Psst | CD Funds Rape Relief Lit From Within (Nettwerk) Picture this: a young woman wakes at eight o'clock, it is February, the rain has yet to cease, her skin pale white, she feels far passed the point of eighteen percent gray. She feels black. She is low. So low that she could not fall far enough to find herself again. On the bright side howev- er, once fallen, the only place to go is up. She starts to move the furniture. The corners of the room breed dust balls as if it were a colony. Everything is thrown into the middle of the room. All surfaces are cleared; any object that inhibits purification is removed from table tops, chairs, shelves. She starts on the edges and moves inward. She cleans every corner, every table; every inch of her bedroom. She starts to scrub the floor. She starts to cry. Her tears fall to the floor to become indistinguishable from the water which wash her sur- faces. As she washes and cries and sheds and washes and cries, her lover stands against the white wall. There is nothing he can do. There is noth- ing he can say. All she can say is “I do not know, I do not know what is wrong, I just feel myself shed skin.” This is a review of the CD titled Lit from Within, a collection of work by women artists. The proceeds from the sale of this CD will go to Rape Crisis Centres across Canada. I have never been raped. I have never had an abortion. I have been sexually harassed; my body has been touched when my mind was not wanting. I tell you this point blank because I do not want you to think that I can empathize with experiences that I have not had. I tell you this because many women do have experiences to talk about but do not nec- essarily talk. I also have been silent. This CD both in its “ intent to help the centers to continue to provide services for women in need of assistance” and in its intent to represent the voices of women, is an important addition to one’s musical collec- tion. The proceeds go to an important cause, and the work contributes to the power of voice that is all too essential for women’s progress. To be listened to, we must be heard. Where does that tension between one’s “genital furnace” (Veda Hille -Well I Guess Not) and one’s innate pursuit for self-preservation originate? How about that feeling that every time one loves and loses another, one loses a part of themselves. An excerpt from Swept Away by Suzanne Little reads as follows: “I won't be swept away losing myself in the games we play and worrying the world will break, falling into pieces, while I’m too busy look- ing away.” The above story is true. I thought it was appropriate because this CD contains work that expresses honest experience of emotional confusion. The work ranges from light text such as “ I like waking by myself but I like company for breakfast” (Veda Hille Well I Guess Not), to words of greater weight like that expressed in a poem called Bruises by Evelyn Lau. This CD is a must for anyone who likes to see emotional psycho- drama put in its place. This CD is a must for anyone who has experi- enced sexual assault, abortion, or ‘sexual confusion’. I think that identifi- cation with other women can diminish the confusion and diminish the tendency to experience guilt. Lit from Within represents fifteen different women’s experiences of themselves. Listen to it and let us in on what you have to say. -Jessica Joy Wise My Life With The Thrill derful horn sounds make poten- Kill Kult tially average fraeks like “Portrait Hit And Run Holida of the Damned” and the title track Picmsaee y glue down that repeat button in your brain. Yes, this is the album that should of accompanied “Sex on Wheelz” and not the tripe that made up the rest of Sexplosion. Thrill Kill has always been a funny fish to fry, really. I mean they’ve gone industrial, techno, disco- glam and back so many times, they've managed to offend most of their fans more than once. Happily, they've done it again. Hit And Run Holiday represents the essence of The TTK: a 50’s B- movie road trip to Vegas with Satan, shot on a super-saturated film stock that let the colors glare out like the dots on the Wonderbread packaging. That’s right, a real chaotic, trashy, sam- ple-ridden, guitar twangy, disco- beat romp that had me bumpin’ and grindin’ the moment I heard it. Even though I was hoping for more intense industrial guitar magic a la “After the Flesh” from the Crow soundtrack, I really couldn’t complain with cheesily addictive cuts like “Glamour Is a Rocky Road” and “Hottest Party in Town”. Lavish use of oh-so won- And yes, fans, they’ve recovered from their too-techno-for-techno phase and this album really more than makes up for 13 Above The Night. Keep your