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THAT MAGAZINE FROM CiTR 101.9 fM
msoatDasMARCH 200i2
Rodney Graham Capozzi Park Alberta Slim The Intima The Fucking Champs DJ School The Organ and more ~^*tKEHE3[®
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1 MARCH S f
"moldy pcachcsji *HEAD J 1 FRIDAY MARCH 8 _ _ VOGUE THEATRE • - SATURDAY MARCH 9 live in concert COMMODORE . _ BALLROOM L9? FRIDAY MARCH 15 4 NIBHT OF STAND DP COMEDY WITH 11 lit) sTAitoFREND£z»yieiflr AND THE AMERICAN ADD MINI VBJSj »'iiimi»fii»ffilll Hhlll.lli'llHlU.I martin Back by popular demand Tielli Spiritualized* *m Luke with guests Doucet at Zulu, Highlife and Noize ?Tonv fieviri bandj Tickets also at Znta and Hlefcltfe J COMMODORE BALLROOM 1 MILLENCOLIN - FRIDAY MARCH 22 - CROATIAN CULTURAL CENTRE PURCHASE TICHETS gQB&flQ AT hob.ca OR ticketmaster.ca tig. 66 WATER STREET VANCOUVER CANADA Events at a glance: WEDNESDAY MAR 6 K-OS (FIGURE IV / EMI Re< Features RIZK. First MONTELL JORDAN ALBUM RELEASE PARTY the organ: discorder interview hell p. 10 "--rs 9pm /Cover $6 alberta slim by val cormier p. 12 mark szabo of capozzi park by christa min p. THURSDAY MAR 7 the intima by jay douillard p. 14 SISTA'HOOD CELEBRATION 2002 the politics of dj school by TOBIAS p. 15 VMASSi ~ rodney graham by brady cranfield p. 16 2nd anr the fucking champs by black diamond p. 18 *-'-•* Doors 9pm / Adv ix, Highlife, Zulu /$12 @ the hydrogen bonding in... by cyrus b. p. 19 MONDAY MAR 11 2GUERILLA, BOOMTOWN & X-FM present: MR. SCRUFF (NINJATUNE, UK) Regulars ilusive 4 hr set - Guarant editor: are 9pm/$ 14 Advance @ Zulu, Booi Barbara Andersen dear airhead p. 4 FWUH, Scratch, Sonar (no s/c) Vancouver special p. 4 Steve DiPasquale TUESDAY MAR 12 - Brand New Nightl fucking bullshit p. 4 art director: TACTICAL ( strut and fret p. 5 Lori Kiessling panarticon p. 6 production manager: kill your boyfriend p. 7 Christa Min radio free press p. 7 real live action editor: THURSDAY MAR 14 7'p. 9 Ann Goncalves MACZIMMS (BANGO, Hoi under review editor: dj profile p. 11 The Dutch house legend. PI Sara Young over my shoulder p. 20 Doors 9:30pm/Advance tix editorial assistant: under review p. 21 Donovan Schaefer FRIDAY MAR 15 -- Brand New Night! real live action p. 23 OVERWEIGHT Fridays presented by CIRCA FOOTWEAR culture shock p. 25 Lori Kiessling, Christa Min, ition with B-MAN & KRAFT and FWUH Hip Hop Shop. Trimming the fat off on the dial p. 26 Robin Mitchell production: i with DJs SCOTT ARKWELL, SCIENCE, AGE, MAT THE ALIEN and kick around (comic) p. 27 Kiran Dfianoa, Mark lairs. Doors 9:00pm/Co " charts p. 29 Fernandes, Dave Gaertner, datebook p. 30 Duncan McHugh, Sabrina, THURSDAY MAR 21 Keith Turkowski, TOBIAS NORDIC TRAX presents SPEAKING WITH SOUNDS on the dial: tJONENE(S Cover Bryce Dunn Luke Meat datebook: Ann & Barb SATURDAY MAR 23 Design by Robin Mitchell, art by Derek Root. distribution: INSIDE 1 YEAR ANNIVERSARY CELEBRATION Woo! The lad on the bicycle is centre spread Matt Steffich Feat. E-SMOOVE, the legem , superstar Rodney Graham. us distribution: by Superstar Diva LATANZA WATERS. Exclusive enc Elvi iB SUNDAY MAR 31 SUNDAY SESSIONS: EASTER WEEKEND SPECIAL Main Room: DJs £ © "DiSCORDER" 2002 by tlie Student Radio Society of the University of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are S15 TUE APR 2 - FILA BRAZILLIA & MARK RAE (Double Bill!) for one year, to residents of the USA are S15 US; $24 CDN elsewhere. Single copies are S2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. SAT APR 13 - THE WIGGLE SHOW THU APR 25 - GREYBOY DEADLINES: Copy deadline for the April issue is March 13th. Ad space is available until March 20th and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon request. DiS CORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unso- cited artwork (including but not limited to drawings, photographs and transparencies), or any other THR WEEKLY ROTATION SPECIAL EVENTS FRI BIGSHMOOZE (6i unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. FRI OVERWEIGHT HIP HOP, FUNK, BREAKS SAT INSIDE HOUSE Send email to DiSCORDER at [email protected]. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as SUN SUNDAY SESSIONS I | through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ ' at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 8223017ext. 2 Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.ams.ubc.ca/media/citr or just Soi pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 CANADA. QTurbosound printed in Canada choosing, the skip- rain drops will it take to slant skilled practitioners are declin has lost up to the stone to a hopeless angle? ing at an alarming rate that par from his/her total This leads into the problem allels the sagging recruitment. from panel t First-timers could succeed at *s a figure , thro .) off-r. the outset given the right least five meters on conditions without the sliglitest instruction. This success is dear airhead the shore. While this is fine and alteration to conventional style. immensely satisfying and good for fair skipping condi NO NO NO! First of all, when it would likely result in a huge tions, it just doesn't cut it for the comes to off-road, it's gat to be popularity spike. Rock-skip off-road conditions so obvious thrown helicopter style. The ping is free, sustainable and GIRIIIIIIIIIIIHIHKBBA RESPONDS ideas you mention in youSr pre - While I do not doubt the in the background. Since the way the depicted participant is extremely bet-worthy. Best of amble to our interview. 1 intentions of the cartoonist, it is probability of positional uncer- tossing, there is no way that the all, it takes no athletic ability. Hi Barbara, thought you might possibly important to point out the flaws cobble could have enough spin For these reasons, it would pro find it interesting. I've been in these drawings that, left to overcome the retarding force liferate in the absence of misin meaning to type it up for the unchecked, would lead new of the water whence it touches formation. This will not happen website, but it's several thou- skippers the Lower Mainland down. Secondly, in these condi until awareness is drawn to the :. fail npk import.n seemingly harmless directives >t be: tio like that which fell from the pen e only reason rock skipping of Mr. Malta. 't bigger than skateboarding too disappointed. Maybe i Sincerely, V tot • (lis- Just typing the artk e/ interview up for the web site (they're based in the UK, if their rocks "up" after contac raught the under nto that helps), so if you're interest- with the water. If one of thest PS: If anyone is interested, I am the body" too much (yikt ,sn ed, you might want to look it hypothetical initiates were K If panel four is to be taken in the middle of organizing the but I appreciate anyway ,1U, up_. follow the lead of Mr. Malin'i seriously, readers of this comic World Rock Skipping ,nt That's it, and thanks very cells, they are destined to givt are going to think that its pro Championships of the World. uf,,/ much once again. up the sport entirely for lack o posed technique should result The WRSCW will be held at ul> satisfaction. Haying said this, in an actual skip. Such a Spanish Banks in June during the Best wishes, will now go panel-by-panel U sequence puts the ULLS back low tide (Date TBA). For more r is Poillt °ut tlltJ«' Raw?? into BULLSHIT. When these information, email: . of Michael c lira Panel number one innocu s tail bad ii Li w%\ va ri coMvclocal reviewrs bAiyeciQy Janis McKenzil e rue bullshit by Christa Min MARK CROZER Campbell around town in her t is clear to me that The time. Tlie first song they played told him about the show. Colin Unnatural World role as stylish and sophisticated Eagles are one of the worst was from the 7" they had fin Newman came to the show, (Tinderbox Productions) president of the RANCH Society. bands of all time. ished a week before'the show alright, but he left before they Mark Crozer sings smo< For this EP (a taste of a full- I called "Want to Sex You." The and usually softly, with a t length CD to come out in the I know everything there is even started, with the 7" he stole song was so explosive that the spring), Campbell gathered to know about music in the last crammed in the ass of his pants. members of Radiogram, Coal, 30 years. EVERYTHING. I'm circuits in the old house couldn't In 1977, Newman and his band Flophouse Jr., Bughouse 5, and amazing. Eagles fans don't handle all the power, and a fire, Wire released a little album Bocephus King in her living know any better. They just settle originating from the outlet in called Pink Flag. I know you Labia's basement, started to A 2 of a Kin (and 1 on the Eagles because of a deli have it, you HIP, INDEPEN burn. The fire spread quickly, DENT, ARTISTIC readers. Take ongs.SluM .•qui cate combination of close-mind- will take note), 1 doi edness, laziness, and stupidity. I but no one noticed because of that baby out and listen to tions like this deter r know that none of you like the the n id-bio •mg ii "12XU." It's a great song. It's a tening to the CDs that come in. Eagles. You're thinking "I only "Want to Sex You." Thev great song because COLIN and laughin' back- like UNDERGROUND ARTISTS thought it was all part of the NEWMAN STOLE IT FROM .lise, tliere's a feeling of was a rollicking country-blues- wlio no one else knows about. I show. When the song ended, SOFT PUSSY. It is an exact rip- Drake, but when the electi tnd cohesiveness that rock first track with—most am INDEPENDENT." Labia turned around to look at off of "Want to Sex You." All he tar and d is kick n "Bett, ill those contributors shocking of all—very familiar I'm going to tell you about her drummer and screamed did was alter the title a little. I than the Truth" and "I Cant Get vocals. As it happens, this hus some of the greatest bands ever when she saw the towering don't know what happened to You Off My Mind," you might overflowing ashtrays band and wife team, Marian and to make music. And don't say flames. Everyone trampled on Soft Pussy after that fire. Maybe be reminded more ofBadfinger Donnie Lochrie, used to front a you've heard of them because I each other trying to get out the we should ask Colin Newman. and Big Star. (The keyboard band called BMX, one of know you haven't. Don't say door, then they watched from Look, I'm a nice person. I'm intro in "A Tragic Man"' is dis Vancouver's great pop hopes of you liave their records because across the street as the house not going to keep all these tinctly more Beatles-y.) But sweet, and untrained-but-vvord- the mid-'90s. Kick in the Eye you don't. So listen. burned down. All of the 7's were secrets to myself (except for tlie whether it's a stripped-down ly-wise as any Appalachian has BMX's striking girl-and-guy The greatest band to ever lost in the fire. Except for two. Soft Pussy 7" which is locked in post-folk or catchy layered pop child-bride singer taking her quirky/glam vocal sound, this come out of England was called One of them belongs to me and I a secret safety deposit box), so tune, Crozer's lyrics are full of first steps to the Grand Old time combined with energetic, can't tell you who gave it to me here are three ESSENTIAL, images of waves, tides, the sky, cowboy-boot-stomping songs. If Soft Pussy. They were four fat Opry. and told me this story because of SEMINAL, INCREDIBLE and precious glimpses of light. you remember BMX you'll be Chinese girls who only recorded www.auburn.ipfox.com legal issues that are sure to arise www.markcrozer.com pleasantly surprised by the tran one 7" in 1974. They were albums you should own, if www.ranch.ipfox.com after you finish reading this. Tlie sition; if you've never heard absolutely incredible. On you're lucky enough to find Marian and Donnie before, November 4, 1974 they played other 7" belongs to Colin them: Cockoldry's Affarica, Billy AUBURN KICK IN THE EYE Newman. He lived down the Is It You? Rock and Roll Needs a Kick in download a track from their web their first and last show in the Barf and the Vomitones' Soggy street from Labia. He always (Independent) the Eye! site and find out why they basement of lead singer Labia Mattress, and Metal Lick's Feeble heard Soft Pussy practicing from Even if you've never heard (Independent) caused such a fuss the first time Chow's house. Soft Pussy had Grind. You don't know anything his bathroom window. He talked Auburn, vou might have seen Imagine, if you dare, a husband around. two guitars, bass, and drums, about music until you liear those to Labia sometimes, and she had singer/songwriter Shelley and wife musical two-piece who www.kickintheeyemusic.com • and they all sang at the same albums. Trust me. I'm the best. • 4 march 2002 through an air duct. This was tifully absurd works of Rube executed against a whirling vor Goldberg—the cartoonist who inpass tex projected on the upstage became famous for his illustra reminds us to keep dream frag wall, complete with actor-gener tions of impossible inventions ments in our pockets and jingle ated sound effects straight out of that achieved the simplest task /strut & fret them like loose change. It offers a vintage cartoon. The hijinx through the most complicated escape only in the very best were given a dark undertow by means." Inspired is good, but to sense: the nourishment that the notion that this was the only actually use the Goldberg con performance/art by Penelope Mulligan results from a wild upheaval in connection between two of the traption as a model for develop priorities. There are books, films, building's wings. It felt like The ing a script probably wasn't PIGEONS INTERNATIONAL directed by company co-founder the layers of imposed identity— etc. that do this as well—which Three Stooges were loose in such a great idea. The Other Paula de Vasconcelos, its latest a kind of antidote to the ego. The is why I tend to group things by Kafka's Castle. Saturday, January 12 work was inspired by an excerpt characters began pairing off in flavour rather than by medi The production's greatest THE PLUG HOLE The Roundhouse from a Portuguese novel/ The surprising couples. The queen um—but when live theatre can gift to itself was the set, and I When it comes to things like With an opening scene which company states that they consid found a lover and a shaman in take us to those places without kept wishing that the creators gender, race, and body parts, I'm could have led into nothing er stage direction to be a form of the hermit who in turn met his the technical freedoms of film or had trusted it more. Designed by a bit of a ghettophobe. If there's more than an immaculately art- scenic writing—a big hint as to soul-brother in the drunken the imagination gap of the print the company along with Adrian a point to be made, then my bat directed piece of contemporary why there's so little truck with traveler. The huntress stripped ed word, it's perhaps the biggest Muir, Michael Gall, and Robert tle yell is more likely to be "dis dance, The Other suspended us linear narrative, and more the king of his garments and accomplishment of all. It's early Parke Harrison, it was dominat perse and subvert." Nonetheless, in an arctic waiting room. A car importantly, why that works so raised him to his full height days yet, but I'm betting that this ed by a big, rusty-looking girder the festival of solo female per pet of fur covered the entire (he'd been walking around on one makes my top 3 list for live which the performers worked formers known as 2000 Women playing area and the sound was Characters from vastly dif shoe-clad knees). In one fabu performance in 2002. with manic energy and skill as is irresistible. Now in its second of a giant buzz-saw cutting ferent times and places would lous image, the traveler held the they swung from it, balanced on year, the event has expanded to ends of wild-eyes' wrist ban through glacier. A huntress appear, at first in separate THE ELECTRIC COMPANY 5 days and will feature 13 artists dages and unraveled them as he moved slowly across the land- vignettes which hung in a void Flop slid from classical to contempo in dance, film, multi-media and tore across the stage, which by hermit, but as she dragged her (lighting design played a vital Saturday, January 26 rary ambient and Muir's dingy theatre. this time had become a road tra burden into the wings, the scene part here). A fairy tale queen Vancouver East Cultural Centre light turned it all into a Being a solo act has obvious versed by lunatics. shifted and a traveler appeared searched for meaning beyond It was good to see The Electric metaphor for the furnace rooms advantages—decisions needn't Their physical theatre tal at the other end beside his pile of her royal role while her dwarf Company back in the territory and dark stairwells of the imag be discussed, touring is usually ents already established, the battered luggage. A customs offi king was trapped in his raging that made Brilliant and The Wake ination. It was so evocative that cheaper and it's so easy to pomposity. The traveler and the cast—Celine Bonnier, Gregory cer entered, pushing his counter so memorable. With a visual and only the lightest touch was schedule rehearsals—but there wild-eyed one had a boisterous Hlady, Anne le Beau, Rodrigue ahead of him and the traveler conceptual set-up that was both needed to flesh out the script— are also unique challenges to showdown of Slavic drunken Protean, Carla Ribeiro, Bruno opened a trunk to take out a dreamlike and intellectually and it was here that the writers being on yer tod in the spotlight, ness. A tap-dancing customs Schiappa, and Paul-Antoine wild-eyed woman who made wiry, Flop looked to have every should have backed off a bit. Tlie and I'm always intrigued by officer would periodically skitter Taillefer—started revealing their me think of Ophelia. Her wrists thing going for it, Something show would reach escape veloc how indiv iduals pull the viewer across the fur. Fragmented and dance chops. Le Beau was a par were bandaged. At this point, I wasn't right though, and despite ity only to keep grounding itself with what they've chosen to dreamlike to be sure, but at ticular standout in a powerful knew these people could be its strengths, I was wringing my with plot clutter which felt at express. modern solo and the entire some deeper level I was con hands. odds with where the whole If you've seen the very styl trusted and felt the chattering, group erupted into a euphoric necting the dots and wondered But I don't want to go all thing wanted to go. ish nude calendar produced as a literal part of my brain get up to blast of East European folk if waking life also unfolded like misery guts on this without sav As written, the character of fundraiser for the event, you'll go wait in the lobby. dance. The most comical scene this—ripe with possibilities in ing that there was a fabulous The Client (Kim Collier) was have a passing familiarity with Montreal-based Pigeons was also the most subversively the split second before we start piece of theatre trying to fight its part of the clutter. A graceful, the ladies in the line-up. There liberating: the motley gaggle International has been creating trying to make sense of it all. way out of here. The story's tomboyish young woman, she will be theatre pieces by Jennifer laughing its way en masse sensually and imaginatively rich The meltdown revolved skeleton was sound: three part snuck around the site instilling Anderson, Shannon Cluff, through a customs interrogation. dance theatre since 1987. around the notion of the Otlier ners in an architectural firm are panic in the partners. All of her Espirito Santo Mauricio, Conceived, choreographed and ; who could penetrate The best theatre inspires us on the site of a long overdue pro hissing and shushing from the Jennifer Mawhinney, Krista- ject. Mere hours before the rib balcony and flitting in corners Lyn Morrison, and Juno bon-cutting ceremony, they're grew ponderous and irritating. Ruddell; multi-media works by still discovering critical glitches Besides, it was hard to buy her Salmon Avalanche, Bonnie and much is revealed about their type as someone rich and eccen- Davis, and Melissa Mont relationships with each other gomery; and films by Dena and to the creative process itself was, by the way, a flying house. Ashbaugh, Tammy Bentz, Lisa as they attempt to smooth them We were told that she kept sabo G, and Gosia Santor. taging the project because she 2000 Women runs