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Discorder CITR-FM (Radio station : Vancouver, B.C.) Apr 1, 2014

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UPCOMING SHOWS    MCH
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SUICIDE BIRLS BLACKHEART BURLESQUE
FinMBUNDS    T*™*™"""*
Ed Schrader's Music Beat
ninS* *  T*
Nylithia, Harvest the Infection, Skull Vultures, Icosian
STEPHEN MALKMUS & THE JICKS      "
Speedy Ortiz
[iIlTHEIIIAlIraNT-"    "T    "*"
URBAN DANCE SHOWCASE        T
LUCITERRA BELLYDANCING STUDENT *1
SHOWCASE
Additional show listings, ticket sale info, videos and more-
WWW.RICKSHAWTHEATRE.COM
sum
O0OG
254 East Hastings Street
604.681.8915
KATAKLYSM   |   ftp"" "1|
Aborted, Archspire and Death Toll Rising
Holy Wave
TESSERACT Intronaut, Cloudkicker, Witch of the
Waste, The Nautilus
lil THE PLANET SMASHERS 20th Anniversary Concert
Los Kung Fu Monkeys, Jah Cutla, Rude City Riot
3 THE DILLINfiER ESCAPE PLAN 1
£| Trash Talk, Retox, Shining
22-27
MRS. WARREN'S PROFESSION
(PLAY)
■ I http://facebook.com/RickshawTheatre
Q ©rickshawtheatre ^j ©rickshawtheatre CONTENTS
19     TEBNAGRE Pronounced the same as
"teenager," the now quartet formerly known as
Teapot Hill have come a long way since placing
third in Shindig 2012. Read on to learn more
about why the group changed their name and
what prom bands have to do with it.
25     REEF SHARK On a night four years
ago, Devin Miller and Garth Covernton found
themselves coming up with hypothetical
band names while avoiding their biology lab
report. Years later, they decided to put one
of those names to use and Reef Shark'was
born. Moral of the story: procrastination will
take you places.
31     ZOO AGE We won't blame you if the
name doesn't sound familiar. Playing shows
and touring are both such crucial parts of
the musician lifestyle and yet Zoo Age avoid
doing either. Find out why the electronic duo
have never played a show and.if that will ever
change.
55     FANTASY PROM Everything seems to
be coming up corsages for one of Vancouver's
premiere shoegaze outfits. Their latest EP^
Swirl, marks the band's sixth release in almost
as many months. Read on to find out Fantasy
Prom's reason behind their steady releases and
if the strategy's paid off so far.
59     COOL What's red, white, and saffron all
over? If you guessed Paint, the debut release
from pop-funk trio Cool, then youll love our
cover feature on them. Two-thirds ex-Apollo
Ghosts members and one-third Shawn Mrazek
Lives!, the expectations for Cool are high but
they're more than ready to deliver.
t Above: Cool at Rainbow Connection, March 22. Photo by Steve Louie.
MT Here's The Thing
13   Discorder Revisited
16   Filmstripped *,*..
34  Art Project: The Hatchery
& I Need to See You
36  Calendar
41   Real Live Action
45   Under Review
»|§  In Good Humour:
Aaron Read
66   Program Guide
ADVERTISE: Ad space for upcoming issues can be
booked by calling (604) 822-3017 ext. 3 or emailing
advertising@citr.ca. Rates available upon request.
CONTRIBUTE: To submit words to Discorder, please
contact' editor.discorder@citr.ca. To submit images,
contact: artdirector.discorder@citr.c3
SUBSCRIBE: Send in a cheque for $20 to #233-6138
SUB Blvd., Vancouver, B.C., V6T1Z1 with your address,
and we will mail each issue of Discorder right to your
doorstep for a year.
DISTRIBUTE: To distribute Discorder in your business,
email distro.discorder@citr.ca We are always looking
for new friends.
DONATE: We are part of CiTR, a registered non-profit,
and accept donations so we can provide you with the
content you love. To donate visit www.citr.ca/donate.
NOTICE OF DI6ITIZATI0N let it be known that CiTR is currently
working to digitize the entirety of Diswdet's archives. Soon alt
of the past issues you know and love wilt be available for viewing
online. Thanks, computers! It you have any questions or concerns,
3 contact Brenda at stationmanager@citr.ca
Writers: Mariko Adams,
Javier Badillo, Alex de
Boer, Evan Brow, Robert  ,
Catherall, Sean Cotterall,
Natalie Dee, Joshua
Gabert-Doyon, Patrick
Geraghty, Natalie Hoy,
Jonathan Kew, Mike
Lakusiak, Julia Lehh, Erica
Leiren, Mark PaulHus,
James Olson, Cali Travis,
Max Wainwright, Bob
Woolsey
Photographers ft
Illustrators-. Britta
Bacchus, Yuliya Badayeva,
Eduard Barcel6n, John
C Barry, Casey Bennett,
Pyra Draculea, Jonathan
Dy, Hanna Fazio, Angela
Karinn, Dana Kearley,
Justin Longoz, Steve Louie,
Sine MacKay, Rob Ondzik,
Nolan Sage
Editor: Jacey Gibb
Art Director: Jaz Halloran
Under Review Editor:
Robin Schroffel
Real Live Action Editor:
Steve Louie
Web Editor:
Marcin Lasinski
Ad Coordinator:
Ana Elena Garza
Copy Editors: Robin
Schroffel, Steve Louie
Proofreaders:
Gord Badanic, Sigrid
Bernhoerster, Erica Leiren
Calendar Listings:
Sarah Cordingley
Accounts Manager
Corey Ratch
Official Tweeter:
Evan Brow
CITR Station Manager:
Brenda Grunau
Publisher: Student Radio
Society of UBC
Student Liasons: Evan
Brow, Josefa Cameron
EDITORIAL CUTOFF: March 22,2014
©Discorder 2014 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 10,200. Discorder is published almost monthly by CiTR, which,
can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487,
CiTR's office at (604) 822-3017, email CiTR at stationmanager@citr.ca, or pick up a pen and write #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Canada. EDITORS NOTE
FOR THE
RECORD
While April used to be content to just
bring May flowers and give people another
reason to smoke weed outside, there's a
growing reason to say "so long!" to March:
Record Store Day. What started six years
ago as a way to celebrate vinyl has since
exploded into a music-lover's equivalent
of Christmas. Exclusive releases, in-store
performances, and overall good vibes
are just a few of the reasons why you
should call in sick and head down to your
favourite record store on April 19.
My first experience with Record Store
Day came when I was at Coachella in
2009. Between sunburns and autograph
signings, we wandered into the reprieving
shelter of the record tent where I was
surprised at how much I wanted to buy
everything in sight. I was still new to
the record Renaissance and had had
barely enough money to justify attending
the festival in the first place, much less
a surplus to spend on something as
nonessential as records. Regardless, I
splurged on a pair of Weakerthans and
Fleet Foxes LPs and to this day still have
the reusable bag they came in. I was
hooked. For a sneak peek at some of the
great things happening around town,
check out the spread on pages six and
seven of this here magazine.
Aside from Record Store Day, there
are a ton of reasons why I'm excited
to welcome April into my life. If post-
secondary's your thang—as it is for me—
then you're about to be saying "School
who?" for the next four months. As well,
things are heating up outside, meaning
there are copious numbers of beach days,
day-long hiking trips, and Beer Island
ventures lying in wait. If you can't find a
reason to love April, then you're simply not
looking hard .enough.
A new month also means weVe
successfully produced another issue
of Discorder. It's both amazing and
frustrating to see how many countless
hours of emailing/writing/ editing/ proofing
go into this magazine, but it's positively
worth it once you're holding a copy in
your hands. CiTR recently held their
Volunteer Appreciation night and while
I had to restrain myself from handing
out a hundred different awards to all
our contributors, hopefully these words
do some justice. Thanks, everyone!' We
literally couldn't have done it without you.
In other fantastic news, CiTR held
their annual Fundrive last month to
support community broadcasting and help
with our upcoming move into the new
students' union building. We started with
a goal of raising $35,000 and wound up
surpassing our dream by a few thousand.
To everyone who donated/helped spread
the word, a big ol' Discorder thanks go
out to you! (For a complete list of donors,
check out the rad bunch on pages eight
and nine.) Because of you, people like me
get to continue doing what we love. Here's
to another amazing Fundrive in the bag
and to an even greater one next year.
So it goes,
Jacey Gibb
EDITOR'S NOTE STRICTLY THE DOPEST HITZ OF MARCH 2014
CITR 101.9 FM CHARTS
ARTIST
LABEL
ALBUM
LABEL
26
ARTIST
Trust*
ALBUM
Joyland
.
1    Mode Modeme*+
Occult Delight
Light Organ
Arts & Crafts
2    Angel Olsen
3urn Your Fire for
No Witness
Jagjaguwar
27
The Belle
Comedians*
Charlotte
Nettwerk
3    Pjjf$f|//
5agan Day
Slovenly v
28
Mogwai
Rave Tapes
' St&PJf)
4,    Failing**
The Apple in the
Pig's Mouth
Self-Released
29
Actress
Ghettoville
Werkdiscs
5   Jtody 6lenham*+
Jreamer
Self-Released
30
31
Speedy Ortiz
Cool*+
Real Hair
Paint
Carpark
Yellow Plum
6    Tough Age*+
Tough Age
Mint
l/f;, Dum Bum Girls
Too True
Sub Pop
32;
«te*+
Mu
Self-Released
8    Freelove Fenner*
Do Not Affect A
Breezy Manner
Fixture
33
Blind Horses*+
Avail
Self-Released
.» - Blackie And The
Rodeo Kings*
South
^^.Ijjider: Music
34
Dog Day*
Fade Out
Pimdog
10   RoleMach*+
Travels In The
nterior Districts
Self-Released
35
First Base*
First Base
HoZac
11   CouneGt_icut*+
Irows & Kittiwakes
Wheel &Ceme...
Aagoo
36
Heavyweights
Brass Band*
Brasstronomical
lulaworids
12 The Ketamines*
13 Sprlng*+
Stay Awake b/w
Always Small
Celebrations
Mint
Self-Released
37
Com Truise
Wave 1
After the Disco
. Ghostly
International
Columbia
38
Broken Belts
14   Arcade Fire*
Reflektor
Merge
39
Sharon Jones And
The Dap-Kings
Give the People
What They Want
Daptone
15   Quilt
Held in Splendor
Mexican Summer
40
Pompeya
Tropical
No Shame
16   St. Vincent
St. Vincent
Loma Vista
41
Together Pangea
Badillac
Harvest
17   Real Estate
Atlas
Domino
42
Warpaint
Warpaint
Rough Trade
18   Bliss Club*+
Bliss Club
Self-Released
43
The Lawrence
Arms
Metropole
Epitaph
,q   Nicholas
Krgovich*+
Who Cares?
Jaz
44
Cult Babies*+
Cult 8srJi%#&
Self-Released
20   Eden Fine Day*+
Things Get Better
Self-Released
45
The Nautical
Miles*+
Ode to Joy
Self-Released
21  The Pack A.D.*+
)o Not Engage
Nettwerk
46
Slates*
Taiga
New Damage
■22   Various**
East Van Special
Blend: Dark Roast
Northern Electric
47
The Skinny* ^yt
Presents The
Skinny Pill
Stomp
23   Dylan Rysstad*
Harbours
Sakamano
48
Peggy Sue
•^bir of Echoes
Yep Roc
24   Damien Jurado
brothers and
Sisters of the...
Secretly Canadian
, 49
Tacocat
NVM
Hardly Art
0r  The Rain And
a  The Sidewalk*+
The Obligatory
Covers EP
Self-Released
50
Sally Seltmann
Hey Daydreamers
Arts & Crafts
•
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
thorn, give CUR's music coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley. If you ask nicely she'll tell you how to find them. Check out other great campus/community radio charts at www
stores across Vancouver. 11 you cant find
.earshot-online.com.
5 1   Many
in-store
specials!
