Discorder CITR-FM (Radio station : Vancouver, B.C.) 2012-06-01

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1 fiiST
The first time I heard the Beastie Boys was on the one-hour bus ride to school
when I was 10. The bus had a tape deck, and the bus driver—a portly woman
named Shirley—would play her own music, or cassettes we brought from
home if they were profanity free. The 30 or so kids on board ranged between
kindergarten and grade 12, and we lived in an isolated part ofVancouver Island.
This was usually a recipe for, in retrospect, crap. I usually just listened to my
mixtapes on my Walkman, but sometimes my batteries would die mid-ride
and I'd have to listen to Wilson Phillips or Bryan Adams.
One day a kid named Corey brought a tape that sounded more different,
more foreign and more awful than anything I'd heard in my sheltered musical
existence. It was a bunch of flutes and incoherent screaming (the swearing
wasn't audible that way, at least), and it grated my underexposed musical
nerves. The song was "Sure Shot" The album was III Communication.
A few years later, we moved to the city, and my brother and I began a mission to catch up on 14-ish years of not having normal access—radio, tv, record
stores, or concerts—to what the rest of the world might have been listening
to. He boughtPaul's Boutique, Liscenced to III, and III Communication, and whether
I started to like Beatie Boys that time around because everything my brother
did was cool is irrelevant The screaming and the flutes were awesome, and
I screamed along quite happily. Since then, MCA, Ad Rock, and Mike D have
been one of a handful of bands whose music consistently hits my brain right
in the sweet spot; it's fun, it's upbeat, it's authentic, and it's got a funky beat
that I can bug out to. They were one of those bands that I couldn't not like.
Talking about them now in past tense sucks, and Adam Yauch's death last
month is the only celebrity death I've felt sincerely sad about. It might not
have the same gravity in the music community to some as Whitney Houston or
Levon Helm, but Beastie Boys are the only band I've loved who were still just
as prolific last year as they were 30 years ago; they were rhymin' and stealin'
when I was two, and opening a restaurant with Ted Danson when I was 27.1
feel sad knowing that I won't hear another new album from them or see them
in concert again (pretty sure they'll buck the hologram trend), because even
this late in the band's career, those things were probably going to happen.
As a music magazine focused on smaller, independent local acts, community is at the heart of it all. The community, no matter how big or small,
lost an inspiring and unique musician, and I wanted to pay my respect.
With the passing of one funky dude though, it's heartwarming to look
forward to summer and the heaps of talent in this issue rocking out in our
Our Summer Festival Preview prepares you for big events in Vancouver and
at Calgary's Sled Island (which some of us crazy folks at CiTR and Discorder
will be reporting live from, so stay tuned!). The nifty, homemade Music Waste
spread will guide you through the festival's dozens of shows this year. We
have four great features on Young Pacific, Capitol 6, Beekeeper, and cover
artists Needles//Pins. So sit down, tuck in, and get to know the people in your
musical neighbourhood a little better.
Read on and stay rad,
Laurel Borrowman
Laurel Borrowman
Jordan Ardanaz, Steve Louie
Maegan Thomas
Jordan Ardanaz
Steve Louie
Chirag Mahajan
Claire Eagle
Corey Ratch
Dorothy Neuf eld
Brenda Grunau
Student Radio Society of UBC
Zarah Cheng, Dorothy Neuf eld
Tara Dwelsdorf
Dylan Beatch / Robert Catherall / Penny Clark / Fraser
Dobbs / Sam Hawkins / Tristan Koster / Brent Mattson
/ Chirag Mahajan / James Olson / Nick Pannu / Mark
PaulHus / Jennesia Pedri / Andy Resto / Maegan Thomas
/ Christian Voveris / Jordan Wade / Chris Yee /
Angela Yen
Audrey Alexandrescu / Penny Clark / Tyler Crich / Tara
Dwelsdorf/ Leigh Eldridge / Mark Hall-Patch / Victoria
Johnson / Dana Kearley / Chirag Mahajan / Sean Maxey /
/ Aaron Read / Joel Rich /
Jordan Ardanaz / Chirag Mahajan / Nick Pannu
©Discorder 2012 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation
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donate. FEATURES
07 Summer Festival
Preview, Part I
Now that Codchella and Sasquatch have come and
gone, you're probably being berated by stories from
people who were there. Feet like you missed out? You
shouldn't. Not when three awesome unique jestiuals are
on the horizon. Check out the who, what, when and
where for the impending mayhem in your own
08 Needles//Pins
Some people stop washing their underwear
when their team makes the finals. Some switch
lights on and ofFa dozen times before leaving
a room. Others get inner lip tattoos of one
omnipresent minute of the day that signifies
something good, like Macey Budgell. Discorder
chats with Needles//Pins about superstitions, a
new album, and moving ahead by fucking up.
Young Pacific
Sandals? Check. Towel? Check. SPF 50? Check. Fiue
friends in a teeny car? Check. The playlist? lacking.
Now that the sun is shining and beach is calling you
should chuck that stale Winter Woes mix and pop in
some Young Pacific.
13 Capitol 6
So your Bob Dylan records are worn out, your
Velvet Underground records are scratched, and you
just can't seem to jtnd a new band to remedy your
hankerin'Jor some heartfelt music that will take you
back. Fear not. The Jellows ofCayitol 6 and their
psych-jblkjams are here to help.
15 Beekeeper
You're standing at the 7/11 check out and the guy
in front ojyou counting his change is taking his
sweet time. Your eyes scan the miscellanea displayed
around the till that don't jit anywhere else in the
store: Boot-shaped lighters, $1.50 bananas, and
various tubed processed meat/cheese combos that need
no refrigeration. You're perplexed and rhetorically
question who actually buys those. Meet the band
who's tour is jueled by them.
04 / Veneivs
05 / Textualhj Active
17 /Alt PrOJeCt/je^ry Lee
20 / Calendar / Mark Hall-Patch
22 / Program Guide
30 / Under Review
^ /Real Live Action
38 / On The Air / Trancendance
39 /Charts ANZA CLUB
[lustration by AARON READ
The Australia-New Zealand Social Club, also
known as the Anza, began in 1935 as an organization for dispersed Australians and New Zea-
landers to gather and connect. As numbers and
income for the group grew, the Anza's Vancouver
contingent was able to purchase the building at
8th and Ontario in 1963. Since then, the former
church, a quaint, two-story yellow house more
closely resembling a country cabin than an underground music hub, has hosted a wealth of music
events from reggae to psychedelic to garage rock.
Decades of operating with at least three
events per week will take its toll, so earlier this
year, with help of a $120,000 Cultural Infrastructure Grant from the City of Vancouver, the
venue's main floor got a facelift. Despite the
obvious necessary upgrades—like replacing
dirty carpet with hardwood, replacing air conditioning and heating, refashioning the bar
and installing a functional tap system—events
coordinator Denise Brennan says the club also
needed a change of its public perception. The
new look garners more respect for the club
while maintaining the old Anza feel, particularly noticeable in the unique lounge furniture.
With the new look, Brennan hopes to book
more experienced acts and different genres
such as jazz, soul, and possibly even theatre.
The upstairs is certainly more inviting. The
stage is less cluttered without extra equipment sitting around in the back; the updated lighting is
brighter; booths in the back have been replaced by
higher chairs, overlooking other tables and providing a better view of the stage; and the new bar
could pass as high-end anywhere in the city. Its
sleek silver style is almost out of place in the humble establishment. Gay Nineties drummer, Malcolm Holt, who performed at the club both pre-
and post-renovations, commented, "This place is
so much nicer!"
Brennan also points out that the venue is
more environmentally friendly now that they
are serving liquor on tap in glasses instead of
plastic cups.
Of course, with the upgrade comes a
higher price for renters. Brennan expects
renters might takes some time to warm up to
the rental cost increase, even if it's minimal.
Richard Thomson, co-coordinator (with Ian
Browne) of Party Heroes—a bi-weekly event
that hosts local indie and garage rock acts—
says the improvements are well worth the trivial increase, which will vary depending on the
show. He says the public's feedback has been
mostly positive, and is excited about the future
of Party Heroes, which has run at the Anza since
2009 and reached capacity for the first time in
the inaugural post-renovation show.
In mid-June, the Anza is an integral stop on
the Music Waste circuit, and you can be sure to
enjoy a show almost any night of the week at
any time of the month. At over four decades old,
the Anza's future is looking more bright and
rejuvinated ±an ever.
I j Mini    :   The Ultimate
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$15 ADV            tix online©Eventbright       778-329-7039 Five Little Bitches
(Anvil Press, 2012)
illustration by
"We're fucking little bitches. And we don't do
dishes! No we don't! Do! Dishes!" rasps Maxine
Michelene, fame hungry, just this side of haggard, swaggering frontwoman. Her polar opposite, the reserved, aloof and wise Fanta Geiger
is perfect on lead guitar. Pint-sized skater, wary
romantic and culinary whiz, Squeaky Laducer
slams the drums. Fucked up hot chick Kitty
Domingo pulsates the bass imperfectly, impulsively and with heart. These are four of the Fiue
Little Bitches. This is Wet Leather.
Wet Leather is a punk rock band. Fiue Little
Bitches follows Wet Leather through founding,
struggle, success and decline, and the cast ranges
from lovable to insane.
"Every character has an aspect of my personality. Especially the unlikable ones," says author
Teresa McWhirter via email. Her characters are
refreshing: not everyone is a hero, but her portraits are multi-faceted and entertaining, drawing empathy, if not sympathy. McWhirter's best
sketching is in the characters "bios," the type you
find in glossy rock mags. What she does with a
few words is impressive. For example, Marine's
interests include musicals and gangbangs, and
het first memory is a of wine commercial. What
more do you need to know? The bios don't just
tell us facts, they tell us about how the characters
want to be seen; a subtle, yet important, distinction to make in a story that dwells on fame.
The novel's best feature is its entertainment
value, with quick movements between narrative
styles—biography, rock questionnaire, tour diary,
confession—without being preoccupied with
form. One of my favourite parts was the tour diary
section, which highlighted what pushing very different but equally passionate personalities—not
to mention women, not to mention punks—into a
confined space can do. McWhirter's descriptions
of the distinct physical, cultural and audience
landscapes around the world are authentic.
"I've been on the road many times with the
Real McKenzies, who are close friends, so all the
tour dates in the novel are places I've been. And
the beautiful thing I've found is that a punk rocker
in Missouri is pretty much the same punk in Serbia
or Saskatchewan."
Yes, the shows, the drugs, the booze, the fun,
the strain all seemed authentic, but I'm not a punk
by any means, so I asked affable CiTR punk fan
Tim B., host of We All Fall Down, what he thought
about the book.
"I think punk rock has many different sides.
I'm personally more interested in the musical side
of things, but there is a cultural aspect of punk
that is full of sex, drugs, perplexity and life on
the streets. This book is about that side of punk.
This book is for the readers who are interested in
people who live that punk rock life: their ups and
downs, their highs and lows. And there are some
exciting highs and pretty scary lows."
East Van is the ladies' home, sanctuary, trap
and playground. There are some great, "Hey,
I know that place!" moments. While the time
frame is never distinctly established, some eagle
eyes will piece things together, which might
leave the reader with one quesiton: does the
punk McWhirter lovingly details that still exist in
"That scene has long died away. Now skateboarders are jocks and the music has been grossly
commercialized and packaged for the masses.