from As the partners Cooper, was secretly afraid to fly, but she March 6-10 at Studio 16 (1545 Crowne and Mclure, David was much too vague to embody West 7th Avenue). There are var Hudgins, Kevin Kerr and any of this and so the psycholo ied programmes nightly at 8pm Jonathon Young were a physical gizing felt perfunctory. It might with 2pm shows on Saturday theatre dream team—brilliantly have worked better had she and Sunday. Preview night on synchronized and inventive. I've been some tweedy old blue Wednesday, March 6 will feature long admired director Katrina stocking with an Amelia Earhart 5-minute tasters of the live per Dunn's ability to powerdrive fixation. As it was, the flying formances as well as screenings choreographed theatre and Flop business seemed inconsequen of the films. For full schedule contains some of her best work tial and bogged things down. details, look for a brochure, yet. In one hysterical sequence, The company states that phone 604.736.0185 or go to the architects were sucked they were "inspired by the beau 2000women.com. • AVAILABLE AT SALONS, CMP STORES, AND ONLINE! ever wanted 'im? ALL NATURAL HAIR PRODUCTS FOR STARTING AND MAINTAINING DREADLOCKS wax • shampoo • rasta hats • apparei www.knottyboy.com Be a dread model and get free dreads! March 24-25/02. Call 604-473-9631 for more info. 5[stFHs3l@3£ standing of the Eurc fissures of blacktop. One such floor-slamming Random Factor North American korporate kul- hardy flower is the beautiful (a.k.a. Carl Finlow) remixes, ture of the konsumer. What is at debut release from Kris making it a crossover hit for stake here is not simply money, Palesch's Active Pass records. house DJs who want to move or land-reforms: it is an entirely (And before I continue, I must into grooved repetition or for •onqrtieoM different way of being, of living that the current techno DJs who want to slam the and relating. Want to learn more? trend of naming backbone of the funk. And I can't the sound of spectacle by tobias Phone Video-In Studios tracks and labels after geograph help but mention a little some (604.872.8337) and ask to book ic landmarks is a great way of thing from Craque, alias Democratic rights, if they are to be option is hopelessly lost. The the Warriors on the Water video. putting us on the map.) Mathew Ross Davis, called the concrete rights, niusl be based on the "militant" First Nations move- Then drop by and watch it—for Stephane Novak,a.k.a. Pilgrims Trolling for Olives EP. This East expression of tonus ot social differ of the Mind, has created a Coast indie pressing of eclectic, ence and the freedom of expression seen the panoramic deep-house EP that is minimal electronica is reminis and association ofojipressed groups. of Work While I cannot speak for what the militant First expertly detailed in its produc cent of the diversity that made Unfortunately, national security in Study and job subsidization pro tion of sound and groove. With Fat Cat records a sound collec the Canadian and other contexts grams that allowed the average Nations movement is. I give it the fullest deep basslines anchoring solo, tor's wet dream. According to operates by precisely attacking the student—i.e., not the rich, BMW- respect for being a strong, intelligent dubby synthesizer riffs and a soundartist ssiess, it is like dri democratic rights of these groups. owning variety -to achieve a movement that sees its goals in a broader jazz piano which presides over a ving a marshmallow car—not Kinsman, Buse, and Steedinan, educati strong kick, Urban Fever is a stel too pleasant, because it is a bit "How the Centre Holds," in ;: Wake The tint agenda beyond simple referenda and treaties. lar record from a mature produc sticky, but still really cool as the Whose National Security? What is at stake here is not simply money, or er that more than launches this rubbery, marshmallow palm not even the greatest threat! land-reforms: it is an entirely different way of label as a purveyor of music with trees are dancing outside your COMBAT in BC Resistance means grasping the being, of living and relating. emotion, funk, and intelligence. sugar-window. Also of note is The gloves are coming off in all network of oppression... the stellar Context 09 by Mexican sectors, and one of the most Seattle's Fried Funk + artist and member of the Nortec potentially powerful masses— Power to the First Nations Beyond Collective, Murcof. I've been the student population—is With Stephen Owen's grandiose policy to Canada's "silent" geno- CELEBRATION: Seattle—much like Vancouver— waiting quite some time for awakening once again to fight equation between militant First Vancouver's Black Crack has also launched into the lime someone to redefine minimal the bitter war against tuition Nations and Palestinians sweep Part II light with its fresh labels. The techno with dramatic tension, a increases. A singular, insulated ing Vancouver Sun headlines most notable is Squid Records, dose of silence, sampled cello, stniggle, evident when just this recently, it is time to unravel the Vancouver's cultural wasteland run by the maniacal duo known and stellar production. Well, this past year, the CFS embraced roots of this logic. Owen makes backwardness." While I cannot for the flowers that manage to as Jacob London, a.k.a. Bob record has done that and more... with unbridled enthusiasm good on his justification for mili speak for what the militant First grow in the cracks of Gordo's Hansen and Dave Pezzner, Gordo's (false) promise to main tancy: with generations of pover Nations movement is, I give it pavement, the more I come to whose sense of humour is, with Up and Coming tain the tuition freeze. To be so ty creating an unsustainable the fullest respect for being a realize that there is an entire out a doubt, the weirdest in the Signal and Noise returns to the incredibly short-sighted, and not livelihood for many First strong, intelligent movement underground network of healthy history of house music. With Video-In March 21-24 with a welt comprehend the scope of the Nations peoples, it is no wonder, that sees its goals in a broader foliage—some who have never track titles such as "Gutterballs" of experimental audio and video. t regul, , fiscal, . agenda beyond simple referenda seen the sun, others sunflowers you've just got to wonder what Watch for Tomas Jirku March and Ii v It is at this very moment—who are happens to all that BC bud when 29—he's a Toronto-based Force plight • Palest,, a people, a heritage I a land desperately seeding their petals it crosses the border. The most Inc/Substractif minimal house and seeking a sunny field. With brilliant release so far is Slom and experimental techno artist... is a group who "come every passing Spring, the Time. This EP has everything: check www.shnimtribe.com. resilient Northern flora grows solid production, a catchy sam- one step closer to cracking entire ple-"Kkeee p Until Gordo is Gone! • festival of video and soun 1965 frik jrbcySt 6 march 2002 I had seen them lying around themed but peppered with a called Bizarre Among the the store where I work and they billion little things, Piraro man Savage . He has games to play. just didn't translate. It was hard aged to accomplish the impos historv, to tell, poems to read to tear my eyes away from the sible. I stared at his paintings out loud. He demands and originals: vibrant, bright oils for longer than two minutes. holds your atte ition. You can't Lill applied with almost sadistic The colours were stunning and skimo yer Biza ro like yoi can VOMPbOY practically shouted at you. the re I of the comics ii the More realistic and less stylish them. paper. Like I said, I ha ve a comics and graphic art by Robin But that wasn't even the than his comic art, it blew me whole lew appreciation lor the piece de resistance. On one wall away. I have a whole new wo weeks ago my friends tion once a year. Similar to The ble, Piraro was only encouraged stood two huge oil paintings. At respect for the man. Clean, and I went to the Alternative Far Side, Piraro challenges the upon discovering that Jeffy There's just so much to look II1 by 6', they were utterly clear, big, and concise, it was Press Exposition in San reader to think. For example: at, even in one panel. His peo T Keane was one of his biggest entrancing but it had nothing to just how I like my art. It was Francisco. Two days of nothing sign makers on strike, their ple and faces exude definite fans. The exhibit also showed do with how big they were. also very different from his reg but alternative comics from all picket signs blank. He also chal character. They couldn't be off the covers for his collet lions. They were both religious- ular crazy Bizarro stuff. over the continent. I managed lenges you creatively by forcing Unfortunately, there is no book more expressive. One of my to pick up hordes of minis and you to dredge up old art school of his paintings available yet. favourite pictures is on the back indie press what-have-yous but terms so you get the argument It's sort of a hobby. He does of the book. It's just a lady, lick it sucks because the odds of you between Picasso and Escher. have 16 books of his comic ing her cat. The cat is dangling finding any of the stuff I'm talk He's a humourist for all walks strips available, though. with a look of such disdain. You ing about are next to nil. So of snob, but his sense of kid is While I was there, I man glance over to the woman with instead I'm going to wax ecstat still firmly intact. Interspersing aged to get a hold of his Sunday the huge tongue licking the cat ic about someone you see Where's Waldo?-type strips with Treasury which is big and full of and you know what's going on everyday. puzzles and parodies of other colour. That's when I really in her head: "...I hate my job, I One of our stops that week newspaper strips, he challenges you to stretch your imagination. learned all about the man that is hate my job, I hate my job." It's end was The San Francisco Dan Piraro. Did you know that just so weird, completely funny Cartoon Art Museum. They There isn't a single one that he has a plethora of symbols and entirely engrossing have an exhibit called "Life is doesn't elicit a laugh. He also hanging around all of his strips? I stopped reading the paper Strange and So are You," a ret uses that dry wit to make you contemplate consumerism, the Find the upside down chicken. a long time ago. You can really rospective and inside look at Find the rolling eye. Find the Dan Piraro—more commonly NI?A and New Ageism. He also only take so much of the cute takes all in pop culture we hold animals/adorable kid racket. known as the brain and fingers >. Tin dear and rips it apart. It's nice to see that there is still behind Bizarro. You've seen it, I that's ming a Intelligent and non-pandering, someone out there doing smart know you have (it's in the Sun). c. lilt Tip Hor Piraro leaves you c Bizarro is a one-page gag strip the Hippo who played with The stuff. So do yourself a favour, full of wit that's beautifully Who. Piraro owns a 1980s go down to your nearest used drawn with heaps going on. The exhibit mostly consist Vespa and boy do they abound book store, shell out the 5 The comics page in any paper is ed of his original strips, with bucks, his name is Dan Piraro. usually a complete waste of clever commentary in accompa even staged "The All-Mooch You will stretch those grey cells time, but Bizarro stands out. niment. For instance, worried Tour" where he imposed on his and you will laugh your ass off. Piraro started Bizarro 16 that one too many Family Circus fans, traveled the world and (You didn't need it anyway.) • years ago, putting out a collec parodies would get him in trou then wrote a book about it, they feel relief at not having to Some of my fave glossies sons to get this magazine, espe call themselves a fucking zine have fairly new issues that are cially if you have some negative anymore? Do they go glossy to on the hippest shelves even as fascinations inside your skull. appeal to advertisers or was it we speak. During my recent trip Maybe you'll want it for the the aesthetic goal from day one? to Mexico I took along one of the interview with The Fucking Do I ever wish to go pro or do I most perfect music magazines; Champs or to read about the odio fr< 1 know? Too legit to quit? I think THE BIG TAKEOVER . Issue #49 final days of Don Caballero. I've got a hit song here. Where displays that grubby chamois Maybe you'U want it for the zines. etc. by Bleek do Punk Planet, Maximum Rock N cloth called Iggy Pop and inside, interview some guy named Roll or even Discorder fit in? Is it the magazine always features Nardwuar conducts with pho A Radio Free Press almost zines to magazines that Guadalajara, Jalisco, Mexico) a barcode that creates that sepa hundreds of very informed tographer Bev Davies, eh? So Guide to zine sighting. have "graduated" to full colour, We can be assured that ration? A READERS GUIDE TO reviews and interviews with old many hours of reading pleasure glossy covers. NIGNE is a proper zine, and THE UNDERGROUND PRESS punks and the newest upstarts. in this thing, really. One little thing that mea until further notice I'll label it a ($5 bucks to Canada, $4 to the Believe it or not, there are some There's like 288 juicy pages of www.chunklet.com sures all of 7cm x 11cm is called proper zine in function and for States. Write to PO Box 330156, things that even I don't Icnow— invaluable info on many of the Another zine(?) that's come BIBLE SKY (not made by God mat. This one mysteriously even when it comes to what swellest unpopular music. Smallville to Metropolis is this time). Handwritten and appears in places like Zulu makes a zine a zine. I've been www.bigtakeover.com COOL BEANS. Every issue for a Records and the CiTR offices— running across small photo very short, it is full of sentimen If that wasn't enough there's long time now, comes with a CD among other locations, I'm sure. copied tracts of sorts that are tal content, including a "how to also another fat mag of modem with the oddest variety of indie- A zine for politically aware somewhere in the realm of inde make wine" page. The editor is rock called SKYSCRAPER with rock, punk, noise and just weird eccentrics, Nigne takes a look at finable. Small two-to-four page Amber from Box 313, New tons of music info. The recent recordings. Tlie current CB is the the current "war-to-end-all- things with barely a hint of Denver, BC VOG ISO (and I don't issue, #10 is one of the best yet, drugs, alcohol, and sobriety wars," interviews Scooby Doo's direction or purpose. Yet some even know where that is). This with persona] favourites like Le issue with Lee Ranaldo inter Velma (was that really her body took the time to print a one I'll have to put in the "quite Tigre, Ladytron, and Arab on viewing William Burroughs, name?), and includes some tiny leaflet of splotchy photos nearly a zine" category I just Radar. This also features that Rob Crow of the band Thingy, Orwellian and Huxleyan predic with nary a clue as to what we're made up. pincushion named Iggy Pop, Pinback, and Heavy Vegetable, tions of future world maladies supposed to derive from it. During my recent jaunt plus Destroyer, Hope Sandoval, Robert Dayton on drugs (a and a helpful guide on how to Zine? I don't know. Title? Not through Puerto Vallarta, I found Tindersticks, Lost Kids, and reprint from our city's Terminal i. At ti i the this veritable zine. With all the eat bananas (perhaps now I'll City), interviews with Hood, street recognizes my very appearance and structure of a finally get it right). kay, forget what I said Whew, gag reflex intact, I Simple Plan" gets some help about February, March need something to take the from a classroom of pre-school Ois already here biting edge off and I think I've found ers to sing the chorus, and "You me in the ass. So without fur it in TRACKSTAR. Two songs Wouldn't Be A Piece Without ther ado, here's the latest of tongue-in-cheek pop from a Your Moustache" kicks off with onslaught to the hit the wheels member of The Aislers Set this line about Tom Selleck and of steel in the last little while— among others. "The Chord" is a it made think of my friend CC starting with MATT POND PA, bouncy song about some Voltage who dressed as the PA standing for Pretty bands' attempts to bridge poli Magnum PI for Halloween last Average, I assert from listening tics with pulsin' beats. Think year—the irony of that just to this three song effort. The A- Sloan meets early Superchunk, made me laugh. (Big Wheel side sounds like most of the and you'll get the idea. Recreation, 325 Huntington Elephant 6 roster, all shimmer (Omnibus Records, no address Ave. #24, Boston, MA 02115 ing strings and harmonies given.) USA) galore, whereas the B-side gave Now, Boston has been her- Speaking of Mr. Voltage, his THE SPITFIRES ft Juke Box 8 Alone me uneasy Dexy's Midnight aided over the years for its combo THE SPITFIRES have Runners flashbacks with its innovative hardcore scene (and just unleashed a hellion of a sin banjo-laden introduction. on a side note hardcore labels gle in "Jukebox High" b/w Maybe the full-length has and their packaging), so it "Alone." Just enough power promise. Check it out on... comes as no surprise that CAVE and melody to keep your fist in (Polyvinyl Record Co., PO Box IN meet both of those expecta the air, but the asses still Mark Kleiner Power Trio young and sexy Voiumizer 1885 Danville, IL 61834-1885 tions. I seem to remember them shakin r for Gaga for Gigi USA) having a bit more bulk in earli their upcoming testimonial of Love To Night stand up for your mother Drive-In Records from er efforts, but when you are rock 'n' roll signed, sealed and CD S12ppd CD$12ppd CD S12ppd Grand Rapids sent us a couple rubbing shoulders with heavy delivered by your Spitfires MARK KLEINER'S DEBUT MINT DEBUT MINT RELEASE RECORD RELEASE PARTY weights like Converge and Isis, coming soon to a jukebox near things: First, THE CLIEN ALBUM COMING SOON! RECORD RELEASE PARTY MARCH 9-THE PIC TELE/CLOCK STRIKES someone has to bow down, so you! For now, chow down on MARCH 2-WISE HALL KA ANNA MAKEOUTS BIRTHDAY PARTY THIRTEEN split, of which The Cave In decided to head to this platter courtesy of... Clientele piques my interest more melodic emo-turf and (Glazed Records, PO Box 82006, with its subdued, minimalist trade sweaters with Thursday Columbus, OH 43202 USA) take on Tindersticks or a and Hot Water Music for their And riding off into the sun kinder, gentler Nick Cave. two songs ("Lift Off" b/w set for this installment is Clock Strikes Thirteen clocks in "Lost In The Air"). (HydraHead MIRAH, with a tribute so to with a cover of the aforemen Records, PO Box 990248, speak, of all things Spaghetti tioned group with more of a Boston, MA 02199 USA) Western. The song "Cold, Cold Euro sixties pop feel. I'm drop A band from neighbouring Water" done two different ping the needle on the second Somerville, MA also under ways, but both tipping a ten- seven inch from THE MABELS stands the thought behind good gallon hat to The Rifleman et from Melbourne, Australia and packaging and good emo and al. An abundance of stark gui I'm hearing a lone voice singing they are called PIEBALD. They tar rolling like tumbleweed over top a lone acoustic gui are also the group who thought alongside crescendo-iiig per The Tennessee Twin tar... and now I'm taking it off. up the best album title in recent cussion and gin-soaked vocals Free To Do What? I'm flipping over now to the memory with If It Weren't For proves a nice touch to this con CD S12ppd sounds of the same song done Venetian Blinds, It Would Be cept recording. (K Records, PO CINDY & COS DEBUT CD Curtains For Us All. So with this Box 7154, Olympia, WA 98501 up like Stereolab (read: dron OUT NOW ing guitar effects)... and now legacy to upliold, the boys of USA) Piebald deliver a cool pair of I'll be back in the saddle in I'm taking it off. (Drive-In THE ABOVE TITLES AND OTHERS AVAILABLE FROM YOUR FAVE RETAILER OR FROM Records, PO Box 888211, Grand crunchy, melodic tunes that April, so stay tuned... • Rapids, MI 49588 USA) stand up to the test; "Just A MINT RECORDS no. BOX 3m. VANCOUVER, BC V6B3Y6MINTRBCS.COM thunderbird interview he organ What was the most you ever got paid for a show? How did it com Hollywood and snubbing your very existence? pare to your worst job? Yes, the CD is still available while limited