1317 Commercial Drive
604-251-6964
www.h ig h lifeword.com
FREE INSTORE PERFORMANCES BY
THREE WOLF MOON
JOHNNY DE GOURGY a T
WAR BABY - DEAD S
E DEATH hi
.„ .__ ..n-yOSEJT
1SHER - AMD SEVERAL MORE
BE ANNOUNGED BY THE T ME YOU READ
HIS!
II   30T> RW RELEASES - STOREWIDE SALE - BIG PARTY!
m      OPEN EHRLYT - MORE RiO fNRILABLE OMiNE
If J 3561 MAIN STREH - NEFTD0N.COM - 604-324-1229
p
']///'     7        ^^--^^
i
H          mmSmmmii
00
it
li^g^^P^ ^^
Join Discorder, CiTR, and all of your
favourite local record stores on
Saturday April 19 for Record Store
Day celebrations!
Show your love for local
independent music and find sweet
deals on vinyl, special RSD limited
edition releases, and in-store live
music performances!
CiTR and CJSF will be broadcasting
live from several locations, so
fl Live bands all day and
20% off all regular and
used stock!
321W Hastings
between Cambie & Homer
604.488.1234
www.vinylrecords.com
ARE YOU READY?
RED CAT
RECORDS
come say hi! We're the proud
recipients of the 2012 NCRA Best
Live Broadcast Award, and we are
gearing up to deliver an award-
winning broadcast again!
Want more details about set
times, available exclusives, and
more? Then head over to the
websites of any of these fine local
establishments and help support
music in your community.
S^DRiv^V^
APRIL 19TH, 2014
10% OFF NEW 20% USED ^v FUNDRIVE DONORS 2014
  Thank You! We reached $40,000! 	
Abraham Sualim
Don Shafer
Kevin Weigant
Robert Fougere
DOXA Documentary Film
Warn Janusz
Dorothy Neufeld
Kim Jackson
Roberto Olivera
Festival
<\fro Hair Studio
Doug O'Neill
Kristina Heep
Robin Alam
East Vanity Parlour
\\ Hurwitz
Duncan McHugh
Lalibela Ethiopian
Robin Bunton
Ethical Bean Coffee
■   -ftSpK^.
<\l Kleininger
Dustin Bromley
Restaurant
Rococo
Fluevog Shoes
fc/V
Man Winter
Edith Huish
Lance
Rodney Graham
Fortune Sound Club
HflWjS
Mexis Sogl
Eimrin Kaloti
Landfill Publishing
Ron Davitt
Goorin Bros
. \;- ^
Mnoor Gangy
Eleanor Gregory
Larry Lechner
Ron Roth
Herschel Bag Co
Amanda Pezzutto
Eleanor Wearing
Lauren Burrows
RyGuy
Kingfisher Bluez
Andrea S.
Elizabeth Wylie
Leah Heneghan
Ryan Rosell
Live Nation
Annette Wooff
Ellie O'Day
Leigh Atwood
Ryan Shimozawa
Lucky's Comics
Anonymous x 13
Emily Fraser
Leslie Law
Salme Kaljur
Lush Cosmetics
Sleigh Reichl
Eric Joly
Lisa Difonzo
Sam Fenh
Mint Records
Arthur & Andrea Berman
Fashionable Female
Liz Earle
Sara Laplsey
More Than Human
Becky Sandler
Fleur Cooper
Lucia Morales
Sarah Berman
Museum of Anthropology
Ben Lai
Fred Kamperman
Lynda Leach
Sarah Cordingley
Namaste Publishing
Ben Life
Gary Korhonen
Mac's Convenience
Sarah Costa
Nardwar Records
Bjorn Olson
Gavin M. O'Sullivan
Store
Sarah Munro
Nuba Kitsilano
Brenda Grunau
Gavin Walker
Marcy .Emery
Sarah Ridley
NXNE
Brian MacDonald
George McCutcheon
Marguerite Toews
Sean
Pandora's Box Rehearsal
Brian McGill
Gerry Grunau
Marian Brown
Selam Dejene •
Powell Street Craft
Brian McHugh
Glenn Burns
Marie Benard
Shannon Rosell
Brewery
Brian Wieser
Gojo Catte
Marlene Clow
Sheila Marshall
Rain or Shine Ice Cream
Bruce Hunt
Gordon Katie
Marlis Funk & Ken
Shelby Vredik
. Red Cat Records
3ruce Wallace
Grace Okine
Harkness
Shelley Robinson
Sanitary Electric Tattoo
Caitlin Livingston
Gray & Aaron
Max
Sknapps
Company
Carmen Hunt
Gregory Gan
Maximilian Nominacher
Sophia Van Norden
Sikora's Classical Music
Caroline Walker
Gwen
Mia Edbrooke
Stephen Maier
Records
Carys
Hamish Clark
Michael Ingram
Steve Edge
Sled Island
Celine Jensen
Harold & Delphine
Michael Ruskin
Surya Devi
Steam Whistle Brewery
Charalee Graydon
McLenaghen
Michael Wilkinson
Tanner Holthe
Sub Pop Records
Chirag Mahajan
Harry Hertcheg
Micky
Theda Phoenix
The Bike Kitchen
Chris Alscher
Hilde Krause
Moana
thepermanentrainpress.
The Chan Centre for
Chris Schwartz
Iqbal Ahmed
Morgan Yee
com
Performing Arts
Christina O'Sullivan
Irene Naidu
Mr. Generous
Thomas S. Woods
The Cinematheque
Christine Kim
Jacey Gibb
Murray Scott
Tina Deng
The Cobalt
Colin McKenna
Jack & Bessie Jones
Nadra Burns
Todd Fancey
The Rogue Folk Club
Corey Ratch & Parmida
JackWetmore
Namaste Publishing
Tree Shepherd
Thor & Chompa
Zarrinkamar
James Hutchison
Naomi Nguyen
Val Cormier
Productions
Corey Woolger
Janet Teasdale
Natalie Dee
Vanessa Colantonio
Timbre Concerts
Cory Taylor
Janis McKenzie
Nathan Grimson
Vera Kapinos
Top Shelf Productions
Cowichan Folk Guild
Jennifer Kiel
Nellie Stark
Wendy Cutler
Urbnet
Craig Dorrell
Jenny Pauk
Nick Powell
Wendy Stark
Vancouver Folk Music
Danielle Black
Jillian Aquino
Nina Kiridzija
West Coast Blues Club
Festival
Darren Gawle
Jo Penney
Noah Adams
Worku Ayalew
Vancouver Fringe
Darren Susin
Joe Leung
Norm Yee
Zewdu Gossa
Festival
Dave Johnston
John B. Toews
Ogwaho-Gowah
Zoila De Perez
Vancouver International
David Feldbloom
John Bishop
Tumahnee Powless
AEG Live
Film Festival
David Grigg
John Hart
Patricia Gillis & Still
Anvil Press
Vancouver New Music
David Love Jones
John Pantherbone
Fabulous Thrift Shop
Audiopile
VanMusic & Super Chido
David MacLachlan
Josh Gabert-Doyon
Peter Schaad
Bandidas Taqueria
Productions
David Rahn
Judith Cowan
Peter Wolanksi
Banyen Books & Sound
Vinyl Records
David Thorburn
Kail O'Donnell-Norton
Phil Chang
Bonerattle Music
Wasted Effort
Debey Pooransingh
Karen K.
Phoebe Katz
Briarpatch Magazine
Deborah Holland
Keith Antonelli
Pierre
Canadian Music Centre,
C
c
Deepi Leihl
Kelly Reaburn
Prophecy Sun
BC Region
P
Dereje Soloman
Ken Fahlman
Pyra Draculea
Clinical Counselor
3
Diana Life
Ken Hardie
Rabi Alam
Jo-Anne Weiler
c
Diana Sly
Ken Hardie
Raj Sangha
Dave Campbell RMT
£
Dmitri Kozak
Kevin Doherty
Robert & Pat Rosell
Douglas & Mclntyre
c
0
"Z3
Doc Tito
Kevin Mason
Robert Catherall
Publishing
_3
And thank yo
j to all our online donors. We messed up and didn't ask for y<
)ur permission to be recognize
j on this page.
<—
Sc
, if you'd like to be recognized in Discorder's May issue, plea
se email stationmanager@citr.
ca HERB'S THE THING
I FAf NAN
PIOKIM9
A BLADE OF
STEEL
BY BOB WOOLSEY    ILLUSTRATION BY GINA MACKAY
Eight years ago, my parents came to
visit me in Vancouver for the first time. I
greeted my shaken mother at the backdoor
of my cramped Davie Street basement
suite and the first words out of her mouth
were, "You're moving." I immediately
regretted giving them directions that took
them down Hastings Street.
It took some persuading, but I finally
convinced my parents that I lived far
enough from the alarming sights of the
Downtown Eastside and that I would be
safe. Last month, my parents themselves
made the permanent move to Vancouver
and to their credit even took in the Pigeon
Park Street Market last Sunday. Sure,
they had mistaken it for a farmer's market
from afar and didn't stay long but I was
impressed with my mother's evolved
opinion of the area. Having spent more
time exploring the Downtown Eastside
through her visits—and now as exploration
10
HERE'S THE THING as part of her own backyard—she's moved
past her snap-judgements from that initial
drive years earlier.
Of course the situation in the
Downtown Eastside is more complex than
this. The community is, like any other
neighbourhood, a diverse layering of social
groups. Some residents are homeless due
to circumstances beyond their control
and some are homeless by choice; some
are coping with substance addiction;
others have lived in the area for decades
while newer residents live in multi-million
dollar loft condos. As dysfunctional as this
community may seem, it is functioning.
Sure, the decrepit buildings might
make for new condos if we tear them down
provided by Atira and other mission-driven
organizations allow people to have a roof
over their head. The Carnegie Community
Centre, which serves as the very hub for
critics' arguments and negative perceptions about the Downtown Eastside, is
the most used community centre in all of
Vancouver. Not because it has a great pool
or immaculate squash courts but because
it provides financial literacy programs and
hot meals at a price someone might not
otherwise be able to afford.
Regardless of their personal choices,
circumstances, background, or immediate
ability to change anything in their life, the
people of the Downtown Eastside deserve
our respect and compassion. The money
I greeted my shaken mother at the backdoor of my
cramped Davie Street basement suite and the first
words out of her mouth were, "YouYe moving.9'
I immediately regretted giving them directions that
took them down Hastings Street. ^
but we shouldn't forget well be tearing
down people's homes. It's an undisputed
fact that you'd have less people using on
the street corner of Main and Hastings
if you locked them all up but that's, at
best, a band-aid solution. It's strange that
a central argument against the impact-
focused programs and organizations
operating in the Downtown Eastside is
that they cost the taxpayers too much
money. What about our prison system? Is
that an efficient use of tax money? What
about our out-of-control housing market?
Should we turn the Downtown Eastside
into a ghetto of house-poor condo owners?
Here's the thing about the Downtown
Eastside and all the wonderful work
happening there: it's not about wasting tax
dollars, competing political philosophies,
or allowing crime to happen right under
our noses. The Pigeon Park Street Market,
along with programs like Hope in Shadows
and Megaphone magazine, allow the residents there to participate in an economy
and provide services. Housing projects
spent in that community is providing
much more than meals or work. It's saying
to the residents that we see them, that
they have a place among us, and that
we're committed to helping them create
a circumstance where the place can be a
healthier one.
HERE'S THE THING
II
HaiU
m THE BEST D
FOR A MEA
IN TOW!