eyes on the road, and suck the wild, indeed! -Glamourdykemixed Henry Tricky Starfish Room, September 23, 1995 When I heard that Tricky would be hitting The Starfish Room, I imme- diately bought a ticket. His strong debut album, Maxinquaye (Island Records), hinted at limitless poten- tial to the already moody, atmos- pheric sounds of Massive Attack, Portishead, and the whole Bristol scene. I always found his writing to capture something just beyond the stratum of raw emotion, and evince just the tiniest bit of dis- comfort, but, to be honest, I didn’t expect his rather monotone rap- ping to come through effectively on stage. Well, the notion was quickly dispelled upon the opening of his set. With an incredibly tight backup band and his supremely powerful discovery Martine, Tricky warped his studio-crafted rhythms into pulsating, living, tangible sounds that left the audience enveloped in a velvety void. With the aid of the warmly intimate venue of the Starfish room, we were all but drifting away, saved by the anchoring threads of gor- geous melody and passion that drifted by. In fact, even when he performed his now legendary gui- tar driven cover of ‘Black Steel’, Jazzmatazz October 14, Richards On Richards The other Friday, Jazzmatazz came to town, hosted by rappers Guru and Big Shug with some of the finest musicians found out of New York City. If you weren’t there, start kicking yourself now: Blue Note recording artist Reuben Wilson on keys, Derrick Davis of the Solsonics on flute and alto sax, Willie McNeil on percussion, Zachary Breaux on smokin’ guitar, and some howling funkmamas dishing out the backup for the smooth-talking vibes of Guru and Big Shug on vocals. Songs per- formed from both his first and most recent albums prove Guru to be more than just a producer; the packed house rose for the occasion and shook it down. Blissed-out faces of Vancouver's live musical- ly-deprived masses created boogie beams throughout the crowd, the band played tight and spicy jams, while the little cool cat daddy-o of the audience found itself hard pressed to ‘pick up the dance’ After stopping the song half way, an astounded Tricky exclaimed, “Thank-you people! This is ‘Black Steel’!? You guys are just nodding your heads! Thanks! From the top!”. Most impressive, however, was the young Martine who stunned the audience with her rich, inspir- ing vocals that quickly became the focal point of many of the songs (“Hell is Around the Corner” was stunning!). So striking was the image of an unchained, energetic Tricky juxtaposed against the refined, cool figure of Martine, that many among the audience could only stand and stare, partic- ularly towards the end of the show during the free jam. The entirety of the evening’s pacing was wonderful, by way of openers Laika. Laika provided an intense, hard hitting percussive sound that led smoothly into the tight mixing of Tricky’s band. My only quibble would be with DJ Lovely Lisa’s slooooow moving and predictable sets at the start of the evening and between acts. I highly recommend Tricky’s disc to those of you who missed the concert, but pray that he and his outfit grace our presence again soon. -forever touched Henry a DJ Sean Ski spun happiness in the corner. They had it goin’ on. Now, while the backup wasn’t Chaka Khan, and although Donald Bird’s trumpet was (sadly) nowhere to be heard, this show was still the biggest slice of cake I’ve had this month. Pick up the albums, kick back in your recliner between your speakers, and read the liner notes for an exercise in musical horizon expansion. Yo La Tengo October 20, Starfish room “Oh, what a fickle and fine thing is my musical taste,” said Louise. I would tend to agree. We went to see Yo La Tengo the other night. Apart from them taking so-long to come on, and a crap post-show jaunt to an increasingly frustrating Bennie’s Bagels, the show was really great. Novemser 1995 / Emny 15 photograph: Kelsey Finlayson ‘Tengo came on at 12:30am, and told us how their organ had been stolen in Seattle the night before, but thanks to opening band Run On (who let them use their Farfiza), the show went on. I was amazed at how complete and distinct their sound is, espe- cially for a three-piece outfit. Audience members on the dance floor were entranced: eyes were shut as they absorbed Yo La Tengo’s intense output. Standout numbers for me were False Alarm and Blue Line Swinger, both performed with impeccable musicianship and feel- ing. Between the heavier songs, the drummer dismounted her set to sing some very “VU”-like ballads, inviting us into a quiet interlude. This band is sincere as hell - they're definitely not rock stars! If you don’t know the music of Yo