quantities last. Barb Sketch Sarah claims she made more money working at the K-Mart Kafeteria is now in suburban California. She's long forgotten her Canadian than from playing for The Organ. roots and lives on a ranch with her man and a team of horses. Are keyboard bands just 1980s cliches like grunge was a tired Full Sketch sold unsuspecting buyers shares in their company Black Sabbath rip-off? Please elaborate in refined English like you SketchCo. Given the location of SketchCo, was the company the were comparing Mozart to Beethoven. subject of a CSIS investigation? Were payoffs involved? We're not a keyboard band. We're an organ band. There is a differ SketchCo is still alive and thriving. Shares are still available at ence. The organ weighs approximately 2500 lbs. www.geocities.com/sketchco. Thanks to everyone for keeping the Should Kreviss reform with 10 keyboard players? How would they dream alive. SketchCo is a fully law-abiding company and has never compare to The Organ? been convicted of a criminal offence. We would prefer Kreviss to reform with say, 20 bass players. Please provide a short glossary of new lingo coined by The Organ. Apparently the Vancouver City Council was going to pass a rule say Urination station = washroom ing clubs downtown had to turn down their bass. A newly expand The candy place = 7-11 ed Kreviss should show up at City Hall and show Puil and his The sitch = the gossip that needs to be addressed immediately friends how it's done. A random = an average boy whose name has been long forgotten Have any members of The Organ ever had shows on CiTR? Please Word up = yeah, that's great describe and include whether the show still exists and if not, why Word down = no fucking way the show has been discontinued. Ask yourself two questions and lie about the answers. Hmmm. Sarah X went from sophisticated news glory to debauched Question: Why is Phillipines spelled with "Ph" and Filipino spelled late night trash, with the now defunct Dead Air Show, which featured with an "F"? Katie and ex-companion Barb as smut solicitors. The show was dis Answer: Because of dodgy doped up translators living life before continued due to, uh, irreconcilable differences. Check the police file. spell check. Have the Organ been recording? (What, When, Why, How, Who...) Please have each member of The Organ describe their favourite The Organ recorded our brand new 7" at Bryan Adams' studio and the basement of the Argyle hotel, Abbott and Hastings Street, sur Sarah: I have a love-hate relationship with The Organ's organ. She rounded by teams of hungry mice with water seeping through the was my first organ, precious and beautiful, but now degenerating sidewalk and falling on our heads. We also recorded some of it in into a moody, unpredictable piece of moldy wood. Tara Nelson's bedroom. We perform our best when we are sur Shelby: My favourite organ is my liver for reasons that are obvious rounded by Tara's panties and brassieres. Pick up the record at Scratch records or through our website: www.mernbers.shaw.ca/the- Katie: I love the organ that we use. We're like two giddy, adolescent organ girls when we're together. What bands would The Organ like to play with and where/why? Jenny: My favourite organ is the Hammond B3 and Leslie that I keep Moxy Friivous, Gowan, and Art Bergmann on the 2003 all-Canadian Snow Jam Tour. Quiet Deb: No a The Organ boasts members of the infamous Full Sketch who had a CD out. Is it still available? Is Barb Sketch now a famous artist in 10 march 2002 CiTR D J PROFILE fmfiO ^AINNENTt^^l Synaptic Sandwich Saturdays, 8:DD-lD:DDpm DJ 5yd Meconse ATLARGE ENTERTAINMENT & HOUSE OF BLUES PRESENT Record played most often on your show: Nuw Idol's Sin, Electric Nature's It's Electric, Christian Vogel's Whipaspunk. Record you would save in a fire: The Cure's "Primary" (live)/"A Forest" (live) 12" singlt Record that should burn in hell: AU D.U.P.OB.S'sSrtcA:o/S/»7. worst band you like: AGES? D.U.P.O.B.S. First record you bought: The Great White North, Bob and Doug Mckenzie. The last record you bought: Bluefish, "Three" 12" m IVHLLEIMCOLIIM Musician you'd most like to marry: vould like to shack up with that chick— you know th • HOME FROM HOME TOUR 2002 • hick" I mean it in the most politically correct way.) WITH .4 _ .__* _. r^^v^nm Favorite show on CiTR: ^MmUmfmnm Homebass or something like that. Whatever! Strangest phone call received while on air: THE CROATIAN CULTURAL CENTRE Someone called me from Japan—he was a fan of the show and when CiTR glad he could tune in over the 'net—that's not strange! • Doors 6 30pm Show 7:30pm Tuc at Ticketmaster, Scratch, Zuki MARCH 30 Beacbruoo• ttrftb SobPop Recordiagd? Brtd»t Spark» • s THE PICCADILLY PUB 620 W. Pender St 682-3221 GREG MACPHERSOH BAND Doors 8pm Tix at door only. good times coming back again (recorded by John Sutton, and featuring Jason Tait, both of The Weakerthans) with special guests Saturday, March 23rd - KAMLOOPS @ 12th Street Studios RICHARDS ON RICHARDS use Richards st Sunday, March 24th - VANCOUVER @ The Sugar Refinery EARLY SHOW! Doors 7pm Tix at Ticfcetmasten Scratch, Zulu Monday, March 25th - VICTORIA @ Thursday's Pub Tuesday, March 26th - KELOWNA @ Judge R. Beans AND YOU WILL KNOW US BY THE TRAIL OF DEAD v *9>j EAKIISHOW! sBOBBYCONN RICHARDS ON RICHARDS 1036 Richards st ' fjm Doors 7pm Tix at Ticketmaster, Scratch, Zulu r JK FROfTl fl€UU V/ORK CITV pp ilVJJi V PLUS GUOTS OU1T 03.26.0 2 G7 Welco ning Committee Records /"JJjk , THE PICCADILLY PUB •1 Box 27006, C-360 Main St. | Winnip3e, MB | R3C 4T3 | Canada %*!} IHJI Good stuff at htfp://www g7velcomingcommittee.co m '• /** Doors 8pm Show 9pm 620 W Pender SL 682-3221 ! alberta slim now in his 93rd year Holstein cows, four horses, and some machinery. We built a house and bam with the help of our neighbours." Although he doesn't consider himself to be from a musical family, Slim's dad could play the piano, and his mom could chord on the organ. "We used to sing around the organ nights after work, or whenever we could find time." s was noted in the guide to the 1998 Vancouver Folk Music He learned to play the fiddle at about the age of 13, when his dad Festival, Alberta Slim is The Real Thing. Had he been born brought a fiddle home and announced to the family that whomever south of the border, he would likely have turned up in various A could play "God Save the King" first would have it. When he left anthologies and been cited as an influence by all sorts of trendy bands. home his father gave him a banjo; eventually Alberta traded both the Canada's oldest yodelling cowboy and composer of such tunes as fiddle and banjo for a horse, gaining a guitar thrown in as part of the "The Phantom of Whistler Mountain" and "When It's Spring Time On deal. This was during the "hungry '30s," when he rode the freights the Prairie" has never achieved the fame of, say, Stompin' Tom, but (freight trains) for a couple of years and worked across the Prairies to his contribution to our country's musical heritage is no less important. BC, teaching himself to play guitar along the way. He even worked He even pressed his own 78s back in the 1940s, which makes him one briefly at a hotel on Mayne Island owned by a former Klondike of Canada's earliest indie artists. madam. Alberta Slim (bom Eric C. Edwards in 1910) has led a fascinating life. Bom in England, raised on the Prairies, he rode the rails in the By the late 1930s Alberta Slim was singing on the radio: his first 1930s, had his own radio shows, and toured across Canada and the US gig was on the Army and Navy Show on CKCK Regina, (sponsored with his circus. The Alberta Slim Circus included Alberta Slim and his by the department store chain) singing a Wilf Carter tune, "There's a Bar X Ranch Boys, Slim's wife Pearl, Bobo the Clown, Slim's trained Love Knot In My Lariat." He went on to regional fame as a 1940s ver horse Kitten, a high-diving dog, Susie the harmonica-playing ele sion of a morning jock. As his press kit boasts, "many a farm girl phant, and two donkeys—one pink and one blue. milked cows to the rhythm of Slim's runes." CKNW brought him to BC, which eventually became his winter base while he worked and These days Alberta Slim leads a somewhat quieter life in Surrey, toured with his circus. but he's still happy to perform wherever he can find an enthusiastic audience. Over the past few years, Slim has become a mentor and In the late 1940s, while gigging around Nova Scotia, Slim com mascot of sorts to many in the local roots music community. On posed a song called "When It's Apple Blossom Time In Annapolis February 5th, some of these younger musicians (Geoff Berner, Linda Valley" that, in his words, "set the whole province afire." RCA signed McRae, Corb Lund, Sam Parton and more) helped celebrate Alberta him shortly afterwards. To this day Nova Scotia is where he sells the Slim's 92nd birthday, and his music, at the Railway Club. most records and songbooks. He was very happy to return to Nova Scotia last summer for the Stan Rogers Folk Festival in Canso. Alberta Slim, sucking on his ever-present mints ("it's good for the arteries") chatted with me by phone the evening after his birthday "Nova Scotia is very good to folk singers, and some of the great bash. One of my first questions was about music and what he prefers est singers come from there, like Wilf Carter, Hank Snow. The people to listen to these days. Although he claims to like almost any kind of down in Nova Scotia don't live to make money in business—they music, he's more interested in CKNW talk shows and doesn't keep work to live and be happy. They're not out to talk money all the time. up too much with music on the radio. They entertain themselves with house parties, and most people play When asked whether he thought the musicians the previous night some kind of instrument" had done justice to his songs, he diplomatically replied: "I didn't have Alberta Slim continues to perform and can still yodel up a storm, any favourites there last night... they did a pretty good job, but they as he showed us at the Railway Club. He enjoys touring and has probably needed to practice them a little bit more." become popular on the folk festival circuit, hi the past few years Slim He thoroughly enjoys the fact that his music is pawing to be pop has played at the Vancouver festival, Alberta's North Country Fair, ular with younger generations, but didn't seem too surprised. "I think Frostbite in Whitehorse, and has his booking agent chasing down maybe it's the working people... this music has always been popular more festivals. "But at my age I only want to play about a half dozen with farmers, people working in the forest and the likes. They seem to a year," he concedes. be closer to the reality of living. I also think that the higher educated Besides performing and composing (he sang me several verses of you are, you probably would be listening to different kinds of music. a new, yet-unnamed song over the phone), he keeps busy overseeing "And you take the United States down there. The wide-open the sale of merchandise on his website (5 CDs and a song folio) and spaces—they go for those type of songs! You know, ranch hands, managing his real estate investments in the Fraser Valley with the help singing songs of places they go, the good times they have on Saturday of Pearl and their two children. "And biddly-boo, I'm a cowboy night. They sing the type of songs that they're living." In other words, plus ca change... Alberta Slim's secret to a long life? A brisk walk in the morning, a As it turns out, Allserta Slim has met the man he's often compared sensible diet including lots of veggies, no red meat or white sugar, and to, Stompin' Tom Connors, and is quick to point out a few differences. green tea "because it's supposed to be helpful." "He sings quite a lot of songs, probably closer to the people and Slim's day begins with the "Alberta Slim concoction," which, from by val cormier what they do. I sing about the territory, landscape, the mountains, what I could gather, includes cod liver oil, blackstrap molasses ("that's more than he does. He sings about hockey games, and miners, which got more goodies in it than anything you can buy"), flaxseed oil, I don't, and he sings about barroom brawls. He started out playing in ground-up garlic, apple cider vinegar, honey, and grapefruit juice. "I the bars, you know. I never liked doing that." drink that every morning before I go on my rounds." Alberta Slim then moved on to talk al>out life on the Prairies in the "Helps to keep the weight down," says Slim, who, true to his han first half of the 20th century. Considering I can barely remember what dle, carries a trim 127 lbs. on his frame. "I think a lot of people are car I ate for lunch yesterday, I was fascinated by his recall and ability to rying a lot of weight around which is not good for them at all. And spin a tale with only an occasional nudge from his wife, in the back they could easily take it off if they took my concoction!" "Don't you ground, to keep him on track. think I could sell it?" he laughs. • Alberta Slim's parents, with six children in tow, homesteaded near For more info on Alberta Slim and his music, or to book him for your next Lloydminster before 1920 on a half-section of CPR land "with thirteen hoedown, see his webpage: iuimo.albertaslim.com 12 march 2002 My favourite Mark Szabo song goes something like this: "Tell me what you remember,' I'll think of the smell first and then of the people... I remember when you came to see me you always seemed nervous and under- rehearsed. Through the drugs I could hear you talking. I heard nothing that I would acknowledge. That never stopped you. 'Your sister's fine, she's at home now, helping out around the house. Your mother's better, she sends her best. She's not the same since the arrest.'"—"Since the Arrest" I met Mark at a restaurant in Chinatown, and he managed to stuff fake meat into his mouth—despite the microphone I held in his face—while people outside stuffed needles into their arms like thermometres into turkeys. So I thought of his song about prescription drugs and institutions. I don't relate to the lyrics. But it's &TW®%%1 PARR my favourite because of the melody. Ask Mark to sing it to you. He's the intelligent and considerate one in Capozzi Park who looks like a street bum. mm 1% *:' | ft? CBGIiffl WW DiSCORDER: I heard you called me a hag. Mark Szabo: No, I never called you a hag. You called me a hag to someone who was referring to the playing for normal people? Don't you play your guitar upside- Like "Farmer John" by The Premiers. No, it was actually live. review I wrote about your record. Do you get frisked a lot? No, I know what it was. Somebody else called me up and Yeah, but I play right-handed guitars. If you're left-handed you have No. they said, "Did you see the Discorder? What a hag!" three options: you can buy left-handed guitars, of which there's one Maybe I'm using the wrong word. Do people ever think that you You don't think my review was positive? in every forty guitars, or you can play right-handed and |ust go with steal things because of the way you look? I don't think a positive review uses the word "shitty" more the flow, and that makes sense because you can use everything, but Yeah, once I was at the comic shop and the portly gentleman behind I wanted to be able to play every guitar, but it just didn't feel natur the counter decided that he saw me steal something, so he parked Fair enough. So why is Capozzi Park breaking up? al playing right-handed. The chords are the same, but the fingerings himself bv the door, and I went to leave, and he went "Excuse me, 'Cause we all want to do other things. are different. I think every chord has a name. The hard part was what's that in there?" and he reaches in my pocket and there's noth How long have you been together? finding some of the names for the chords. I was going down to the ing there. So he checks the other pocket and there's nothing there, Since 1998, I guess. When I started doing the Mark record, music shop and browsing through their 6300 chord dictionaries and and then he goes, "Okay," and goes away, and I go "An apology?" Chocolate Covered Bad Things, it was just me and then Max, just looking for the thing I did with my fingers. and he just shrugged. gradually Marcy, and when Steve was in, it was Capozzi Park. People I play with have a hell of a time at first. Anytime I've I thought that you would say "Yes I get frisked all the time ever played with somebody, we'd start playing something and because I look like a street bum." So then why are you putting out a record now? maybe halfway thorough the song, they'll realize that they can't fig I think there's something in my carriage that implies that I might be Bloody-minded stubbornness. ure out what my hands are doing, and then they'll realize that it's a disgraced member of the upper-classes, or at least upper-middle, Yours or the band's? upside-down. some kind of down-at-heels class traitor. Oh, mine. Mine entirely. What's the worst word you can think of that starts with an F, ends Who put the record [The Record of Capozzi Park] out? I'm going to draw you a square with my finger: this corner is in a K and is four letters. Me. I hate to let things go to waste. People are in bands Frank Zappa, this comer is Eddie Van Halen, this corner is Tom Uh, fuck. either to be in a band and be known as being in a band, or Verlaine, and this corner is Kurt Cobain, and the middle is a real else they're in a band because they have a lot of fun playing. ly sucky guitar player. Where would you put yourself as a guitar There's another word that's much worse. Change the C to some Sometimes they're in a band for this dream, for the topper- player in that square? thing. most of the popper-most dream that has led so many astray I'd be probably more towards the Tom Verlaine side, of the four. I've Fusk. Fusk. What? You want to make me say "funk?" never owned a distortion pedal. When Superconductor first started Yes. So are you going to start another band? up, we'd play together—when it started up it was everybody who I don't agree. I think that there's something great about funk. Why? I will play for food. could make themselves heard—and I couldn't hear myself because As a word especially, it's horrible. I heard that Marcy Emery was going to put out a CD of all they all had the power. Originally, funk was that musty smell under your privates. your songs with her singing them. You still, to this day, have never owned a distortion pedal? Would you describe Cappozi Park as being funky? Yeah, she's been talking about that. She's been doing a lot of I don't think I've ever owned a distortion pedal. We'refunkay. That's six letters. groundwork for it. What I did was I made a little booklet. I What's the effect on "She Wants Fun?" So Mark, when are you going to get famous? figured out how my songs went, if I weren't me, and fig Oh, it must be someone else's distortion pedal. At my martyrdom, I think. ured out what chords I was playing. I really like major It's not that you haven't used one, you just don't have one of your I think so too, unfortunately. ninths, I found out. I did that and gave it to her, and she's It's a hard thing to face. I remember being 22 or something and real been talking to people around town who might be interest I have used them, and distortion is one of my truest friends. There's ly wanting to do music, knowing that there's no way I'd ever make ed in playing with her. something about it being really easy—"I'll just press this button money doing music, and then somewhere I was reading an article You won't be playing with her? down." People use it to show a change in dynamics, but they're just about someone who was pretty big—I think it was the guy from The I don't think I should really be directly involved. I think it's playing the same thing. Liars; he was pretty big at the time—and he started talking about better the other way. I'm sure we're all curious to see what Tell me about the last song on the album. Who is that? how he did the album at night while he worked his day job, and I I'd be like produced well. Which is exactly what she said at Tliat's Robin Frye. He was in the band for several months. Now he realized, "Oh! Everyone has a day job!" Everyone short of, I don't lives in Halifax. know, Sonic Youth and Elvis Costello had a day job. And I went, Would you rather have a record produced by Brian Eno or So that was a salute to your friend Robin? "Okay, this is what I'll do: I'll play music and get a day job." Max Colin Newman? Well, he was in the band at the time, and once in, after the initia became a carpenter, which was really smart. He's like "I want to Brian Eno. Colin Newman—did you ever hear his sec tions and all, you're in a lifelong oath of secrecy. play music. I'd better have a useful trade as well." 1 did not do that. ond solo one, Not To? About half the songs turned up on I wasn't sure that anyone else wrote songs in Capozzi Park, I think this is the end of it. One last question and please don't lie Wire bootlegs or live records, and just in playing with besides you. about it: Do you have any STDs? the arrangements he demolished every one of them. You Oh, yeah. Josh writes. Josh wrote the music for "Production Booster" Um, I used to have chlamydia. And this thing [points to his mouth], know, like, made everything go at half tempo because he and "Statutory Holiday," and Max wrote the lyrics for that. Marcy my doctor told me it was angular cheilitis—this should not be going didn't want to do that thing anymore [Makes Wire-like wrote a fair amount. Robin wrote. Steve wrote, although he didn't on tape. It was a little split m the side of my mouth, and it kind of guitar sounds]. write very fast. I don't think we ever finished something of his. scabbed, so I yanked it off, and over the space of a week it came But those were his own songs. How about the recording of the album? It sounds like you didn't back with these little tendrils, and it's really freaking me out. • Yeah, and you have that choice with your own stuff. I've do it all at once. always been pretty fascinated with that process of whereby Well, we played it all at once. Capozzi Park play their final show on March 7th with The Battles al the a song becomes something else. I always like to play things I meant, did you record all the songs at one time? Anza Club. If you miss it, there's always The Record of Cappozi Park differently, but I don't play things differently too well, I No, it was over the year 2000. and Chocolate Covered Bad Things. The former members of the band are guess. I can't really get a convincing samba... All at different places? still making music in various tight leather outfits (Clover Honey, Amy's Going back to the booklet of your songs you gave to At home, at the Sugar Refinery. Rocks, Miniature Pancakes, Ackley Kid, America jr., southern acific-, Marcy, how did you figure out which chords you were So the live track ["Now"] is actually live. I thought it was fake. Baron Samedi and, of course, Mark). 