shittiest situation. Word to Assault, and hopefully My Buddy Dave A^ e next time he's in town, he'll have his records and we'll get to The Old Ripper see him whiz through the ass 'n' titties set so fast it'll knock your teeth out and force you to bite Semi-Finals Begin ! your friend's nuts. 13th Three Inches of Blood The Organ SHOWS COMING IJP THAT

SHINDIG! rims every Tuesday at theN MORE VIFF REVIEWS THAT W0ULL1T FIT ANYWHERE ELSE.. MULLET HE DIED WITH A FALAFEL IN HIS HAND Railway Club, starting September 11th and Not reading the blurb about a film festival movie This movie was funny. When my jumbo sized sprinting hard to the marathon finals on and just going to it based on assumptions that coke had finally filtered its way through my sys­ December 5th. you gathered from its name alone is wrong. But tem and I had to go to the washroom near th< I grew up in an asshole-of-the-universe town middle of the movie, I became unhealthily anx and I've seen my share of mullets. That kind of ious mid-pee, pleading desperately for my urin< THANKS TO OUR SPONSORS! exposure to a cultural phenomenon burdens a to sufficiently drain while cringing in horror a; person with a number of assumptions about sounds of laughter from upstairs echoed througJ what a movie called Mullet should really be the ventilation grates. When I got back to my ELEC ,CS about. seat, it seemed that nothing important had hap­ ™ chart Bhassr SGOTJ Fully expecting the mullet of my youth, I pened (nothing important really happens pictured burnt out glue addict relics from the throughout the whole movie) but I felt aw '80s—those thirty year olds that religiously like someone had torn out the page of the book showed up at bush parties, stealing your beer, that I was reading and then thrown it in a soggy nzzne m answering to names like Johnny Six-pack and wet ball on the ground. 1 northbynortheast IPP*.. Hurtin' Burton, blatantly advertising their gen­ I'm not sure why 1 enjoyed the movie s eral failure to be useful and their horribly scarred thoroughly. It's a pretty standard Gen-X plot HIVE livers—I, instead, experienced small town about a stereotypical, pathetic, slacker male. The Australian melodrama. As I watched, I kept main character is not only in his early thirties cursing myself for not thinking my movie choice (dying his grey hairs with a jiffy marker), un out more clearly. Firstly, the description in the ployed, lazy, a self professed "writer," and kind straight E guide mentions none of the situations that my of greasy looking, but he also isn't so good with mental picture evokes. Secondly, the movie is girls and he hides his inadequacies beneath an V\)y NEXT PIERCINGS Australian, not Canadian, and therefore has no armour of heavy wit and sarcasm. The plot relation to my high school bush parties. And, revolves around his various apartments, which UBCBOOKSTORE thirdly, mullet is not only the cliched fashion he moves in and out of frequently throughoi faux pas that cool kids point at and laugh, but the film, and his various roommates, which also a kind of fish that people who eat fish think include a Eurotrash lesbian witch, a crazy futur­ istic Japanese exchange student, a Man The movie started off with promise. There Leninist moron, a bitchy narcissistic was this guy who, not only lived in a trailer on psuedo-actress, and a heroin addict man-child. I the outskirts of some small little shithole town, think the premise of the movie is one of those but also had this awful haircut and drove one of "soul-searching" sorts of things, but it's rr those El Camino-esque truck/car monstrosities. funny than sappy, and devoid of preachin But rather than turning out to be the social reject Even when people get shot, are almost burned that I half expected, he ended up being more of a alive, have a botched suicide attempt listening to rebel outcast—an ugly James Dean—"Breaking Nick Cave records late at night, and die in front All The Rules(!)" and trying to scandalously steal of the television, it's always with humour inl I could call it a kind of Australian Trainspotting, his brother's wife. I get real bored pretty quickly, but that would be dumb. It was just a good AMS Events and it didn't take long for me to get tired of movie and it had a silly name that made Not Just Another Music Shop whatever it was that was going on. Every once Beatstreet in a while, though, I would look around and see Seaside Studios people laughing and smiling and I wondered Ian Mosby what they could possibly be laughing at. f TREBAS Ian Mosby W INSTITUTE 26 november 2001 November Long Vinyl November Short Vinyl November Indie Home Jobs