Punk rock will always live on in the underbelly of
Vancouver, but to me it's a term that defines the
spirit of rebellion and ingenuity that is true nonconformity."
Fiue Little Bitches is a fast, furious, dark and
funny novel, embodying the punk that McWhiter
truly loves.
And no. She doesn't do dishes. June ist to 3rd
WHO: Maria in the Shower, Moka Only, and a
whole bunch more
BRING: A box o' wine and an open mind
FUN FACT: The first In The House Festival took
place in the Hastings/Sunrise neighbourhood
in 2003.
It's just like a house party except people actually
give a damn about the band that's playing. Also,
people are less drunk and there are more children.
From June ist to 3rd, East Van residents open their
living rooms and backyards for the In The House
Festival. Aside from the obvious voyeuristic appeal
of wandering into strangers' homes for an entire
weekend, there will be music, dance and spoken
word shows to see. And there's magic. MAGIC!
The concerts are mainly jazz, world music and
classical, but the weekend schedule is pretty varied. The concerts are grouped by genre, so you
get a little sampler of music in each house. The
best strategy is to pick a few key shows and not
wear yourself out, since each show includes several acts. So think hard about whether you want
to see violinists, indie acts or Balkan groups and
choose wisely.
Non-musical highlights include Travis Lim,
a nine-year-old b-boy dance prodigy who will be
performing as part of the Fun Times Cabaret, The
Encyclopedia Show featuring spoken word acts and
the Grand Finale with The Underground Circus.
—Ariel Fournier
June 7th to 10th
WHO: Bad Channels, Evy Jane, Capitol 6, plus dozens more
BRING: Jean jacket and a bike
FUN FACT: Every year Music Waste organizers
pick a new mascot. For 2012 it's an apprehensive
keytar-playing football.
Charged with the do-it-yourself spirit ofVancou-
ver's independent arts and music scene, Music Waste
brings out the best of young acts in ±e city. Founded
in 1994 as a response to the corporate-sponsored
New West Music Festival, it has featured countless
notable acts such as Japandroids, White Lung, Nu
Sensae and many others throughout its 18 years of
existence. Where in its early days it filled venues with
showcases of the underground punk and indie scene,
the festival has exploded into a variety of genres. This
year's organisers had the arduous task of selecting
performers from a list of over 300 submissions,
including Gang Signs' smart and sparkly electro-
pop and Evy Jane's washy R&B, along with a strong
garage and fuzz rock side represented by acts such
as Bad Channels and Crystal Swells.
The festival reaches far beyond music as well,
with Art Waste curating exhibitions among galleries
around the city, Comedy Waste offering improv and
sketch groups a chance to be funnier than usual, and
Pop-Up Waste throwing a splattering of matinee
shows in record stores and coffee shops, not to mention an entire series of self-promoted Go Your Own
Waste shows. Overall, this action-packed antidote for
summertime boredom with a price tag of under $20
seems like a steal, just don't forget to bring a bike
for the constant venue-hopping to come.
—Christian Voveris
June 20th to 23rd * Calgary, AB
WHO: Everyone and your grandmother
BRING: A bike and a flat of energy drinks
FUN FACT: Past guest curators of Sled Island have
included Colin Newman (Wire) and Scott Kannberg
illustration by
For four days every year in late June, the city of
Calgary opens its doors to a wash of music hosted
in- and outside venues throughout the city's downtown core. And for a breath, Calgary-the-overachiever
becomes the coolest city in Western Canada! It's truly
a spectacle to behold: the place best known for a competitive cattle wrestling becomes completely overrun
with bikes, bands, parties, denim and leather.
This year's edition of Sled Island will be guest
curated by Andrew W.K. and Danny Vachon (the
Dudes), and feature a melee of activity from Vancouver bands including Peace, Humans, the Ruffled Feathers, Keep Tidy and Black Wizard, alongside some of Canada's brightest indie stars and
a few major international headliners like Thurston Moore, Stephen Malkmus and die Jicks and
the Archers of Loaf. Comedy and art events are
also abundant, with shows by Gavin Mclnness
and Tim Heidecker, and film and gallery exhibitions organized through a collaboration with the
Alberta College of Art + Design.
Grab single show tickets if you like, but for the
real immersive experience, the cheesily named Festival Discovery Pass is best (if a bit pricey at $200).
But what's the value on the best time you'll have all
year? Priceless.
—Jordan Ardanaz F
NEEDLES//PINS        bvJONI MCKERVEY photos by
lettering by
Needles//Pins turned three years old this May,
released their first full-length album, 12:34,
on Lethbridge-based Mammoth Cave Recording Co., and are embarking on a cross-Canada
tour in June. 12:34 is scheduled for release in
Europe next spring, bringing talk of an overseas
tour. But no one in the band is having a Mary
Tyler Moore "gonna make it after all" moment
about their growing popularity. In fact, no one
in Needles//Pins seems concerned with "making it" at all.
"When we started," explains Adam Solomo-
nian (guitar/lead vocals), "I was like, the only
reason we're doing this band is to hang out and
have fun and get drunk and smoke cigarettes and
fucking play music. And 100 per cent, that is still
the ethos of this band."
Macey Budgell (drums) and Tony Dubroy
(bass) nod in agreement Their defunct Mys-
pace page cites "BEER/ SMOKES / PISA" as
influences; and three years later, not much has
changed. The three band mates tease and talk
over each other like siblings, swear like sailors
and at several points in the interview, debate who
they can call to bring more beer. Their hilarious, fuck-it-all rock'n'roll attitude matches the
band's loose, catchy garage punk sound, exemplified on the tune "Best Friend" ("Shimmee to
the left, now shimmee to the right/with all the
cool kids at the bar tonight/Everyone gets to be
your best friend but me"). They are bratty, they
are funny, and almost entirely carefree, which
makes strange and beautiful sense considering
what the Peter Parker sides of their lives are like.
By day Budgell is the owner and operator
of Vancouver's probably first—and possibly
only—vegetarian burrito shop, Budgies on
Kingsway. Dubroy runs bis own construction-
based company as a framing contractor. And
Solomonian, who currently resides on the Sunshine Coast, is working on a PhD in Cultural
Anthropology at UBC.
For all the members of Needles//Pins, the
band is their escape from the pressure of regular life. Some might take up squash or mountain
biking. Dubroy, Budgell and Solomonian formed
a band where having fun and fucking up are the
keys to their happiness and sanity.
"You see so many bands where someone fucks
up and the other dudes glare at him and they're
so mad," says Solomonian. "When we fuck up
we just laugh and it's fine."
"Fuck else can you do?" asserts Dubroy.
"But people are weirded out by that," con- -
tinues Solomonian. "They don't understand.
They're like, you just laugh and have fun and
you're sloppy and no one cares. And we're like,
yeah! We don't care."
Not to say that this is all some Jekyll and
Hyde scenario where the serious entrepreneur/
academic by day turns chain-smoking, binge-
drinking rocker by night Everyone in Needles//
Pins seems almost allergic to taking themselves seriously. Solomonian confesses to taking up Anthropology because it was at the top
of the Arts course list ("It was in the As!"). And
Dubroy, with total sincerity, declares that he
will fold his business in order to go on tour, if
"Am I gonna get the opportunity to do this again? Maybe not" he reasons.
"Am I going to get the opportunity to work construction again?
Yes. So, whatever. I don't give
a shit"
And then, there is a level of
superstition that goes on in this
band. Their upcoming album is
named for the time, 12:34, which
Budgell believes is a potent sig-
nifier. "Macey is obsessed with
12:34!" says Solomonian. "It's
a number that haunts her entire
"But it's a good thing," Budgell explains. "To me, 12:34 is a
really good number. It's a sign
that I'm going in the right direction. I am thinking something
pr saying something and then I
look at the clock and it's 12:34, that's a sign."
The numerous stopped clocks on the walls
of Budgell's cabin-like Strathcona home, all
pointing out the time 12:34, are proof. The
album cover for 12:34 is a picture of the time in
question tattooed on the inside of her lip. The
band gleefully recalls a flight Macey booked to
Lethbridge, only to discover that her arrival time
was 12:34 p.m.
"She was convinced she was gonna die!"
Over time, the number has become fixed in
the whole band's mythology.
"Then she finally accepted the fact that she
was gonna die," Dubroy continues, laughing.
"She accepted death, and was all 'Fine, if that's
the way I'm supposed to die, that's how I'm
gonna die.'"
Luckily, Budgell's flight landed safely, and
that auspicious time continues to point the way.
Like a beacon or some bazaar mantra, 12:34
seems to serve as a way for the members of Nee-
dles//Pins to focus on what is important about
their band. It's a reminder from the universe to
forget all the bullshit and live a happy life doing
what you love. The album, their embodiment of
this guiding principle, was recorded in less than
a week last fall with Jordan Koop of Twin Crystals at his Noise Floor studio in Ladysmith, BC.
Just weeks away from tour, the three exude
the nonchalance and confidence of people who
have hit their stride. They recount the numerous false starts and wrong turns each has taken
along the way: spirit crushing nine-to-five jobs,
ill-chosen engineering studies, serious mumci
careers that "fucking sucked." But now....
"Fuck. We're stoked!" says Budgell. "I'm a
fucking business owner and I have a hobby. I
play in a band."
Ladies and gentlemen, I think we've just discovered the punk rock equivalent of Zen. photos by
illustration by
The delightful sun-soaked season
invading Vancouver can be demanding;
the urge to live life like you're in a '90s
pop video becomes insatiable, forcing
you to spend a ridiculous amount of
time roasting on a beach or cramped
in the backseat of a car, on your way
to this weekend's festival or camp out.
But no matter how you're spending the
UV-heightened days, a pleasant summer soundtrack is a necessity. Might
I suggest keeping Vancouver quartet Young
Pacific in heavy rotation?
Formed in 2009, the band originally burst
forth from the creative womb while bassist Mike Noble and keyboardist Djavin Bowen
were playing backup for a singer-songwriter
acoustic duo. When the pair realized that they
shared a wealth of musical similarities, they
added singer/drummer, Brock Weiderick, to the
roster and adopted the name Young Pacific, a
shout out to their coastal origins and wrinkle-
free faces.
After several gigs and recording their first
self-tided EP, the band found themselves pining
for a new direction and began a creative metamorphosis, and in September traded their old-
singer for their current one, Devin Miller. Noble
noticed an immediate shift in how the band
functioned. "Once Devin came along, it started
to pick upi I couldn't tell you why. Our song-
writing got astronomically better."
A musical devil's advocate, Miller's persistence and self-pessimism have improved Young
Pacific's dynamic, growing the group into a
more layered ensemble. A prime example of
this is new track, "Modern Eyes/Traces of Gold,"
where the last half of the nearly six-minute song
finds the group trailing off into a slow climbing, climactic jam that showcases the potential
within these young coastal rockers.
Since the lineup shuffle, the band's chemistry and cohesion have both improved
immensely. "I took the opportunity seriously,"
Miller explains on a patio at New Westminster's
River Market "I put in a lot of work right away.
On my end, I was pushing pushing." Another distinction between the sound of
the first EP and the latest Lone Fire, was the
band's approach to recording. Instead of fun-
neling a ton of money into securing professional studio time, the band took up creative
residence in the studio/garage of George Knuff,
bassist for local indie rockers 41st & Home.