5 BUCK!
(or, free tor station members)
Antisocial
Skateboard Shop
2337 Main St.
10% off
Australian Boot Co
1968 West 4th Ave
$30 off Blundstones
and RM Williams
Audiopile
2016 Commercial Dr.
10% off LPs/CDs
BadBird Media
www.badbirdmedia.
com
10% off
The Baker & The
Chef Sandwich Cafe
320 Cambie St.
10% off
Band Merch Canada
www.bandmerch.ca
20% off
Bang-On T-Shirts
Robson, Cherrybomb,
Metrotown locations
10% off
Banyen Books and
Sound
3608 W 4th Ave.
10% off
Beatstreet Records
439 W Hastings St.
10% off used vinyl
The Bike Kitchen
6138 SUB Blvd.
10% off new parts and
accessories
Bonerattle Music
2012 Commercial Dr.
10% off
The Cove
3681 West 4th Ave.
10% off food
Dentry's Pub
4450 West 10th Ave.
$6.99 wings, $11.99
pitchers
Devil May Wear
3957 Main St.
10% off
Displace Hashery
3293 West 4th Ave.
10% off
Dunlevy Snack Bar
433 Dunlevy Ave
10% off
The Eatery
3431 W Broadway
10% off
The Fall Tattooing
644 Seymour St.
10% off
Fortune Sound Club
147 East Pender St.
No cover Saturdays
(excluding special
events)
Fresh is Best Salsa
2972 W Broadway
10% off
Gargoyles Tap+Grill
3357 W Broadway
10% off
High life Records
1317 Commrecial Dr.
10% off
Hitz Boutique
316 W Cordova St.
15% off regular priced
clothing and shoes
Limelight Video
2505 Alma St.
10% off
Lotus Land Tattoo
3278 W Broadway
10% off
Lucky's Comics
3972 Main St.
10% off
Neptoon Records
3561 Main Street
10% off used, $1 off
new
Nuba Kitsilano
3116 W Broadway
10% off food
Pacific
Cinematheque
1131 Howe St.
1 free bag of popcorn
Pandora's Box
Rehearsal Studios
1890 Pandora Street
10% off
People's Co-op
Bookstore
1391 Commercial Dr.
10% off
Perch
337 East Hastings
10% off
The Portside Pub
7 Alexander St.
10% off
Prussin Music
3607 W Broadway
10% off
The Regional
Assembly of Text
3934 Main St.
1 free make-your-own
button with purchases
over $5
Red Cat Records
4332 Main St.
10% off
R/X Comics
2418 Main St.
12% off
Rufus' Guitar Shop
2621 Alma St.
10% off everything but
instruments and amps
The Rumpus Room
2698 Main St.
10-20% off
Save On Meats
43 W Hastings St.
W% off food
UBC Bookstore
6200 University Blvd.
10% off clothing, gifts,
stationery
Used House of
Vintage
Granville, Robson St.
locations
10% off
Vancouver Music
Gallery
118 HanesAve, North
Van
12% off
Vinyl Records
319 W Hastings St.
15% off
The Wallflower
Modern Diner
2420 Main St.
10% off
Woo Vintage Clothing
4393 Main St.
10% off
CARD SCORES TOO
SWEET DEALS AT VANCOUVER'S FINEST
SMALL MERCHANTS AND SDPPORTS CRTR.
SNOW n WHEN Til SNIP!
WWW.CITR.CA DISCORDER REVISITED
WH AY TH E
SfRANGLERS
MEAN TO NE
BY ERICA LEIREN
i I i:-; ?
o
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a
3
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Our first date almost didn't happen.
We'd gotten to know each other
through our band, the Debutantes.
Gord and Steve were in a-group together
before, Culture Shock, but decided that
changing the line up would be a great way
to meet girls. They added a new drummer
and, inspired after see the Go-Go's
perform at the Commodore, three female
vocalists, including me. Our repertoire
was all dance music and anything else we
fancied; when we performed together, it
was like fire and ice.
I sang back-ups and Gord played
bass. The Debutantes' maiden performance was at a party out near Lighthouse
Park—after that, there was no stopping
us. Between November '82 and April '84,
we performed everywhere, from orientation
week at UBC to headlining the CiTR booze
cruise up the Burrard Inlet to now-extinct
clubs like The Smilin' Buddha and The
Soft Rock, always playing alongside some
other amazing Vancouver act. Everyone
loved having a Sand with a frontline of
pretty girls on the bill, and yet despite all
that time together, I was never sure how I
felt about Gord.
My feelings toward him skittered
like a crazy compass. One day, I'd think
he was really cute; the next day he'd do
something completely goofy and I'd only
be able to think of him as a friend—plus,
I couldn't imagine myself kissing someone
with full train-track braces.
But his dark hair and big brown eyes
made him just my type.
He was the perfect contradiction.
On Sundays, he went to church with his
family and was an altar boy; on m
DISCORDER REVISITED
13 weekdays, he was a cool, slightly
dangerous punk/mod, wearing Daytons,
a shredded jean vest held together with
safety pins, and tight black jeans: Very
tight black jeans.
In 1983,1 was in my third year at
UBC and in full-on exams-and-papers
mode. Luckily, I'm on the rowing team,
which makes for a nice break from all the
studying. We're on the water at Burnaby
Lake for practice every weekday at 5:30
a.m. On Saturdays, we get to "sleep in"
since we're, not due on the dock until 9
a.m. and Sunday is our day off. We're in
un-friggin-believable shape.
Tuesday night and I'm slowly making
my way through a term paper, feeling
edgy. Just then... the phone rings. I
accidentally knock the receiver off its
cradle as I grab for it. "HELLO?!"
It's Gord, with his deep, calm voice.
"Hey. What are you doing?"
"Working on this horrible term paper
for Economics. It's driving me nutsl" I
use the opportunity to vent: "I'm trying to
prove a hypothesis that urban school
districts achieve higher provincial test
scores than rural, but my F tests aren't
working out and I can't get the heteroske-
dasticity out of my regression model."
"Hmmm." ftf1^
H||;   "Yeah, *Hmmm.' My big conclusion—
so far—is that I'm not a data person;
I'm intuitive. What's the point of proving
something when the whole thing's obvious
anyway? It goes completely against my
nature."
"So I guess you're pretty busy then?"
"Yes, extremely. Are you calling about
band practice?"
"Actually no," Gord hesitates. "I'm
calling because the Stranglers are playing
the Commodore and I was wondering if
you wanted to go with me."
"The Stranglers? Don't they do that
LaBrea Tar Pit' song? I hate that song.
And anyway, I'm waaay too busy with this
paper and my exams are coming up too.
But thanks anyway."
As soon as I hang up, I realize what
just happened: Gord asked me on a date
and I said no.
•k "k it
My rowing teammate Cindy and I are
driving down the highway, basking in the
relaxed afterglow of a good, hard practice.
Her driving gloves grip the steering wheel
as the conversation inevitably leads to how
I turned down Gord after he asked me out.
"You said TNTo? Are you crazy?!"
"I know, I know. I'm an idiot. He
asked me to the Stranglers next Saturday
and I was in such a bad mood that I said
no." Gord and the Debutantes are all I ever
talked about. And he's so shy. What if he
never asks me out again?
"He's really nice Erica, and the whole
team thinks he's cute. Wendy says he's
a doll; Julia said she thought he was
handsome; even Alison says she'd go out
with him but she only dates guys named
Peter."
"That's kinda weird, eh? Of the three
guys she's gone out with, every one of
them was named Peter."
"Forget Alison and her Peters. What
about you and Gord?"
It's after lunch and I'm back home
again, listening to a dialtone on the phone.
I think Gord may have seen himself
as my sort of Prince Charming, ready to
protect me from dragons and speeding
beer bottles at concerts. We once played
a house party and some guy thought it
would be a great idea to pour an entire
High-Test over me and my microphone
while we were in the middle of performing.
Like lightning, Gord stepped from his spot
behind the row of singers and practically
decapitated the guy with his bass.
My reverie ends as Gord's mum
answers the phone. I ask if he's home and
I hear her call out for him to come to the
phone.
"Hello?"
"Hey, it's Erica. Do you still have
that extra ticket for the Stranglers next
Saturday? $
i
Check out the May issue for Part Two of
Discorder Revisited: What the Stranglers
mean to me.
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■ FILMSTRIPPED
PUSSY RIOT
WON'T
STAY OUIET
BY JAVIER BADILLO   ILLUSTRATION BY JUSTIN LONGOZ
When Madonna strips her shirt off
mid-concert to reveal "Free Pussy Riot"
written on her back, you get a sense of
just how significant the Russian activist
group's sacrifices have become.
In February of 2012, five young
women donning brightly coloured
balaclavas staged an impromptu air-guitar
punk-rock performance at a Moscow
Orthodox cathedral, singing "Mother of
God, Rid Us of Putin" and calling for a
separation of the church from the state.
They had barely started their performance
before they were escorted out, an incident
which would lead to the arrest of three of
the performers the following month.
Nevermind the courageous marketing
antics that turn even Madonna into
a passionate endorser, in a country
where conceptual art is banned and the
government has unofficially granted the
church a militant authority, this is not a
stunt—it is borderline suicide. It is also
at the core of Pussy Riot: A Punk Prayer,
a documentary by British filmmaker Mike
Lerner and Russian co-director Maxim
Pozdorovkin. Mm
Pussy Riot is a loose collective of
Russian feminist punk rockers, political
provocateurs, and artists who have
been active since 2008. Three of the
group's members, Maria Aliokhina,
Nadezhda Tolokonnikova, and Yekaterina
-Samutsevich, shot to the international
spotlight after Putin's government staged a
very public and controversial trial, sending
them to a labour prison camp in Siberia,
From the start of the film, Lerner fjpfi
and Pozdorovkin portray the three women
as empathetic protagonists through
interviews with their parent^ researching
their academic background, and shedding
light on their activist beginnings. For
example, seven years ago one of the
women participated in a protest at the
Timiryazev State Biology Museum in -►
The recounts of past activism are both 1
shocking and humbling, making clear that these
girls are no "overnight successes" and have
been staging incendiary performances for years
before hitting an international nerve.
FILMSTRIPPED
17
	
— Moscow where she engaged in public
sex with her husband while pregnant.
The recounts of past activism are both
shocking and humbling, making clear that
these girls are no "overnight successes"
and have been staging incendiary
performances for years before hitting an
international nerve.
For most of the documentary's second
' act, we share in the claustrophobia of the
punk activists as they sit helplessly inside
a glass booth, witnessing the trial develop,
with their defence attorneys impotently
observing and making powerful—albeit
clearly hopeless—-condemnations of the
modern Russian legal system. The girls'
eloquent, truthful defence statements
and the masses of supporters chanting
anti-government slogans outside
the courtiiouse seem like desperate
exercises in futility against a system that
suppresses human rights and censors
communication.
In fact, the path to empowerment is
written on the wall—the social media wall,
that is. The international debate sparked
by Pussy Riot puts one thing in clear
perspective: social media has provided
oppressed people around the world with
an unprecedented ability to bring accountability to the powers that be.
Since the film's release last year,
Russia has remained prominent in the
controversy spotlight (Sochi Olympics,
anyone?) but A Punk Prayer does an
excellent job of looking closer at some of
the injustices being committed against free
speech. If you ever have the opportunity,
I strongly recommend assembling a few of
your friends and seeing the documentary—
just don't forget to bring your purple
balaclava.
18
FILMSTRIPPED iiiiii
■n
•    # I
%
/
I Teenagre
written by MaxWainwright
photos by Nolan Sage
illustration by Dana Kearley
(on previous page)
It's one of those sleepy winter
afternoons that could easily pass for
spring. The sun hangs lazily in the waning
hours of daylight as I make my way down
Kingsway towards Our Town Cafe for my
interview with Teenagre. Inside the cafe,
there's a familiar hum of steaming milk,
roasters and patrons lost in thought.
The band are in good spirits, looking
relaxed and cheerful as they settle in
with hot beverages and cookies in hand.
Though violinist Zuzia Juskiewicz is
absent for the interview—currently doing
an artist residency in New York—I'm still
joined by the rest of Teenagre: bassist
Matthew Friesen, guitarist Eva Prkachin,
and drummer Erik Hermans.
While the Teenagre moniker is new,
the band's lineup may seem familiar—
rightfully so. The quartet originally went
by Teapot Hill and even placed third
in CiTR's Shindig two years ago. But
prior to Shindig, right before Teapot Hill
were about to leave for tour, founding
member Ryan Wugalter quit the band.