1 the exploders what's what and... 1 six block radius kill to hide 1 set fire to flames sings reigns rebuilds 2 new town animals lose that girl 2 red hot lovers fuck or fight 2 aphex twin drukqs 3 the evaporators honk the horn 3 three inches of blood conquerors... 3 le tigre feminist sweepstake mr. lady 4 Victorian pork I just wanna beer 4 the locust s/t 4 radio berlin the selection drone your best guess gsi rope you down 5 butchies where r we mr.lady 5 Z28 5 operation makeout first base blues musik 6 victims family calling dr. ... nit. tentacles 6 fri haven 6 new town animals is your radio active? russian radio 7 the horizontalist twenty feet behind horizontal 7 sharp teeth 7 gavin froome post & beam nordic traxx speed queen 8 electro group line of sight omnibus 8 insipid 8 couch potatoes cool ride bloc-notes 9 five eight/clemente kids wanna rock moodswing 9 cheerleader 9 pole raining like crazy 10 clem snide song for bob crane self starter 10 shut up marie 10 various artists team mint vol. 2 thoughts are occupied 11 rhume detective kalita kelp 11 tennesse twin 11 death cab for cutie the photo album barsuk psychocat 12 the flaming stars days like this alt tentacles 12 deadcats 12 hot little rocket danish documentary endearing c'mon wid your c'mon 13 red hot lovers s/t red line 13 mister nobu 13 exploders new vibrations teenage usa rain jacket 14 enon listen (while you talk) self starter 14 L bbc sessions cuneiform 14 faust 15 bier gut 15 removal/joey shithead 3 of 10 removal nightmare 15 strokes is this it? 16 common rider lookout! 16 the lollies be my bad boyfriend 16 f-minus suburban blight hellcat 17 solasis digiworld 17 the pattern gsl sound-dust elektra 17 stereolab stereo 18 the flash express vho stole the soul? revenge 18 ethers void 18 beat happening crashing through sampler k 19 tijuana bibles i courage trophy 19 xeroxed brother fragmented 19 mad capsule markets osc-dis manga 20 marmoset/firtips animal world 20 raya wrath of fancan not even thinking 20 los straightjackets sing along with... avalcade 21 international noise... a new morning epitaph 22 modest mouse everywhere and... epic 23 llorca new comer f 24 dj spooky that... under the influence six degrees HOW THE CHARTS WORK} 25 call and response s/t emperor norton 26 spiritualized let it come down arista 27 agnostic front dead yuppies epitaph The monthly charts are compiled based on the number ot times a CD/LP 28 ladytron playgirl emperor norton ("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home jobs") on 29 Stratford 4 the revolt against... jet set CiTR's playlist was played by our DJs during the previous month (ie, "Novem­ 30 beachwood sparks once we were trees sub pop ber" charts reflect airplay over October). Weekly charts can be received via email. Send mail to "[email protected]" with the command: "sub­ scribe citr-charts" •

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27H^g3l®[SB blend of aural delights! 12:00AM Vancouver's longest Bluegrass, old-time music, and its THE MORNING AFTER SHOW running prime time jazz pro­ derivatives with Arthur and "The ah. 11:00-1:00PM gram. Hosted by the ever-suave Lovely Andrea" Berman. GIRLFOOD alt. 11:00-l :00PM Gavin Walker. Features at J 1. WORLD HEAT 8:00-9:30AM on the dial PARTS UNKNOWN 1:00- Nov. 5: Walt Dickerson a.k.a. An old punk rock heart consid­ 3:00PM Underground pop for "The Coltrane Of The Vibes," ers the oneness of all things and the minuses with the occasional with pianist Andrew Hill and oth­ presents music of worlds near interview with your host Chris. ers on Dickerson's classic To My and far. Your host, the great STAND AND BE CUNTED Queen. Also Gavin has special Daryl-ani, seeks reassurance via 3:00-4:OOPM guest drummer/painter Gregg . DJ Hancunt wants you to put Simpson stop by. THIRD TIME'S THE CHARM your fist to the wrist—you know Nov. 12: Count Basie and his 9:30-11:30AM Open your SUNDAY QUEER FM 6:00-8:00PM 2:00AM Join us in practicing orchestra Breakfast Dance And ears and prepare for a shock! A Dedicated to the gay, lesbian, the ancient art of rising above FILL-IN 4:00-5:00PM harmless note may make you a ARE YOU SERIOUS? MUSIC bisexual, and transsexual com­ common thought and ideas as WENER'S BARBEQUE 5:00- Nov. 19: Fat Jazz, a rare album fan! Hear the menacing scourge 9:00AM-12:00PM All of munities of Vancouver.Lots of your host, DJ Smiley Mike lays 6:00PM Join the sports dept. by master alto saxophonist that is Rock and Roll! Deadlier time is measured by its art. This human interest features, back­ down the latest trance cuts to for their coverage of the T-Birds. Jackie Mclean with trumpet leg­ than the most dangerous criminal! propel us into the domain of the show presents the most recent ground on current issues and EVIL VS. GOOD alt. 6:00- end Webster Young and <[email protected]> mystical.