"Instead of throwing down our money and
saying, 'We have five days to record this,' we
literally had all the time in the world to try this
and try that It was a lot of fun, but a lot of trial
and error." Miller found the informal, hands-
on environment to be creatively nurturing, but
almost frustrating.
"It was a lot of being really nit picky. A lot of
the stuff that we recorded we would end up rere-
cording because maybe we weren't in a good
mood that time. I'd just kind of do my OCD
thing. One night I stayed in there till 3 a.m. in
the freezing cold, surrounded by garden tools
and bicycles." While Young Pacific's first EP
was recorded in five days, their second one took
closer to three months between last December
and early April.
Even if you were familiar with ±e band
before, you'll be pleasantly surprised by the
fresh slab of tracks circulating online via their
Myspace and Bandcamp pages. The four latest
songs are exclusively Miller-era pieces that tiptoe the line between folk-rock and pop. And so
far, they're garnering an overwhelmingly positive response from fans, new and old.
"In the last nine days, we've had more hits
and plays [on our Myspace and Bandcamp]
than in the last year and a half." Noble says in
semi-disbelief. A stand out moment came in
February when they played the Cobalt to 300 of
their sweatiest most excited fans. "After that
, so many people were like, 'This is what Young
Pacific is now.' If you'd gone online a few weeks
ago, all you would've found is our old EP, but
that's not what we sound like anymore."
Strong ties in the local music community
have also played a factor in Young Pacific's
recent success. "A lot of bands we've played
with [in the past] were sharing our EP and were
like, 'Check out our friends!' so that's been
great." Over the years they've.had the privilege
of sharing the stage with local groups the Ruffled Feathers, Chimpanzebras, and the Zolas.
More recently, they've become the unofficial
companion band of Good for Grapes, and will
open at their tour kickoff show later this month
at the Rio Theatre.
Despite the band's recent successes,
including securing a spot on The Kulth music
festival lineup this summer, Miller is content to simmer and take things a step at a
time, which includes holding off on seeking a
record label to call home.
"I'm kind of scared [of signing to a label]. I
like this do-it-yourself thing. Mentally, I'm not
prepared for that right now. That's for when it's
almost becoming a career."
Noble is still absorbing the moment,
savouring the little things that make being a
musician so fulfilling. "It's weird to think that
someone right now might be listening to one
of our songs."
With the creative juices flowing and a catalogue of unpolished and unreleased material
ready to be refined into rock-pop gold, Young
Pacific are set to take the Lower Mainland music
scene with renewed drive and youthful ambition,
for this season and many more to come.
Young Pacific perform with Good for Grapes and
Oerrival at the Rio Theatre on June 15. Tickets are $10. photos by
lettering by
The scene is a back lane off East Broadway
where Capitol 6 guitarist and vocalist Malcolm
Jack and I drop in on bandmate and bassist
Matt Krysko, who is also a member of desert-
folk group Two Towns, during a Mother's
Day recording session. The day is hot, though
none of the six bodies cozied in the small shed-
turned-recording studio seem to be bothered. A
large celling tan spins overhead, offering only
slight relief.
Breaking to join us, Krysko starts by taking us out front to give me a tour through the
historic East Van building known as The Lido.
Behind the stylish old storefront, a glass display case with aging yellow cans marked "Cola,"
once belonging to the perennially vacant general store, has become a retro fixture lending the space a sort of antiquated charm. The
upstairs has been remodeled into a hotel for
bands touring through Vancouver, and an apartment Jack calls home with his girlfriend and cat
The three of us settle upstairs on the sunny
south-facing deck to talk about the June 12
release of Pretty Lost, Capitol 6's full-length
debut on Light Organ Records. Until recently,
Capitol 6 was a casual thing born out of a one-
night recording session last
year that churned out the self
tided EP Capitol 6, The band has
finally settled on a permanent lineup with Henry
Beckwith (keyboard) and recent additions Chris
Alarcon (lead guitar) and Neil Corbett (drums).
Early recordings have been described as psych-
folk-rock, but when questioned about genre, neither Jack nor Krysko seem overly concerned with
the idea of style. Amongst their musical influences are the Velvet Underground, Bob Dylan and
Neil Young, and while Capitol 6 is influenced
both sonically and lyrically by the whatever-you-
wanna-call-it rock tradition of the late 1960s, it's
their attitude toward making music that's reminiscent of an earlier generation.
"What would Dylan do?" we laugh at the reference. Jack rolls with it "But it's not really like
what chords would Dylan use, you know? The
idea is more like what would Dylan do if he saw
music the way it is now." After a giving it some
thought he adds, "we definitely don't want to be
just doing retro music, but there was a way and
a reason that people were writing songs then."
"And just putting out so much of k,* Krysko
throws in. wi
1968 was a significantly influential year to Capitol 6. It saw momentous albums like The Notorious Byrd Brothers by the Byrds, Music.from Big Pink p|F
by The Band, White Liflht/White Heat by the Velvet Underground and the self-titled debut solo
album by Neil Young. Not to mention, the entire
decade had an influx of racial and political turmoil, culminating with the assassination of
Martin Luther King. In a way, the music of 1968
was born to rebel against the establishment
While Pretty Lost isn't a political album in the
way that Dylan's or Young's were, it certainly
embodies some of the ideals that had been promoted by Dylan and his contemporaries. Lyrics like "I wasn't meant to call this world my
home" on "Cold Ride" and "I'm pretty lost like
you" on "Far Away" are feelings that might have
been shared by an equally socially and politically volatile era.
"It's hard to be political these days," Jack
admits. Nonetheless, the album is, as Jack puts
it "The story of now, a weird version of the
blues that exists in 2012. It's a maniacal time."
The title, Pretty Lost, are words that are certain to
identify with this era's Zeitgeist
Capitol 6's eight-track album was recorded '
in eight days between the shed and at Little
Red Sounds Studio in Vancouver with Felix
Fung. Pretty Lost is an evolution in the group's
sound, resulting in a more cohesive project
from start to finish. The album is folk-rock,
only without the pastoral, nostalgic or elegiac
moodiness. In place of those folk themes are
feelings of urgency in both the music and lyrics. It comes across loud and clear with epic
opener, "Playing Dead," with help from keyboardist Henry Beckwith. The alluring eight-
second piano intro sets the pace for the mostly
up-tempo record. Slowing it down mid-way is
"Quit Your Job," a mellower tune resembling
the folk of Neil Young's later days.
The 2:30 p.m. heat makes it hard to think,
so we decide to retreat to Jack's apartment.
The walls are lined with black and white
iconic photos of Dylan, old movie posters,
vinyl and VHS tapes. Unlacing his sneakers
and slipping into leopard print slippers, Jack
describes plans to shoot a video for "Playing Dead," a follow up to the video for "Just
a Puzzle." He envisions a '70s horror-style
video, to be shot in Squamish. Also in the
works for this summer is the group's first
Canadian tour;—a chance to vacation and to
settle in to the new band.
Krysco returns to the shed to finish
recording with Two Towns, and we continue
discussing genre and the history of folk and
rock, long after the interview is over. Leaving
Jack's apartment the faint sound of music
drifts out into the street its origin likely a
mystery to those passing by, and way of life
for those inside. Our writer Penny Clark recently
spent four days traveling with
Vancouver's Beekeeper, where she
learned the value of gas station snacks
and crowd participation.
a tour diary by
photos by
illustration by
The Pep'n'Ched is an important part of the
tour experience. Found in the darkest corners of gas stations, it is one stick of pep-
peroni fused with one stick of processed
. cheese. It's a product that is capable of
doing something called the "Pep'n'Ched
Wiggle." My source on its importance is Devon Lougheed, front-
man and visionary of Vancouver pop trio Beekeeper. We found
the Pep'n'Ched often while on the the four-date April tour, in
preparation for their Vancouver album release party in May. And
yes, he ate it
Touring with Beekeeper can be metaphorically represented
by the Pep'n'Ched. Driving around in a van, even a ginormous
ten seater named Ruby, for many hours everyday should be pretty
disgusting. Somehow, it's not
That probably has to do with the band itself. Beekeeper plays
some of the cutest math rock around, the by-product of com
bining extremely nice and highly talented
music nerds.
The tour included four shows in as
many nights in Kelowna, Fernie, Calgary,
and Swift Current hometown of Luke
Cyca, drummer and band organizational
mastermind. Brandi Sidoryk, bassist and
vocalist (putting her masters degree in
opera to work with her sweetly metallic
harmonies), is also a flight attendant and
flew to Kelowna on a work shift from Calgary. She arrived just in time to play the
band's rooftop set for the A-Ok (Awesome
Okanagan) website, changing out of her
uniform in the back seat of the van on the
way from the airport This show, the first
of the tour, was above the venue they played
that later night Lougheed eschewed the
idea of an acoustic set and instead the band
opted to heft their amps up and down two
rickety ladders.
The show that Wednesday night wasn't
packed, which meant that Lougheed, a former stand-up comedian
who has transferred that energy to his frontman duties, managed to fit the entire audience on stage for the last two songs of
their set, a favourite participation tactic on their headlining gigs.
Once everyone is on stage and within Lougheed's clutches, the
band breaks in to a big-production finish in which each member
bows, the audience is asked to bow, and the venue is asked to
take a bow. With a, "Thankyou and good night" Lougheed then
drops his guitar with whining feedback and abandons the stage.
This was particularly dramatic in Kelowna, where Lougheed ran
across an empty dance floor and sat at their merch table, blinking pleasantly at us on-stage, as if we were both the stars of the
show and trespassers.
Cyca came down with the flu the next morning. A freakish
proficient in time management, Cyca would ordinarily divide his
time between band business and his day job as a computer technician for a bio-medical lab, but was forced to sleep in the back seat the entire drive. His aunt hosted us for dinner in
Fernie, and she hustled him upstairs into the guest
room to rest before their set.
Perhaps it was the "Thursday-is-the-new-
Friday" thing, but most of the attendants at The
Northern were drunker but less interactive than
those in Kelowna. But those who liked it, liked it
a lot. Lougheed was approached by a fellow who
had seen Beekeeper last March in Kitchener, ON.
Lougheed had sang a song specifically for him, as
one of the four audience members there.
The Friday night show in Calgary at Broken City
was edgier, with Beekeeper opening for three punk
bands, two from Edmonton, including headliner
Ben Disaster & The Cosmonauts and opener Nervous Wreck, and a local band, The Mandates. The
crowd was rougher around the edges and more
attentively concerned about the music. During set
up, an older man at the bar peppered Cyca with
rapid-fire questions about the band's financial
prospects (specifically if they were or expected
to be millionaires; Cyca answering "No" and
"Maybe", respectfully) and whether or not they
played any "Stones covers"). The set garnered
interest but it was too early in the night for the
kind of engagement Lougheed strives to elicit.
The final gig in Swift Current showcased local
talent honouring the iooth anniversary of the
Lyric Theatre. The banquet-style arrangement
hosted many older relatives of the performers (the
Cycas alone took up two tables), initially a concern
for the band, given their typical volume. Billed as
"Luke Cyca and Beekeeper", the band broke their
set into a softer opening set and a harder second
set Regardless of age, the audience was rough
and ready, most staying for both sets and many
sardined on stage, Cyca's mother happily playing
the drums with her son.