SerendipitoUsly for the rest of the group,
the tour went very smoothly as a quartet.
"When we got on tour, a week or
so in, we're like, This is awesome!' We
were having a great time." But the band
couldn't continue as Teapot Hill, as
Friesen explains: "Teapot Hill belonged
to Ryan. We felt like we were carrying
the torch for something that was
already gone."
After Shindig, the remaining members
felt revitalized and began to distance
themselves from the folk-oriented indie
pop of Teapot Hill, experimenting with
different textures and songwriting
processes. With a greater emphasis on
electric instruments and a penchant for
reverbs and synths, the band's sound grew
darker. Thus, Teenagre was born.
When I ask about an overall motif
for Teenagre, Prkachin says it best: "Our
songs are sort of prom-sounding. We think
about that a lot—prom bands and through
the ages how they're kind of the same
but also really reflect each of those ages.
There's an innocence implied in that that
we're interested in." -►
20
TEENAGRE  TEENAGRE
"Our songs are sort of prom-sounding. We think
about that a lot—prom bands and through
the ages how theyVe kind of the same but also
really reflect each of those ages. There's an     ;-|f$||
innocence implied in that that we're interested in.
fSA
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"The commonality of prom through
the ages is that you're playing to people
who've graduated, finished one stage of
their life and anything is possible [moving
forward]," adds Friesen. "It's a super-free,
amazing, fun experience but it's also a
hugely overwhelming, terrifying experience
at the same time. We like that weird energy
that comes from that moment. It can be a
very dark moment, but it's got potential,
tradition, and ceremony."
The name Teenagre is an homage
to these sentiments of indeterminacy,
flux, structure, and the tensions between
them. Adding to the name's significance,
the history of the band itself is analogous
to a teenager maturing through a tough
moment of change, like prom, ready to
take off in new directions.
When the band placed in Shindig two '
years ago, one of the third-place prizes
was recording time at Fader Master Sound
Studios in Vancouver, which Teenagre
used to record a pair of songs: "Visitor"
and "Tidy." By mixing in a diverse set of
influences ranging from Sonic Youth to
'70s funk, the tracks craft an impressively
smooth, brooding strain of indie rock.
Juszkiewicz's croon in "Visitor" conjures
comparisons to Joanna Newsom, lilting
around Prkachin's pulsing funk guitars.
With Friesen and Hermans at the helm,
the steady, plaintive jaunt of "Tidy" sits
easily alongside Midlake or Fleetwood Mac.
In spite of Teenagre's
growing pains over the years,
like most teenagers, theyVe
learned, matured, and
graduated. If Shindig was
their prom, then life after
high school has never looked
brighter. $    |||1
\      \
For more about Teenagre
and to hear their music,
including "Visitor," check
out teenagre.com
23
—  *£&*>^*ni M\  * Reef J
Shark
written by Natalie Dee   photos by Yuliya Badayeva
illustration by Britta Bacchus
(on previous page)
"That's the good thing about being good
friends in a band. You can just, like, shit
on each other." It's late on a Wednesday
afternoon and I'm sitting in a half-empty
Caffe Brixton with both members of Reef
Shark, one of Vancouver's latest garage
pop bands. Over a pint of pale ale, singer/
guitarist Devin Miller is explaining to
me the benefits of being so close to his
bandmate.
Drummer Garth Covernton is
quick to chime in: "Once I told Devin
he was playing guitar like the Edge. He
got really offended and was mad at me
for half an hour, but it was fine after
that." The pair are disarmingly comfortable with each other.
With only a series of social media
pages and a minimalistic website to
research from, I'm unsure what to expect
from my interview with Reef Shark. But
as soon as we're all together, the pair are
content to banter for half an hour-about
anything and everything—from how the
band was formed to their creative process
to details surrounding their upcoming
debut release.
Covernton and Miller became fast
friends when they were both enrolled at
UBC. One night, instead of writing their
biology lab report, they decided that
their time would be better spent coming
up with a list of potential band names.
Three years later, after both of their % ||§f
26
REEF SHARK »NH|iHlM5Bi
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REEF SHARK
pammmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmh bands went on indefinite hiatus, 41st and
Home for Covernton and Yourig Pacific for
Miller, they're finally putting one of their .
hypothetical names to use via Reef Shark.
After a year together, Reef Shark
already have a handful of beachy pop
songs available on their Soundcloud
and a full-length album in their back
pockets—impressive, considering their
original intent was to get away from
the seriousness of other projects and
experiment with their sound and write
.some "stupid summer songs." The
yet-to-be-released album makes good on
the promised dosage of summer, with
everything from amped-up lo-fi jams
to Beach Boys-esque vocal harmonies
spread out over 12 tracks. Reef Shark are
hoping to release their album sometime
over the summer, and are currently on the
hunt for a label to release it on.
When I ask about their approach to
creating music, both Covernton and Miller
agree on calling the process "easy."
"We can basically decide in five
minutes if we like or dislike something,"
says Miller. This rapid-fire creativity
between the two once made it possible to
-jcome up with three songs in a single day.
What started as "a bunch of crappy
songs... about having fun and the
summer" quickly evolved into something
more serious though, and Covernton and
Miller decided to give the project the -♦
28
REEF SHARK "There's no time limit because we're so small
and no one really knows about us and no    ||
one's like/When's that album coming out?'
So we'd rather do it well."
REEF SHARK
29
eUm ^^^^^M
attention it deserved. That's when George
Knuff, a friend of Covernton's, joined the
team to help record Reef Shark's album in
his basement studio.
When it came time for someone
to mix the final product, Covernton
and Miller knew they wanted it done
professionally and decided on Jesse
Gander from Rain City Recorders to
achieve their desired loud and distorted
sound. The search for the right producer
caused a fortuitous delay of two months
for Reef Shark, during which Miller—after
watching a Lou Reed interview—was
inspired to create a few bass lines for
the album. According to Covernton, "[the
album] would've just felt empty without •
bass," but the final mix ensured his
drums stand out, creating some seriously
danceable rhythms.
The final-hour bass changes to the
album also raise the question of Reef
Shark expanding their lineup in the
future. A few names are cheekily tossed
out, acknowledging that they should
round but their sound for their live shows,
but they're happy to keep the writing
to just the two of them. The future also
holds a follow-up EP (already in the
works) set on focusing their sound and
experimenting with a more laid-back vibe.
Reef Shark knows they've got
something going for them and Covernton's
in no rush to change what's already been
working so well: "There's no time limit
because we're so small and no one really
knows about us and no one's like, When's
that album coming out?' So we'd rather
do it well."
30
REEF SHARK " :'3?W!^MBHiw$BgSg£
ill Zoo Age
written by Sean Cotterall   photos by Pyra Draculea
illustration by Eduard Barcelon
(on previous page)    I
Some musical partnerships are simply
meant to be.
Take Chris Von Szombathy and
Tyler Greentree, for example. It was only
by chance that the two of them met at
Ms. T's Cabaret, an old venue on Pender
Street, back in 2003. Vori Szombathy was
playing bass as part of an improvisational
performance; Greentree, who was in the
audience, immediately fell in love with
the band playing onstage. But it was the j
bass player in particular, who caught .
Greentree's eye.
"I remember that night meeting
[Von Szombathy] and his then girlfriend
and really loving the show," explains
Greentree. "I ended up getting a gig at
[the same venue] a few months later, and
it burned down just a few days before I
was supposed to play the show." Through
the ashes of Ms. T's Cabaret, a musical
partnership between Von Szombathy and
Greentree was born. Three years later, the
duo released their first album, Atlantis,
under the name Tour de Fours.
Fast forward eight years to a beautiful
Sunday afternoon in Vancouver. I'm
walking along Main Street to meet Zoo
Age, Von Szombathy and Greentree's new
musical alias. Spotting the pair of black
jackets I was told they'd be wearing, I
introduce myself; after walking a few
blocks, we settle on a bench nearby before
diving into the interview.
32
ZOO AGE Zoo Age are a rarity: they do not
play live shows and they do not tour, a
conscious decision made primarily by Von
Szombathy due to a mental disorder called
agoraphobia.
"What is Agoraphobia?" I ask.
"The literal translation is Year
of the marketplace'... for me at least,
agoraphobia is more like a behavioural
symptom of intense paranoia." The
condition limits, among other things, Von
Szombathy's ability to travel and play
shows. Although he's performed many
times before, an event several years ago
led him to stop playing live shows and
touring.
"At the time, I was in a band and we
were gigging three to five nights a week.
We went on our first trans-Canada trip
and when we got to Toronto, I lost it. I
had a mental breakdown that was unlike
anything I'd had in eight years. It was a
disaster; I immediately hac^ to quit the
band."
Von Szombathy's mental condition
and breakdown resulted in two things:
it led him to discover writing as a way
to cope with his mental illness and he
began working alongside Greentree
more. The event in Toronto that forced
Von Szombathy to quit the band led to
a new chapter in his life; coping with
agoraphobia has, paradoxically, aided him
in his creative process as a writer and
musician.
Zoo Age, the pair's self-titled debut,
is more than just music. Listeners .
experience the degree of mental calm that
Von Szombathy himself achieves through
his writing. It is an interesting blend of
two different realms of music. On the
one hand, we have electronic production
that features unconventional, futuristic
sounds matched with more conventional
instrumentation. On the other hand, we
have the vocals of Greentree, delicate,
complex, and uncomparable to any singer
in recent memory. Her vocals—coupled
with the organic and, at times, whimsical
production—allow Zoo Age to break
barriers between genres and craft a sound
that is totally unique.
The process of making an album
can sometimes bring out moments of
frustration and disagreement. When I ask
how Von Szombathy and Greentree deal
with creative differences and how theyVe
maintained a partnership for such a long
period of time, Greentree's answer is
simple: "The disagreements we have are
never about power. Any disagreements
we have are situational and specific...
They are discussions about how to best
serve our ideas." The ability to work
alongside someone in this way is nothing
short of a luxury and the creative bond is
represented on the album.
But are we doomed to only be able
to experience Zoo Age either through
computer speakers and headphones? I
ask if Von Szombathy is completely ruling
out any future live performances from
Zoo Age and he says his ability to cope
with Agoraphobia has greatly improved—
though nothing is definite, he's optimistic
about a return to the stage, gf
i
While you simmer and wait for a show
announcement from the duo, you can
still listen to and download their music
from their website at zooagemusic.com
The disagreements we have are never about
power; Any disagreements we have are
situational and specific... They are discussions
about how to best serve our ideas."
ZOO AGE
33 The Hatchery
I     *
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■
111
m
iilllllllll ART PROJECT
THE
HATCHERY
/
I NEED
TO SEE YOU
I Need To See You
I NEED TO
SEE YOU
A collaborative
project between
Jonathan Dy and
Mark Brand
Catalog Gallery, 88
West Pender
(Tinseltown Mall,
2nd floor)
Exhibition Opens:
April 5,7p.m.
THE HATCHERY
FEATURING:
Olivia Qiu
Mark Delong
Nicolas Sassoon
Olivia Carmen
Evan Broens
Juli Majer
Michael Jones
Kathleen Taylor
Jabari
Jordan-Walker
Sebastian Davidson
Kara Hansen
Patrick Cruz
Avenue 165
E Hastings
Cu rated by
Future Proof M
T
w
TH
/ s j r t j
1
2
3
s   / /  I / 1
Paul Anthony's Talent Time
Yellow Dress,
\     r     /     /   1   1
@ Biltmore
OK Vancouver OK
J /   /   / /   j
Losses, Leveler, Yes Bear,
@ Cobalt
r     /   /    / /   /
Polarhorse
JP Maurice, Rolla Oak,
[     /   /     /  1   /
a ■■■;' <;':"
@ Astoria
Redbird
B
@ Biltmore
* ii   /
'8
9
10
Factory Floor
La Femme
Jesse LeBourdais,
Hanson Brothers, B-Lines,
@ Fortune
@ Media Club
Supernatural River,
Crad Apples,
Machine Wreckers
@ Railway Club     Wm.