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY I 6*" BBC WORLD SERVICE BBC WORLD SERVICE BBC WORLD 7 SALARIO MINIMO PACIFIC PICKIN' BBC WORLD SERVICE 7 REGGAE LINKUP SERVICE |POLYMORPHEUS| WONDERLAND TE THEATRE J OF SIN SUBURBAN JUNGLE 8 L END OF THE E CAUGHT IN H BREAKFAST - 9 WORLD NEWS THE RED WITH FOOL'S PARADISE L THE SATURDAY 10 • ARE YOU THE BROWNS THIRD TIMES H |Rr/Po PLANET SERIOUS? THE CHARM SKA-T'S L EDGE MUSIC THE NORTHERN WISH LOVETRON 11 SCENIC DRIVE .IPHfW- THTHEMORN^E MORf 1 ELECTRO CANADIAN 11 12p" ING AFTER MAGNETIC SHOW ANOIZE L^. LUNCH L SOULSISTAH RADIOl PULSES THESE ARE THE Lffi K 1 ROCKERS -TET BREAKS SHOW PARTS C 2 POWERCHORD 2 UNKNOWN RADIO FREE PRESS LEO RAMIREZ I 3 CPR B SHOW 3 STAND AND BE CUNTED(CF) BLOOD ON THE L RHYMES & 4 MOTORDADDY1" NARDWUAR CODE BLUE 4 SADDLE REASONS MEAT EATING VEGAN(Ec) PRESENTS 5 J Po I SAINT I p0 f RACHEL'S d TROPEZ L_l 10,000 VOICES (Tk) CiTR NEWS (Tk) ELECTROLUX HOUR 6 SONG FLEX YOUR POP GOES THE |EC OUT FOR KICKS L RADIO FREE 7 CONTEMPORARY L FAREASTSIDE QUEER FM HEAD WEASEL - AFRICAN AMERICA AND SOUNDS RYTHMS 8 L ON AIR IZ. 8 WIGFLUX RADIO SOMETIMES|po/Ec| WITH GREASED HAIR RHYTHM WHY SYNAPTIC 9 ~E 9 INDIA A WALKABOUT I Wo [ SANDWICH THE WORLD L_ LIVE FROM... L- 10 THE 10 ' THUNDERBIRD HELL JAZZ SOULL 11 11 VENUSH SONIC STRAIGHT OUTTA L SOUL m SHOW FLYTRAP JALLUNDHAR WANDERLUST PIPE | 12" HIGHBRED VOICES TREE 12" ~K BREAKING Li DREAMS 1 TRANCENDANCE WAVES IN YOUR 1 VENGEANCE HANS KLOSS' |Hh/Dc HEAD 2 IS MINE! MISERY HOUR T* 2 THE RED AURAL EARWAX 3 PLUTONIAN EYE 3 TENTACLES 4 NIGHTS 4 FILL-IN PSYCHEDELIC FIRST FLOOR SOUND SYSTEM 5 AIRWAVES 5 REGGAE LINKUP 6 6 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= mk Re= reggae • Rr= rock • Rts= roots

28 november 2001 buh bump... buh bump... this is 9:00PM Indie, new wave, punk, ETTE PRESENTS... 3:30- the sound your heart makes noise, and other. 5:00PM when you listen to science talk FOLK OASIS 9:00-10:30PM CITR NEWS AND ARTS 5:00- KicK Around and techno... buh bump... Roots music for folkies and non- 6:00PM THE CUTE 'N' CUDDLY SHOW folkies... bluegrass, singer-song­ FAR EAST SIDE SOUNDS alt. 3:30-4:30PM Christina returns writers,worldbeat, alt. country 6:00-9:00PM with a show for the little listeners and more. Not a mirage! AFRICAN RHYTHMS alt. 6:00- out there —kid's songs, stories, 9:00PM David "Love" Jones special guests and more. STRAIGHT OUTTA JALLUND- brings you the best new and old ELECTRIC AVENUES 3:30- HAR 10:30PM- 12:00AM Let jazz, soul, Latin, samba, bossa, 4:30PM Last Tuesday of every DJs Jindwa and Bindwa immerse and African music from around month. you in radioactive Bhungra! the world. THE MEAT-EATING VEGAN "Chakkh de phutay." HOMEBASS 9:00PM-12:00AM 4:30-5:O0PM HANS KLOSS' MI5ERY HOUR Hosted by DJ Noah: techno, but 10,000 VOICES 5:00-6:00PM 12:00-3:00AM also some trance, acid, tribal, Poetry, spoken word, perfor­ FIRST FLOOR SOUND SYSTEM etc. Guest DJs, interviews, retro­ mances, etc. 3:00-6:00 AM spectives, giveaways, and more. FLEX YOUR HEAD 6:00- BREAKING WAVES IN YOUR 8:00PM THURSDAY HEAD 12:00- 2:00AM Punk>Hardcore>Metal>Bandana- thrash>Fastcore>Straightedge as BBC WORLD SERVICE 6:00- SATURDAY fuck. Since 1989,yo. 8:00 AM bttpup://flexyourhead.vancouverZ - END OF THE WORLD NEWS FILL-IN 2:00-6:00AM hardcore, a 8:00-10:00AM BBC WORLD SERVICE 6:00- ANNABOUBOULA 8:00- PLANET LOVETRON 10:00- 7:00AM 9:00PM Greek radio. 11:30AM Music inspired by POLYMORPHEUS THEATRE alt. (On hiatus 'til further notice.) Chocolate Thunder, Robert Robot 7:00AM-8:00AM Old and A WALK ABOUT THE WORLD drops electro past and present, new radio theatre productions of 9:00-10:00PM hip hop and intergalactic all genres. We begin with sci-fi VENUS FLYTRAP'S LOVE DEN funkmanship. episodes from the bizarre world alt. 10:00PM- 12:00AM CANADIAN LUNCH 11:30AM- of Bill Lizard, and the old-time 1:00PM series "Escape."