Contrary to the hard partying expected on tour,
Beekeeper generally aim for hangover-controlled
levels of drinking. But, as Swift Current was the
last night of the tour, we all (including Cyca's
parents) went to a bar after the show and drank
generously until the early morning. Sidoryk danced
the two-step with Lougheed as ably as her Albertan
roots would suggest (in contrast with myself, who
danced like a drunken city-slicker, to the polite
horror of my country gentlemen partners). The
next morning, Lougheed, who ordinarily wakes
everyone with happy morning songs, muttered
from his air mattress, "Ohh. I had this crazy dream
last night that we went to a country western bar."
The Saturday following the tour, the band
played the release party for their seven-inch, a fol
low up to their first full-length record Be Kept, from
2011. The seven-inch features Vancouver-centric
single "Take Me Back (To The Place)" and eerie-
vintage song "Bad Advice." Opening the show
were indie-to-the-core Fine Times; a project with
Hey Ocean's Davide Vertesi, Shad, and Lougheed
called Brother Act; and the lovelies in the Belle
Game. Beekeeper came on shortly after midnight
and Lougheed experimented with a Twitter competition and a snowball dance (in which two people
dance together, then split to find new partners,
repeated until everyone is dancing).
The band destroys barriers between themselves
and the crowd, no matter where they play or whom
they are playing to. It's a quality that is disarming
for some who are perhaps used to separation as
an audience. But it's also a the quality that makes
them so compelling.
Like the Pep'n'Ched, Beekeeper are weird, but
so unique that you really just have to love it. photo by lit Powell
Jeffry Lee is an artist/illustrator and primary songwriter in Hard Drugs,
whose latest album Party Foreverer will be released as a digital
download within an artist book. Part illustrated photo album and part
music album, the book features Lee's illustrations and accompanying
texts to offer a snapshot of the band's New York chapter. Cherry Taverh
JEFFRY LEE Sweet Revehge- photo by Jerewy Jtthseh
Awerioan Mvs«uw of Natural History i^
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8 I
Classical Chaos
Breakfast With The Browns
Shookshookta (Talk)
Shake A
Blood On    Tan peatner
The Saddle
Chips        Student
(Pop)       Fill-in Slot
Bootlegs & B-Sides
So Salacious
(Electro/Hip Hop)
Ska-T's Scenic Drive
Student Fill-in slot
Programming Training -
Sore Throats. Clapping
f/^^felope folk,
Indie S/S)
Exploding Head Movies
Canada Post-Rock (Rock)
Pacific Ptckm' {Roots}
Student Fill-in slot
Queer FM Arts Xtra
Sup World?
Morning After Show
Inner Journey
Give'Em the Boot (World)
Radio Freethinker (Talk)
Flex Your Head
inside Out
Crimes And Treasons
Suburban Jungle
Pop Drones
Student Special Hour
Terry Project    Democracy
Podcast (Talk)   Now (Talk)
Man!is Cabinet (Eclectic)
Sexy In Van City (Talk)
Hans Kloss Misery Hour
(Hans Kloss)
End of the World News
Student Fill-in slot
Relentlessly Awesome
Duncan's Donuts
We All Fall Down
Programming Training
Thunderbird Eye
Butta on the Bread
Are You
peanut but-
ter 'n' Jams
' (Eclectic)
Stereoscopic Redoubt
Live From Thunderbird
Radio Hell (Live)
Funk My Life
Aural Tentacles
Friday Sunrise
(Eclectic) *
Sounds of the City
Stereo Blues
It Ain't Easy Being Green
Hugo        Student
(Eclectic)       Fill-in
Radio Zero (Dance)
Nardwuar Presents
African Rhythms
The Bassment
Radio Nezate
The Vampire's Ba
The Saturday Edge
' Annihilation (Punk)
Power Chord (Metal)
Code Blue (Roots)
The Leo Ramirez Show
Nasha Volna (World)
Student Fill-in slot
More Than Human
Synaptic Sandwich
Randophonic (Eclectic)
The Absolute Value of
Insomnia (Generative)
From the Ancient World to the 21st
century, join host Marguerite in
exploring and celebrating classical
music from around the world.
(Talk) 10am-12pm
A program targeted to Ethiopian
people that encourages education
and personal development.
?; 12-3pm
inna all styles and
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-boots
Alternating Sundays
The finest in classic soul and
rhythm & blues from the late '50s
to the early 70s, including lesser
known artists, regional hits and
lost soul gems.
{Pop) 5-6pm
Alternating Sundays
British pop music from all decades.
International  pop  (Japanese,
French, Swedish, British, US, etc.),
'60s soundtracks and lounge.
Dedicated to the gay, lesbian,
bisexual and transexual communities of Vancouver. Lots of human
interest features, background on
current issues and great music.
(World) 8-9pm
Alternating Sundays
Featuring a wide range of music
from India, including popular
music from the 1930s to the present; Ghazals and Bhajans, Qaw-
walis, pop and regional language
(Dance) i-Bpm
Alternating Sundays
A mix of the latest house music,
tech-house,  prog-house  and
(Dance/Electronic) 9-10pm
(Dance) 10pm-12am
Hosted by d] Smiley Mike and dj
Caddyshack, Trancendance has
been broadcasting from Vancouver, BC since 2001. We favour
Psytrance, Hard Trance and Epic
Trance, but also play Acid Trance,
Deep Trance, Hard Dance and even
some Breakbeat. We also love a
i good Classic Trance Anthem, espe-
j daily if it's remixed. Current influ-
| ences include Sander van Doom,
Gareth Emery, Nick Sentience,
\ Ovnimoon, Ace Ventura, Save the
i Robot, Liquid Soul and Astrix. Older
influences include Union Jack,
Carl Cox, Christopher Lawrence,
I Whoop! Records, Tidy Trax, Plati-
i pus Records and Nukleuz. Email:
\ djsmileymike@trancendance.net.
\ Website: wwwtrancendance.net.
I so sAUcioiis"
(ElectrolHip Hop) 12am-130am
. Skadz and Sprocket Doyle bring you
\ Electro Swing, Alternative Hip Hop,
| Dubstep, Acid Jazz, Trip Hop, Local
; and Canadian Content - good and
i dirty beats.
(Eclectic) %-Uam
Your   favourite    Brownsters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights.
1 (7a//yi2-l:00pm
j Join host Marie B and discuss spiri-
i tuality, health and feeling good.
i Tune in and tap into good vibrations
| that help you remember why you're
; here: to have fun!
I (Pop) l-3pm
! An indie pop show since 1999, it's
\ like a marshmallow sandwich: soft
I and sweet and best enjoyed when
poked with a stick and held close
| to a fire.
| THE WB   "*
\ (Eclectic) 4-5pm
( Explore the avant-garde world of
! music with host Robyn Jacob on
\ the Rib. From new electronic and
\ experimental music to improvised
| jazz and new classical! So weird It
; will blow your mind!
j iM!5-6pm
j Vancouver's only live, volunteer-
I produced, student and community
j newscast. Every week, we take
! a look back at the week's local,
| national and International news,
j as seen from a fully independent
| media perspective.
| (Rogue Folk, Indie SIS) 6-7:30pm
\ Lyric Driven Campfire Inspired:
j Playing Acoustic Punk, Anti-Folk,
Alt-Country, etc. Tune in for live
| acts, ticket giveaways and interviews, but mostly it's just music.
Submit to: music@sorethroat-
\ sclappinghands.com. Find us on
; Facebook!
(Cinematic) 7:30-9pm
Join gak as he explores music from '.
the movies, tunes from television j
and any other cinematic source,
along with atmospheric pieces, cut- :
ting edge new tracks and strange ;
old goodies that could be used in |
a soundtrack to be.
(Jazz) 9pm-12am
Vancouver's longest running prime-
time jazz program. Hosted by Gavin j
Walker. Features at 11pm. June 4: ■
Celebrating today the birthday
of Jazz Master Oliver Nelson with ■
his masterpiece "The Blues and
The Abstract Truth". June 11: \
The annual Jazz Festival feature, j
Three hours with Gavin and Jazz |
Fest Media Director John Orysik as j
co-host. June 18: Trumpeter Woody !
Shaw and his finest band at New [
York's Village Vanguard. "Stepping I
Stones" will blow you away! June |
25: Celebrating the birthday of an
unheralded guitar master: Johnny ■
Smith: "Moonlight in Vermont".
(Rock) 12-l:00am
Formerly on CKXU, Canada Post- j
Rock now resides on the west coast j
but it's still committed to the best j
in post-rock, drone, ambient, \
experimental, noise and basically
anything your host Pbone can put
the word "post" in front of.
(Roots) 6-8am
Bluegrass,   old-time   music,
and its derivatives with Arthur
and the lovely Andrea Berman.
(Eclectic) 10:30-11:30am
Fuzzy and sweet, a total treat! Tune
in to hear the latest end greatest
tracks from independent and Vancouver bands.
(Eclectic) U-.ZQam-lpm
An eclectic mix of Canadian indie;
with rock, experimental, world, reg-
gae, punk and ska from Canada,
Latin America and Europe. Hosted
by Oswaldo Perez Cabrera.
(FolklExperimental) lpm-2pm
A source text for where sonic experi-
mentation meets the folk tradition.
Attention to d.i.y culture, http://
(World) 2-lpm
Sample the various flavours of
Italian folk music from north to
south, traditional to modern on \
this bilingual show. givetheboot®
gmail.com • http://giveemtheboot.
(Talk) J-3:30pm
Bringing UBC's professors on air to
talk about current/past events at
the local and international level.
Aiming to provide a space for faculty and doctoral level students to
engage in dialogue and share their j
current research.http://ubcproftalk.
wordpress.com • proftalk@gmail. !
Promoting skepticism, critical !
thinking and science, we examine !
popular extraordinary claims and j
subject them to critical analysis.
An alternative and critical look
at our changing urban spaces.
www.thecityfm.wordpress.com. j
Follow the program on Twitter: j
(Hardcore) 6-8pm
Punk rock and hardcore since 1989.
Bands and guests from around the
(Dance) 8-9pm
(Hip-hop) V-llpm
For the world of Cabaret. Tune infer j
interviews, skits, musical guests
and more. It's Radio with sass!
(Eclectic) 8- 10am
Live from the Jungle Room, join radio
host Jack Velvet for an eclectic mix of
music, sound bites, information and
inanity, dj@jackvelvet.net
(Eclectic) 10-11:30am
(Eclectic) 11:30- lpm
Various members of the CiTR's
student executive sit In and host
this blend of music and banter
about campus and community
news, arts and pop culture. Drop
Ins welcome!
Tii^7>Rolicfrai^nf ~
(Talk) 1-2 pm
Alternating Wednesdays
There once was a project named
Terry, That wanted to make people
wary, Of things going on In the world
that are wrong without making it all
seem too scary.
(Talk) l-2pm
Alternating Wednesdays
(Talk) 2-Zpm
Exploring the mindset of an outsider looking in on Earth. Featuring
interviews with leading thinkers in
the area of sustainable economics
and our global ecological crisis.
(Eclectic) 4-5pm
Alternating Wednesdays
Movie reviews and criticism.
Alternating Wednesdays
Discorder Magazine now has its
own radio show! Join us to hear
excerpts of interviews, reviews
and more!