La Tengo, then you should. -Jonathan Lander CD Funds Rape Relief Lit From Within (Nettwerk) Picture this: @ young woman wakes at ight o'clock, itis February, the rain has yet to cease, her skin pale white, she feels far passed the point of eighteen percent gray. She feels black. Ske is low. So low that she could not fall far enough to find herself again. On the bright side hower= once fallen, the only place f0 go is up. ‘She starts to move the furniture. The corners of the room breed dust balls as if it were a colony. Everything is thrown into the middle of the room. All surfaces are cleared; any object that inhibits purification is, removed from tabletops, chars, shelves. She stats on the edges and ‘moves inward. She cleans every comer, every table; every inch of her bedroom. She starts to scrub the floor. She stars 19 cry Her tears fall 0 ‘the floor to become indistinguishable from the water which wash her sur- ‘faces. AS she washes and cries and sheds and washes and cries, her lover ‘stands against the white wall. There is nothing he can do. There is noth- ing he can say. All she can say is “Ido not know, I do not know what is wrong, [just feel myself shed skin.” This isa review of the CD tiled Lit from Within, a collection of work by, women artists. The proceeds from the sale ofthis CD will go to Rape Crisis Centres across Canada, have never been raped. I have never had an abortion. I have been sexually harassed; my body has been touched when my mind was not wanting I tell you this point blank because I do not want you to think that I can empathize with experiences that I have not had. | tell you this because many women do have experiences to talk about but do not nec- cessarily talk I also have been silent. This CD both in its ~ intent to help the centers to continue to provide service for women in need of assistance” and in its intent to represent the voices of women, is an important addition to one's musical collec- tion. The proceeds go to an Important cause, and the work contributes to the power of voice that is all too essential for women's progress. To be listened to, we must be heard. ‘Where does that tension between one’s “genital furnace” (Veda Hille -Well I Guess Not) and one’s innate pursuit for self-preservation originate? How about that feeling that every time one loves and loses another, one loses a part of themselves. An excerpt from Swept Away by Suzanne Little reads as follows: “I won't be swept away losing myself in the games we play and worrying the world will break, falling into pices, while 'm 00 busy look- ing away.” ‘The above story is true. I thought it was appropriate because this CD. contains work that expresses honest experience of emotional confusion ‘The work ranges from light text such as“ I like waking by myself but I © company for breakfast” (Veda Hille Well | Guess No}, to words of sreater weight like that expressed in a poem called Bruises by Evelyn Lau. This CD is a must for anyone who likes to see emotional psycho- drama put in its place. This CD is a must for anyone who has expeti- enced sexual assault, abortion, or ‘sexual confusion: I think that identif- cation with other women can diminish the confusion and diminish the tendency to experience guilt. Lit from Within represents fiften different women’s experiences of themselves. Listen to it and let us in on what you have to say. “Jessica Joy Wise My Life With The Thrill Kill Kult Hit And Run Holiday (interscope) ‘Thrill Kill has always been a funny fish to fry, really. I mean they've {gone industrial, techno, disco slam and back so many times, they've managed to offend most of their fans more than once. Happily, they've done it again. Hit And Run Holiday represents the essence of The TTK: a 50's B- ‘movie roadtrip to Vegas with Satan, shot on a super-saturated film stock that let the colors glare fut like the dots on the Wonderbread packaging. That's right, areal chaotic, ashy, sam= ple-ridden, guitar twangy, disco- beat romp that had me bumpin and grindin’ the moment I heard it Even though I was hoping for ‘more intense industrial guitar ‘magic & la “After the Flesh’ from the Crow soundtrack, I relly couldn't complain with cheesily addictive cuts like “Glamour Is a Rocky Road” and “Hottest Party in ‘Town’ Lavish use of oh-so won erful hom sounds make poten tilly average tracks like “Portrait of the Damned” and the ttle track slue down that repeat button in your brain, Yes, this is the album that should of accompanied “Sex on Wheel" and not the tripe that ‘made up the rest of Sexplosion. ‘And yes, fans, they've recovered from their too-techno-for-techno phase and this album really more than makes up for 13 Above The Night