Stress Eating
@ Cobalt
Stephen Malkmus &
the Jicks, Speedy Ortiz
@ Rickshaw
14
15
16
S§
La Femme
Tesseract, Intronaut,
@ Media Club
Cloudkicker,
ift^SM .^^^^^^^^^^^^^^^^^^^it?
Witch of the Waste,
The Nautilus
@ Rickshaw
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Mormon Crosses,
Howler
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N.213's Group Vision,
Tough Age, Heavy Chains
@ Cobalt
White Lies, Frankie Rose
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@ Rainbow Connection
@ Venue
28
29
Trust, Mozart's Sister
@ Electric Owl
30
Moon Duo, Twin River,
The Backhomes
@ Electric Owl Dum Dum Girls, Blouse
@ Biltmore
Kubla Khan,
Chimpanzebras,
Psychic Alliance,
Enemy Feathers
@ Railway Club
11
Needles//Pins, Tough Age,
RamboneandtheWet
Reality @ Astoria
Young Braised, Gal Gracen,
Wetface, Space Bros.
@ They Live
Phantoms Again,
Late Spring, Cave Girl,
The Plodes
@ Rainbow Connection
18
The Dillinger Escape Plan,
Trash Talk, Retox, Shining
@ Rickshaw
The Rock Band Called Time,
La Chinga, Song of Huns
@ Railway Club
25
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Cover Me: Girls Rock Camp
Fundraiser
@ Russian Hall
Virgin Blood, Concrete
Floor,//zoo,N.213
@ Rainbow Connection
Neutral Milk Hotel,
Elf Power
@ Vogue
12
Woolworm, Village,
Fantasy Prom, Other Jesus
©Railway Club
19
Dixie's Death Pool,
Sun Ra Star System,
Shades of Scorpius
@ China Cloud
RECORD STORE DAY!
@ various locations
26
Lunch, Sex Church,
Cowards, Underpass
@ Rainbow Connection
Fuck The Facts,
Ritual Dictates
@ Electric Owl
La Luna, Open Letters, Dairy
©333
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20
27
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SOLIDS/PUP
March 3, The Media Club
Before anyone took the stage at the Media
Club, I hung around the merch table and
picked up a few albums. Of the combined
six musicians from both acts on the bill,
most of them hovered somewhere in the
near vicinity. It was a Monday night and
they had all travelled a long way to take the
stage here.
Toronto's PUP seem to be this year's
spiritual successors to METZ, while also
channeling the snotty, chanting vocals and
grimy power chords of a hundred revered
Mississauga/North York/Scarborough
bands before them. Montreal duo Solids
have seen some significant touring, with
much more in the months to come.
With a decent smattering of people
present considering it was a damp
weeknight, PUP kicked things off with a
blast of songs off their self-titled 2013 LP,
barely letting up as they belted out triple-
punch vocals on the choruses, starting
with "Guilt Trip." This show—frontman
Stefan Babcock remarked during one brief
pause—after a drive straight across the
country, marks the beginning of a long
stint touring with Solids, and their only
date in Canada.
Particularly appropriate too, for these
sons of the Greater Toronto Area to be
thrashing and screaming onstage almost
exactly as Mayor Rob Ford's unfortunate
turn on the Jimmy Kimmel program was
being broadcast on the east coast. The
guitarist stage left displayed a "NO MO RO
FO" button prominently on his guitar strap.
Blasting through their set, including a
new song off an upcoming still-in-prbgress
album, PUP displayed the sort of tight
performance skills that come from -►
REAL LIVE ACTION
41
M years of jamming together. (Their rather
unexpected Wikipedia page explains this,
revealing that they were childhood friends
and previously in a group called Topanga
together.)
Solids aren't an imposing presence.
The two members, guitarist Xavier
Germain-Poitras and drummer Louis
Guillemette, positioned themselves
beneath a brought-from-home lamp right
Confusion, released just a few weeks prior.
Solids closed out their set with "Cold
Hands," a high-rewing effort wrapping
things up nicely. As the high-pitched
whine of the final chords faded and people
filtered toward the back of the club,
Solids began to take apart their kit. Just
a couple of guys who came in, left their
mark, and will do it again almost every
night until June. —Mike Lakusiak
a?
against the stage's edge, and proceeded to
effortlessly make an amount and variety of
noise befitting a band with double or triple
as many members.
Keeping the banter to a minimum,
Solids let their frantic drumming (chewed
up spare sticks rested atop the bass
drum) and driving fuzzy melodies speak
for themselves. Their brand of noise is a
slower burn than PUP's, an orchestrated
pummeling of instruments with distortion-
drenched chords left hanging while several
more pile up behind, the two of them
howling out lyrics in unison. Guillemette's
masterful kit work seemed intent on
simply keeping up with the sheer pace of it
all, rolling along and absolutely clobbering
the cymbals while sniping out snare hits.
It seemed like the crowd thinned a
bit for Solids (a few Ontario transplants
chanting along to PUP and trying to start
a four-person pit either stepped back or
left), but the momentum continued as the
pair worked through material from Blame
REAL ESTATE/THE SHILOHS
March 4, Rickshaw Theatre
As witnessed by the Rickshaw's amassing
crowd, the Shilohs' psych stylings challenged Tuesday night's turbid disposition.
In contrast with the evening's rainy
weather, the Vancouver four-piece
sounded clean and dry.
Pulling from their recently released
LP So Wild, the Shilohs' tunes immediately
shone with sincerity. As if from a decades-
past summer day, their chords surfaced
without even a shadow of reverb.   f!|
Initially this gave the impression of a
hushed performance, though the only real
quiet lay in the spaces between notps, or
between groups of notes halting in unison.
These line-toeing tempos showcased the
band's bouncy, playfulness. Indeed, the
antics of stop-start melodies on songs like
"The Place Where Nobody Knows I Go,"
called to mind psych pop acts like the
42
REAL LIVE ACTION Monkees. By the end of the Shilohs' set,
the audience seemed settled in a state of
pleasant appreciation.
A wordless, scrolling ornamentation,
"April's Song," began Real Estate's
set. Aglow in warmrblue stage lights,
Matt Mondanile's jangly riffs rode over
the shapes of houses, light posts, and
mailboxes. While his constellating notes
silhouetted suburban architecture,
the melody behind him biked forward,
reiterating the scenery's sameness, even as
we passed from one block to the next.
This dreary Tuesday eve happened
to be the release date for Real Estate's
third LP, Atlas. On the record's cover sits
a recreation of the goliath New Jersey art
piece, Alexander's Mural. Sectioned into
squares, the image's disrupted cohesion is
significant. It suggests visually, what Real
Estate's set did sonically.
Ever-commenting on capitalism's
most famed social experiment, the night's
tunes did less to imitate and more to
interpret. The band's use of lullaby guitar
melodies, subdued reverb, and soft
back-drop drumming offered patterned
impressions of a dreamy suburban life.
Not grey and vacant and endless, but
decorative and intricately decaying. From
the Rickshaw's stage, they masterfully |§|||
dismantled and then purposely re-pieced
their version of a place where real estate
is king.
Drawing on songs from all three
albums, Atlas was the obvious focus of
the night. Martin Courtney's distinctive
vocals were well sung and supported by
Mondanile's ornate guitar wanderings.
Alex Bleeker (bass), Jackson Pollis
(drums), and Jonah Maurer (keys)
consistently directed melodic motion
down the tracks of each song's particular
sidewalk.
Tunes like "The Bend" and their final
encore performance of "Green Aisles,"
drew attention to Real Estate's capacity
to play with song pace. By commanding
tempo changes, Real Estate made obvious
their intentionally distorted take on
suburban existence. Their strolls through
picket-fenced neighbourhoods were really
just the projections of light-stained film
footage.s
From beginning to end, Real Estate's
fans were steeped in thick and hospitable
swirls of sounds. It was somehow
wonderfully cathartic to stand and listen
while jangly chords made lovely patterns
out of the once-threatening rows and malls
of suburban sprawl. —Alex de Boer
TIM THE MUTE/WOOLWORM
DEAD SOFT/NO, BOY
March 7, The Cobalt
Lots of sweet shit went down around the
city on March 7: little cherry blossoms
peeking open, some dude getting arrested
at the Cobalt Motor Hotel, and, cozied
up next door, a prim-and-pretty door girl
handing out vouchers for Tim The Mute's
seven-inch Dr. Who Cosplay release with
your $10 admission at the Cobalt. Tim
Clapp himself, the man of the hour, played
host for the evening, bustling about and
saying hello and grinning and being
awesome.
Up first, peachy-faced No, Boy took
the stage. The self-proclaimed "really fun
losers" barraged through some harmless
emo rock, frontman Pavel Ganapolsky
tugged off his shirt, and a small pack of
emo girls knitted themselves front and
centre for the melodic slower stuff. A larger
audience may have mirrored the mighty
little frontman's stage-punching and
mosh-insisting energy, but with what was
at hand, it felt a little weird.
Discorder cover dreamboats Dead
Soft followed as more party-seekers flowed
in from outside. With a fuzzed-out, full
and polished consistency, the threesome
delivered gem after grunge gem, uttering
little more than modest peeps of thanks
between songs.
Nathaniel Epp (guitar/vocals) and
Keeley Rochon (bass/vocals) harmonized
earnestly instead of mechanically, and
only in welcomed pepperings. Epp, as
comfortable on stage as his big old black
tee looked on him, groaned and griped
throughout the Pinkerton-esque (e.g
REAL LIVE ACTION
43 gloomy, danceable, catchy as hell) set,
floppy-bunned Rochon dazzled, and
Graeme McDonald (drums) bashed it out
while avoiding the flashy bullshit.
"We're called Woolworm, sorry for
taking so long," Woolworm's frontman
Giles Roy offered flatly at the start of
their set, but it didn't seem earnest—then
again, much of the following set didn't.
Technically the band had its shit
together, and followed all their self-taught
indie-rock/ "90s revival/ not-quite punk
rules that have recently set them up in
a Vancouver scene limelight, but I had a
hard time connecting.
Roy's lackluster utter non-excitement
throughout was disconcerting despite his
hitchless guitar playing and otherwise
solid, though not groundbreaking,
songwriting. Heather Black (bass) was
undoubtedly the shining star of the set,
smiling and rocking out and mutely
singing every word; if she can wail - which
she looked like she could—I bet she'd
make a great frontwomah.
Dapper in his appropriate "11th
Doctor" attire, Tim The Mute dawned the
stage, his grin a veritable phaser (set to
befriend).
In conversational quips, Tim The
Mute enraptured the crowd with janky-folk
whims, lo-fi daydreams, and secrets fit
to be told in the security of a blanket
fort. Celebrating the release of Dr. Who
Cosplay may have supplemented the
enigmatic frontman with added pulp, but
the performance was typical of his jaunty,
off-kilter stage persona, and insightfully
funny reflections.
Lines like "You touched yourself for
the first time reading Twilight... Why can't
I be that to you?" skew pop culture fantasy
with diary-entry style observations, the
EP's namesake being no exception. He $0M
rightfully stole the show.
—Cali Travis
Woolworm    photo by Jensen Gifford
44
REAL LIVE ACTION THE BINZ
How to Freak Out
Responsibly About
the Rise of the Robots
NOT YER BUDDY
RECORDS
Just when we'd finally
recovered from the
cacophonous beating
the Binz laid on us with
their debut EP, theyVe
sprung out of a dark East Van alley and
laid the boots to our ears again three times
as hard.
On How to Freak Out Responsibly
About the Rise of the Robots, the Binz
have successfully amassed a collection of
sOngs that draw on a myriad of influences
from the increasingly
broad genre we call
punk rock and managed
to come across with a
genuine, honest sound.
"Alien Abduction Envy"
kicks off the 25-minute
pummelling with a huge
garage punk riff and a
howl from Gary Robertz
that's on par with Matt
Caughthran of the Bronx
or Fucked Up's Damian
Abraham. After that
blast of an opening track, the album keeps
momentum like a freight train. "Suffer"
bounces along while "Radio" has a post-
hardcore feel. "Mabel" offers a hint of pop
punk, then the panicked, buzzing intro
of "What can You do to
Me" pulls you into two
minutes of straight-up
hardcore before
switching gears again
with the swashbuckling
"Paranoid."