(Tcfecf/c) 6:30-8pm
Alternating Wednesdays
All-Canadian music with a focus
on indie-rock/pop. anitabinder®
ffc/ecf/cJ 6:30-8pm
Alternating Wednesdays
Dedicated to giving local music
acts a crack at some airplay. When
not playing the PR shtick, you can
hear some faves you never knew
you liked.
rTtoofcj 8-10pm
Two hours of eclectic folk/
roots   music,   with   a   big
emphasis on our local scene. C'mon
in! A kumbaya-free zone since
1997. folkoasis@gmail.com
(Talk) 10-1 lpm
Your weekly dose of education
and entertainment in the realm
of relationships and sexuality.
(Hans Kloss) llpm-lam
Pretty much the best thing on
{Talk) S-lOam
Vancouver's got a fever, and the only
prescription is CITR's "Relentlessly
Awesome." Each and every week,
Jason attempts to offer adrenaline-
pumping, heart-stopping, hands-
over-the-eyes suspense. He is a fan
of various genres, and a supporter
of local music. DUNCAN'S DONUTS
Eclectic) 12-lpm
Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. http://duncans
(Punk) l-2pm
Punk rock, indie pop and whatever
else I deem worthy. Hosted by a
closet nerd, www.weallfalldown-
Underground and indie comix. Each
week, we interview a different creator to get their unique perspective
on comix and discuss their upcoming works.
(Sports) 3-.30-Apm
Your weekly roundup of UBC Thunderbird sports action from on campus and off with your host Wilson
Wong. '
(Eclectic) 4-5 pm
Playing various Mantra music, this
show is about personal and global
transformation through chanting
and utilizing sound vibration for the
development of higher consciousness. Hosted by Raghunath with
special guests.
(Eclectic) 5-6 pm
It's like mixing unicorn blood with
Christopher Walken's tears, and
then pouring it into your ears.
(Eclectic) Alternating Thursdays
Celebrating the message behind
the music: Profiling music and
musicians that take the route of
positive action over apathy.
(Eclectic) Alternating Thursdays
Explore local music and food with
your hosts, Brenda and Jordie. You'll
hear interviews and reviews on eats
and tunes from your neighbourhood,
and a weekly pairing for your date
(Experimental) 7:30-9pm
(Live Music) %-\\pm
Featuring live band(s) every week
performing in the CiTR Lounge. Most
are from Vancouver, but sometimes
bands from across the country and
around the world.
(Soul/Dance) 11 pm- 12am
Grooving out tunes with a bit of soul
and a lot of funk, from the birth of
rhythm and blues to the golden age
of motown, to contemporary dance
remixes of classic soul hits.
(Eclectic) 12-6am
It could be global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
(Eclectic) 1:30-9am
An eclectic mix of indie rock, hip-
hop and reggae to bring you up with
the sun.
(Talk) 9-10:00am
Hosted by David Barsamian.
(Eclectic) 10-1 lam
Promoting upcoming live concerts
and shows in Vancouver, be they
local, national, or international
(BlueslEclectic) llam-12pm
Every Friday host Dorothy Neufeld
sinks into blues, garage and rock
n' roll goodies!
CiTR has revived it's long-dormant
beginner's show It Ain't Easy Being
Green! With the support of experienced programmers, this show
offers fully-trained CiTR members,
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(Eclectic) l-2pm
Alternating Fridays
An international mix of super-
fresh weekend party jams from
New Wave to foreign electro, baile,
Bollywood and whatever else.
(Nardwuar) 3-.30-5pm
Join Nardwuar the Human Serviette for Clam Chowder flavoured
entertainment. Doot doola doot
doc.doot  doo!   nardwuar©
(Talk) S-Spm
See Monday for description.
(Eclectic) 6-7:30pm
Join your host Matthew for a weekly
mix of exciting sounds, past and
present, from his Australian homeland. And journey with him as he
features fresh tunes and explores
the alternative musical heritage
of Canada.
(World) 7-.30-Vpm
(Dance/Electronic) 9-10:30pm
The Bassment is Vancouver's only
bass-driven radio show, playing
Glitch, Dubstep, Drum and Bass,
Ghetto Funk, Crunk, Breaks and UK
Funky, while focusing on Canadian
talent and highlighting Vancouver
DJs, producers and the parties they
(Industrial) 12-4am
Industrial, electro, noise, experimental and synth-based music.
thevampiresball@gmail.com the-
(Roots) 8am-12pm
A personal guide to world and roots
music—with African, Latin and
European music in the first half,
followed by Celtic, blues, songwriters, Cajun and whatever else fits!
(Punk) 12-lpm
On the air since 2002,
playing old and new punk on the
non commercial side of the spectrum. Hosts: Aaron Brown, Jeff
"The Foat" Kraft. Website: www.
and www.facebook.com/genera-
(Metal) l-3pm
Vancouver's longest running metal
show. If you're into music that's
on the heavier/darker side of the
spectrum, then you'll like it. Sonic
assault provided by Geoff, Marcia
and Andy.
(Roots) 3-bpm
From backwoods delta low-down
slide to urban harp honks, blues
and blues roots with your hosts
Jim, Andy and Paul, codeblue®
(World) 5-6pm
The best of mix of Latin American
music, leoramirez@canada.com
(World) 6-7pm
News, arts, entertainment and
music for the Russian community,
local and abroad, nashavolna.ca
(Electronic/Experimental) 8-9pm
Strange and wonderful electronic
sounds from the past, present and
future with host Gareth Moses.
Music from parallel worlds.
(Dance/Electronic) 9-11 pm
If you like everything from electro/
techno/trance/8-bit music/retro
'80s this is the show for you!
www.syna pticsa nd wich. net
Randophonic is best thought of as
an intraversal jukebox programmed
by a vast alien living intelligence
system which has no concept of
genre, style, nation states or even
space-time relevance.
(Generative) 2am-6am
Peter Courtemanche. Music ever-
different and changing, created by
a system. A constantly evolving,
never repeating, mix. 100% local
and new. (212) Productions
Fresh is Best Salsa
Temple of the
454 W Cordova St.
115 East Pender St.
2972 W Broadway
1131 Howe St.
Modern Girl
2695 Main St.
Bonerattle Music
Gargoyles Tap and
Skateboard Shop
2012 Commercial Dr.
People's Co-op
True Value Vintage
2337Jvlain St.
3357 West Broadway
710 Robson St.
Devil May Wear
1391 Commercial Dr.
Australian Boot Com
3957 Main St.
Vinyl Records
2029 W 4th Ave.
Project Space
319 W Hastings St,
1968 West 4th Ave
222 E Georgia St.
Displace Hashery
i nfo@projectspace .ca
3293 West 4th Ave.
Hart and Sole
The Wallflower
Clothing Inc
Prussin Music
Modern Diner
2016 Commercial Dr.
843 Granville St.
3607 W Broadway
2420 Main St.
Dr. Sun Yat-Sen
Chinese Garden
Band Merch Canada
578 Carrall St.
Highlife Records
Red Cat Records
True Value Vintage
1317 Commrecial Dr.
4332 Main St.
4578 Main St.
Banyen Books
Dream Apparel +
Articles for People
3608 W 4th Ave.
Hitz Boutique
The Regional
311 W Cordova St.
316 W Cordova St.
Assem bly of Text
UBC Bookstore
3934 Main St.
6200 University Blvd
Baru Cafe
2535 Alma St.
The Eatery
Illusion Studio/Spa
3431 W Broadway
3249 West Broadway
R/X Comics
Woo Vintage
2418 Main SC
Beatstreet Records
4366 Main St.
439 W Hastings St.
The Fall Tattooing
Lucky's Comics
644 Seymour St.
3972 Main St.
Rut us' Guitar Shop
2621 Alma St.
Zoo Zhop
The Bike Kitchen
223 Main St.
6138 SUB Blvd.
Flaming Angels
Neptoon Records
3561 Main Street
Scratch Records
4307 Main St.
1 East Hastings
Iffim      fl  CiiiiiittlA «r*€ ffciYD Hiiwffl
^m a rnenus 01 li i k Lara
r^TO^—**!       scores you sweet deals at
Ufltfi KJ       Vancouver's finest small
mvtmmwmim     merchants and supports
CiTR Radio 101.9 FM.
lwww.citr.ca JfcSfcNts*
lettering by
illustration by
Music Waste 2012 runs from June 7 to 10,2012 (with
a couple of things before)! Buy your pass at Zulu,
RedCat, Neptoon, and Audiopile before they're
gone! $15 plus service charges. All shows are $5
admission without a pass! We've made every effort
to bring you a comprehensive and correct guide,
but the schedule is subject to change. Check in at
musicwaste.ca for updates and more info!
201Z >HE PBPKWW CAFE „_      TIE CHINA ClOW>7J0lnw?
1636 Venables St 5 24 Main St.
Comedy Waste presents Blind Panther Comedy 8pm Comedy Waste presents 10 SPEED Improv 8:30pm
Featuring: Graham Clark, Ryan Beil, Dave Shumka, Jason Bryden, Jimmy Hosted by: Tom, Nick, and Devin Featuring: Sunday Service,
Barnes, Dylan Rhymer, Shlomo McPeake, Katie-Ellen Humphries, Ben Ghost Jail, Hip.Bang!, Sister Act, The Who-Tang Clan
h.rr=sra J
UBfcMESMf     £*"  Oxn«oyM
/   ~" \ ^^J IQ43 Cornwall Ave.
^—1  jr^    /iPnCXY""—7 Comedy Waste presents Ladies Luncheon 9pm
m     JbU   MlMfkjL JLCT Hosted by: Jane Stanton Featuring: Bita Joudaki, Alicia Tobin,
^g£p^  %00' ,«?Wl*^^^ Katie-Ellen Humphries, Rachel Burns
 ' ■ ■	
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ 1489 E Hastings SL
JfJl^^jJj^^llj^^^jJjJU Vincent Parker (Tiki) npm Telefoam (Tiki) 10:15pm   $
New Krime (Tiki) 9:30pm B-Lines (Cabaret) 12:15am
*fe|Jp*  /^ ll til A   Cl/ttlK *TUIEATDE Capitol 6 (Cabaret) 11:15pm Greenback High (Cabaret) 10:15pm
I lUL  wHBW  mW   #f#Erf#J|C White Poppy (Cabaret) 9:15pm Dirty Spells (Cabaret) 8:15pm
5 24 Main St. Peace (Hideaway) 12am The Godspot (Hideaway) npm
Colin Cowan & The Elastic Stars 12am The Butterfield Review npm Velvet Fist (Hideaway) 10pm
RAlMAy mB >he mutt® cm w
575 Dunsmuir St. 1636 Venables SL
The Hunting 12am TheBurnettes 11:15pm Anthropology of Love 10:30pm    Comedy Waste presents SHOW US YOUR WITS: Varied Show 8pm
^ Featuring: Amber Cella & Idle Mids, Jenn Perrin, Alan Pavlakovic, Beth Garner,
I      f fcl ]0 £k X^ if     ^L \j I I M 1^ P* Andrew Barber, Jordan Krahn, Jen Pielak, April O'Peel, Little Miss Risk,
Lt 1 C#/*'l **0 O \fy*J** Wm? Connie Lingus, Calamity Kate
300 W Georgia SL
Beatroute Presents Higher Learning GYOW #%^01Aw A **w   l"ki    w #t *\
Philoceraptor 12am Dead Soft npm \0\Jl *wtwi+  J5**} *w\.%f  (all ages)
4470 Main SL
Comedy Waste presents Say Wha?! Readings of Deliriously Rotten
Writing 8pm Hosted by: Sara Bynoe Featuring: Devon Lougheed,
Leigh Eldridge, Rachel Burns, Stuart Popp, More readers TBA.