(starts Nov. 1 1) SOULSONIC WANDERLUST STEVE AND MIKE 1:00- WONDERLAND OF SIN alt. alt. 10:00PM-12:00AM Phat 2:00PM Crashing the boy's 7:00AM-8:00AM From the platter, slim chatter. club in the pit. Hard and fast, roaring '20s to the coked-up '80s AURAL TENTACLES 12:00- heavy and slow (hardcore). and beyond, come aboard and 6:00AM Ambient, ethnic, funk, THE ONOMATOPOEIA SHOW join us in this discovery of the pop, dance, punk, electronic, and 2:00-3:00PM Comix comix underworld of Hollywood, perva­ unusual rock. comix. Oh yeah, and some music sive tales of the Golden years of with Robin. Movieland. Also featuring special WEDNESDAY RHYMES AND REASONS 3:00- guests, exploring the realm of 5:00PM Back in full effect, Jan-9 independent film both nationally BBC WORLD SERVICE 6:00- and DJ Hedspin. and around he world, and the lat­ 7:00 AM LEGALLY HIP alt. 5:00-6:00PM est news from the world of movie THE SUBURBAN JUNGLE 7:00- PEDAL REVOLUTIONARY alt. making. 9:00AM Bringing you an enter­ 5:00-6:00PM Viva la THE SATURDAY EDGE 8:00AM- taining and eclectic mix of new Velorution! DJ Helmet Hair and 12:00PM Studio guests, new and old music live from the Jungle Chainbreaker Jane give you all releases, British comedy sketches, Room with your irreverent hosts the bike news and views folk music calendar, and ticket Jack Velvet and Nick The Greek. you need and even cruise around giveaways. R&B, disco, techno, soundtracks, while doing it! http://www.sus- 8-9AM: African/World roots. Americana, Latin jazz, news, and tainability.com/dinos/radio 9AM-12PM: Celtic music and gossip. A real gem! OUT FOR KICKS 6:00-7:30PM performances. No Birkenstocks, nothing politi­ SOULSISTAH RADIO 12:00- FOOL'S PARADISE 9:00- cally correct. We don't get paid 1:00PM 10:00AM Japanese music and so you're damn right we have fun POWERCHORD 1:00-3:00PM talk. with it. Hosted by Chris B. Vancouver's only true metal show; THE NORTHERN WISH ON AIR WITH GREASED HAIR local demo tapes, imports and 10:00AM-12:00PM Spike 7:30-9:00PM The best in roots other rarities. Gerald Rattlehead, spins Canadian tunes accompa­ rock 'n' roll and rhythm and blues Dwain, and Metal Ron do the nied by spotlights on local artists. from 1942-1962 with your snap- damage. ANOIZE 12:00-1:00PM Luke pily-attired host Gary Olsen. CODE BLUE 3:00-5:00PM From Meat irritates and educates backwoods delta low-down slide through musical deconstruction. LIVE FROM THUNDERBIRD to urban harp honks, blues, and Recommended for the strong. RADIO HELL 9:00-11:00PM blues roots with your hosts Jim, THE SHAKE 1:00-2:00PM Local muzak from 9. Live bandz Andy, and Paul. Please, no masse. from 10-11. ELECTROLUX HOUR 5:00- RADIO FREE PRESS 2:00- HIGHBRED VOICES 11:00PM- 6:00PM 3:00PM Zines are dead! Long 1:00 AM RADIO FREE AMERICA 6:00- live the zine show! PLUTONIAN NIGHTS 1:00- 8:00PM Extraordinary political MOTORDADDY 3:00-5:00PM 6:00AM Loops, layers, and research guaranteed to make you "Eat, sleep, ride, listen to oddities. Naked phone staff. think. Originally broadcast on Motordaddy, repeat." Resident haitchc with guest DJs KFJC (Los Angeles, CA). RACHEL'S SONG 5:00-6:30PM and performers. SOUL TREE alt. 10:00-1:00AM Socio-political, environmentally http://plutonia.org From doo-wop to hip hop, from the electric to the eclectic, host with some music too. FRIDAYS Michael Ingram goes beyond the call of gospel and takes Nov.7:Remembering BBC WORLD SERVICE 6:00- soul music to the nth degree. Rememberance Day through inter­ 8:00 AM (Welcome back Michael!) views with war veterans and their CAUGHT IN THE RED 8:00- PIPEDREAMS alt. 10:00- thoughts on the current war in 10:00AM Trawling the trash 1:00AM Afghanistan. heap of over 50 years worth of THE RED EYE ait. 1:00-4:30 AM Nov. 14: A spotlight on real rock 'n' roll debris. EARWAX alt. 1:00-4:30AM veganism;its morals and its ethi- SKA-T'S SCENE-IK DRIVE! "noiz terror mindfuck hardcore 10:00 AM-12:00PM like punk/beatz drop dem headz Email requests to