Keep your eyes on the road, and suck the wild, indeed! -Glamourdykemixed Henry Tricky Starfish Room, September 23,1995 When I heard that Tricky would be hitting The Starfish Room, | imme- diately bought a ticket. His strong debut album, Maxinquaye (Island Records), hinted at limitless poten- tial (0 the already moody, atmos- pheric sounds of Massive Attack, Portishead, and the whole Bristol [always found his writing to capture something just beyond the stratum of raw emotion, and evince just the tiniest bit of dis- comfort, but, to be honest, I didn't ‘expect his rather monotone rap- ping to come through effectively fn stage. Well, the notion was ‘quickly dispelled upon the opening fof his set. With an incredibly tight backup band and his supremely powerful discovery Martine, Tricky warped his studio-crafted rhythms. Into pulsating, living, tangible sounds that let the audience enveloped in a velvety void. With the aid of the warmly intimate venue of the Starfish room, we were all but drifting away, saved by the anchoring threads of gor- ‘geous melody and passion that drifted by. Infact, even when he performed his now legendary gui {ar driven cover of ‘Black Stee’, Jazzmatazz October 14, Richards On Richards The other Friday, Jazzmatazz came {0 town, hosted by rappers Guru and Big Shug, with some of the finest musicians found out of New York City. If you weren't there, start kicking yourself now: Blue Note recording artist Reuben Wilson on keys, Derrick Davis of the Solsonics on flute and alto sax, Willie MeNeil on percussion, Zachary Breaux on smokin’ guitar, ‘and some howling funkmamas dishing out the backup forthe smooth-talking vibes of Guru and Big Shug on vocals. Songs per formed from both his first and most recent albums prove Guru to ‘be more than just a producer; the packed house rose for the occasion and shook it down. Blissed-out Faces of Vancouver's live musical Ay-deprived masses ereated boogi ‘beams throughout the crowd, the band played tight and spicy jams, ‘while the litte cool eat daddy-o of Novewer 1995 Ean 15 the audience found itself hard pressed to ‘pick up the dance’ ‘After stopping the song half way, ‘an astounded Tricky exclaimed, “Thank-you people! This is ‘Black Steel?” You guys are just nodding your heads! Thanks! From the topr Most impressive, however, was the young Martine who stunned ‘the audience with her rich, inspt- {ng vocals that quickly became the focal point of many of the songs (CHell is Around the Comer” was stunning). So striking was the image of an unchained, energetic Tricky juxtaposed against the refined, cool figure of Martine, that many among the audience could only stand and stare, parti ‘ularly towards the end of the show. during the fre jam. ‘The entirety ofthe eve pacing was wonderful, by way of ‘openers Laika, Laika provided an intense, hard hitting percussive sound that led smoothly into the tight mixing of Tricky’s band. My only quibble would be with DJ Lovely Lisa's slooooow moving and predictable sets atthe start of the evening and between acts. highly recommend Tricky’s disc to those of you who missed the concert, but pray that he and his outfit grace our presence again “forever touched Henry. toga igen ‘DJ Sean Ski spun happiness in the comer. They had it goin’ on. 'Now, while the backup wasn't CChaka Khan, and although Donald Bird's trumpet was (sadly) nowhere to be heard, this show was still the biggest slice of eake I've had this month. Pick up the albums, kick back in your recliner between your speakers, and read the liner notes. for an exercise in musical horizon expansion, Yo La Tengo October 20, Starfish room “Ob, what a fickle and fine thing, is my musical taste,” said Louis. | would tend to agree. We went to see Yo La Tengo the other night. Apart from them taking sa long to ‘come on, and a crap post-show Jaunt to an increasingly frustrating Bennie’s Bagels, the show was really great. ‘Tengo came on at 12:30am, and told us how their organ had ‘been stolen in Seattle the night before, but thanks to opening, band Run On (who let them use their Farfiza), the show went on Twas amazed at how complete and distinet their sound is, espe- cially fora three-piece outfit ‘Audience members on the dance floor were entranced: eyes were shut as they absorbed Yo La ‘engo’s intense output ‘Standout numbers for me were False Alarm and Blue Line ‘Swinger both performed with impeccable musicianship and feel- ro Between the heavier songs, the drummer dismounted her sett sing some very *VU"-lik ballads, inviting us into a quiet interlude, This band is sincere as hell ~ they're definitely not rock stars! If ‘you don't know the music of Yo La Tengo, then you should “Jonathan Lander