13E[FkgSi®iffi //•/. // / //// I I Six questions with four people. This is my first attempt at the -> email interview, and I discovered there can be a nice side effect. By breaking the band out of a group, I was able to hear all four D of their voices. Neat! Viva technology. What follows is the ° unedited response to my email questionnaire to the members of the Intima. A band based out of Vanolyland, Camerica, they x play some nice music with guitars and drums and a violin. ro The Intima, Andrew / / / / DiSCORDER: Why are you in a band that actively tries to promote Thanks a lot for doing it, though. We all appreciate it. Despite the recently popular pastime of trash-talking Olympia and your music (i.e., selling CDs and touring)? do interviews anymore because they are contrary to my per- mass-migrating to Portland, I like Olympia a lot. It's a strange cross Good question. I think the selling and advertising is a side product of e. Selling CDs, playing for money, and just simply operating between a less ethnically diverse Commercial Drive (with the rest of making music we love, travelling around with it, and wanting differ system is a hard reality to swallow, a necessity (we all have Vancouver chopped away), an all-American city, a big summer camp ent kinds of people in far-flung places to hear it—this in a capitalist i stomach), but still a pain all the same. Answering faceless for bratty, homy art and music kids, and a hard-drinking port and log society where to stay afloat financially vou have to "play the game," at :o be read by faceless people only reinstates my sense of ging town. Yes it's claustrophobic, inbred, sheltered, and boring at least to some extent. We didn't really start out with any sort of grand and betrays my sense of things. I do like to discuss things times, but it provides a nice contrast to the big-city alienation I experi blueprint. In the spring of 2000 we went on a brief'tour down to L>, but not through the lens of a band that is somehow in the enced in Vancouver and, proportionally, there are a lot of good people California and back (with a bunch of homemade tapes), and while we . and the "eve" seems to be focused on something akin lo a here doing good things. I certainly couldn't live here forever, but were in the Bay Area our friend George Chen offered to release some sonalitv." I've been trying to create tangible things with my Olympia has been good to me so far. thing by us on Zum, the label he runs with his sister Yvonne. From imaginary ideas with my mouth. sail Themba / / / / selling Why are you in a band that actively tries to promot/ e your music? lallel I love to travel and I love to play music and in our financial position Nora / / v lite. / selling CDs is the only thing that makes both of those things possible. I What is the cohesive element of your band? Why are you in a band that actively tries to promote your music? also like to support the underground networks that are in place. Kids Well, we're two brothers and a couple who are friends and share at For quite a while (while I was a depressed and alienated UBC student from every town realizing that there are kids in every other town. I put least vaguely similar ideas. Otherwise, we have a pretty sizable age living in mv parents' house in Burnaby) 1 never dreamed of doing, MU II on more shows in Olympia than I play at. Good question. range, a variety of different musical tastes and backgrounds, and in a thing—any attempt at connection with anyone, let alone people I'd What is the cohesive element of your band? interviews you'll hear us sometimes saving starkly different tilings. never met - seemed too terrifying to imagine. I was a big fan of zines We aren't always the most cohesive people, to say the least, but we all We try to operate by consensus, and we all share a desire to be a part (still am) but couldn't fathom what drove people to spill their art, their really like what we're doing and we've all been friends for a long time of this project while accommodating our individual desires and needs. ideas, then most intimate toolings and expressions out onto paper and (Nora being the most recent addition). And we all come together really You seem to all live in different cities. How does this affect your send them all over the place for everyone to read. I still don't quite get well when it comes to music. We like what we get out of it and have practices? How did the band come to be? it, but I know that I'm a lot happier to give and receive those things fun. If I don't play music for a long time I get really twitchy and weird. It makes things difficult and occasionally absurd. The band started in through music than when I had completely isolated myself. Now I'm You seem to all live in different cities. How does this affect your prac Olympia; then Alex and I moved down to Portland over a year ago. making connections with people all over the place, and have a much tices? How did the band come to be? We practice twice a month, usually; one weekend in Olympia, one stronger sense that there's a bigger community out there. It's been rough, that's for sure. Lots of time up and down 1-5. We prac weekend in Portland. We hardly cover the cost of printing CDs, tour gas, and car repair, tice a lot and I think that having us live in separate towns keeps us real Looking at your band's website, you seem very political in nature. Is so I don't feel like were being exploitative or profit-hungry at all—def ly focused at practice. We don't really have other places to go or things there a common band message that you are trying to establish? initely part of a network of equal exchange. to do. It gets pretty stressful too because we lose a certain element of I don't know if I can pin down a common message. I've been writing What is the cohesive element of your band? You seem to all live in spontaneity and everything has to be planned out well in advance and the lyrics, but that's just me. As I've said in just about every interview different cities. How does this affect your practices? How did the we don't just hang out as friends as much (which sucks). we've done, I'm tired of the word "political." I feel like it too often band come to be? The band came to be in Olympia when Alex and Andrew were still alienates people with its air of exclusivity. I'd like to make music that Initially I lived in Vancouver and the three guys lived in Olympia, play living here. Andrew and I played together for years before Alex started reaches out to people in general, not just anarcho-punks or some other ing together as the Intima about eight months before I joined. I was a playing drums with us and that was the band for a while, just the three sub-division of the industry of Culture. And I don't want to turn peo lonely kid at UBC commuting in from Burnaby who had the good for of us. Then we met Nora and she recorded violin on a song or two and ple away from us because they'll just assume that they're in for a dose tune to fall in with those notorious, ruckus-raising APEC-tighling we asked her if she'd like to move here (she was living in Vancouver) of arch moralism and unimaginative music. On a simple and person punks, who dragged me down to Olympia one day (for it is a truth and join. And she did. It was a little weird at first just because we did al level, I'm interested in trying to peel away the layers ol bullshit that universally acknowledged that at one time the entire crew in APEC n't really know her very well and it's hard to play music with people separate us all from one another and from the earth beneath our feet. Alert! had crushes on the entire population of Olympia). There I met you don't know—or at least it is for me because I get somewhat self- I also play in a fairly traditional musical group. Somehow these Andrew, and soon Alex and Themba. We bonded in WTO-stricken conscious. It seems like to gel musically you also have to do so on a per themes and activities overlap, for better or worse. Having said all that, Seattle, I did a couple of overdubs for them, and their invitation to join sonal level, which we did. I cheer when I see Argentines looting the parliament building in the band was my ticket out of Burnaby. I moved back home once or Looking at your band's web-site, you seem very political in nature. Is Buenos Aires, rely on herbs to Slav healthy, usually identify myself as twice while still plavmg in the band—one month I lived in Vancouver there a common band message that you are trying to establish? on the and commuted down on the Greyhound every single weekend! (Five to It would take us years to work out a common band message. And if we if their n seven hours each way, depending how vigilant the border cops were did, it would have its fair share of addendums, corrections, and condi iVith tl about my oranges). Since then, a lot has happened, including Alex and tions. We all have pretty specific personalities and personal ideologies round. I just don't like being put in a box. Andrew moving to Portland. But there's a lot of overlap (socially, polit but I think we all agree on some very fundamental things. Alex, What are your day jobs? ically, and musically) between Olympia and Portland, and a two hour Andrew, and Nora have all really changed how I see the world (so has I'm a sub worker in a program for homeless kids that has two shelters drive really pales in comparison to the Oly-Vancouver marathon! being in a touring band) and I value that. Collectively, this is how I look and a residential house. Looking at your band's website, you seem very political in nature. Is at it: we try as best we can to live our lives in contradiction to the per How do you like your respective cities? As you all live in different there a common band message that you are trying to establish? vasively oppressive conditions that surround us. We're pegged as polit places I assume you must have certain reasons for your selections of We're pretty different people in a lot of ways, and we certainly didn't sit ical and radical all the time and we definitely don't strive to be down one day and say, "Okay, this is our ideology, let's shout it over the categorized like that, it's alienating and it provokes a feeling of superi There's a lot going on in Portland right now, with a constant influx of rooftops!" Andrew writes all the lyrics and is responsible for most of ority or separatism that I really don't like. It makes politics something young people, and plenty of creative ferment. I'm glad 1 left the social the content of the website, so his voice is the one people outside the you're part of or not, which I don't think is the case. claustrophobia of Olympia. At some point, after living there (and pre. band hear most, but we all have input and make most decisions by con What are your day jobs? viously living in Missoula, Montana), I came to the realization that if sensus. I think the band serves as a venue for each of us to express and I work at a bookstore in Olympia called Orca and try to do other things 1 was going to live an essentially urban life then I might as well live out our beliefs, and meet people everywhere who share our frus on the side. I really like doing graphic stuff for people and right now I'm expand my opportunities for meeting new people, exploring new trations with the world we live in. designing the poster for the upcoming 5RC Jamboree tour. It's making places on my bike, thinking about architecture and history, and on and What are your day jobs? me really excited. on. I feel more settled here than I ever have, but then maybe I'm just I work as a caregiver at a group home for four guys with developmen How do you like your respective cities? As you all live in different getting old. tal disabilities (plus one guy is in a wheelchair). I'm a poo-wiper-upper, places I assume you must have certain reasons for your selections of Alex / / / / / / a cook, an ass-washer, a mama, a janitor, and a referee—I'd highly rec ommend it. Getting to know the guys has been an amazing experience. I feel like I live in both cities. Olympia can get small and Portland keeps How do you like your respective cities? As you all live in different me from feeling trapped. But Olympia has lots of really good things writing you to tell y< places I assume you must have certain reasons for your selections of going on and strong community that I don't much want to leave. It's a love/hate relationship, though. Tliat's for sure. • U march 2002 Record Players hove come a long way since the beginning of the. Twentieth Century. Somewhere near the end of this bloody century, enterprising music lovers figured out ways to beatmatch, mix, and scratch vinyl records on Technics 1200s, and the cult of DJing was born, DJing, however, hos always treaded o fine line between art and craft. Not Quite o radio disc jockey, ond not quite a live performance, the BJ as a musician ond turntables as on instrument-are in a grey area that oscillates between becoming an ort or a- craft. As we a enter the Binaries, DJing has formed two explicit camps: the hip-hap turntablist and the "dance DJ," Of the two, hip-hop turntablism has managed to establish itself as an art. The international DfCs provide a way to judge competitors, and many advanced turntablists have invented new forms of scratches and cuts-which can now be written down using a number of hio-hop "scores." Becoming a talented hip-hop DJ takes years of prac tice and talent, and the hip-hop community con spot a good DJ from a bad one a mile off, But'what about the "dance" DJs? The category itself is already problematic, for many non-hio-hop "turntablists" do not consider Photo: Jane weitzel themselves primarily a dance jukebox. The question is: what makes UP the "art" of "dance" turntablism? Part I The Art and the Craft of Turntablism, The DJ School. male privilege and genealogy through arranged marriage. It was sary caveat, and a good one; yet what is being achieved? Tobias v really only with the lower classes that a radical experience of music "Success"—which perhaps can be measured as power, a very par survived. I do not wish to go into a deep analysis on this point ticular, perhaps even selfish, power. DJing is the "chance to express A Short Manifesto of Turntablism except to note that musical-dance culture often traces its histories yourself"—that's yourself in those records, and not, say, the pro Turntablism at its fullest has several different aspects of control: tac- through oppressed peoples, through resistance movements, through ducer's musical soul. Likewise, DJing is the chance to "be creative tile (physical manipulation of the vinyl), spatial (effects alternative sexualities, genders, and politics: Jamaican soundsys- and satisfied knowing that you are creating the music atmosphere" 1I Ian and dprocessing) , frequential (EQ manipulation), compo tems, the resistance to modernism of Detroit techno, the sexual lib (my italics). Much emphasis is placed on the powerful role of the DJ eration of Chicago house, the Temporary Autonomous Zone as the original creator of the "music atmosphere." The lessons are for //shsitionau l (ordering and choice of the tracks), and auditory (the volume of the track, and use of silence, such as in cut anarcho-rave soundsystems, the psychedelic drug explorations of you, you are the DJ, and the DJ creates the music—it's a tasty lead- ting). All of this is combined in the mix, which is the desert and forest parties, fhe links to the politics of funk and punk. in that entices people to be that power-position. For you are always blending of the records using the above techniques through the fur The music will always hold its most potent liberating force at the satisified with yourself, and because of this, you will be satisified ther skill of beatmatching and compositional arrangement (when to hands of these movements; this is why the Top 40 dancefloor is not with the "musical atmosphere" created by you. Are these good rea drop the track, and how, and at what volume, and how quickly to so much a space of liberation as it is a cage of patriarchy and capi sons to become a DJ—that of you? The reasons given certainly, per bring it in, etc.). The mix is an open space of possibilities, and pri talism, where sexism dominates in fashion and social interaction, haps unconsciously, latch onto several key principles: the DJ is a marily requires the automatic achievement of beatmatched records. where advertisements are bombarded upon the audience through node of power, and wherever there are nodes of power—however Advanced turntablists, such as Detroit's Jeff Mills, play with the visuals and through the music itself, and the DJ becomes a glorified simulated—there is an influx of desire to be that node of power; in beatmatching structure (setting one record off by an eighth of a s highball a fact, this is the primary focus of the entire statement: be successful, be beat, for example), but this is within the general beatmatch of the satisified, be a D]. two records at the same pitch. The mix defines the DJ's originali ) V'Teachin g Sonic Power: the Dj School It's the car-ad model, the SUV tactic of DJing: be free, get out ty, her vision of the music, her response to the music, and not only It is the responsibility inherent with these forms of power into nature, with this metal beast... become what you worship: you her interaction with the crowd, but her reaction to the record's that bring us to the question of the DJ School. For what is are the one I am speaking to. effect upon the crowd. A movement of Dancefloor Dialectics, the responsibility and position of a DJ "school," a commercial and It is necessary to point out that The Rhythm Institute's where the moment of collapse, of spectacled and spectacular