29USs£i3laB SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE JANCEMBER ISSUE, THE DEADLINE IS DECEMBER 5. FAX LISTINGS IN TO 604.822.9364 OR EMAIL

FRIDAY NOVEMBER 2 TUE 13 painters painting@the blinding light terri dark, jason mccoy@the orpheum; fix, loose in flight, CiTR PRESENTS SHINDIG! THREE INCHES OF BLOOD, WED 28 rush@vancouver east cultural centre (on sat. too); the dead- THE ORGAN, RESTORE@THE RAILWAY CLUB; pinback, billy & cory weeds quartet@the cellar; in the end time, asser­ cats, 12 midnite & suicide ride, the cronies; boarding house saul duck, trail vs russia@the starfish room tion, vague demons@the railway; sida mon amour@the blind­ skateshop tribute@anza club; yellow diablo fights a WED 14 ing light; ben wilson&mitch kinney@sugar refinery; wilco, car@access arts centre; the gloryholes, the cripples, weird sci- solex, dalek, birthday machine@starfish room; b3@the cellar; mercury rev@moore theatre (seattle) ence@industrial coffee in georgetown; the golden wedding teetharces experiment@sugar refinery THUR 29 band@sugar refinery; star collector@pic pub THUR 1 5 alpha yaya diallo@richard's on richards; green eggs & ham- SAT 3 kick in the eye@marine club; mike alien, oliver gannon quar- mond@the cellar; eon' live set to beauty & the beast@the blind­ sight unseen@waterfront theatre (continuing); Vancouver tet@the cellar; vague demons and colour thief@sugar refinery; ing light; parlour steps@sugar refinery stortelling festival@wise hall; salsa dance@wise hall; the lazy emphysema (a love story)@van east cultural centre (continuing); FRI 30 cowgirls, the nasty on, the felchers@pic pub; bouncing souls, resin@sugar refinery the buttless chaps@sugar refinery flogging molly, one man army, madcap@graceland (seattle); FRI 16 the colorifics@sugar refinery empire & au pair@western front; real mckenzies@the anza SUN 4 club; pj perry quartet@the cellar; cunt@sugar refinery; tanger­ CiTR PRESENTS: BEENIE MAN@THE COMMODORE; ine dream@richard's on richards SPECIAL EVENTS eric's trip, hot little rocket, i kill my conscience at SAT 17 times...@richard's on richards; Virginia rodrigues@vogue the­ pharcyde, souls of mischief, planet asia, rasco@commodore; atre; rogue folk club@wise hall; ivan klipstein, man at puentes brothers@richard's on richards; yoko ono project@fire- arms@sugar refinery hall arts centre (continuing); art damaged cabaret #3@ms. t's; A SCRUFFY PRESENTAT ION MON 5 mr. badwrench, the deadcats, evil norton niels@pic pub; the CiTR presents Mr. Scru ff with momus, stereo total@starfish room; lost dog in space: the highbeams, the fliptops, midnight thunder express@industrial special guest Dana D at Sonar, comic art of andy mori@lucky's comics & art gallery ('til coffee (georgetown); kevin house@sugar refinery Sunday November . 18, 2001 Wednesday only); julie doiron, christine fellows@sugar refin­ SUN 18 (doors 8pm). Tickets are $12 at ery CITR PRESENTS: MR. SCRUFF (NINJATUNE)@SONAR; Zulu, Boomtown, Bassix, TUE 6 icp orchestra@western front; pj perry quartet (matinee)@the cel­ CiTR PRESENTS: SHINDIG! NAKED FOR JESUS, MY lar; bruno herbert trio@the cellar; 25 suaves, canned Futuristic Flavour and Sonar. BUDDY DAVE, THE OLD RIPPER@RAILWAY CLUB; cave ham@sugar refinery in, the icarus line@the paradox (seattle); parallela jazz MON 19 SHINDIG: STILL GOING series@sugar refinery; Ursula rucker@richard's on richards taj mahal@commodore; pharcyde, souls of mischief, planet In November Shindig coasts into WED 7 asia, rasco@the showbox (seattle); dashboard confessional, the semi-finals. Come and catch the cinch, transformer, the burning brides@pic pub; the alan midtown, rocky votolato@graceland (seattle) matheson trio@the cellar; cineworks