Info at: www.saywhacomedy.com
223 Main St.
Inherent Vices 10:30pm Bad Channels 9:30pm
Movieland 8:45pm Koko8pm SLICKfryj-tMS
3475 Main St. (all ages)
Comedy Waste presents
Amuse Bouche! 8pm
Hosted by: Riel Hahn and
Ian Boothby Performers: TBA
524 Main St.
Comedy Waste presents The HERO SHOW LIVES 8:30pm
Hosted by: Cameron MacLeod Featuring: Dave Shumka, Andrew Barber,
Chris Kelly, Conor Holler (Via Skype), Emmett Hall, Ryan Steele, Colin
Cowan, Aaron Merke, Lauren Cochrane, Camiel Pell, Amy Goodmurphy
Ricksmw   P$Hm
NamShub npm
Johnny de Courcy 10pm
GalGracen 9pm
tormix    law u»'s
Woolworm 10:30pm
WATERS 9:45pm
Hierarchies 9pm
362 Powell St.
Bleating Hearts 11:30pm
Sleuth 10:45pm
TheeAhs 10pm
403 E Hastings St.
Sex Church 12:30am
Hole in My Head 11:45pm
Spider Legs npm
Lie 10:15pm
223 Main St.
Hemogoblin 12:30am
Good Night Buffalo 11:45pm
Trimesters npm
Spell 10:15pm
769 E Hastings St.
254 E Hastings St.
Apollo Ghosts 12:15am
TheCourtneys 11:30pm
Hermetic 10:45pm
Cloudsplitter 9:45pm
TheShilohs 2:30am
Aquanaut 1:45am
Violet Age iam
Bummer High 12:30am
BeatRoute Magazine Office #201 - 280 E Hastings
Citadels 10:00pm Inherent Vices 10:45pm
Girlfriends and Boyfriends 11:30pm Defektors 12:15am
Evy Jane 1:30am
Gang Signs 12:30am
Thin Gaze 11:30pm
Spring Break 10:30pm
Trail of Broken Treaties 9:30pm
524 Main St.
White Knife 12am
3561 Main St.
Yung Mums 4:30pm
Crystal Swells 3:45pm
Slim Fathers 3pm
Previous Tenants 2:15 pm
Bertha Cool 1:30pm
3972 Main Street
Slight Birching 8:30pm
Kellarissa 7:30pm
Little jungles 6:30pm
>H£ 6i£rWPJ?£
395 Kingsway
Slam Dunk 10:15pm
Brazillian Money 9:30pm
Eeek! 8:45pm
World Club 8pm
524 Main St.
Comedy Waste presents Pump Trolley: Sketch Over Everything 8:30pm
Featuring: Pump Trolley Comedy, Peter 'n' Chris, Cam MacLeod and Colin
Cowan, Furious Anger Fun Hour, The Ryan and Amy Show
195 E 26th Ave.
Fieldhead 10pm
Hallow Moon 9pm
4332 Main SL
Reverter 5pm
The Lost Lovers Brigade 4pm
Weathered Pines 3pm
4340 Main St.
Freak Heat Waves 5:30pm
Chris-a-rifEc 4:30pm
223 Main SL
Too High Crew 11:45pm
Babysitter 11:15pm
Isotopes 10:15pm
Menopause 9:30pm
$0&UEN   Q?^
403 E Hastings St.
Ketamines 12:30am
B.A. Johnston 11:45pm
Korean Gut 10:45pm
Phoenix Thunderbird 10pm
(all ages)
Watermelon 3:15am
Cascadia 2:30am
Koban 1:45am
Sightlines 11:30pm
Bleach Babes 10:45pm
JayArner 10pm
245 E Broadway
Victories 7:15pm
Newport beach 6:30pm
3 W 8th Ave.
Cowards iam
High Drops 12am
Needs npm
Real Boys 10pm
769 E Hastings St.
The New Values 1:15am
Juvenile Hall 12:15am
Nurse 11:15pm
Big Nothing 10:15pm 0
W)(¥TO       AOUNTAX
A^W       TOti> ^TAO^V
•MUl   1^s     IffiAOift
^l/flMrl V 1489 E Hastings St.
Pleasure Cruise 5:15pm
Village 4:30pm
Twin River 3:45pm
Weed 3pm
BeatRoute Magazine Office #201 - 280 E Hastings
BeatRoute Magazine presents: Each Other (Halifax) 10pm
Hags (Seattle) 10:45pm Elvis Was a Blonde 11:30pm UNDER REVIEW    JUNE 2012
(Paper Bag Records)
The psychedelic indie duo with the
funny name are back with their second album, Death Dreams. Originally a
vehicle for experimentation by guitar-
is t/vocalis t/bass pedalist/gadget guru
Paul Saulnier, he eventually recruited
drummer Benjamin Nelson and
they've had nothing but explosive success since. In addition to their 2010
album Meet Me At the Muster Station,
PS I Love You have released a slew
of singles and EPs, including a collaboration with Diamond Rings, that
solidified them as one of Canada's
best experimental rock bands.
Death Dreams shows no signs
of the band slowing down. The
dreamy title track opener leads
into stripped down rock and roll
about metaphorical household
chores in "Sentimental Dishes,"
and the rest of the album oscillates between moody teenage
psychedelics to finger blistering
guitar solos, with a backdrop
full of fuzzy guitars, looped and
weirdly tuned instruments.
For better or worse, there's a
lot of the feel of their live show in the
record that, perhaps if from another
band it would feel like they skimped
on the post-production. ButPS I Love
You's fuzzy and distorted sound is a
purposeful choice here, and it mixes
with Saulnier's oddly strained voice
and adds an incredibly raw sound to
the record.
The trade off is that sounds are
muddied and lyrics are lost to distor
tion, especially on "How Do You."
Death Dreams is a record about raw
and unrefined emotions, which are
expressed in just about every way.
—Tristan Koster
(First Love)
Never mind the silly bio on their
Bandcamp page, complete with mystifying, pretentious phrases like "The
weird mixed-language of millennial
Vancouver: a creole of rugged Canadi-
ana and rap vernacular." No Sinner's
self-titled debut EP is a solid effort
from the young band, who have been
plying their trade for over a year.
Everything about No Sinner is
slick, but in the best possible way:
lead singer and songwriter Colleen
Rennison's delivery, to her backing
band (Ian Browne of the Matthew
Good Band on drums, Black Mountain's Matt Camirand on bass), to the
name itself ("Rennison" spelled backward turns out to be a very evocative
moniker for the band).
With her powerful gospel vocals,
Rennison belts out the lovelorn lyrics
track, "CallMyName," things become
increasingly, and perhaps uncomfortably, Oedipal (not that's a bad thing—
far from it). "Running" might refer to
such lyrical chestnuts as "Canadian
she co-wrote with ex-Hot Hot Heat
bassist Parker Bossley over blues-
rock recorded as hot as the denim
short shorts on the cover art. One
Herohill review drew comparisons
to Etta James and Janis Joplin. At the
risk of making a tasteless, tortured
parallel, here's one more: Whitney
Houston at her most soulful.
Rennison's lyrics seem to speak
of some definite issues. By the third
thighs," and there's a spoken word
bit stuffed (a la "Video Games") in
the middle of "Call My Name," but the
unpretentious songwriting of both
songs distances them from Lana Del
Rey levels of dopiness.
By the time the EP's coda and
title track, "Boo Hoo Hoo," rolls
around, one thing's for certain:
No Sinner are, if anything, quite an
accomplished band.
—Chris Yee
Weed have shown significant
growth in their sound on their latest EP Gun Control. This is Weed's
first release as a full band as
Will Anderson is joined by Kevin
Doherty on second guitar, Hugo
Noriega on bass and Bobby Siadat
on drums, and the group is reaping
the benefits of a fuller and certainly
more abrasive sound.
Opener "Tie to Everything You
Own" roars out of the gate with a ferocious blast of overdriven guitar noise
anchored by the sturdy rhythmic base
that Noriega and Siadat provide. The
guitar playing throughout owes a debt
to J. Mascis of Dinosaur. Jr., as each
of the EP's four songs are awash in
wave after wave of heavily distorted
The deliberately lo-fi production quality accentuates the sheer
volume that the collective generates
as Anderson's vocals blend with the
noisy assault. As a resulL the lyrics
for the majority of Gun Control
are largely indecipherable, but
thankfully the vocal melodies
remain discernible.
Of the four tracks, "Ben's
Tour" leaves the greatest
impact as its surging central
riff coupled with its quiet-loud
dynamics remind one of Siamese
Dream-era Smashing Pumpkins, while Anderson delivers
an Cobain-esque drawl on the
closing track, "Even Black."
Gun Control oozes with catchy riffs,
confidence and purpose, and with it
Weed prove that they have only begun
to flourish.
—James Olson
(The Storyboard Label)
The opening track to Hard Drugs'
sophomore effort, Party Foreuerer, "Hit
the Ground Runnin'" does just that:
kicking the album off with lo-fi power
pop guitar, recalling a post-modern
take on "Jessie's Girl," before a lone
bassline heralds a symphonic explosion of lush teenage bliss. The track
features the album's best ready-for-
the-summer lyrics, including the anti-
anthemic statemenL "I like to hang
out, but who doesn't?"
Hard Drugs is the brain child of
Blood Meridian's Jeffry Lee and his
wife Jenni Lee Nelson. Like Lee's previous group, Hard Drugs mixes roots
and folk music with a modern indie
rock ethos and atmosphere.
The album eschews the long-form
storyline of Hard Drugs' previous
self-tided LP for a collection concise
rootsy indie pop tunes. The album's
country-fried style is most apparent,
unsurprisingly, on "I Wanna Move
to the Country," where the urbanites
pine for a simpler life and marital
bliss overtop a hip-shakin' hoedown that Lou Reed would dig.
Most tracks feature Lee and
Nelson's close harmonies blending
. together like an East Van hipster version of the grievous angels, Graham
Parsons and Emmy Lou Harris.
The album closes on a euphoric
note with the one-two punch of "Love
Won't Tear Us Apart" and "1500
Miles." The former sounds exactly
how one would imagine a Bizarro version of the Joy Division classic would
sound like: organic, optimistic, and
celebratory. "1500 Miles" is a Stones-
esque riff-rocker and a stuck-on-the-
road anthem.
On Party Foreverer, Lee and company offer the perfect soundtrack
to a never ending summer of Friday
barbeques and Saturday hangovers.
If your friend's got a porch and Palm
Bays, you may want to think about
bringing some Hard Drugs to her
next party.
—Brent Mattson
(You've Changed)
Apollo Ghosts' 2012 album, Landmark, is like a pack of Skittles that you
consume one after another until they
are finished, and then you're sweetened. It is the kind of album thatyou
sing along with before you even know
the words, but soon you will know
them because you will have listened
to them fifty times in a row.
The album opens with irresistibly
anthemic "What are Your Influences?"