sim financial endeavour, in light of these reflections? What forms of Advertising statement is not particular to their business, and I do ulacra, is the mix. But even this notion of the mix is one among DJing is the "DJ school" teaching, and thereby, what forms of power not wish to single them out in this regard. Rather, it is reflexive of the many mixes. The dancefloor is a presupposition, and the notion are being taught and emulated? How does a DJ school teach cultur way DJing is being sold as a commodity of the Carnival. The mar of the crowd and its expectations a concept and a structural al signifers and histories of other cultures? How does a DJ school keting strategy is that of the my generation—in this case, advertised desire: the turntablist learns to utilise the dancefloor-mix as one teach memory-responsibility? way of lengthening tension or bringing about closure in a long The Rhythm Institute, situated in Boomtown records in procession of mixes, each which treats the listener in a different Vancouver, is a new DJ school that caters to beginning DJs. Run by II I Techniques of the Trade vs. Aural Poetics fashion, thereby reconstructing the expectations built up by the house DJ Leanne, along with accomplished DJs Jay Tripwire, Yann // / Upon checking into the school, the student fills out a crowd of the dancefloor, of dancing, of the necessity of move Solo, Wood, Ricco, and Skinny, TRI is a good case study for the questionnaire that asks them why they want to DJ, ment, of the proper mode of accepting or rejecting, relating or emergence of the DJ School. TRI is not being singled out for any rea whether they are passionate about it, and what sort of disassociating, of essentially reacting to the sounds emanating son other than it is new, accessible, friendly, and—according to its music they like. A lot of effort is made to situate the stu from the speaker stacks.The mix is the aesthetic and creative website—"the first of its kind in Western Canada." It is perhaps dent in a context that can be utilised by the teachers for instruction. moment of the DJ, the moment when all is lost or won: a worth looking at the rest of the statement present on the TRI website Leanne, who is the house music teacher, explains to me that some of moment of brilliance or defeat when, at the cusp of the success before we continue as it gives a good idea of the commercial goals her students are party-goers and dancers who simply wanted to get ful mix, the tracks coalesce to become more than an amalgama and representation of the school and its mixed position in regards to behind the decks; one particular student, however, is an older tion of sounds and move in orbits of power. aesthetic, political, and artistic goals. woman who wanted to learn something new, and has no prior expe For DJing is a position of cultural power. With turntablism "The Rhythm Institute DJ School is the first of its kind in rience with the subculture. Other students include musicians who comes a responsibility, as with any art. However, because DJing Western Canada. Students receive hands-on training on how to per want to incorporate DJ skills into their instrumental capabilities. It is is an aural medium, and one that pervades the senses to a pow form all the skills necessary to become a successful DJ using indus obvious that the DJ school has the potential to become a truly het erful degree, bringing about a reaction from the audience and try-standard technology. Our critically acclaimed, professional DJ erogenous space of cross-cultural influences. Perhaps because of this creating entire sets of expectations, hierarchies, and contexts, it is instructors take you step by step through all of the latest mixing and diversity, TRI includes a rather broadly comprehensive and con a responsibility that is infused with a particular thread of ritual turntablism tecJiniques, from beginning to intermediate levels. The densed handout explaining the history of the area that the student power. For Paul Miller, aka DJ Spooky, the DJ can act as a "mem best thing about DJing is that you get the chance to express yourself, has signed up for (dance/electronic, urban, scratching). In a way, ory selector" by juggling, cutting, and pasting cultural signifiers be creative and satisfied knowing that you are creating the music this pamphlet is informative, as it provides historical background; in into new contexts and selections, thereby deconstructing tradi atmosphere. To achieve this, it takes time, hard work, and a lot of other ways, it is a packaged commercialisation of an anterior cul tional references and recontextualising the present experience by practice. TRI is here to help you accomplish your goals!" ture, not to mention generally free information, ami leads to all sorts remixing the past in real-time. Such a position is a refraction node The statement in itself is nothing new: it is a rather straightfor of questions: why are people paying to learn about a foreign cul for the dissemination of power, channeling aural signifiers that ward piece of advertising lifted from the corporate world. Because ture, and then master a skill from that culture? In the mix is an ele trigger memory associations that can powerfully move an audi of its transportation, the advertising mixes with the subcultural ment of musical tourism along with curiousity, and it raises the ence: the result is a ritual of remembrance or reworking of the past roots of DJing in a very odd way: the contexts are mixed, crossfad- question of how and what should be taught, and why. For under to create future-memories, such as the desire of early Detroit tech ing the beats with the suits. TRI claims that it will teach you all the neath the cultural signifers is the underlying question surrounding no. In general, the DJ can slip into two modes: that of the com skills necessary to become a successful DJ. The emphasis, then, is not the very existence of the DJ school: why are people paying to learn mercial Carnival—example: the Roxy on a Saturday—and the on teaching skills to learn an art, such as learning a violin; the a skill that has never been taught up to this point? The majority of deterritorialized TAZ—examples: the warehouse break-in, the for emphasis is squarely upon success. What determines "success" for today's DJs are self-taught or learnt from a mentor. DJ Leanne recog est party, the late-night one-off, the 5 hour set of a sweating house TRI? This is unclear whether it is successfully completing the require nises this and attributes the need for a DJ school to a breaking-down DJ who cries when he drops George Clinton into a minimal house ments of the course (learning how to beatmatch, etc.) or, as the state of the previous DJ culture that provided mentors. Although I can ment seems to imply, becoming "successful" as a DJ—and by this, understand her answer, 1 find it hard to believe. Locally, organisa The art of DJing arose in a myriad of socio-political contexts do we mean artistically or financially? Is there a difference? Or both? tions such as wickedhouseparty.com and blackholeclub.com have across the globe, all of which have in common a cultural investment TRI also claims to teach all of the skills necessary—this would created organised gatherings for DJs and musicians to meet each in musical interpretation which, in its freest form, is the physical include, it would seem, talent. Or does DJing not require talent? Can other and learn in a supportive environment. Personally, as a self- embodiment of music, be it in dance or deep listening. In Europe, simply anyone DJ? Leanne does realise that talent is involved; yet taught DJ, I know it is still possible to pick up decks and figure it all such a history is predominantly that of the lower or nomadic class this is the implication behind the advertising: with all of the skills at out. DJ culture is alive and well—obviously well enough to sell it. es (the Roma, the Irish jig). The aristocrats did not get up and move our disposal—including the "latest mixing and turntablism tech The question is, if vou are going to pay to learn from a teacher, what to the orchestral scores of their conductors; indeed, they were strat niques," which I find fascinating, as a statement, for it sounds as if are you learning and is it worth the money? • ified beyond compare in social hierarchies of extreme complexity these techniques roll off a production line or come from some DJ that simply never granted them the opportunity to even consider think-tank—the DJ school will make you successful, irregardless— Flnsai de lias been excerpted from a longer treatise on turntablism called such a radical prospect. The Western ball was a carefully construct wait, almost irregardless: there is a work ethic involved: "To achieve ralism: The Art vs. the Craft of DJing and Turntablism," available ed semi-Carnival, primarily designed to enforce patriarchal rules of this, it takes time, hard work, and a lot of practice." This is a neces shrumtribe.com. Part II comes next month! 15StF^£B®SB RELAXING WITH RODNEY GRAHAM Interview by Brady Cranfield Who is Rodney Graham? He was an early new wave innovator during the heyday of Vancouver punk. He's currently a member of the new Mint Records supergroup, Voiumizer, as well as a solo singer-songwriter. And he is an internationally recognized visual artist with work in many major galleries. But perhaps more than anything else Rodney Graham is immensely charming. He has a handsome and hurried, some what professorial style, his busy mind quickly producing too many ideas. And he is also hilarious and often gently dark, comfortably spoofing himself or making sly and sometimes bawdy remarks. Endlessly engaging, his conversation is like a brisk series of compelling asides, anecdotes, and facts, densely woven together, somehow eventually culminating in well-formed narrative arcs. And all this is in surprising contrast to the order and tidiness of so much of his completed work, which is marked by Rodney's strong sense of design and execution. Here, his intelligence and humor remain, but his often-anxious energy is mostly out of sight, replaced by a well-organized presentation, usually demonstrating his attachment to modernist style. The following interview was conducted in Rodney's apartment, tastefully jumbled with musical instruments, records and CDs, stereo equipment, books, some clean-lined furniture, and even some art — a suitable environment for its interesting occupant. PHOTO: SHANNON OKSANEN Discorder: Tell me about UJ3RK5. influenced by Devo, Devo more than anything, but also some mini in my art career—so-called. I dropped music for a couple of years — Rodney Graham: UJ3RK5 started, I think, in about '77. It was David mal music: we integrated elements of Phillip Glass, and stuff like that. I sold my guitars because I was quite broke, so I really didn't do Wisdom, me, Jeff Wall, Ian Wallace, Frank Johnson. We were inspired I was kind of interested in that in my artwork at the time too —a much in the way of music. And then I got involved again with Phil by Devo—Devo and early Talking Heads, and others, I guess. The musical component, in some way, even if it was an organized noise Smith, playing with his band Corsage—just as a sideman. That was whole DIY aesthetic, a little bit. The idea of artists', you know, music component. in the early '80s. And then I didn't do too much after that. I did a projects. These bands were kind of exemplary at the time, I think, Discorder: And you recorded the one thing for Quintessence couple of soundtracks for a friend's theatrical performance, and for that; they were doing the most interesting things in terms of Records in 1980. things like that. But I more or less dropped it. I got back into playing a little bit of crossover. We started practicing in the Simon Fraser Rodney Graham: Yeah. We recorded at Little Mountain. A little EP. music around the time of the early '90s, back into playing guitar. University studios downtown where Jeff was teaching. We got to And then there were some live recordings that were made, but that Eventually, I started working with John Collins on an album project use that space and set up our equipment there. It was a bunch of dif was the only thing we did. And then we kind of broke up after that, around '98.1 gradually focused in on this singer-songwriter idea—a ferent people, for a while, jamming; including Bill Gibson, the sci the band just dissolved. Unfortunately, we had a lot of other good kind of persona. I've been getting more into performance in my work ence fiction writer—he was part of an early incarnation of the band. songs that we didn't record. But there's a recording made from the anyway—using myself as a subject in my work, or as an actor in my The hardcore people just stuck with it and practiced and practiced. board when we opened up for the Gang of Four when they played at videos—so I was kind of interested in tlie singer-songwriter idea as We had a few gigs. There's this great red-letter gig at the Helen Pitt the Commodore—it was our most fun gig. I think Grant McDonagh a kind of authentic voice, of getting back to something. Even if it's Gallery—I would say it was one of the first gigs of its kind with the has a copy of it. At least there's a document of some of our other slightly ironic, you can only be so ironic when you're actually facing more experimental new wave bands. Bands like E—Gary Bourgeois' an audience and singing directly. I wanted to have something kind of band—played that night. We were quite well received. Most of us Discorder. Did you tour? immediate. And I also like the cliched idea of the troubadour. The had never performed before. I had played a little in high school idea that you're traveling light, with just your guitar, or something Rodney Graham: No. We were going to try to organize a tour, a little bands, and things like that, and Ian Wallace had a little bit of musi like that—bringing your practice down to a few elements, a few com mini tour down to California, or something. We played local venues cal experience, and Colin Griffiths had joined the band by then— ponents, a few tools. The singer-songwriter thing appeals to me for only. But it was fun. And I learned a lot from it: like how to work in a he'd been in bands like AV and in Wasted Lives with Phil Smith. that reason. Cat Power kind of particularly inspired me at a certain band context and about arrangements. Sometimes we had as many Colin kind of became our arranger: he organized us a little bit be point. I saw her perform songs from her covers album at the Knitting as eight members, so the music was not really that improvised—it cause we were a motley group and inexperienced. But we were quite Factory. It was quite intense. Just by herself, finger picking a was very, very organized. We had a lot of non-musicians and people well received, so we were encouraged. We practiced a lot and played Danelectro through a Super Reverb. I think she's a very good guitar playing very simple parts. Colin was really involved in the arrange around town for a while, and then basically everyone went their player. I was impressed with her, and I wanted to pursue that—she ments—he was very good. own way. At that time, more than half of us were already much older was kind of a model for me at a certain point. Discorder: And at the time you were already working to establish than most of the people in the scene. We came from a different place yourself as an artist? Discorder: The idea of the pared-down and traveling musician is than a lot of the punk bands, I guess. We were really out of an art Rodney Graham: I'd shown a little bit in town: I had a couple of exhi interesting in contrast to your actual working technique when school context. I mean, Ian was teaching at the art school and Jeff bitions, or something, but I hadn't really had that much experience. making music. It seems that, when thinking about the range of was teaching at SFU at the time, so it was kind of like a slightly dilet Other members in the band, like Ian or Jeff, had established their your possible influences, there are equal parts of, say, the ideology tante project. At the same time, we were quite serious: we were seri careers somewhat, but I wasn't quite in that position. I actually devot of the troubadour in contrast to the actual mechanics of construct ous in the sense that we practiced quite a lot—three or four times a ed quite a lot of time to the band. That was really my main thing, for ing the appearance of the simple troubadour. I think that a lot of week. And, um, I don't know.... As I said, the music was heavily a certain period of time. It wasn't really until later that I got involved that is in your recordings, and also in some of the other music you 16 march 2002 listen to as well, such as the more elaborate and orchestrated pop. do, I think. popular music into one's work. And also the audience, the fact that Rodney Graham: It's partly because I'm perusing this singer-song Discorder Because a hobby is supposed to be a leisure time activity. there's a broader audience—the art audience is kind of limited. But, writer idea. In a way, this is the ideal: to work the songs up on gui Rodney Graham: And you're supposed to only spend so much time yeah, I feel like I'm kind of moving out of it because I don't want to tar and go into the studio, and then lay them down like Dylan, or on leisure time activities—you're supposed to be doing your work. play music for an art audience. I really, in fact, have an almost dislike something. The fact of the matter is it's a more practical way for me And I've had that problem with the music: where I get more absorbed for a lot of the stuff that addresses art issues, where it's a kind of in- to do it. And also, I've been gravitating towards that because my in the music and I'm not able to, um, produce. My idea at one point joke or an ironic commentary. If you examine popular music itself music really is kind of a hobby. I've always had a problem with my was to come up with a music video concept that would bridge the you know that all that stuff has already been done—you don't need • hobbies: they become too absorbing and they take over. The idea was difference. The Rambling Man video was an attempt to make a music an artist to tell you, you know what I mean. A lot of that stuff betrays to keep it like that: they could just be songs that I know that are video, one that questioned the whole aesthetic of music videos. But an ignorance of the thing that they're actually parodying. But there're already kind of internalized and I could just produce them in a stu that's hard to do because I don't know if I have anything really new people who take it really quite seriously in their work, like Steven dio situation. But it's true that it runs counter to the way that I cre to add to that form. There are a lot of more creative things, obvious Prina is a good example: he's totally serious when he's doing it ated the first album. That was a way of feeling my way through the ly, being done by other people already. [laughter]. I respect that. And Mike Kelley, too. songwriting process, you know. Now I tend to pursue this idea of Discorder: But in terms of drawing yourself out as a subject for Discorder: But it seems that even with their work, there's always writing the songs, having them more or less complete, and perform your work, then developing your hobby into an important part of this difference. It's like: here's this artist and here's their range of ing them in the studio—although I end up tweaking them later. or reference for your art persona, then it becomes a point in a larger work —plus they make pop records! It's evaluating the range of cre That's what I'm doing now: going back. So it's kind of a contradic pattern of work. ative work differently. At some point it seems like the art domain is tory process, I guess. Rodney Graham: I like the idea of not getting stuck into one version still unwilling to —or maybe unable to —get into pop music in a Discorder: Is there a parallel between this creative process and serious way. Not that it needs to be, either. But it also seems like, the way you might approach some of your "proper" artwork. Discorder: When you first did the Bed-Bug album, was that intend increasingly, there is an attempt to reintroduce, often from the Especially since you're drawing yourself into a huge production ed