filmmaker forum@sugar TUE 20 your favourites every Tuesday at refinery; spiritualized@commodore; tall paul@richard's on CiTR PRESENTS: SHINDIG! DISCO INCOGNITO, SIX the Railway Club. Jokes for beer, richards; g-nius dj battle/ebony & ivory sound crew@sonar BLOCK RADIUS, MOTORCYCLE MAN@RAILWAY CLUB; heckling Ben... it's all good fun. THUR 8 pete tong@sonar; the fall@crocodile (seattle); bryn roberts quar- (Sorry, Ben.) tori amos, rufus wainwright@orpheum; engine of the future, tet@the cellar; emphysema (a love story)@van east cultural cen­ the dollar store jesus@arts club backstage lounge; green eggs tre (continuing) and hammond@the cellar; ben wilson&chris kelly@sugar refin­ WED 21 OH NO, YOKO ery; michelle shocked@richard's on richards; the coup and brad turner quartet@the cellar; uncle bomb@sugar refinery A part of the Firehall Arts casual@sonar THUR 22 Centre's "Attitude" program, The FRI 9 Vancouver underground film fest@the blinding light ('til sun); Yoko Ono Project is "a cheeky sloan, flashing lights@croatian cultural centre; ihor kukurudza vague demons@ms. t's; green eggs & hammond@the cellar; multi-media performance art com­ colour thief@sugar refinery; stacey pullen@sonar quartet@the cellar (tomorrow too); jetone, ben nevile, djs glyn, edy" investigating "the demo- construct, and tobias@video in FRI 23 SAT 10 baker/plimley/kelly/vander der schyff@western front; frog nization of one of the most CiTR PRESENTS: FLASHLIGHT, BELVEDERE, CHICK eyes, baron samedi@ms. t's; dave young quintet@the cellar intriguing and controversial MAGNETSdTHE COBALT; wayne horvitz' 4+ 1 ensemble, (tomorrow too); howard roark presents- 4 dex and no artists in North American pop zony mashy acoustic@norman rothstein theatre; wimpy ray brains@sugar refinery; dj krush@sonar culture." At the Firehall Arts and his bloated icons, cherry bomb, the crispy flakes@the pic SAT 24 Centre, November 15-December pub; falcons, metalunas, phantom 309, surfdusters, and CiTR PRESENTS: SQUARE ONE@THE COMMODORE; 8. Call 604.689.0926. more@mt. pleasant community centre (advance tix only); trail mr. solid, chick magnets, glue, typhus, marlin spike@seylynn vs russia, donkey engine, recidivist, w/shawn from unclean hall; broken crow quartet@sugar refinery; the Juliana theory, [email protected]'s; springer and docommun@sugar refinery; dj the movielife, the starting line@graceland (seattle); j.p. carter WIND spen (basement boys)@sonar quartet@sugar refinery; critical band@roundhouse exhibition It's November. That means SUN 11 hall there's a chance that there will dinner with robert ashley@western front; tales from the gimli SUN 25 be some wind. Let's hope it hospital@blinding light; metalwood@the jazz cellar; the gaza bebel gilberto@commodore; benefit jazz-a-thon@the cellar; strippers, the spitfires, as in as sin@anza club; the hudson fal­ emphysema (a love story)@van east cultural centre (last night, comes, folks. Put away your cons, the Wednesday night heros, the amazombies@the pic yo) umbrellas and take it like a man. pub; by a thread,himsa, closure@ms. t's MON 26 MON 12 Jaffa, dj bruno@sonar shannon wright, songs: ohia@richard's on richards; perfect TUE 27 lives (opera for television)@pacific cinematheque CiTR PRESENTS: SHINDIG! BESTEST, SILT AND: TBA;

30 november 2001 ENDEARING FALL RELEASES & TOUR DATES PO BOX 69OO9.WINNIPEG.MB.R3P 2G9.WWW.ENDEARING.COM.INFO(|)ENDEARING.COM SUNDAY JULIE DOIRON 9 DECEMBER DESORMAIS a french language album from juno award winning songwriter julie doiron. sparse, warm and lovely, julie will be appearing at the Isugar refinery, nov 5 and thursdays, nov 6. CLIVE HOLDEN.JASON TAIT.J.K. SAMSON.CHRISTINE FELLOWS TRAINS OF WINNIPEG poems Py clive. soundtrack Py jason, John (of the weakerthans) and Christine fellows. Christine will be performing at the sugar refinery, nov 5 and at thursdays, nov 6.