The Binz bob and
weave through 12
unique tracks without
missing a beat, and
it's all caught on tape
by the talented Jesse
Gander—the man who's mastered the
ability to make loud sound even louder.
How to Freak Out... is another sonic
ass-kicking from one of Vancouver's most
zealous punk rock quartets whose energy
and conviction is an admonition for us
all. —Mark PaulHus
FALLING
FAILING
The Apple in the
Pig's Mouth
INDEPENDENT
"It may be, in the
process of roasting
without the apple, that
the jaws would tighten
into a ghastly grimace.
The apple can soften
the look" (The Barbecue!
Bible, Steven Raichlen).
Failing's name conjures the most
blithe ideation of pain—the So Fucked
We're Laughing cadence. And Failing
are fun; fun without sacrificing the
UNDER REVIEW
45 industrial severity of rock brutalism: raw '
sludge textures come courtesy of Lindsey
Hampton's monstrous bottom end guitar,
Will Kendrick's drumming crashes with
imperial imperative, and Shaunn Watt's
vocals escape like tape reel pushing past
the verge of dust.
When the industrial detonation and
throbbing propulsion reconfigures your
sensibilities, each surgical shriek of Watt's
guitar earns a grin, each rhythmic thrum
a physical empathy. Working with jagged
mass, Failing cultivates a cool sheen:
curatorial libertines of the absolute zero.
For most of Side A, they reconcile
doom with combative pleasure. Opener
"Eating Salt" produces an almost erotic
satisfaction with precipitous beats between
enormous heaves of reverberation.
The upbeat four-count opening of
"Blackened Pitch" provides momentum
and bounce for apocalyptic-chic. "Paler"
perpetuates this effect, evincing in
particular the rhetorical sway of Watt's
vocals, an angst that demands revelry.
In these songs, harsh as they are, the
melodic lines are always compelling,
always catchy.
If I were to voice one complaint with
Failing's extraordinary debut, it would be
that perhaps the! noise-rock vignettes only
briefly reveal their potential for atavistic
incomprehension. With vocals now more
dissolute than dissonant, "Houses,"
opening Side B, evinces the album's
depressive movement. And in the sonic
abjection that concludes final track, "See
Through," the curtains are fully drawn
back: Failing's noise moves beyond the
threshold of sensibility.
Behold the man! or, pig,
sans apple.
—Jonathan Kew
jODY GLENHAM
Dreamer
INDEPENDENT
From the gripping
melodrama you might
expect to stumble across
on a late night Frenchmen Street bar hop,
the rough edges of Focus Pull have been
smoothed out on Jody Glenham's follow-
up EP.
Focused, composed, and showing
no trace of the piano-driven show tunes
that her solo debut rested on, Dreamer
begins on the lugubrious leftovers of a
one-night stand: "Between You and Me,"
whose final repeated lament, "What my
body takes / Should surely make a heart
break," resonated with forlorn lovers
citywide on last year's sneak-peek Dreamer
seven-inch. §*1|;
Produced by Raymond Richards (Local
Natives, The Parson Redheads) at his Red
Rockets Glare studios in LA, Dreamer
is a six-song outing laden, yet never
overwhelmed, with his Idaho Falls roots.
"Forever the Affair* accompanies
lush instrumentation with Glenham's
hapless, often transparent, outpourings:
"Just get me drunk tonight / I need to feel
/ Something so raw, rugged, and real /
Never the love / Forever the affair."
The lone hometown hymn "Gypsy
Babe," recorded in 2012 at Fader Master
Sound Studios, stands out as a smalltown import among Richards' meticulously
adorned studio arrangements.
Meanwhile, "He has Your Name"
solidifies Glenham's California departure
as the songstress belts it out like a boxcar
beauty atop the sombre steel of this
southbound train: high hopes, eyes alight.
Closing the EP, "Quick American"
and "Dreamer" illuminate Glenham's
uninhibited vocal range as it flirts between
rollicking guitar licks and haunting late
night visions—the type
that inspire visionaries
to drop everything and
ramble the countryside
in search of their own
voice, and a producer
to showcase their
homegrown talent,
teasing at Glenham's
desire to be known
beyond Vancouver's city
limits.
—Robert Catherall
46
UNDER REVIEW OTHER JESUS
Bachelors of Art
INDEPENDENT
Even if regular Jesus
hadn't been able to make
free wine and mindfreak
his disciples at every
turn, he didn't need to
worry about a lack of
employability; after all,
he possessed the one
thing that almost guarantees a stable
future: he had a trade. Vancouver stoner-
pop trio Other Jesus, meanwhile, flip
trade school the Larry
8b Lester on their debut
cassette Bachelors of Art,
an eight-song testament
to the lifestyles of the
unemployable artistic
that's thoroughly art
school unconfidential,
through and through.
Like a poster of
an alien smoking pot
or a poster of Garfield
smoking pot—which
is basically the album
cover—Bachelors of Art is a rather   ^f•
ridiculous and extremely addictive
collection of low art/high times. Opener
"Hot Probs" is a bratty dirge about chores
and telephone privileges, accompanied by
a prehistoric guitar bellow that sounds
like the *98 Godzilla-remix version of
Green Day's "Brain Stew" but without the
Green Day. "Bracist" is even swampier,
with lyrics contemplating'how to deal with
crooked teeth on a low-income paycheque
(solution provided: a monthly braces
payment plan), and "Couch" demonstrates
the pointlessness of leaving the house
when you can be oh-so comfy where you
already are. "Horses" is about horse sex—
might be an "If it sounds kind of twee, it
is," but commendably so.
For art-grad inspired rock, the Other
Jesus trinity really balk at pretense
and affectation. This is most obvious
on fuzzed-out slowburner "Modern Art,"
where the lead vocals
are performed in a
highfalutin put-on
that sounds kind of
like a Berlitz cassette
for art-snobs. This
humour gives the band
a seriously unique voice
in a city where so much
punk music can be really
punishingly bleak. In
other words, laid out
over a bedrock of heavy
stoner riffage, these Jesuses (Jesi?) make
for pretty excellent false idols.
—Patrick Geraghty
THE PACK A.D.
Do Not Engage
NETTWERK RECORDS
On their fifth release
and first album on
Nettwerk Records, the
Pack A.D. help cement
their reputation as a
premiere act in the
garage rock genre and
as one of Canada's
most dependably fun bands. Recorded at
Hive Studios in Vancouver and at Ghetto
Recorders in Detroit, Do Not Engage
showcases the duo at their most confident
and mature.
A majority of the record consists
of driving, fuzzy rockers that fans have
come to expect of vocalist/guitarist Becky
Black and drummer Maya Miller. "Big
Shot" easily stands among "Haunt You"
and "Sirens" as one of the duo's strongest
songs to date, with its simple yet super
catchy chorus and anthemic riffage.
Culled from last year's Some SssongsEP,
"Battering Ram" lives up to its title in
spades, featuring thundering drum work
by Miller and an infectious vocal hook
by Black. Jim Diamond's production has
smoothed out some of the rougher edges
that characterized the band's earliest work
with Mint Records but has thankfully left
the Pack A.D.'s power and thrust intact.
UNDER REVIEW
47 That being said, not every track
on Do Not Engage goes off like a bomb.
For a song called "The Flight," i{ doesn't
really have a lot of propulsion as Black's
distorted vocals float above an insistent
drum beat and single guitar riff that seems
to go in circles, j
Overall Do Not Engage is a strong
record that builds upon the foundations
of the Pack A.D.'s garage rock sound
and sees the duo further refining their
economical and raucous style.
—James Olson
pypy (ii n>
Pagan Day
SLOVENLY RECORDINGS
PYPY's debut LP Pagan
Day is a buzzed-out    |||jy
hodgepodge of genres
and styles. It's neurotic
and unorthodox,
repackaging the past
with a new edge.
Echoes of Black
Sabbath are most
prominent—with the
yowls and yelps of
vocalist Annie-Claude
Deschenes sounding,
at times, a lot like
Ozzy—but there's also hints of disco
and *90s noise rock. A recent poster for
the band's upcoming tour billed them
as psych punk, but that seems overly
simplistic as well. The album is organized
chaos. With trance-inducing buildups and
frenzied breakdowns of sound, the sound
is difficult to pin down, but in the best way
possible.
The title track starts things off with
a heavy bassline and some proto-metal
guitar work. "Molly" is catchy as hell,
with kick-ass vocals from Deschenes and
Choyce, who also plays guitar. The teeth-
grinding ode "Too Much Cocaine" messes
with hip-hop but is way too dissonant/
cacophonous to be anywhere near a
hip-hop track, with heavy effects and some
spoken word tossed in as well. "Daffodils"
throws you into a five-minute-plus blissful
psychedelic, trip.   Mm
Tight and
powerful, Pagan
Day is a veritable
masterpiece.
—Joshua
Gabert-Doyon W$
VARIOUS ARTISTS
Shake! Records
Sampler
SHAKE! RECORDS
/•IX^
If you're in the mood for a low-energy,
drawn-out snoozefest, then the Shakel
Records Sampler is not for you. The
Victoria-based record label's sampler
tape contains 17 short,
energetic, and hook-
friendly punk, garage
rock, rock *n' roll, and
power pop songs that
will accommodate the
ears of any fan of the
aforementioned genres.
Throughout the
compilation, each band
offers their own take
on Shake! Records'
distinctive sound. The
droning of Monster
Treasure's grunge-fuelled track "Heat"
and the tough-yet-sweet surf punk of
"Demon Birds" by Fist City demonstrate
the diversity of punk music. Some tracks
keep it so short, it's hard to not miss
them. Babysitter's "Re:late" gets down to
business in just 52 seconds while "Closer"
by the Throwaways clocks in at just 49
seconds. The Mandates bring a mix of
power pop and punk with "Gotta Forget
That Girl" that falls into a similar vein as
the Exploding.Hearts or the So So Glos.
On the other hand, Tranzmitors' confident
yelps and tight guitar riffs offer a type of
power pop that sounds like a rougher and
retooled Nick Lowe. Fittingly, the Jolts'
"Contintental Op" surges with energy due
in equal parts to its expansive vocals and
searing guitar solos. One of the best rock
48
UNDER REVIEW *n' roll songs on the sampler is "Creep For
Me" by Betrayers, whose sublime debut
LP released late last year is well worth a
listen. A bit of a breather from the rest
of the fast-paced songs on the sampler
comes from "Tray's Fortress" by Jons
with its lead vocals moodily crooning
over reverb-heavy guitars. My personal
favourite, however, is "Book of Love" by
Jiffy Marker, whose goofy
vocals bring a nuanced
take on love, available
as one of the nine bonus
tracks that come with
the digital download of
the compilation.
After a listen to the
Shakel Records Sampler,
you'll discover just
exactly what the Shake!
appeal is.
—Mariko Adams
VILLAGE
Stranger Thoughts
KINGFISHER BLUEZ
Immerse yourself in
the effervescent tones
of Village, a Vancouver-
dream pop band you
should be keeping
your eye on. The
perfect record for a late
summer's night drive,
Stranger Thoughts plays with stunning
reverb, smooth vocals, and eloquent guitar
pieces that build on top of each other
effortlessly.
The seven-inch consists of the title
track "Stranger Thoughts" on side A
and a "Stranger Thoughts" remix by the
Passengers Drift on side B. The Passengers
Drift mix is a more ambient version of
"Stranger Thoughts" but does not level up
to the strength of the original track. The
original begins with several chords and
then slowly builds into a powerful medley
of velvety vocals and synths. Stranger
Thoughts is a notable progression from the
band's previous 2012 release, Nowhere,
and is a preview to Village's anticipated
first album release sometime this summer.