This song sets the tone, which is
essentially a series of anthems for
people who are under pressure to
succeed, but always feel like average
Joes. EVen the break-up slow-jam, '
"So Much Better When You're Gone,"
relates a familiar kind of post-love
pressure over who will be more happy
or less angry.
Competition and pressure to succeed are relatable troubles that are
well-suited to the band's American-
pie style of rock and roll. Apollo
comes from getting along, living
your own life and not worrying about
it. The final track, "Will You Forget
Me," a song about what happens to
a person after they're dead, offers
this strangely poignant comfort:
"There's no memory at all, there is
an island."
—Penny Clark
Ghosts' style sounds like a happy kind
of pop from the past that has made
it to the present, slightly weathered
and a little jaded.
Landmark offers vindication for
averageness and the pleasure that
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Yf shindig
It's that time again. Don't miss the fun.
Submission deadline August 6, 2012.
Send 3 original songs to:
WEBSITE/INFO/SPONSORS: http://shindig.citr.ca RSVP,   PARTY   INFO,   PHOTOS   &  VIDEOS
Friday June 1 st   Trent Cantrelle (LA) at CIRQUE
Saturday June 2nd   Hector Fonseca at PONi
Thursday June 7th   Top Less Gay Love Tekno Party
music video release party
Friday June 8th   Frederlco Scavo at CIRQUE
Saturday June 9th   Tune Brothers at PONI
Wednesday June 13th   Friends with Help Music Video Release
with Evil Ebeneezer, Chadio, Spits N Giggles,
Attikus & GBoxx, Cloth Brothers & OJ K-Rec
sponsored by CITR 101.9
Wednesday June 13th
in the FIVESIXTY basement, MISBEHAVE
with Potatohead People, Noble Oak & Motions
Friday June 15th   Humans "Traps" Ep Release at CIRQUE
with Cosmic Kids, Pat Lok, and Cyclist
sponsored by CITR 101.9
Thursday June 21st
Friday June 22nd
Saturday June 23rd
Wednesday June 27th
Friday June 29th
Saturday June 30th
Sunday July 1st
Tre Nyce music video release show
Right Hand Barber, SKLA, Rachel Sehl
& Pure AddIctlon at CIRQUE
w.facebook.com/FIVESIXTY -
Shsrron Needles at PONI
in the MISBEHAVE basement with Jolin Ras,
James Coward & Headspaee
MSH Resident DJ night at CIRQUE
DJ Chris Cox at PONI
/ww.f ivesixty.ca
www.twttler.com/FIVESIXTYtalk  •  www.youtube.com/FIVESIXTYtalk
M> Y D L^p*
May u • Interurban Gallery
Synthcake launched their new EP
Molding Through Seasons to an enthusiastic crowd at the Interurban Art
Gallery on May n. They turned the
night into a full experience too,
incorporating an exhibit of modern—
maybe post modern—art by the duo
Jorden Blue and David James Doody.
The art complemented Synthcake's
own sense of style, but by the time
they actually took the stage you had
pretty much forgotten it was there.
There was also stage lighting from an
overhead projector shining through
coloured transparencies and liquids
onto the band and the wall behind
them. The sheets and liquids were
shuffled around and tuned in and out
of focus; an interesting idea, but in
practice the effect ranged from distracting to headache inducing.
After an hour and a half of art,
openers Thee Ahs played, and were
clearly excited to be there. They played
with a lot of energy and everyone was
having a lot of fun, but their noisy
pop/punk didn't click with the audience. Still, they have a lot of talent
and aside from a screeching (literally)
saxophone segment, they showed a
lot promise. Thee Ahs will do great
things when they find their groove.
The popular and talented Winter-
mitts were up next, and it's only when
you see them in person can you appreciate how much skill and hard work
goes into the music. Plus, they appeal
directly to my love of horn sections in
rock music. Evidently, everyone was
enthralled by and singing along to
"Birds," and "Sharks" really showed
offtheir ability to layer together their
instruments to stunning effect.
Finally we came to the main act,
and from open to close, they crushed
it. Synthcake's music is weird and
atmospheric on the album, butwhen
you hear it live it has a darker edge
and the carnival-esque quality stands
out to the point that their songs will
make you afraid of clowns all over
again. Lana Pitre's synth loops along
with Kristy-Lee Audette's trumpet
and glock come together to produce
a positively deranged sound on new
track "Molding Through Seasons,"
while older "Dancing Rain" took on
a whole new life when performed
live. It was a visceral performance,
and they topped it all off by serving
a synth-shaped cake made by Pitre's
parents. It was a bizarrely fitting end
to a crazy show.
—Tristan Koster
May 4-The Waldorf
Sex Church opened the sold out Ty
Segall show at the Waldorf on Friday, May 4, and played a loose and
somewhat detached bunch of songs
for the small excited crowd. They
threw down a more experimental
than usual set of neo-psych garage
rock and spent the majority of the time
stretching tracks with solid progressive breakdowns. The band closed
with "Mistaken," which had a steady
build and noisy breakdown, and indistinguishable shouted, repetitive lyrics
over a thrashing grimy guitar riff that
almost pushed past its limits. It tied
the set together with a heavy memorable finish.
Vancouver-bred three-piece Nii
Sensae with Daniel Pitout on his
locomotive drum set, Andrea Lukic
on bass and vocals and Brody McK-
night crushing his guitar strings, took
the stage and revved up the growing
audience with some heavy percussion
and thunderous distortion. Lukic led
the trio through rugged tracks "Whis- ■
pering Rule" and "Curdle Ale Cream"
on the strength of her demon scream.
If you haven'tyet heard these guys live
yet, you should. And practice your
elbow throw; you'll need it.
Following Nii Sensae was a tall
order. The impressive thing about
LA's White Fence - beyond the guitarist's mustache - was their ability to
seamlessly weave grungy and progressive guitar swells in amongst their
poppy surf punk sound. The music
was melodic and easily accessible.
"Swagger Vets and Double Moon"
started with a promising atmosphere
of bouncy distorted guitar lines atop
centrepiece Tim Presley's slack drawl,
then dissolved into a Queens of the
Stone Age-esque noise-swell, which
energized the otherwise chill jam and
kept the audience moshing.
Headliner Ty Segall's blend of
'70s guitar and California garage rock
is legendary. There's no question as to
why this guy has over six other projects on the go throughout the San
Francisco Bay area. He's got classic shreddy fingertips that bands such as
the Perverts and White Fence want -
and have - their hands on. Segall's
prowess was best showcased when
they played "Girlfriend," where his
sweet choppy '70s guitar swagger
and old school yelp sent the crowd
to surf, and even Segall floated atop
the mosh pit while ripping his final
solo before the encore. He was the
show to end the audience's hunger
and his set stood out amongst the rest
of the acts. He may have even covered "Paranoid" by Black Sabbath,
better than Black Sabbath could play
it themselves.
—Dylan Beatch
May 18-TheCobalt
Die Mannequin's Vancouver stop at
the Cobalt was certainly a memorable
affair, for better or for worse. Local
guitar/drum duo Victories were the
first to take the stage. With their hair
tied into buns and adorned in blazers
and sequined tops, Vic (drums/keys)
and Tory (guitar) pounded through a
brief but thoroughly enjoyable set of
quirky garage rock numbers. "Wild
Cat" rode a '60s surf rock beat, while
set closer "Bake You A Cake" bashed
away with a nasty blues rock riff. In
spite of the small crowd present for
Victories set, the duo made up for it
with a unique sense of style and commanding stage presence.
The same unfortunately could
not be said about the Lifetakers.
This five-piece lacked a coherent
image, as many members looked
like they were picked out from
other bands. Their '70s inspired
blend of rock was largely forgettable with the exception of a thrashing, punky cover of Aerosmith's
"Toys in the Attic". The group was
subject to a fair bit of heckling
from the growing crowd, a problem which was compounded by
some rather snarky remarks made
by the lead singer Marcus Ireland
between songs.
Touring mates Dearly Beloved
invigorated the crowd with their high-
energy set of rousing fist pumpers.
Bassist Rob Higgins was especially
fun to watch as he thrashed around
the stage maniacally, going so far
as leap off the stage mike stand in
hand to sing in the mosh pit. The
vocal interplay between Higgins and
Niva Chow highlighted the group's
inspired blend of punk, indie pop,
and desert rock. Dearly Beloved were
a shot of life after the rather bland set
put on by the Lifetakers.
After an exceedingly long sound
check, headliners Die Mannequin
finally took the stage. Front-woman
Care Failure was the star of the night,
graciously inviting audience members onstage to do backup vocals
for the band, climbing tables, and
jumping into the crowd. What could
have been the best set of the night
was unfortunately marred by some
major technical issues including
horribly muddled audio and a number of tuning problems. This meant
that the group didn't really hit their
stride until they performed "Dead
Honey," but once Die Mannequin had
it all together they were on fire. Their
aggressive cover of Michael Jackson's
"Beatlt" seized everyone's attention.
The set concluded with a noisy, chaotic 15 minute plus noise jam, which
to some ears seemed out of place with
the group's character as a goth/punk
unit, driving even this reviewer out of
the venue. Perhaps such an exercise in
atonal fury was the by-product of the
group's frustration with the technical
problems that dogged a good chunk
of their set In any case, the conclusion
of Die Mannequin's set brought the
end to a memorable, if not surprising, night.
—James Olson
May 19 • The Biltmore
An early show is almost never early.
It always seems to stay up past its
bedtime. So despite the intended 8
p.m. start for the first night of Mode
Moderne's Strange Bruises East Coast
Tour, the inhabitants of The Bilt- more stood idle till well past nine.
If one had hoped that the fashionable crowds were merely running
behind schedule, they would have
been disappointed; on this night,
the best the Biltmore could muster
was a half-empty hall. But with Mode
Moderne's morose reputation and
hauntingly familiar sound, the spacious atmosphere was perhaps a more
suitable venue for them to sing their
somber tunes.
Draped in coloured smoke and a
dim glare, like traffic lights through
fog, opener Dead Ghosts set the stymied crowd in motion. Dishing out
ditties such as "iooo Joints" and "I
Want You Back," their grungy surf
rock, reminiscent of bands like
Wawes and Black Lips, bathed the
audience in the warm rays of the
sun. Notwithstanding this comparison, Dead Ghosts sound is far from
wholly defined from such revivalism.
Although at times it seemed as if the
audience was locked within a conch
shell, unable to escape the echo
chamber created by their occasionally
over amplified reverb, a dance hall
edge succeeded in cutting through
their entire set. Bryan Nicols' erratic
vocal droning blasted the floor with
sand and glass and made us all trip
the light fantastic.
Upon Mode Moderne's procession onto the stage, the crowd was
cast into an uncertain Umbo. Smaller
than it had been during the opener,
a subtle indecision could be felt
whether it was dancing or brooding
that the crowd should be engaged in.
The reputation Mode Moderne has
made for themselves over the past
few years has left them with an overemphasized, superficial comparison
to bands of the 1980s. To the casual
listener, Phillip Intild's beautifully
monotone voice and on-stage eccentricities place him and his band in
the shadow of the late Joy Division.