HOT LITTLE ROCKET DANISH DOCUMENTARY embracing Poth melody and abrasion, calgary's hot little rocket evoke the dissonance of english guitar noise and the urgency of american post-punk, hot little rocket will be opening up for eric's trip at diegos, nov 3 and richards, nov 4. READYMADE ON POINT AND RED VNV from Vancouver, this is readymade's eagerly awaited 2nd album. opar transcends old school shoegaze to create an album of sprawling urPan soundscapes ideal for skytrain rides and rainy NATION nights.

ENDEARING ARTISTS IN VANCOUVER/VICTORIA w/ ICON OF COIL NOV 3: VICTORIA: ERIC'S TRIP/HOT LITTLE ROCKET, DIEGO'S Advance tickets available at I & URCEUS EXIT FUTUREPERFECT NOV 4: VANCOUVER: ERIC'S TRIP/HOT LITTLE ROCKET, RICHARDS Futuristic Flavour, Scrape, " Noize, Zulu, Bassix, TOUR 2001 / 2002 NOV 5: VANCOUVER: JULIE DOIRON/CHRISTINE FELLOWS, SUGAR REFINERY.2 SHOWS Musfcwerx (Seattle), THE RAGE NITECLUB of EUROPE and NOV 6: VICTORIA: JULIE DOIRON/CHRISTINE FELLOWS. THURSDAYS charge-by-phone and all PLAZA OF NATIONS NORTH AMERICA tick&tma&ter \ 750 PACIFIC BLVD. S. locations www.vnvnation.com

^^m^mm MOGWAI BEBEL GILBERTO \ KEVIN KANE DJ FOOD and DK MY FATHER MY TANTO TEMPO TIMMY LOVED SOLID STEEL CD KING CD AIQbMI REMKESCD JUDAS PRIEST CD ll most as popular as the Alate''80 s fad that saw thou­ he first new release from eople often come into our ne of my earliest concert H:s!H§Hf: sands of youngsters racing TGlaswegians MOGWAI since Pstore asking us what might O/experiencee s was THE towards careers in dentistry, mom this spring's full-length sees the J sound good in their CD players GRAPES OF WRATH at the PNE today's youth retain dreams of band looking back to the wall ot Aquastage many summers ago. along with, say, Knitter the lustrous DJ workplace. You shimmering guitar power after the more meJIow moods of Dorfnwisier, Thievery Corporation, Llorca. or Saint At the peak of their powers, they capped their fine selec­ see... the skilled DJ is free, and destined to roam the that album. A single 21 -minute song of epic proportions is Germain. Ranging from laidback and cool to upbeat and tion of originals with a handful of choice cover versions countryside with turntables stocked tor some chillin' leveled at the listener on this effort, based upon a simple danceable, we think these thirteen new remixes of BEBEL — lovingly rendered glimpses at their record collections. episodes. DJ FOOD AND DK are two such audacious indi­ nt Jewish melody that the band was taught by Arthur GILBERTO s debut Tanto Tempo are just the thing. Continuing that thread, Grapes mainman KEVIN KANE viduals - mixing BOARDS OF CANADA, FOUR TET, BLACK­ Baker, and reworked with their trademark gigantic sound Featuring tracks by Peter (Cruder (of Kinder and has culled an album of acoustic renditions of great ALICIOUS DJ VADIM, JERU, NEOTROPIC and many more - enhanced by the production work of Steve Albini. (lorfmeister) TrOby Trio. Rae & Christian, King Brit, Faze songs from the '60s to the '90s (with guest appearances sure beats pulling teeth from bloody gums! Enjoy. CD 9.98 Action 4hero, and more. from Veda Hille and Neko Case). From The Kinks to . CD 16.98 Kraftwerk, The Go Go's to Guided By Voices — snap­ CD 19.98 FUGAZI shots from his youth, yours and mine handled with care THE SILVER and grace. Limited to 500 hand-numbered copies, so VELVET UNDERGROUND THE ARGUMENT don't sleep on this local gem. MOUNT ZION...- CD 12.98 THE BOOTLEG SERIES VOL 1 3CD CD/LP learly one of the mos or the is record should be called BORNINTO Jhis (INTERNATIONAL) C I AmAmazin; g instead ot THE TROUBLE AS THE Mojo rock historians, this 3 CD set is curated by ARGUMENT. Not just because NOISE famous NYC guitarist/ post-punk impresario Robert this record is amazing, which it SPARKS FLY Quine. Featuring 3 live sets from the VU pre-Loaded era, CONSPIRACY is, but because FUGAZI keep getting better and better. UPWARD these recordings from dates in San Francisco and Their previous release, the eclectic soundtrack to Jem A NEW MORNING, Washington DC point to the peak of their 1969 counter­ Cohen's, um, also amazing FUGAZI documentary, CD/2X1CT culture prominence. Playing material from their first two Instrument, seems to have freed FUGAZI creatively, lead­ utting the rock back into Baroque? Putting the CHANGING albums (with very little overlap on the individual set ing to all kinds of new sounds and