for an art context? inside out, some pop spirit. Maybe it's, say, ongoing co-option, or apparatus —like, for example, the video you made for the song Rodney Graham: The original idea was that I wanted to make one maybe it's the changing taste of the market. I don't know. Rambling Man. song and I was going to make a music video for it. I wanted to start Rodney Graham: I think it's more like communicating in different Rodney Graham: Right, that's true. And that's what music videos with the song first and the video later, you know, using the sequence registers—I mean, this is a kind of naive or fake-naive way of are, I guess. In my recent video works I use myself as a performer. I that one would use if one was a music producer. Obviously, the putting it, I guess—of using all the different ways one has to com keep a certain level of spontaneity. I don't really rehearse and I'm song comes first—I like the idea of that. Then I got involved in the municate, in different registers or different modes, you know. To not an actor, so I know I have to trust a group of people to make me process, making more and more songs, and I started thinking in me, the music mode has always been one that is so important. For a "look good" or come across. And I kind of like that system for pro terms of an album. I had the opportunity to put it out in a catalog in while, I was put back into the position of being a listener—which is ducing work because I don't have any real art school training. I stud Vienna; the original version was an insert in this catalog. I exhibit a good thing, too. Partly for financial reasons: I just couldn't afford ied art history, and I took a few studio courses at UBC, but I didn't ed—so-called—the CD in a kind of listening lounge situation I creat to have the equipment, at one point. When I decided to pursue the really follow through. So my technical basis for my work is not very ed in the museum space where I was exhibiting in Vienna. It's an art career, I kind of made a vow of poverty [laughs]—the music kind strong. I really leaped at the opportunity to work in a conceptual enormous, cavernous space, so I needed to fill it. I made this large of went out. So I was always a listener, frustrated that I couldn't way, where you think something through and then have an armature area with four headphone consoles on a carpeted area with beanbag incorporate music in some way. And I guess—although I'm hardly that takes care of the realization of the work—basically working with furniture—you could lounge around and listen to the album. So it a pioneer in this—when it was more in the air, I felt like I could other skilled people, which is what one does when making a music was a bit of an installation, as well. I exhibited the album a few times enter into this. Then 1 just decided, at a certain point, to do the video or a film or a record. And I really like working with other peo like that, in the context of an exhibition of other works. music straight out, and just do it in an art context—because that's ple. And I really like putting myself in the position of relinquishing Discorder. How was it received in those contexts? what I do, you know. control. It's like an experiment to see how much of yourself comes Rodney Graham: I think it was well received. I think people seemed Discorder: And it's convenient. through, despite the fact that you've given over a lot of control to to like it. But I don't know if I was creating anything really new. The Rodney Graham: I had a readymade audience, in a sense. But they other people. When I make my videos, for example, I don't take over idea has been done before: Charles Long and Stereolab did some weren't necessarily the most sympathetic. the directorial position, it's more like I kind of see myself as an thing. 1 wasn't doing anything original; I was just trying to present Discorder: Maybe that's the audience that might be least capable actor/executive producer—Tom Cruise is my hero [laughter]. Tliere the music in a context where it was a little bit of an oasis in the mid of having the willingness to engage with pop music like art—or are plenty of people that can direct films better that I can do. Other dle of the gallery situation. It wasn't so much of a sculptural experi ence, like the Charles Long piece would be, for example. artists are much better at directing, for example, like Stan Douglas or Rodney Graham: Well, in the art audience—so-called—there are a Discorder: Was the music approached, as you said, as pop music, or Jeff Wall. Partly to create an area for myself—that is maybe unique to lot of people who know a lot about music. And it's the same that a lot myself—I kind of gravitated to the performance side, placing myself was it more in terms of the type of interpretation that gets brought of people in music know a lot about art. But thev are kind of separate, in this elaborate structure. And, I guess, with the music I kind of tend to art? I guess. to do that, too. I start with this kernel of authenticity, this song that Rodney Graham: I think they approached it as pop music because it Discorder: But even with early music works that you've done, you feel good about, and then you go and record it, and kind of let was so transparently like that—the music itself, the sound of it. It's they've been more of the "art music" type. Like your Wagner piece people take over, let it take it's own direction. I don't have an over not really experimental; it's three-minute pop songs. I really wanted [Verwandlungsmusik], which is clearly going to assimilate better arching vision of what I want. That's why I like working with John it to be like that, and I think it was approached like that. But I don't or more conventionally into the "high art" domain. But, I mean, I Collins and Dave Carswell—they have lots of good ideas. I like the know if that way of disseminating music—through an art context — believe that most people who are gallery operators or artists are collaborative aspect of it, while still maintaining some sense of per is really very satisfying in the end. Even though the Bcd-Bug album quite fluent in pop culture —because it's what they also do. While sonal vision, you Jcnow. was distributed by DIA, in New York—which is a museum with rea it's an old idea, the enduring compartmentalizing is interesting. Discorder Because you describe music as a hobby, do you feel that sonably good distribution, for a museum, but still not as good as the Rodney Graham: Yeah, right, yeah.... There are a lot of shows now it's closer to you? smallest independent label would have—it's not really a very practi about pop music. I've been in quite a few recently; group shows Rodney Graham: Well, yeah, it's very close to me. But I've always cal way of getting it out. mostly, some better than others, dealing with popular music. I guess had this interest in the ideas of hobbies. I've always identified with Discorder: Getting it out as pop music? it's definitely a bit of a thing right now. But I'm just trying to do it Freud in this respect because Freud had this problem. I did some Rodney Graham: Yeah. I kind of want to do that. So I'm going to try, kind of straight. The last thing I want to do is to do songs about the research on Freud for part of my work a few years ago. During the the next time I do a project, to get it distributed. Just so you know it art world, or something [laughter]. I have absolutely no interest in that. period he was making most of his important discoveries, he was gets out to places. People ask me for it. It did well when I was in being criticized at the time for spending too much time on his hob Germany. It got into some local places. And I sold a few copies in bies—he had all these other interests. But these interests informed Munich—I couldn't believe it [laughs]. the transformation of his ideas. This was something that plagued Discorder: I think that, when it comes to your work—it's so him for years, this criticism of being too absorbed. But what are one's thoughtful, and so methodical, and so obviously informed by an hobbies? It's something you do when you're supposed to do some elaborate tradition of cultivating the "perfect" pop song —that it thing else? In terms of making art, you have to draw those things in almost, I would say, begs to be thought about a little bit—much anyway, so they cease to be hobbies and become part of your work. more than just listened to. But it seems that there's a lot of ambiva On the other hand, a hobby is something that you really might want lence around pop music, where there's resistance to taking it in to or should keep separate. I always have a problem with that, let's those terms. Although, at the same time, there's this desire, it put it that way. I'm partly doing this music in an art context—I'm seems, in the "proper" art context, to capitalize on some of the ener distributing it in an art context—and people sometimes don't know gy of pop culture. Do you find that this has any effect on either the how to take it in an art context. And also, sometimes I feel that that's way you make your work, or on the way it's being received or not not really the context best qualified to judge it because I see it as just received? music. But I like the idea that the lyrics of the songs or even the Rodney Graham: You mean in an art context? melodies could reflect on my other work in some way, and create a Discorder: Well, both in and out of that context. There's a hesitation weird, sometimes underlining aspect, or to inflect it in some way, to engage with pop production, let's say, in the same way that some you know, so that someone who deals with my work might also one might, you know, still take on a painting. But also, at the same have to deal with a song lyric—I like the idea that maybe there has to time, within contemporary art making, there is increasingly an atti be some relationship. tude that is more pop minded —of trying to have something of the Discorder: Or with the composition of the record as a whole, as a overall atmosphere of having a pop culture phenomena. And this finished work. seems to be, increasingly, an important part of art production, for Rodney Graham: Yeah. I don't know. But I'm a little bit conflicted many younger artists especially. I wonder how your records and about i, because I have a hard time keeping those things separate, music making exists in there. To a certain extent, it seems that the and this is the criticism that Freud sustained—not that I'm compar music is starting to ease out of your work, out of the art context. ing myself to him [laughs], it's just that I had made a study, and I Rodney Graham: I've always loved pop music, and there's always noticed that we had the same problem. And people generally just this idea of incorporating some of the excitement and culture of 17®iFkg£5KSE by Black Diamond Following up on their recent collaboration with Trans Am, The Fucking Champs are back behind the Otaris, completing their upcoming and sec ond Prag City full-length. I chatted with Tim Green, Champs guitarist and sole member of ambient project Concentrick, over a grueling two- week email session. Tim was intelligent, conscientious, and extremely honest. With these attributes, it makes you wonder if the lads had spent anytime whatsoever banging head and playing street- hoc key . Contrary to popular belief, though, the Fucking Champs, while inter ested in heavy music and guitar composition, would rather listen to Camel, Ennio Morricone, and The Fog soundtrack. They prefer Jeff Lynne (of ELO fame), to "any of this NU-Metal" crap. They take their craft seriously, aspiring to perfect their music's sound quality and post- production techniques. The Champs are audiophiles of the most preten tious variety. And while The Fucking Champs appear to relish the return of loud music to the mainstream and the underground, make no mistake, Randy, they are not a metal band. They aren't even an indie, electron ic-rock band. These guys are fucking composers. The Fucking Champs How old are you guys? Hagstroms a-blazin' side of you... learned a lot about a lot of things including, obviously, recording Tim Green: Well, we all recently became adults, and one of us is a I think even if we never touched a synth, it would be the same case. techniques, various approaches to song structures and string year older than the others. We write such dippy, happy parts that just aren't metal-sounding at arrangement—which is always broadening my palette of harmony. Do you feel like what you are doing now could have been done all. Also, metal bands would never use Kay and Hagstrom guitars. I bought a tour shirt that had a pic of a flute player with glasses earlier in your musical career(s), or has it taken the experience in When I saw you guys play live last time I was curious to see what and long hair. Who was that man?? music production and previous bands to filter down into what sort of clientele would show up—synth-collectors, Slayer shirts, That fanciful flautist's name is Von Hartman. you have become now? and/or indie nerds. Is this still fun for you guys—to watch the fan 1 certainly couldn't see us doing this band when we were in seventh support from three different camps collide on the dance floor? Multiple choice time. grade, but the band has been together for nine years now, so... No, but then it never was. It's still fun to play shows though. Pick the best one: How is studio life treatin' you all? I know whenever I play the Champs for "educated" rockers, they a) Atari2600 The record's coming along. We're stopping on Friday so the Double like it, but I seem to get a negative or confused response from b) Commodore64 U and the Cherry Valance can do some records in here. Then we younger rockers. Would you say that the Champs aspire to re-cre c) lntelliv ision have February to finish—mix and master. We're hoping to have it ate music from a genre that falls into a Date/Time Category, rather d) ADAM out by the end of May. than just a Heavy Metal category? Will there be any current event-type stuff on the next album? Ah, yes: the impulsiveness and rage of youth. They may come to Atari 2600 Desert mythology, US foreign policy, CNN video stills? understand, in time, that there is no big mystery here—we just play The only current we'll be discussing is how much is being drawn music that we like—and we don't worry about genres and styles. a) Factory Kuwahara by our amps from the wall. We re-create nothing. As far as I've heard there has been no band b) Diamondback More time signature-per-song increase this time around? that sounds like us. This is not a pompous statement, but merely an c) PK-RIPPER There is more 6/8 on this record for some reason. observation. I honestly think the only reason people think we play d) Apollo Kuwahara Any hints as to what the new album will be titled? What is the heavy metal is because we use Marshall stacks. Anyone who does theme this time around (other than 6/8 domination)? n't know the first thing about metal will immediately assume that's Diamondback It may be called Total Music, or possibly Physical Graffiti. The theme what something is if it's loud and sometimes "chuggy." will be better-sounding drums. Do you ever blame your exclusion from Korn-like, guitar band a) Bush Wouldn't you face legalities of Bonzo-proportions with that title? pandemonium (i.e., Guitar Player magazine interviews, etc.), on b) W. Bush Physical Graffiti? Why not? You can't actually copyright album the "F" word in your band's name? c) Laura Bush names. We could call it Like a Virgin if we wanted to! The main problem there is our lack of mediocrity. I suppose if we d) Big Bush! Why not call it The Majesty of Rock? wrote dumber songs we might get some good coverage, but 'til then, Sounds like a great idea... the Discorder''s just fine with us. Lam Bush—she knows how to party! What is the story of The Champs/Fucking Champs name change? Who in the band is the big-time gear collector? You were known as just The Champs, weren't you? We are all afflicted, although Josh is the most obsessive. I really only a) Close Encoun of the Third Kind It just sounds better. Besides The Champs just wasn't cutting it anv- spend money on studio equipment. We borrow things from time to b)ET time—like a Fender Princeton or a Mutron Flanger. We all own Korg c) Logan's Run! What about C4AM95? I just wondered because I know whenever Poly 61s. I have three other synths as well. d) David Bowie I talk about you to my friends, they always ask, "Dude, why do When will the Fucking Champs touch down on Canadian soil? you keep saying 'fucking?'" We are thinking about going through Eastern Canada this summer Logar n featuring Ziggy Stardus I prefer people to call us "fucking"—unless it's lucking asshole." and possibly a Vancouver show if they'll let us back in a second Is there a trace of condescension or spite in creating the music time. I think the band we're touring with is banned from Canada so Which brand could you not live without? udo? that might pose a problem. If the appropriate paperwork can be a) Crumar whatsoever. That's not to say we don't have a sense of humor, acquired then unnecessary bloodshed can be avoided. b) Boss e are very serious about writing music we love. The tongue Any Canadian links to The Fucking Champs? Favorite Rock c) DiMarzzio Groups, and/or Singers? Does heavy metal need a good dose of re-inventing? No, but Tim S (other guitarist) and I are big SCTV fans. I really liked I could probably live without all of those, but I do like Crumar— e good underground the last Superconductor album, too. especially "The Performer." •rtlus o be n rdo What is playing in your personal CD player lately? il band at all. There are so many idiots out there who write that Morricone, John Carpenter's Escape from New York and The Fog Which car is the most desirable? soundtracks, the new Rye Coalition record—that's not out yet—and a) Chrysler LeBaron mptions could be further from the truth. These people Thee Miighty Flashlight—which is coming out this month, I think. b) Pontiac Fiero need to be beaten with a JCM800. Does the music you play at "home" directly influence you when c) Chrysler Dynasty What about the guy yelling "Slayer" between every song at your you record/practice? d) AMC Eagle Seattle show? He was annoying, but was he wrong to yell this? Yeah, Josh (d i just got a Camel anthology, so I know that's Well, he was wrong in that it wasn't a Slayer show... so there was no gonna work it's way i n somehow. Chrysler LeBaron! When we were taking pictures for the last album chance that Slayer was gonna come on after us. Tim, I know you ha\ e produced numerous bands in the last few we stopped at a store and I saw this new Mercedes sportscar that It's probably due to the lack of electronics on-stage. People's years, including your o n side project Concentrick. Has this been was called a Kompressor. It looked so cool that I took a close-up pic actions are probably uninformed responses to your guitars-only a positive influence on your composition, and applied technique ture. I wanted to name the next Concentrick record Kompressor and set. While you are a synth and guitar band in your collective as far as Champs interests are concerned? use that pic, but it vanished. • minds, some jerk yelling "Slayer" only hears the chug-chug and I've been recording other people's bands for 11 years and I've 18 march 2002 18 oast broadway Vancouver, b.c 604-675-8227 store hours: mon-satll-B 81111:124 www.teenaDerampaQer8Coriis.coni A STORE, A LABEL. WE DO IT ALU streets "1 billy the kid Ctte lost boys 'worms' ,j\ 'strong Ha ppawif CAS. march 2002. . 