Stranger Thoughts is a reminder of
how easy it is to lose and regain yourself
multiple times in three minutes and
19 seconds. Check out Village live with
Woolworm, Other Jesus, and Fantasy
Prom at the Railway Club on April 12.
—Julia Lehn
WALRUS
Glam Returns
INDEPENDENT
Those in the mood for
a euphoric listening
experience do not have
to venture far;'with the
likes of Tame Impala
and MGMT gracing the
airwaves, psychedelic
pop continues to be a
genre on the rise. With
that said, listeners
should be more than
satisfied after taking a
spin with Glam Returns,
the latest release from
Halifax, Nova Scotia
natives Walrus.
Psychedelic pop is
by no means the most
creative of genres—but
the three-piece band
has managed to produce
some well-crafted tracks that give it a fun
twist.
Opener "Banger" alternates between a
slow, entrancing state, and jittery, garage-
rock vibe. The varying tempos invite
listeners on a journey within the song
itself. However, the lo-fi distortion makes it
difficult to decipher three-quarters of the
lyrics.
Fortunately, the rest of the album
improves in that aspect, starting with
"Bulash." The mellow number alludes
to a troubled relationship, supported by
the band's lead vocalist wailing, "After
all that we've been through now / I'm
forced to say to you / I just want it to
UNDER REVIEW
49 stop / All I want is to stop and think
about it."
Title track "Glam Returns" lives up
to its namesake, reminiscent of an edgy
'80s rock song. Lines like "I don't think
it'd be bad to have you around / 'Cause
when I feel too high you always bring me
down" create a reflective yet indecisive
atmosphere.
The EP closes with the melancholic
"It's no Myth to Me," a psychedelic rock
tune seeming to-center around the theme
of anti-conformity. Clocking in at over
eight minutes long, the lyrics, "Would you
reside within a world of make believe /
And just come back to Earth to breathe?"
question the artificial elements present
in our society, amongst fuzz and steady
drumbeats: The final two minutes feature
a guitar solo—like something pulled
straight out of a hard rock concert.
Walrus' Glam Returns has the ability
to take listeners on a wistful adventure
with its honest lyrics, ambient melodies
and rock influence, and it's one venture
you wouldn't want to hop off of anytime
soon. —Natalie Hoy
Take control of your own content
Thousands of people deciding
f§mt3^Mo tonight will be viewing
your profiles and event listings.
Gome Worry With Us
HELENE KLODAWSKY, CANADA
Thee Silver Mt. Zton Memorial Orchestra have been making
protest folk, free jazz, and neo-classical music for over 15
years. Having intentionally opted out of the corporate music
industry for the DIY alternative, their sound and political
convictions are imbued with'a punk rock ethos and aesthetic.
Helene Klodawsky's film profiles violinist Jessica Moss and
Efrim Menuck, as they face the challenge of being musicians
and parents.
I You must be 19* to ottend this screening
WEDNESDAY MAY 71 7:00 PMIVANCITY THEATRE
Revenge of the Melcons
JOEANGiO.USA
if there were an award for the band least likely to sell out, it
would go to The Mekons. The British punk, turned American
alt-country, band has been pumping out anti-establishment
records for over thirty years. Since meeting in art school, the
group has released eighteen full-length albums, and myriad
of EPs and Singles. Joe Angio's riot of a film captures The
Mekons in their natural habitat.
DOXAf
50       UNDER REVIEW
'oxafestival.ca
\J3l ROGERS IN GOOD HUMOUR
Aaron
Read
written by Evan Brow
illustrations by Rob Ondzik
—
— If you were to call Aaron Read a weird
guy, he'd probably take it as a compliment.
As a member of The Sunday Service,
arguably Vancouver's most prominent
improv troupe, Read is a comedian who
lives for absurdity, risk-taking, and strong
characters.
"I think some of that came from doing
art school and getting into Mike Kelley
or Paul McCarthy, where they focus on
these really strange, grotesque things like
vomiting or bodily mutilation," says Read.
"I think a lot of that weird, fucked up shit
gets translated into a more palatable form
that I like presenting, that strangeness
and that weirdness."
Discovering improv with the Canadian
Improv Games in high school, Read found
a style of comedy that could embrace
his sense of humour. With inspirations
like Saturday Night Live, Mr. Show with
Bob and David, and a deep appreciation
of Andy Kaufman and his ambitious,
often-confrontational comedy, Read dove
into improv with a definitive energy, feeling
a bit alternative and very spontaneous.
"I like surprises. I think that's my
favourite part of improv," says Read. "And
I love that about comedy, when you see
something that isn't so straight-forward,
and you're wondering where it's going.
And maybe there's a point where it turns,
but then itll come back. Oh man, that's
my shit."
Now, after six-and-a-half years with
the Sunday Service, Read has risen
from an ambitious teen just out of the
high school circuit to a mainstay in the
alternative comedy scene. As one of the
five current Sunday Service members,
sharing the stage with Ryan Beil, Caitlin
Howden, Taz VanRassel, and musical
improviser Emmett Hall, I was curious
how Read felt he fit within the group, his
sense of humour and his style.
"I think maybe three years ago I
wouldVe been the pure wildcard [within
The Sunday Service]. And while I still had
control and I still knew what I was doing, I
could come in from the side and introduce
something different. I would say now I'm
a little more of a well-rounded member.
But I think I still throw a crutch in a lot of
stuff. Because I feel a lot of the "moves' 111
make are logically ridiculous, and people
like Ryan will call out or will fully explore
that weird idea. That's still a bit my role,
that wildcard sensibility."
However, despite his on-stage
conviction, Read admits it wasn't until
recently that he decided he wanted to do
comedy seriously.
"I didn't fall out of love with it, but I
wasn't sure of it or what I wanted to do
with comedy or things like that," says
Read. "So I went to art school for four
years. And I still did The Sunday Service
all the time, but I was kind of at -►
READ, ON ONE OF HIS MEMORABLE
SUNDAY SERVICE SCENES: ||
"One time we did something with Weekend At Bernie's and I got to
be Bernie. But I was playing a game with Ryan that he always does
with me which is to go completely limp on stage, because usually
when you're holding a dead body on stage, that person's going
to help you, but it's fun to go completely limp, with all your body
weight, and it's so hard for the other person to move you. He'd
try to put me on a chair, but because I was so limp, I'd just fall off it.
And it was kind of painful, but it was worth it."
52
AARON READ AARON READ
53 'I like surprises* I think that's my
favourite part of imp^Vf*^ says Read.
'And I love that about comedy, when
you see something that isn't so    <
straight-forward, and you're wondering where it's going. And maybe   '".'ftf
there's a point where it turns, but
then it'll come back. Oh man, that's
my shit".-' . \. J|.      '^$ ■"■•;• ^Jlll
a distance. I wasn't grinding or anything.
And then I finished art school and did
a music tour for about half a year. And
when I was away from comedy, I realized
what I was missing was comedy. So about
two years ago, I started hitting it much
heavier."
With The Sunday Service as popular
as ever, soon to move their weekly Sunday
show to the Fox Cabaret, Read has
solidified his place in the creative world,
as a regular improviser, as a part-time
musician, and recently as a faculty
member with Blind Tiger Comedy. While
Read doesn't teach a regular class at the
moment, he's been fundamental in the
foundation of the comedy school and is
keen to express Blind Tiger's comedic
philosophy.
"We don't think there's a hierarchy of
art over comedy. We think those things are
equal, because I think improv at it's best is
about the humour. And you can talk about
narrative and to make 'art,' but we feel
that comedy is our priority, but to do it in
a smart way, not being stupid and sexist
and boring."
As for Read, a bold man of instinct,
life will continue to be about comedy and
absurdity. For if there was ever a combination of Jim Carrey and Franz Kafka, it
might just be Vancouver's Aaron Read.
I
Read performs regularly with The
Sunday Service, every Sunday at the
Fox Cabaret. For more information
on his improv and sketch classes, visit
blindtigercomedy.ca
54
AARON READ J Fantasy
Prom
written by James Olson   photos by Casey Bennett
illustration by John C Barry (on previous page)
Fantasy Prom are a band with a plan.
A careful staggering of new music,
strategic touring, and a reliance on past
band experiences all come together to
make Fantasy Prom one of Vancouver's
best shoegaze acts currently on the scene.
Between rehearsal sessions at their jam
space in East Van, I had the chance to
chat with three of the four members
to discuss the band's formation, their
preference for releasing EPs and singles in
lieu of albums, and what the future holds
for Fantasy Prom.
Missing from our interview is vocalist
Amelia Fudalewski, who was too sick to
join us. Luckily the rest of the band is in
good health as we settle into a makeshift
green room: there's guitarist Richie
Fudalewski, the man originally behind
Fantasy Prom, bassist Denyss McKnight,
and drummer Ross LaLonde. While some
musicians are known to tiptoe during
56
FANTASY PROM interviews and avoid delving into the
less-glamorized details about being in
a band, the three of them are engaged
and frank, quick to address things like
working with a label and the plights of
touring Canada.
On Fantasy Prom's early days,
Fudalewski recalls when he lived on
Vancouver Island and wrote a batch of
shoegaze songs, hoping it would lead to
something more. After sending demos
to McKnight and Lalonde—who both
saw Fantasy Prom as a creative outlet
completely different from their previous
projects—the band's current lineup
came together.
Since all three of the members
could draw experience from their
previous bands, Fantasy Prom were
quick to establish clear goals on
releasing music and ensuring the
group's longevity.
"It's probably been the easiest band
I've ever been in," says Fudalewski. "It's
like everyone was sort of hand-picked
based on their skill set and the fact that
they were drama free."
McKnight is quick to add: "WeVe
experienced the ups and downs of
being in a start-up band from being
younger. We've already done all that in
our previous projects so we were able
to just elevate to the next level right
away."
Since last September, Fantasy
Prom have released four singles and
two EPs through Fudalewski's own
label, Sizzle Teen Records. Their most
recent EP, Swirl, is an excellent slice of
shoegaze, complete with floating vocals,
overdriven guitars, and engrossing
soundscapes. While unusual, the
staggering of releases is a conscious
decision in keeping the attention spans
of music fans in mind.
"People don't have the attention
span to listen to an album the way they
used to," says McKnight. "Industry-
wise, it just seems to be the way to go
about it. The industry has shifted so it
makes sense just to go with that flow
because it seems to be working." -►
FANTASY PROM
Tuesdays & Thursdays
10.00 - 3.00 pm
Complimentary parking at TN|ftMbirdl
Parking Level Pi with every service.
Prices start|§ $15.99.
Book Online | Learn More
778-554-9274
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WE ARE
STORYTELLERS "The whole approach is keep it fresh
and interesting and every release does
better too," adds Fudalewski. "Every
release gets more downloads. There's more
interest for every release so it actually
works. We actually see results."
Towards the end of our interview,
the band opens up about the drawbacks
of touring Canada and signing with an
indie label. As Fudalewski puts it bluntly,
"Going across Canada is really a waste
of time... there's not enough people in
Canada to support tours. It's a proven
fact." Citing geographical challenges,
population density, and self-interested
promoters, Fudalewski and McKnight
were not short on examples of why
traversing the Great White North can be a
treacherous endeavour for young bands.
In response to the Canadian tour
aversiveness, McKnight prefers what he
calls "West Coast milk runs," in which
a band tours down to San Diego and
back on a 10-day/ 10-show jaunt with an
almost-guaranteed audience. Fudalewski
connects his reluctance to tour Canada to
his past experience under contract with an
indie label and the band's desire to ensure
Fantasy Prom's longevity.
"If you want to be a band for a long
time and make records and stuff, don't
go on stupid suicide missions," warns
Fudalewski. "I used to do these tours
because some guy at a label was telling me
to do it... I lost sight of how we got there,
why we got there, why we started playing
in a band together."
"Tour smart, not hard," says
McKnight, a mantra Fantasy Prom seem
keen to adopt. With plans to partake
in a few music festivals this summer—
Vancouver's Music Waste, Rifflandia, and
possibly Sled Island—as well as continuing
to release new music, the band is focused
and driven on building themselves up on
their own terms.