ideas. Of course, the PBaroque back into Goth? Putting the Goth back into WEATHERCD lists), each night ends with blistering versions of "Sister basic FUGAZI nuts and bolts are still abundantly here, Ray" - a tune, then destined to reverberate for future post-rock? Another ad-hoc agit-prop sock hop featuring t's hard to offer a cogent critique of global capitalism. and they still rock out with ease, but they've matured generations.' Rock'n'Roll" is the only previously members of GODSPEED YOU BLACK EMPEROR!, all IAnd it's even harder to do this from the context of pop­ considerably, demonstrating once again the significance released track, as it appears on 1969: Velvet wrapped up in the requisite beautiful Constellation ular culture, which normally trivializes or rejects political of their much-respected drive and integrity. Amazing, Underground Live, and that should provide the curious Records packaging (the double ten-inch's sleeve even analysis. For good or bad, THE (INTERNATIONAL) NOISE yes, amazing. with some idea of Lou's intensity level. If "Electricity smells nice). Many of our customers believe this splinter CONSPIRACY has placed themselves in this difficult, even comes from other planets," then this terrain is a pleasant group's previous effort to be the best GODSPEED! related contradictory position. Maybe their thoughtful political CD 14.98 LP 12.98 shock. Available early November. project so far. The follow-up does not disappoint. agenda might not win them as many fans as the great Essential brooding. THE TRANS CHAMPS '60s influenced punk rock they play (which rocks even 3CD 46.98 CD 12.98 2X10" 16.98 harder live, by the way). But who knows, maybe their DOUBLE EXPOSURE CD/LP message of life and revolution might also inspire us the OUBLE EXPOSUBE...hmmm, with my limited photo­ LOSCIL next time we find ourselves dancing uncontrollably to Dgraphic knowledge we seem to be discussing the their music, our limber bodies helping free our minds. OTHER MUSIC: process ot exposing a single frame of film to two dynamic TRIPLE POINT CD Smash it up for the multitude. TOMAHAWK s/l CD mages! Needless to say, the results dramatically rupture o much music that attempts hypnosis is merely repeti­ CD 19.98 LEHGRE Feminist Sweepstakes CD/IP the definitions of photographic realism. Are you with me... Stious. Ladies and gentlemen - welcome to the real good, then sit back because your definition of sonic real­ thing. TRIPLE POINT is the debut solo album from CEX Oops 1 Did It Again CD ism is about to get restructured also, as long time Zulu Destroyer drummer and multimedia-artist-about-town BOBBY CONN MR. LEN Pity The Fool CD/LP faves TRANS AM and THE FUCKING CHAM'S exposure a Scott Morgan. Not just another local wannabe act, LOSCIL THE GOLDEN ACME CD single strip of audio tape to two of heavy future-metal makes limpid post-Monolake electronica so patently was once anointed by the sounds ot Mr. BOBBY RESTIFGRM BODIES s/t CD impressive that it caught the ear of Chicago's Kranky label treatments. ICONN. It was a pleasurable experience, but like most SOLE Learning To Walk CD CD/IP 12.98 - the imprint that brought GODSPEED YOU BLACK that are characterized by hedonistic pursuits, there EMPEROR! to a grateful world, lest we forget. Zulu were some permanent after effects. His music is dar­ MODEST MOUSE Everywhere and His Records is proud to provide you with an opportunity to ing, bold, youthful and wise (a rare mix), but also very Palour Tricks CDEP/12' catch the first wave of a genuine, Vancouver-based phe­ dangerous. Having said this, his perilous bombastic nomenon. Get ready to ride the somnambulant ambience. combinations of soul, rock and introspective lyricism THE FAINT Mote/Dust Cdep/IZ' CD 16.98 have left me extremely eager to depart for the CONN DEATH CAB FOR CUTIE The Photo album universe! There my friends, we can piece together the Opening puzzles. CD/LP CD 19.98 R.L. BURNSIDE Burnside On Burnside CD this November! HOOD Cold House CD/LP MONOLAKE Cinemascope CD Zulu expands into the building next door at 1976 West 4th Avenue SILVER JEWS Tennessee CDEP This new space will feature extensive new and used vinyl, specialized new CDs, and plenty of room to peruse our varied selection ALL PRICES IN EFFECT UMTBL NOVBVBER 31,2001

Zulu Records STORE HOURS 1972 W 4th Ave Mon to Wed 10:30-7:00 Vancouver BC tel 604.738.3232 www.zulurecords.com

32 november 2001