3 inches of Wood THEM UVEI - 'battle cry under a winter sun' MARCH 21 KBHWWWJIMS-l5IWIira«WM«ITiFtC3B0 "The Hi' ?s a breaking out eve1 fi t say you haven't been warned!" -KERRANG! V VV ; -~\ ing ri -butbousty blac id balls-out brilliant." .... NME W M \:\fkkj it. music, movies, more. HMV h 31/02 or while quantiti right to limit quantiti www.HMV.com Incidentally, there is a stunning power resonates in children's Each spell is accompanied by scene where Britney, who has fiction, but continues into the succinct instructions and Beattie been writing in a little book for teen years for girls. Films such is careful to contextualize all the duration of the film, reveals as The Craft and shows such as spells with history and pointers to her male interest that she has Sabrina the Teenage Witch and on self-worth. The book is Ah0Mld€. been writing poetry. She even Buffy the Vampire Slayer play on colourful, uplifting, and clear. over m^ reads her poem to him and he the fantasy of having power The focus of the book is on book reviews by Doretta digs how deep she is. I'm pre and consequently worth in the ideas of honour, compassion, as tending that one of the secret greater social structure. Female well as on personal safety and miiiiiiiiin honour of Internationai l istic merit without referencing success of Bridget Jones' Diary is themes of the movie is that heroes in such traditions are self-love. Women's Day, I thought I'd the context of their work. In the in part due to the book's salute writer-nerd girls are just so hot. usually other: they are, more Deborah Gray's NICE Ifocus on women writers. My big, bad world of media, the to the tradition of privately Anyhow, I haven't laughed so often than not, new to their GIRL'S BOOK OF NAUGHTY first inclination would have edict from up top is that women recorded woes dished up as hard in a movie for some time. school and therefore unpopular. SPELLS is just that: a book of been to search out new writers, make better social columnists entertainment (think epistolary Crossroads is comedy of the year The magical protagonist is also spells. Gray actually uses the specifically Canadian women in and arts writers, rather than word "witch" in reference to her the "literary" realm. Instead, I the collected letters of Simone reader. This book has an answer decided to focus on other gen do Beauvoir to Jean Paul Sartre). When we feel ugly, stupid, or socially undesire- for every Cosmo problem: res because the genre is some able, this most often means that our energy is "Enchanted Wedding," "Shy times as telling as the content. It sometimes get panned for their disconnected from the earth. If you feel like this, Guy," and "Cheapskate Charm" has long boon tradition in try to do this exercise, even if you are not are just a few spells to get a girl English language texts to laud writing styles, but critics are through her day. My editor certain forms of female expres planning to do any spells. It is important to stay failing to see that they are just referred to the books as "out of sion: letters, journals, and more connected with the earth to help get rid of feel hand." I now possess instruc recently, advice, sex, and social twist: what was once private is ings of depression and unhappiness. tions to bind a guy to me and columns. For every Naomi now public. Women, long -Girls' Handbook of Spells make him mine, but I did notice Klein, who is respected for her branded as private figures, are that, unlike Beattie's all-encom brilliance in recording the glob "you throw like a girl." This venturing out into the world •, yet due passing approach to spellcraft, al picture, there are hundreds of gendering of vali ! givt armed with the writing genres lellbooks for girls. this, Gray assumes her reader is het Candace Bushnells, Leah our culturally ii ed idea that once confined them to the except for a worthy best friend erosexual and her book reads McLarens, and AngeleYanors annuals of family history or the ANTONIA BEATTIE or crush. The underlying mes diligently penning their version like o iaga/1 are somehow of lesser quality. It realm of the forgotten. Social sage in this genre is that as girls of female experience in the The Girls' Handbook of than self help rr is this climate that forces Joanne we have worth, but other peo urban world. Assigning differ Spells Now I probably won't be Rowling to veil herself with the ple don't always see it. It is a entiated values to these journal (Raincoast) drawing pictures of my intend genderless writing name JK, fantasy that keeps most girls ists is, at the core, a patriarchal DEBORAH GRAY ed lover with sesame oil any and make her protagonist going through the toughest exercise. Though I understand Nice Girl's Book of Naughty Harry Potter rather than Harriet time soon (that's what the "Shy that Klein's expose on the affect Spells Guy" spell calls for), but it's Potter. So this month, after a bout corporate branding has on the (Journey Editions) Antonia Beattie's THE good to know I always have a Before the rise of the of self-punishment and severe world in cultural and economic There are a number of books foi GIRLS' HANDBOOK OF covert option to getting the guy Brontes (who originally wrote procrastination (I went to see terms has more global reso girls involving magic; I thinl SPELLS is as much an instruc in place for an "Enchanted under male pseudonyms) and the Britney Spears vehicle nance than McLaren's musings this has to do with voung girh tion book for being "good" as it Wedding." But hey, whatever : only Crossroads and was probably the on her new fake 'n' bake look, I needing t( .kim is a tool of femaie empower happened to being direct and •d t • let oldest person in the audience, am unwilling to fall into the ment. Beattie oudines what straightforward, confessional trap of critiquing their journal- save for a 40-year-old man who istly power- spells are and relays important , rather than public. The attended the screening alone. less. This trope of i ground rules of non-harming. SKIING AND SCIENCE TOGETHER AT LAST! Hydrogen Bonding in Aerial Sf\i Jumps of Olympic Calibre By Cyrus } Boclman Freestyle skiii cool. Perhaps not as MTV "kool" as A week before the competition, the aerials site was already built. red curve on the side of the jump and then shave the slope away to wboarding least ESPN2 "kuhl." And "kewl" enough to The jump had to survive not only the week up until competition but match the red line. attract "che insors like Canada Post and Johns-Manville. also beyond, as many of the Olympic teams were using Whistler as How does all this snow (and possibly misty human remains) Johns-Manville? ofqu a pre-Salt Lake City training camp. stick together? Use the force. Water molecules stick to each other by Honing to find t that this insulatii pany (like In comes the Chief of Course Brett Wood, the master of jump way of hydrogen bonding. Hydrogen bonds are the electrical attrac Fiberglass Pink). building at Whistler and coach of the Blackcomb Freestyle Team. He tions between a positively charged hydrogen atom (which readily Canadian freestyle star Jean-Luc Brassard recorded a rap on the has an awesome nephew, who is three years old I think. They build gives up its electron) and a negatively charged oxygen atom (which exciting life of a freestyle skier. As heartfelt as the fundraiser tune a site according to the International Skiing Federation (FIS, in receives these electrons) in a neighboring molecule. The small size of was, it falls short of hip hop genius. To quote a few verses: French) specifications. the snow particle after going through the blower allows it to con After building the in run, table and landing, next come the kick tact other particles better, increasing the hydrogen bonding. The Right ab nil n )W ers (the jumps). Step one: "Woody" and his team of volunteers build general evolution of a snowflake is seen in the following micor- I'm aboi t to jump a plywood form that looks like a big refrigerator box. The shape is graphs: Intel another s yleol trees t\ the basic shape of the jump. The form is passed on from competition to competition. This hand-me down approach allows the jumps to Hear me out be consistent throughout the World Cup season for the competitors. Take Co itrol The basic shape is precise for each of the six kickers that are to be built: Half in, latfo it This aw t no r xk 'n roll Triple ba ck la out That's w Ml r n talk 1 ivestvk , free styles kiing You kno ivwh it 1 m an When nature allows the sintering of the snow grains the kicker is solid and ready for use. After flying off the kickers, the landing hill becomes critical to the competitors as they start falling to the ground Are the leaders of the pack from a height of 12 metres. With 9.8 m/sec^ acceleration for more Asa matter of fact than 2 seconds, the competitors have a final descending vertical Air force rules velocity of around 20 m/sec. To accommodate the force of the land Once the form is up, they aim a high-powered snowblower into ing the slope is "chopped" to a depth of 80cm to create a bed of Teammate and Blackcomb's World Ceip Freestyle Aerials bronze the box. And press There's more than one way to sweep a woman off her feet. $ • -ar, .• 11 previouslSOUNDTRACy unreleaseK featured tracks sNE byW: IVIE ^^M^^^^^JAkk _— Sarah Harmer The Tragically Hip Holly McNarland rfJH Pepper Sands Plus music from The New Pornographers, Sean MacDonald, Matthew Good Band & more 1 ^^H9^\ k Hvflp f, ^H ^H /Bk mk * 1 mgm $15$ iMEGASTOREy Robson & Burrard 604.669.2289 24 march 2002 vocals—however intentionally played their first show with MICRO NICE erans with well-constructed seem, is only for the sincere. these refrains). Paul K charmed cheesy they might have been. Scott Malin (The Secret Three) JON-RAE FLETCHER songs, an emotionally complex Tyler Mounteney followed, the audience with his humour Frequent Safety Scissors collab on bass. There were new songs THE SPARROW and affecting style (all artists carrying the distinction of per and seemingly genuine bashful- orator Sutekh was more beat- they all sang together at once. It THE BATTLES who performed, with tlie excep forming the only standing set of ness, diffidently apologizing for driven and techno/house Friday, February 15 tion of King Felix, were solo the evening. Normally, doing a not playing the entire show oriented than Scissors. Sutekh's Tygh Runyan and Damon The Sugar Refinery singers/guitarists) and obvious Tom Waits cover would be an falsetto, as he had originally meisic is enough to make a Henry from The Beans united By the third night of Beautiful potential for much, much more. automatic fail for any musician planned. robot sweat and rust. CiTR's with Richard Folgar to form Music, I realized that I was the Soapdish—in his first solo per in my books, but Mounteney Julian Who, the evening's own DJ Tobias and counterpart Please Car. All three play the only nerd who showed up for formance?—already has the abili reassured us that he actually organizer and reluctant head- sseiss finished off the evening bass, and the music is sparse. all three nights and didn't have ty to evoke poignancy with knew nothing about Waits' liner (the show was organized and the crowd with well- Runyan also works with sam a role (like Organizer, Recorder, precision and proved his skill career, and redeemed himself in part to promote Who's debut received sets of hard techno and ples and beats. The music was Musician or Sugar Refinery with powerful, original material. with a solid, confident set. album, which will be under effects. This music of machines drifty, but tight at the same Staff). Using an opposite tech Mysteriously, Mounteney in his review by this writer in next is what the kids are into. It was time. Each bass had a different Chris Harris (The Secret nique—but equally effective— suit seemed somehow the most month's issue) enhanced his n't the lead singers irreverence role: the steady bass (Henry), Three, Parks and Rec) is Micro Dylan Godwin's performance appropriate act of the evening subtle spookiness by playing or the bands look (although the tuneful bass (Runyan), and Nice. The records he played was an exercise in calculated for the single green fiberglass his set backlit, presenting the the risk-taking, edge-of-impro- between sets (when you could histrionics, tempered and cactus adorning the stage. audience with only his gentle Curry) but rather the music visation sounding bass (Folgar). hear it over the talking) were refined by lyrics which were Performing only during the vet fearsome silhouette. Who's itself that was the spotlight of I was sort of spaced out and both crafty and uncanny. brief intermissions after stage presence and mastery of didn't even realize that they the evening. A scene is growing say the music was micro nice. Goe e aggre sivelv Mounteney and Paul K's sets, his voice and chosen instrument were all playing bass until two ' In my world, Jon-Rae ith us spoken word artist King Felix are phenomenal, and his set of days later. But now I know, and Fletcher is a country sensation. throughout his set, hi played his role with admirable poignant, uncanny pseudo-rock as the war propaganda cartoon Fletcher's songs have a sadness whelming and also i humility. Spoken word really was altogether too brief. GJ Joe savs, that's half the battle. and hopefulness to them. His ing emotional sineiosity to his doesn't do it for me, but the JOSHUA STEVENSON LOUDON WAINWRIGHT III songs make me feel sad and presence, leaving the audience novel segment King read for his BURQUITLAM PLAZA Tuesday, February 12 hopeful. His quiet performance captivated. second standing was undeni SLAYER RODNEY GRAHAM Richard's on Richards held the attention of most audi Next up was the conspicu ably compelling and well-writ HATEBREED PARKS AND REC Loudon Wainwright III is ence members. I've seen him play ously straightforward Leah ten and, thanks to his dynamic Sunday, February 17 Thursday, February 14 great. His son is more famous three other times and he was at Abramson, a rising star in the physical presence, convincingly Commodore The Sugar Refinery than he is, but I like pops better. his best for Beautiful Music. Victoria folk scene and, truth be enacted. [Funny, witty opening line.] It was so packed in the Sugar He is a real performer. He had The Sparrow, Jason told, a little out of place on this One of the most engaging [Introduction: Something about Refinery that I couldn't hear it all, good songs, sing-a-longs Zumpano on keyboards accom bill. Nevertheless: although offi performances of the evening the "atmosphere," the coat what Joshua Stevenson was and witty inter-song banter. He panied by a cello and violin, cially I'm opposed to unironic was the inimitable Paul K, play check, and the kinds of people playing. Nor did I see whether would tell little stories about played music to dream your emotional expression—and the ing intelligently constructed he was rocking a laptop or spin in the crowd.] own film to. The performance guitar in general when lacking songs with a controlled ferocity songs but, unlike most, he ning records. There were a [Hatebreed: jock metal, seri made you actually care about brought together classical and the sly acridity of hyper- and balanced self-reflexivity ous bullshit, baseball caps, hair these anecdotes. Having really pop sensibilities, creating happy, intellectual distortion—Ms. (for example, the final stanzas cuts.] only heard Loudon's output versations going on and I have Abramson's million-dollar voice of his last song run, mutatis [Slayer: amazing, 18 MAR from the 1970s I was a bit scared to admit that I got caught up in The Battles were a partial is nothing short of breathtaking. mutandis "I'm gonna keep sin- SHALL CABINETS, Lombardo, he may have gone the way of the chatter. If I was a better ly-acoustic sensation. There This combined with her excel gin' till you tell me to stop," but drum riser, "Raining Blood," many other performers. But no, reviewer-type person, I would were girls dancing in the Sugar lent songwriting ability and Paul K avoids the amateur's blah, blah, blah, etc., etc.] lie didn't sound like poo-poo, have went up to the DJ table Refinery. Sure, there was alco instrumental talents makes her mistake of actually requiring [Conclusion: pain, teeth, age.] he looked healthy, and he did and stood behind him with my hol involved, but they were eventual capture by capitalists the audience to respond and [Funny, witty closing line and removal to California saeilv n't depress me. His new songs arms crossed, trying to steal his dancing because they really dug "tell [him] to stop," tactfully that relates to the opening one.] inevitable. Stardom, it would were even good. He was really secrets so I'd have something The Battles. If I hadn't been a) curtailing the song after two of Christa Min amazing at taking requests. good to report but, alas, I'm the tired, b) self-conscious and c) Someone in the audience would kind of girl who gets distracted pinned to the wall by the yell out a song, he would play by crayon drawings and people crowd, maybe I would have it, just like that, a human juke I haven't seen for a while. considered shaking my ass to box minus the quarters. At least When Burquitlam Plaza the retro sound. There was even that is how it worked for every (Nick from Piano) started play a Peaches-cover interlude that one else. You see, my favorite ing, I didn't even know that lasted maybe thirty seconds. Loudon Wainwright song is he'd started, because I was sit Boys singing Peaches lyrics is a "New Paint" and I know it has ting behind a lamp. But my good thing, even if they don't to be someone else's favorite. I Spidey sense kicked in, and I sing the really raunchy bits. A Short Kiss for a There are other n new, I think to myself. These yelled till I turned blue, but he listened. I liked the set very Doretta Lau that are less tangible. They are are all the new things that never played it. He took every much. Sam Macklin worked the Short Month, fish, they are ghosts, and they shouldn't be here. And though one's request but mine, he even sampler to make pleasing JULIAN WHO or. Why I Cannot are fog. My 10th birthday. the view from here is only old played "Dead skunk." "New accompaniments to singing and KING FELIX Listen to Him Play the Boarding school. My first kiss. moss covered roof-tops, it still Paint" is brilliant, why didn't piano. Ida Nielson played the LEAH ABRAMSON These are things that are like feels too new. The memories you play it, Louden? trumpet. Nick did a cover of PAULK Piano. movies. They are like a bass and the forgetting have not "Smooth Operator" that is still NICK SOAPDISH cello. had time to grow, to travel going through my head. TYLER MOUNTENEY dream of time slowing And still, there are memo through space and colonize SOOLAH Rodney Graham's guitar DYLAN GODWIN down, of it becoming some ries that are not there anymore. new planets—destroy them. SHERRY OSTAPOVITCH fell on me before his set started. Friday, February 15 thing languid. Of entire I They are lost data, they are sen The musical instruments need BIRTHDAY MACHINE If my seat had been that good Ms. T's Cabaret days taken up wholly by him ed to play the memories have PLEASE CAR when he was actually playing, I Despite the unhealthy level of kissing vou between the shoul tences forgotten, they are the cells that the dead breathe, not yet been invented. It is a Wednesday, February 13 could tell you a lot. But I had to self-deprecatory audience inter der blades. Of breakfasts sound that can only be heard they are the rotting matter of a The Sugar Refinery go back to my table behind the action which chara extending for weeks on end, by dogs. It does not exist yet. It Soolah, aka Patrick Deadly, series of solo perforr dying planet. They are the lost lamp, so I couldn't see who he and never having to make beds is not in this time. played some groovy tunes to was accompanied by. His Broken Hearts Cabaret at Ms. or call people or glance up at Time and memory and begin the first night of the singing style is a little like Bill T's (check it out: held the day the clock. I dream of things and gone, colonized and beat- music are all an ecosystem, this Beautiful Music festival at the Callahan's, and more than one after Valentine's day) was a slowly, irrevocably, coming to a It is a fact: to place a new- much is the truth we cannot Sugar Refinery, and played person said, "This sounds kind thoroughly enjoyable evening stop. Just for a moment, just for living organism into an ecosys learn from high school teach between sets as well. Sadly, I of like Smog." This is a good of romantic post-rock indiffer a while. Like the last note on a ers. Thev area secret language, can't remember much more thing. ence, continuing that venue's violin. tem will wreak havoc on the all part than that. I know I liked what The crowd thinned out a lit tradition of supporting the new I cannot say why I want whole net of that world. These irld - • fila- he played, but my memory is tle as it grew later. Too bad for and strange and emerging. this. I do not know. Even as a are things we learn in high- bad. the people who left early, Barring the irritating banter and child, I