But Mode Moderne is so much more
than a casual throw back. Clinton
Lofkrantz's driving bass lines and
Felix Fung's pinching guitar riffs
on songs such as "Real Goths" and
"Electrocute Me," accompanied by
Rebecca Law Gray's soft piano and
calming voice, are refreshing in a way
that bands out of the 1980's never
were, and never could be. Mode Moderne is an ensemble of times both past
and present Playing the title track off
their new album, "Strange Bruises,"
sent a current through the crowd that
stood hairs on end. No longer did the
spatial arena puzzle us; this music
was meant to be grooved to. And
with Intild's captivating stage presence, wrapping himself around the
mike like Freddy Mercury or Robert
Plant, Mode Moderne has a personality that is not often seen locally, or
from less-known groups. Evocative
of contemporary bands such as the
Drums, it is apparent that there is a
place for this type of music, for there
is always space for good music. It is a
shame that their most complimentary
comparison to Joy Division, works
as much for them as it does against
them. For many listeners it may be
a similarity that will be hard to look
past, and ultimately one that could
stunt Mode Moderne's growth.
—Sam Hawkins
Local &
Bands in the
Find it at:
May 24 -The Waldorf
Next Music From Tokyo, a tour that
brings Japanese bands to Canada every
year, is always the highlight of my
musical year. The event, this time held
at the Waldorf Hotel, seems to attract
a growing number of Japanophiles
everytime, and it was their unbridled
enthusiasm that helped make this one
of the best, if not weirdest, shows in
recent memory.
Praha Depart opened to a
packed house. It's not often that
the Waldorf is so full so early on
a Wednesday night, but music
nerds were wedged shoulder-to-
shoulder as the band launched into
a crazy, psychedelic amalgamation
of screeching shoegaze and tiki-
metal. It's an odd combination,
with furious splintering guitar riff-
age leading into improv cowbell
breakdowns, but bassist Mai Yano
stole the show with her impressive
vocal range. Even to an audience
that couldn't understand a word
she was saying, Yano ran the
spectrum from freakish chanting to spurious screaming
match and back to droning,
stoner-metal sing-along.
Returning to the sweltering Waldorf basement, I did a
double-take to the next act: seven
ladies in matching Girl Scout-
esque outfits, armed with a full
horn section, an accordion, and
a beautiful singer clutching a
stuffed pig. While Charan-Po-
Rantan's performance was nothing if not hilariously campy, it
was hard to dismiss the amazing
talent of the ensemble cast The
group played bizarre takes on
Klezmer and gypsy tunes that
wouldn't sound out-of-place in
a carnival tent in Fantasia, but
they did so with such professionalism and grace that made the
entire performance captivating.
It's not often that such amazing
musicianship is paired with such
bizarre, cabaret-entertainment
lunacy, but Charan-Po-Rantan
made it work.
Group_inou is a brilliant fusion :
of chiptune, IDM and hip-hop with a
crazy amount of kinetic energy bor- i
rowed from the duo's time in hard- ;
core and post-punk bands. It was the ;
perfect storm for a dance party, with :
the packed basement erupting right ;
alongside emcee "CP" and beat-maker i
Imai, both of whom refused to stand ■■
still like their North American content- j
poraries. Whenever Imai wasn't dial- ;
ing in a chiptune beat his arms were
flailing faster than the crowd's, and it \
was rare to see a musician enjoying his
own music so much. CP's rapping was
a little lost on the English-speaking j
audience, but his energy definitely i
wasn't, as songs frequently veered :
off into "I'm doing the robot because :
I am having so much fun" territory. ;
I've never had so much fun dancing j
to lyrics I couldn't understand.
When ZAZEN BOYS, who are leg- ;
endary overseas, started playing, it ;
only took a few minutes for the crowd ■
to realize that what they were watch- j
ing was less music than it was musical !
genius, but if you asked the 300 people j
there what made ZAZEN BOYS one of :
the most important things they'd ever I
seen on a stage, you'd get 300 differ- i
ent answers. To say Mukai Shutoko ;
(vocals, guitar, keyboard) led the band :
would be an understatement, as the :
other three musicians waited on him '!
as a conductor, with the intense con- ]
centration of three hunters waiting j
to see which way a lion might jump, j
The extremely complicated funk/ \
math/prog-pop experiment was wild j
and totally free of the constraints of j
modern music, like time signatures or
tempo. Instead, the band was hinged
on Shutoko's every riff, and themusi- !
dans oftentimes were left staring at !
their conductor mid-stroke, waiting !
for the exact time to start the next
piece of the puzzle. Yoshida Ichiro ;
may be one of the best bassists I've j
ever seen, turning crazy slap-bass ,
rhythms into something beautiful,
scary, and intangible. ZAZEN BOYS' ;
performance was dharma in every
sense of the word.
—FraserDobbs ^ffi^
Shine Night Club
364 Water St Gastown
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with DJ Smiley Mike
and DJ Caddyshack
intra, interview and photos
Sunday night is a good time to wind down. But if
you're craving vibes that get your mind tripping
instead of dreaming, Trancendance is the show for
you. On the air since 2001, DJ Smiley Mike and
his brother DJ Caddyshack have been mixing vinyl
and digital tracks live, exploring different styles
of trance (classic, deep, full-on, acid, psychedelic)
and breakbeat (drum and bass, psy-breaks, acid
breaks, rave breaks). Watching them mix live in the
studio is an even better experience: you might think
Smiley Mike goes into a state of trance himself.
If you're curious about these genres, hear their
incredible mixes on Trancendance.net. You won't
be disappointed.
Discorder: When did your interest in trance and
breakbeat begin?
Smiley Mike: I used to listen to a couple of shows
on CiTR, including Digital Alarm Chronometer and
Home Boss. I can't remember how I found them, but
I immediately stuck to them. Even before I came
to UBC in 1994,1 used to hang out on Digital Alarm
Chronometer for a long time. I think I went to my
first rave show in 1992. Back then, shows didn't
happen often, but I fell in love with the music. I
also used to go downtown to Odyssey Imports,
where I started my record collection.
Caddyshack: I got into it because of Smiley
Mike. I distinctly remember his early '90s techno
CD by The Grid, some goa/psytrance CDs by Man
With No Name and (ex-label) Concept in Dance,
and a breakbeat hardcore CD by Acen. I was listening to a whole new type of music I had never heard
of, and I was only 10 or 11 years old then.
What is the format of Trancendance?
SM: It's a two-hour show, and we each play one
50-minute set of continuous music. We're a hundred-percent-live, real-time, one-shot show: there
are times when it's absolutely smashing, and there
are also times when there are glitches. But when
you're playing in real time... magic can happen.
And I think that keeps it real and that's always
been important to us. Not just for us playing on
this show, but that reflects on what we'd like to
see from other DJs.
C: You don't necessarily want to hear the DJ mixing
because that may mean he is off-beat, but you still
want to be able to tell that the DJ is doing something. And I want people to go with those magic
moments because you can't really pre-plan those.
Each set is supposed to be a journey; you don't
always know which way it's going to go.
SM: We don't typically plan out or practice each set
in advance. I probably play many tracks that I've
barely listened to before so I don't even necessarily
know what the track is going to do. And that makes
it fun. If I were to run through a set a few times
before the show, I would probably be bored of it
and do something new. As much as I like to play
for other people, I like to play for myself, too, and
that means it has to stay interesting.
In 2010, Trancendance made the shift from mixing vinyls to digital tracks using control vinyls
connected to Scratch Live, Serato's vinyl emulation software. What has the show gained from
this digital shift?
SM: Before we moved to Serato, I would usually
buy a record for one track on it, even if it had three
or four tracks. And I would've spent several hours
in a single day at a record store. Now, tracks are a
dollar and I don't have to compete with other DJs
to get to stores when a shipment comes in. And
we've gained a much higher production quality
with new digital audio. Also, when I used to DJ
with vinyl records, I'd always be watching the little
changes in the groove patterns on records to get a
hint of what's happening next. Now, wi± Serato
I can see a track's colour-coded wave form; I can
see it's shifting intensity and mood. It allows us
to do a way better job.
If you could play a live tribute set using the tracks
of only one artist, whom would you pick?
SM: Union Jack or Lamat would be on my list for
a trance set
C: I'd do a drum'n'bass tribute set to Sub Focus.
What is your favourite CiTR radio show, besides
your own?
SM: Since we're more exposed to the shows around
us, I'd say Synaptic Sandwich, or Bootlegs and B-Sides.
Both have consistently great tracks.
What does the future hold for Trancendance?
SM: We've been here for n years, and the show has
evolved and will continue to evolve. We've always
played what we've wanted to play and not what's
popular, and that part will hold for us. And we
will probably spread more overseas. The majority of interactions we have on our Facebook and
Soundcloud pages are international.
Trancendance airs Sunday nights on CiTRioi.g FM,
from 10 p.m. to midnight //CiTR 101.9 FM CHARTS
Gun Control
Cruising USA
Yukon Blonde*+
Tiger Talk
Dine Alone
Chains of Love*+
Strange Grey Days
Dine Alone
With Siinai:
Heartbreaking Bravery
Apollo Ghosts*+
You've Changed
Poor Moon
Sub Pop
Naomi Punk
The Feeling
Frankie Rose
Willis Earl Beal
Acousmatic Sorcery
XL Recordings
PS 1 Love You*
Death Dreams
Paper Bag
Paper Bag
Ty Segall & White
Drag City
BitterweerJ Draw*
Heart Of The Old West
Cold Specks*
1 Predict A Graceful
Arts & Crafts
Black Mountain*+
Year Zero
Grass Widow
Internal Logic
Les Momies De
BrGlez ce coeur
Real Boys*+
Real Boys
La Sera
Sees The Light
Hardly Art
The Ketamines*
Spaced Out
Mammoth Cave
Lower Dens
Tender Opposites
Great Lake Swimmers*
New Wild Everywhere
Todo Muere Vol. 2
Sacred Bones
Radar Eyes
Radar Eyes
Beach House
Sub Pop
The Pygmies*
The Pygmies
Vulgar, You*
Fais-moi cuire fais-
moi jouir
Civilized City
Death Grips
The Money Store
Bible Beats
Chain & The Gang
In Cool Blood
K Records
Ty Segall Band
In The Red
Emily Wells
The Courtneys*+
K.C. Reeves
Green Burrito
Pow Wows*
Nightmare Soda
Get Hip
The Shins
Port Of Morrow
Mac DeMarco*
Rock and Roll Night Club
Captured Tracks
The Real McKenzies*+
White Lung*+
Trampled By Turtles
Stars and Satellites
Six Shooter
The River and the
The River and the Road
Soon This Will All Be
Sweet Heart, Sweet
Fat Possum
Fungi Girls
Turquoise Hotel b/w
Molding Through
Threat Machine*
Threat Machine
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+) are local.
Most of these excellent albums can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout
at (604) 822-8733.Her name is Saran Cordingley. If you ask nicely she'll tell you how to find them. Check out other great campus/community radio charts at
www.earshot-online.com. RRASSTRONAUT
Mean San CD/LP
leaven CDAP     Celebration Rock CD/LP      Bloom CD/LP
Hello Hum CD/LP
Landmark CD/LP Fear Fun CD/LP
Synthetics CD/LP
Banga CD/LP
isCD/LP    Sweet Heart Sweet Light CD/LP    s/tCD/l
■ twrtter.com/zulurecords
i *m-^am-*r    facebook.com/people/
Taceoook    zuluRecords-Store/680210042
tumblr.  zulurecords.tumblr.com
! K£Ca*RD&\
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232


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