could not sit still. I have of flux. I't is a coloured world, because Parks and Rec (mem near-constant technical slip-ups memories of a constant stream school. We draw maps and and restarts, the performances place where all the forgotten bers of The Secret Three plus of parents, grandparents and webs and colourful pictures for For One and currently lives in Ida and Nick on keyboards) were invariably spectacular— other relatives all telling me to Mr Slater, each little creature is not so linear. A place that is England, did a really cool set played a beautiful set. Who each in their own special way— sit down, or sit still or just sit. still growing and evolving in with two electric guitars (one knew so many instruments with credit owing to the always These are strong memories. I joined: the bear and the butter that she played nicely and one together could produce such terrific sound quality and dis its own time; where every can almost touch them—hold fly tinctive ambience of Ms. T's. breakfast is a living memory; that she bashed in order to gentle, mellow music? The them up and show them to a make atmospheric sounds) and sound of Chris Harris and Nick First on was Nick Now, in the cold Saturday where he can kiss you between end, lovei pedals. I liked her stuff and singing together makes for a Soapdish—the youngest per afternoon it is Vancouver Grey, the shoulder blades and it is a itranger. I would hold them bought a CD. Her CD is good, too. perfect moment. Hurrah for former in attendance, but still and only a crow looks into my song. • ike a guitar. The Birthday Machine boys who can sing. holding his own against the vet window and calls. This is all PARTS UNKNOWN 1:00- 12:00AM Vancouver's longest 3:00PM Underground pop for the minuses with the occasional PACIFIC PICKIN' 6:30-8:OOAM interview with your host Chris. Bluegra old-tir STAND AND BE CUNTED derivatives with Arthur and "The 3:00-4:00PM Mar. 4: Out Of This World, the Lovely Andrea" Berman. on tlie dial DJ Hancunt wants you to put only recording by an under WORLD HEAT 8:00-9:30AM your fist to the wrist—you know appreciated and sadly forgotten An old punk rock heart c where! master tenor saxophonist named and ABSOLUTE BEGINNERS 4:00- Walter Benton. He performs with presents me rids 5:00PM A chance for new pianist Wynton Kelly and trumpet and far. Your host, the great CiTR DJs to flex their musical heavy Freddie Hubbard. Daryl-ani, seeks reassurance via SUNDAY QUEER FM 6:00-8:00PM 2:00AM Join us in practicing Mar. 11: Trombone pioneer JJ SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY BBC WORLD SERVICE H BBC WORLD BBC WORLD SERVICE PACIFIC PICKIN' BBC WORLD SERVICE BBC WORLD SERVICE SERVICE REGGAE LINKUP SUBURBAN JUNGLE | Rts j L BREAKFAST L~ END OF THE CAUGHT IN WORLD NEWS THE RED WITH FOOL'S PARADISE L THE SATURDAY ARE YOU THE BROWNS THIRD TIMES PLANET [*=[ SERIOUS? THE CHARM SKA-T'S L EDGE MUSIC LOVETRON SCENIC DRIVE ELECTRO- CANADIAN ill W^M^AV^ MAGNETIC ANOIZE |N°1 LUNCH MONDAYL^ijjjJ jPULSE S THESE ARE THE L ROCKERS BREAKS PARTS L' THE SHAKE M SHOW "IE 13 POWERCHORD UNKNOWN RADIO FREE PRESS LEO RAMIREZ \^L CPR H SHOW STAND AND BE CUNTED(CF] BLOOD ON THE L MOTORDADDYL NARDWUAR CODE BLUE SADDLE PRESENTS ABSOLUTE BEGINNERS|_ MEAT EATING VEGAN(Ec) nil Pol SAINT |Po RACHEL'S JGL_J TROPEZ L_ 10,000 VOICES (Tk) CiTR NEWS (Tk) ELECTROLUX HOUR SONG M FLEX YOUR POP GOES THEliT OUT FOR KICKS B UBC THUNDERBIRD QUEER FM WEASEL L— FAREASTSIDE AFRICAN HEAD B SPORTS SOUNDS ON AIR E] RYTHMS WIGFLUX RADIO I Vfe WITH GREASED HAIR fw-1 SYNAPTIC RHYTHMSINDIA SALARIO MINIMO^ I Rts | SANDWICH ^E B LIVE FROM... '—I THUNDERBIRD HELL JAZZ SOULl— VENUS| Wo TEI SHOW SONIC STRAIGHT OUTTA l SOUL PIPE FLYTRAP WANDERLUST JALLUNDHAR HIGHBRED VOICES TREE DREAMS BREAKING L! TRANCENDANCE VENGEANCE HANS KLOSS' WAVES IN YOUR HEAD IS MINE! MISERY HOUR AURAL PLUTONIAN BBC WORLD TENTACLES NIGHTS BBC WORLD SERVICE SERVICE PSYCHEDELIC FIRST FLOOR AIRWAVES SOUND SYSTEM REGGAE LINKUP Cf= conscious and funky • Ch= children's • Dc= dance/elecfronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk # I Re= reggae • Rr= rock • Rfs= roots • Sk = ska So= soul • Sp= sports • Tk= talk • Wo= world 26 march 2002 through states of Becoming, punk, noise, and other. 12:00-2:00PM Top notch breaking the flesh, whirling, FOLK OASIS 9:00-10:30PM crate diggers DJ Avi Shack and hydra-head, rhizomatic sky. Roots music for folkies and non- Promo mix the underground hip www.shrumtribe.com folkies... bluegrass, singer-song- hop, old school classics and CPR 2:00-3:30PM rldbeat, alt. country original breaks. buh bump... buh bump... this is i. Not a wage! THE UiO RAMIREZ SHOW 2:00- the sound your heart makes CITR IS ON THE WEB AT WWW.CITR.CA LIVE 24 HOURS A DAY! 27E^sas®SS straidht iN5993| tfSSSfa register your band now Grab an entry at: Suite#300 -1062 Homer Street Tel. 604.684.9338 Cut off date to enter is March 15th. www.newmusicwest.com or email: [email protected] May 08-12 Vancouver The West Coast's nmui Premiere Music Festival Each submission receives feedback frc newmusicwest at least 3 music industry professionals HS@HHE1 I Win 25 hours of recording time at the I world renowned Mushroom Studios CLINIC Walking With Thee LP/CD Domino USA Domino USA is distributed in The second album by Canada via Scratch Distribution. Liverpool's new favorite sons, co-produced with Ben Hillier (Blur, http://www.midheaven.com Elbow), and released by Domino USA. With reference points as disparate as Joe Meek, Studio One dub, The CLINIC LIVE! Shangri-Las, Crime, Suicide, and the Sun March 24th Silver Apples, plus endorsements @ Richards on Richards from Radiohead, Rolling Stone, Spin, A/P, Magnet, and more. Clinic releases are (potentially) "One of this year's artists available from Apollo, Black Swan, to watch" - Rolling Stone Boomtown, Luckys, other Clinic titles: Noize, Scratch, 3 EPs CD Teenage Internal Wrangler LP/CD Rampage, Virgin Distortions CDEP Megastore & Zulu. Return of Evil Bill CDEP CLINIC CLINIC Second Line CDEP 3 EPs CD Internal Wrangler LP/CD www.scratcbrecords.com cUart/s what's being played at CiTR 101.9fm Ma rch Long Vinyl March Short Vinyl March Ind e Home Jobs 1 Stereo Total Musique Automatique Bobsled 1 The Spitfires Juke Box High Glazed 1 The Accident Perestroiko 2 Tennessee Twin Free to Do What? Mint 2 Destroyer The Music Lovers Sub Pop 2 The Organ We've Got to Meet 3 Mary Lou Lord Live City Sounds Rubric 3 The Cleats Save Yourself Longshot 3 Three Inches of Blood Tonight we Rejoice 4 Felix Da Housecat Kittenz and Thee Glitz Emperor Norton 4 The Stereo/Ultimate Fakebooksplit Popkid 4 The Spinoffs Novelty Garb 5 Cornelius Point Matador 5 The Class Assa sins No Justice...No Peaa Insurgence 5 Sharp Teeth Burn Return 6 Cancer Conspirarcy The Audio Medium BWR 6 Matt Pond This is Not Polyvinyl 6 The Byronic Heroes Ant Dance 7 Zero 7 Simple Things Quango 7 Bright Eyes Motion Sickness Blood of the Young 7 Human Hi-Lite Reel Lamb-a-Rama 8 Link Wray Golden Classics Sundazed 8 Victim's Family Calling Dr.... Alt. Tentacles 8 Ether's Void It's Over 9 Andrew WK 1 Get Wet Island 9 New Town Animals Lose That Girl Mint 9 Second Narrows Live off the Floor 10 Frog Eyes The Bloody Hand Global Symphonic 10 Riff Randalls How 'bout Romance Lipstick 10 Bestest Willfor 11 Rhume Jeu de Puissance Kelp 11 The Lollies Channel Heaven Evil World 11 White Lights Your main Man 12 Hives Main Offender BWR 12 Tijuana Bibles Mexican Courage Trophy 12 Roadbed JB Fool 13 Bad Religion The Process of Belief Epitaph 13 The Evaporator Honk the Horn Mint 13 Mr. Solid Already Gone 14 Trail Vs. Russia The Anvil Independent 14 Red Hot Lovers s/t Redline 14 The Hoodwinks Alibis 1 5 Microbunny Microbunny Independent 15 Butchies Where R We Mr. Lady 15 Six Block Radius Kill to Hide 16 Sam Shalabi On Hashish Alien 8 16 Piebald Just a Simple Plan BWR 16 Bend Sinister Untitled 1 7 Dimitri from Paris After the Playboy... Astralwerks 17 Cave In s/t Hydrahead 17 Viken Corrections 18 Nobukazu Takemura Sign Thrill Jockey 18 The Mabels Shifting Sands Drive In 18 Adios Amen Front Man 19 Dressy Bessy Sound Go Round Kindercore 19 Various Artists Volume One Dut of Touch 19 Maynards Sixteeny 20 Just Barelys just Barleys Independent 20 Mirah Cold Cold Water K 20 The Plutonics Don't Call it Love 21 Tim Hecker Haunt Me Subtractif 22 Cleats Lost Voice, Broken Strings Longshot 23 Sneaker Pimps Blood Sport Tommy Boy 24 Tanya Donelly Beauty Sleep Reprise 25 Carnations The Carnations Independent ( HOW THE CHARTS WORK J 26 Various Artists Funky 16 Corners Stone's Throw 27 Mr. T Experience ...And the Women. Lookout! 28 Controlled Bleeding Can You Smell... one Casualties Th 9 monthly charts 3re compile d based on the number of times a CD/LP 29 Dears Nor the Dahlias Grenadine ("long vinyl"), 7" ("s hort vinyl") or demo tape/CD ("ind e home jobs") on 30 Chris Murray 4-Trackaganza Independent Ci R's nlnvlist was r> nved bv ou DIs durinn the nrevious r nonth (ie. "March" charts reflect airplay over February). Weekly charts can be received via email. Send mail to "[email protected]" with the command: "subscribe citr- charts." • TO ADVERTISE WITH DISCORDER JUST CALL STEVE 604.329.3865 [email protected] 29 ®f£s£E®3ffi SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE APRIL ISSUE. THE DEADLINE IS MARCH 26. dotc:t>ooL FAX SHOW. FILM. EVENT AND VENUE LISTINGS TO 604.822.9364 OR EMAIL what's happening in March bancouver Sunday w/mac pontiac@main; nunstalker, DOA@the boot hunf«r«blinding light"; slowdrag@main; radio berlin@pic; bonnie prince ler); the intima@zulu records (4pm); honeysuckle serontina, guff@pic billy@anacortes (Washington) MON 18 SAT 30 racy theory mondays@sugar refinery; darryl's grocery bag, complete, sadies, beachwood sparks@pic; martin rielli, Ink doucer@richard's on richards; r. plow, chris of the stand gtfe'mesa luna the new year, pedro the lion, seaworthy@graceland, Seattle; canucks vs mighty TUES 19 fucks@gm place cc/io@blinding light!!; fon light" release partyeWISk; the | WED 2C aboriginal friendship centi Apeciof event* thread, black rice MON bassix records 217 w. hastings 604.689.7734 pic pub 620 west pender 604.669.1556 beatstreet records 3-712 robson 604.683.3344 railway club 579 dunsmuir 604.681.1625 black swan records 3209 west broadway 604.734.2828 richard's on richards 1036 richards 604.687.6794 blinding light!! cinema 36 powell 604.878.3366 ridge cinema 3131 arbutus 604.738.6311 cellar 3611 west broadway 604.738.195 scrape records 17 west broadway 604.877.1676 chan centre 6265 crescent 604.822.9197 scratch records 726 richards 604.687.6355 club 23 23 west cordova sonar 66 water 604.683.6695 cobalt 917 main 604.685.2825 sugar refinery 1115 granville 604.331.1184 lounge; hotwire, the dinks, gg dartra\-"pi<:; le BgreSshowbox, Seattle commodore ballroom 868 granville 604.739.4550 teenage ramapage 19 west broadway 604.675.9227 FRI 15 chris gestrm@sugar refinery; dimmu borgir, cryptopsy, krisiun@wett barr; crosstown music 518 west pender 604.683.877 Vancouver playhouse hamilton at dunsmui 604.665.3050 futuristic flavour records 020 granville 604.681.1766 video-in studios 1965 main 604.872.8337 modore; soldiers of the underground, organix@club 23 west; the new highlife records 1317 commercial 604.251.6964 western front 303 east 8th 604.876.9343 .•(•I'lm-wOblinding light!!; boltleneck@main the main cafe 4210 main 604.709.8555 wett bar 1320 richards 604.662.7707 SAT 16 golden wedding band@sugar refinery; the new ;<'<>im»@blinding light!!; kevin ms. t's cabaret 339 west pender WISE club 1882 adanac 604.254.5858 house@main; the tek hers, glory holes, rod iron hau!ers@pic orpheum theatre smithe at seymour 604.665.3050 yale 1300 granville 604.681.9253 SUN17 pacific cinematheque 131 howe 604.688.8202 zulu records 1972 west 4th 604.738.3232 unrefined@sugar refinery; the fables@commodore; the new reomm@blinding 30 march 2002 KID & KEMO PRODUGTIQJUSJ?RESENTSs a ROCK TO: POISON, CRUE, KISS PRIEST, SABBATH, AC/DC JOANJETXQUIETRIOT If V SKIDROlfUTAFORDl TWISTED SISTER Al MORE! 111 I • II THURSDAY MARCH 21ST 2002 THE PURPLE ONION DOOR PRIZES FOR BEST TRAILER TRASh i DOORS OPEN AT 9.30 P)V 15 WATER ST.K<&ASTOWlNr/604 602 9^4: FOG YOUNG AND SEXY PIEBALD S/t CD/LP Stand Up For Your We Are the Only... CD/LP ust graduated from college and Mother CD emember Emo Phillips? That guy was really funny. Punk realized that sitting in your base rock rules! Or emo, if that's what this is. Whatever. J h, to watch the wee ones grow R ment getting "baked" and listening Regardless of where in lands in the stable of label, we can tell strong and sure! Who could to your increasingly scratchy Luke O % you this - this is good. Modern pop with edge (straight?) a la have guessed that YOUNG AND Vibert and Smog "wax" is no longer Get Up Kids, The Anniversary, Jets to Brazil! SEXY would sublimate their larval a viable lifestyle option? Well, my friend, life is but a series of stage as a rhythmless twee-folk trio to emerge as the big, bold crushing disappointments, as the "emo" kids who skateboard CD $16.98 LP 14.98 butterfly in evidence on this, their debut long-player on incompetently on your street every long, long afternoon could Vancouver's.Mint Records? Those who've caught their live doubtless tell you. Why not take comfort in the sloppy eclecti shows of late to be sure, but for the uninitiated this album will LAU PUNA cism of Ninja Tune's latest bedroom auteur, FOG. His quintes- come as a welcome surprise. Produced by the local hit-makers sentially Minnesotan angst will wrap you in a warm, if rather Scary World Theory CD AFTERNOONS at JC/DC (New Pornographers, Destroyer), this collection of mildew-y, blanket of slacker empathy and make you wonder erhaps it seems fitting that the LALI PUNA website is inspired music and evocative verse should find it's way into the how indie-rap genius Dose One manages to put in an appear P'under construction' - simply put their sudden surge In-, heart of all who hear it. Whether celebrating the joys of good ance on every other record of any kind released nowadays. popularity has crowded their sonic hobbyists status! Yes, WITH MUSIC friends and "Good, good, good, good times" or lamenting the together with the Notwist (come and ask about it), LALI CD 16.98 LP 14.98 pain of seeing the one who broke your heart everywhere you PUNA have solidified the quiet 'melancholic electronic' sound SUNDAY MARCH 3 go, these are our songs—youno/dr old, sexy or no. The ascen of Germany's Morr Records, and thus triggered the motion sion is underway, my friends. Check them out now (perhaps at detectors of London's elite - Andrew Weatherall Radiohead, their in-store appearance ofl March 31 st) and say that you Unkle etc. Fragile sounds that blend diverse palates skewing BUFFALO DAUGHTER were there before they were a household name. M.WARO s/t CD sonic histories....beauty in the process of arriving, certainly CD 12.98 y for LALI PUNA all is always under construction. Gutter, Voice and Vibraphone UFFALO DAUGHTER is back with look at Americana Ba new quirky hybrid record CD 19.98 IN STOCK MARCH 10 that's quite hard to describe. It's VOLUMIZER somehow so totally contemporary it SUNDAY MARCH 17 seems like it's from the future. Gaga for Gigi CD AIR he term supergroup can be used @4PM Overall not as driving as the work they've done, tj Everybody Hertz CD far too often' and spuriously. stretching out here, each song possessing a welt developed T nlike the chumps in Hollywood, With Volumizajr, however, it's a com and often widely contrasting style. Of course, old fans are here the original was good-but | THE INTIMA pletely unavoidable title. How else U used to BUFFALO DAUGHTER'S creative whims arid eclecti the remake is better!! 'France's Drum, Bass, Violin and Guitar could a band fiat has ex-members cism, but this record perfects what previously s|emed a bit retro-obsessed composers, AIR, of Pointed Sticks (Bill Napier-Hemy), Dishrags (Jade the brooding sound of San Fran! more dilettante-like, less methodical. Ultimatelyjdespite con reach into their Rolodex for this Blade), and UJ3RK5 (Rodney Graham) be taffy described? siderable experimentation, the larger picture is irreverent - a remix hook up featuring the likes of Pedigree asid$, of course, the music speaks ftjcely for itself: glossy and super-saturated hi-tech populism shining forth International DJ Gigolo's The Hacker, On-U Sound's Adrian j SUNDAY MARCH 31 buzzing punk (jock into jaunty new wave, with beautifully like a radiant Utopia. Sherwood, Mr Oizo and others! Padding the disc, a bored vocals b| Shannon Oksanen, all buffed-Up by the fine @4PM new AIR track and vjdeb are included — further proof that at boys at JC/DC. On paper, this seems like a hit machine: on CD 16.98 records should be released with remix doppelgangers! CD, it IS a hit mkhine. Check it out, man. \ YOUNG CD 16.98 TINDERSTICKS CD 12.98 AND SEXY New Romantics of song Trouble Every Day THECUNIC \ SONGS: OHIA CD/LP this local quintet will charm Walking With Thee CD Didn't It Rain CD/LP the pants off of any A+ft guy asters of Understated orches "The singer-songwriter is oneof tn'fe most remember as if it were yesterday my first exposure to these tral beauty, the TINDERSTICKS ing and mythologized features of pop music: an M magical, mystical Liverpudlians. First song, "This is good." refocus their apefjure for this sub I authentic voice, speaking truthfully, usually unmedi- Second. "This is really good." Thkd, 'This is SO good." And so lime soundtrack to Claire Denis' ated by the often-excessive spectacle of pop dis on, you get the picture. Few alburrisof late have blown me FOR OTHER ANTENNAS (Beau Travail, Nenette et Boni) latest art-house hit Trouble play and hype. This notion runs back to early folk, away quite so much as Internal Wrangler (their debut, in GOLDEN BOY AND MS. KITTIN- Or CD/LP/ Every Day. Evoking the serenity of Bernard Herrman s scores, country, and blues, diaJogically repeating in the stock) and the winning streak continues With Walking With Electro is back! Big time cold grooves and vocoder! these tracks are the petfect complement to Denis' exploration gestures of so many contemporary artists. Thee. The scope is narrowed, refined to give this collection of _/* THE BOTTl£ ROCKETS- Songs 01 SatanCD of the vampire myth as asite of psychosexual trauma. The Fictionalizing aside, this doesn't discount the power songs a cohesiveness that eluded their debut (though not to A swell tribute to the understated songs of Doug Sahm! surrealism of flesh and blood's unsettling beauty supported on of this compelling theme, which sometimes serves its detriment). Think OK Computer-era Radiohead with a seemingly opposed pillars ot elegance and horror. This is the to beautifully frame some truly poignant music. ROB MAZUREK-Amorphic Winged CD sense of humour and Augustus Pablo sitting in on melodica. sound of a modern vampire on the prowl - and oh yes, Such is the case with SONGS: OHIA. Listening to Muted horns and electro glitch from this A breath of fresh air amidst the smoke and mirrors of today's Vincent Gallo plays the fangs'!! Didn't It Rain, it's made clear that, mythologized or CHICAGO UNDERGROUND/ ISOTOPE 217 player! pop. not, this history is real enough. TOWN & COUNTRY-C'mon CD CD 16.98 LP 16.98 BONUS: ENTER TO WIN 2 TICKETS TO THEIR MARCH 24TB no Thrill Jockey's most underrated outfit returns! APPEARANCE AT RICHARD'S ON RICHARDS! SEE STORE C016.98 LP 14.98 \ FOR DETAILS DEATH CAB IFOR CUTIE-The Stability CDEP Between BUU TO SPU. and MODEST MOUSE - another Northwest pop darling! CD 19.98 ROCKET FROM THE TOMBS-The Day the Earth Met... CD/IP sale prices in effect until march 31,2002 The rosetta stone of art-punk - pre Pere Ubu and Dead Boys! VARIOUS- REPUCANT RUMBA ROCKERS CD Senior Coconut remixes the Latin electronica vernacular! CAUFONE-Deceleration CD ZULU'S Hot Tickets: A limited ed. live CD featuring their improvised film music!! GORKY'S ZYGOTIC MYNCI PAUL KELLY BAND CAT POWER LUCINDA WILLIAMS Zulu Records March3rd March23rd March25th April lltti STORE HOURS Richards On Richards Richards On Richards Richards On Richards TheComodore 1972-1976 W4th Ave I u.-..Wed 10:30_7:00 GUIDED BY VOICES THECUNIC HELLACOPTERS BONOBO Vancouver. BC nd Fri 10:30-9:00 w/The Battles w/Kingsbury Manx w/Gaza Strippers w/ArrB-Pop Consortium & Buck 65 tel 604.738.3232 9:30-6:30 March6th March24th April 5th April 27th Richards On Richards Richards On Richards Richards On Richards Sonar vvvvw.zulurecords.com