Sticking to the plan, honing the craft,
and, perhaps most important, growing up
properly seem to be the keys to Fantasy
Prom's longevity and success. Let it swirl,
let it bloom. @
|
Be sure to catch Fantasy Prom's next
show at the Railway Club on April 12,
along with local favourites Woolworm,
Village, and Other Jesus.
58
FANTASY PROM  Cool
written by Alex de Boer   photos by Hanna Fazio
illustration by Dana Kearley (on previous page)
Advised in jazz dens, scribbled by
beatniks, and nodded during the reigns
of rock and grunge; the word 'cool'
has survived decades of discourse. As
slang, its meaning is spongy. It has
absorbed changes with the times and
at present purveys a nuance as twofold
as its spelling. Behind one 'o' is a light
offhandedness and behind the other, a
heavy measurement of self-worth.
Embracing this multi-faceted term is
Vancouver funk trio Cool. Formed in June
of last year, Cool is comprised of former
Apollo Ghost members Adrian Teacher
(guitar) and Amanda Pezzutto (bass), as
well as Shawn Mrazek (drums) of Shawn
Mrazek Lives! This superstar group enjoys
how casual and commonplace their
title is—though they also invite its more
contemplative connotations.
"People worry about being cool,
everyone does. Everyone worries about it
constantly and yet it's also a word you toss
off on a daily basis," explains Teacher. His
audience includes myself, his bandmates,
and a tray of assorted doughnuts and
pupusas. Sitting beneath the fluorescent
lights in Duffin's Doughnuts, I soon learn
just how unassuming this band is. "We're
the least cool people," Teacher confesses.
Listing Cool's passion for Netflix, juice,
and naps, he demonstrates that the
group's name is genuinely meant to be
tongue-in-cheek.
Beyond establishing their humility,
Cool's title is a comment on the false
objectivity of rating personal and artistic
worth. By mock-praising themselves, they
expose the emphasis we place on social
status. The resulting confidence is likely •
the cause for their recent creative risks.
After watching an interview with
Thom Yorke regarding Radiohead's
loop-centered album, Kid A, Teacher began
considering new ways of constructing
music. His first move was to build songs
based around a looping riff. Not relying
on a laptop's meticulous memory, Mrazek
explains, "Adrian makes his loops up from
scratch." "You've really got to be thinking"
he adds, as looping live leaves little room
for error.
Ear monitors help the trio evade
miscalculations. Mrazek is able to hear -*
60
COOL &^BK&gM^^^SiS^S^^^!^^3^$3^§$!S¥iS^ directly what Teacher plays, while
Pezzutto's monitor is connected to
Mrazek's drumming, which she answers
with her bass. Beyond being an impressive
spectacle, Cool's cohesive, loop layered
tunes have emerged as engaging and
dance-heavy. Teacher comments, "there is
definitely the idea of the groove."
This groove grew as Teacher began
turning up bands like the Talking Heads,
ABBA, and the Bee Gees, and tuning
into more female groups. ESG, the Bush
Tetras, and early-fem disco also held
Teacher's focus while he was writing   S
music for Cool. Melding these groups with
his new fascination for looping narratives
resulted in Cool's first LP, Paint.
Recorded and mixed at JC/
DC Studios with Dave Carswell and
John Collins, Paint is a reasonably
diverse album. Its eight tracks oscillate
somewhere between funk and punk. The
coiling vamp on "Blue" can undoubtedly
be described as funk, while the style on
"Purple," different but not dissimilar, is
more minimalist. The chord climbs are
visual and proceed in more traditionally
terse punk-pop patterns. "Saffron" is
somewhere in-between, employing jolty
guitar riffs with tempo-changes denoting
a darker undertone. At times, song loops
are shadowed by whoooing backup vocals.
Like ghoulish gusts, these harmonies
breeze in the background, stamping
Paints sound as unordinary.
Paints theme stretches this
uniqueness. Qualifying as a concept
album, Paint is a collection of eight songs,
each named after a colour. Like renowned
psychologist Robert Plutchik's colour
wheel, these colours correspond with
the emotion conveyed in their assigned
song. Teacher explains, "I was thinking
about colours as emotions. So rather than
approach a song in a metaphor or a story
about my life I got into thinking about
this psychologist." Teacher's poignant
writing approach arose around the time
he decided to construct loop-based tunes.
Both efforts exemplify Cool's willingness to
explore their creative unknown.
Teacher comments, "I like that we're
taking a risk and not playing what a lot of
other people are playing."
"What's the worst that could
happen?" Pezzutto summarizes the
non-consequences best, "People will say
this sucks?"
As old friends and experienced
musicians, this trio doesn't much care
about negative opinions. Before they even
met, Teacher was an adamant admirer
of Mrazek's drumming in the Notes from
Underground just as Mrazek was eager to
describe Apollo Ghosts as his "favourite
Vancouver band ever." When the three
came together, everyone was equally
delighted.
"We fell into a comfortable space
with one another really quickly," Pezzutto
explains, to which Teacher concurs, "It's
free and easy."
These affable band dynamics may
be Cool's greatest strength/From a
place of friendship, they are able to
be unpretentious and accessible, both
in person and as performers. Their
facetious title chronicles three incredibly
creative musicians who would rather eat
doughnuts and hang out than indulge in
the vanity and self-promotion of the music
scene.
As for Cool's upcoming plans, stay
poised for a release around Music Waste
titled Best New Music. Described in
Pitchfork's determinant terminology, Cool
once again jokingly pre-establishes our
approval.
Hopefully this crew continues to
theme their tunes in challenge. The
self-awareness they promote could not
be more significant. It is a crooked music
scene that doesn't appraise music beyond
its social prestige.
62
COOL "What's the worst that could happen?" Pezzutto
summarizes the non-consequences best, "People will
say this sucks?" ft
COOL
63 COOL  DISCORDER SUGGESTS LISTENING TO CITR ONLINE AT CITR.CA EVERY DAY
7:00 •
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CITR GHOST MIX       PACIFIC PICKIN' }   CITR GHOST MIX
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SU0UR0ANJUNGLE   END0HsV0RLD|"
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R0CKR0M    I THE CATS PAJAMS
THE
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\ CLASSICAL CHAOS
I   SHOOKSHOOKTA
IT AIN'T EASY
MOON      CREATORS 8        BEING GREEN
GROK        CONTRIBUTORS
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THE SHAKESPEARE    nilNrAN'S IMNIITS DEFINITION
SHOW UUNLANbDUNUrs*       SOUNDWAVE
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LANGUAGE TO
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OF SOUL
4*33"
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A DEEPER REVERB   RHYTHMS L ™°J
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fc:00   '
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CRIMES 8 TREASONS Y™^'-™™——
THE JAZZ SHOW I SEXY IN VAN CITY
BEAVER HOUR     |
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5:08 "
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CITR
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MIX Bepi Crespan Presents... SUN 7-9am
Bepi Crespan Presents... CiTR's 24 Hours Of Radio Art in a snack size format! Difficult music, harsh electronics, spoken word, cut-up/collage and
general Crespan© weirdness. Twitter: ©bepicrespan. Blog: bepicrespan.
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vLnOOlvrtL
DIFFICULT All Ears WED 6-6:30pm
All Ears is an advice radio program targetted to the UBC community. We try
to answer your questions and address topics sent via social media and over
the phone. Interviews and segments relating to campus life will be featured,
all in our attempt to better our community and supply positive feedback.
Extraenvironmentalist §i|| WED 2-3pm
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.
Classical Chaos SUN 9-10am 	
From the Ancient World to the 21st century, join host Marguerite in exploring      Arts Report WED 5-6pm
and celebrating classical music from around the world. mM Reviews, interviews and coverage of local arts (film, theatre, dance, vi-
, ■       sual and performance art, comedy, and more) by host Maegan Thomas and
Experiments In Happiness 4*33" 1/3 MON 6-7pm      the Arts Reporters.
This program showcases "new music"-contemporary classical and exper-     g	
imental music, especially highlighting Vancouver's local performers and      UBC Arts on Air WED 6-6:30pm
composers of new music, to uncover a new musical niche to the broader      (Alternating with Arts Extra!) On break from June-September 2013.
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 \       Sexy In Van City WED 10-11pm
TA L K Ipf!      Your weekly dose of education and entertainment in the realm of relation-
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Creators & Contributors    Alternating Wednesdays 11:30am-12pm
End of the World News THU 8-10am
Democracy now WED 1-2pm	
Language to Language THU 2-3pm
Synchronicity MON 12-1pm      Encouraging language fluency and cultural awareness.
Join host Marie B and discuss spirituality, health and feeling good. Tune      —■—	
in and tap into good vibrations that help you remember why you're here: REGGAE
to have fun!  —
News 101 FRI 5-6pm
Vancouver's only live, volunteer-produced, student and community newscast.
Every week, we take a look back at the week's local, national and international news, as seen from a fully independent media perspective.
The Rockers Show
Reggae inna all styles and fashion.
SUN 12-3pm
ROOTS / FOLK / BLUES
Blood On The Saddle Alternating Sundays 3-5pm
Queer FM Vancouver: Reloaded TUE 8-10:30am Real cowshit-caught-in-yer-boots country.
Dedicated to the gay, lesbian, bisexual and transexuai communities of	
Vancouver. Lots of human interest features, background on current issues Pacific Pickin' TUE 6-8am
and great music.queerfmradio@gmail.com Bluegrass, old-time music, and its derivatives with Arthur and the lovely
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Programming Training TUE 3-3:30pm
Folk Oasis WED 8-10pm
Radio Free Thinker TUE 3:30-4:30pm Two hours of eclectic folk/roots music, with a big emphasis on our local
Promoting skepticism, critical thinking and science, we examine popular ex- scene. C'mon in! A kumbaya-free zone since 1997.
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The City TUE 5-6pm The Saturday Edge SAT 8am-12pm
An alternative and critical look at our changing urban spaces. A personal guide to world and roots music—with African, Latin, and
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Terry Project Podcast Alternating Thursdays 1-2pm  ♦	
There once was a project named Terry, That wanted to make people wary, Code Blue SAT 3-5pm
Of things going on In the world that are wrong without making it all seem From backwoods delta low-down slide to urban harp honks, blues, and
too scary. blues roots with your hosts Jim, Andy, and Paul.
Email: wcodeblue@buddy-system.org.
CITR 101.9 FM • PROGRAM GUIDE
67 thought and a dream or two. Reggae, House, Techno, Ambient, Dance Hall,
SOUL/R&B Hip Hop, African, Psychedelic, Noise, Experimental, Eclectic.
Soulship Enterprise SAT 7-8pm NashaVolna SAT 6-7pm
A thematically oriented blend of classic funk, soul, r&b, jazz, and afrobeat News, arts, entertainment and music forthe Russian community, local and
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funky, jazzy, soulful, and delightfully awkward radio show hosted by people	
named Robert Gorwa and/or Christopher Mylett Gordon Patrick Hunter III. African Rhyhms FRI 7:30-9pm
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ELECTRO / HIP HOP
  Rhythmsindia Alternating Sundays 8-9pm
Beaver Hour TUE llpm-midnight Featuring a wide range of music from India, including popular music from
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Bootlegs & B-Sides                                             SUN 9-1 Opm gional language numbers.
Hosted by Doe Ran, tune in forthe finest remixes from soul to dubstep and j    	
ghetto funk to electro swing. Nominated finalist for'Canadian college radio The Leo Ramirez Show MON 4-5pm
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and search "Doe-Ran" on Facebook. Email: leoramirez@canada.com
Crimes & Treasons
Email: dj@crimesandtreasons.com.
TUE 9-11pm
So Salacious MON 3-4pm
Skadz and Sprocket Doyle bring you Electro Swing, Alternative Hip Hop,
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Strange and wonderful electronic sounds from the past, present, and future
with host Gareth Moses. Music from parallel worlds.
Give Em The Boot TUE 2-3pm
Sample the various flavours of Italian music from north to south, traditional
to modern on this bilingual show. Folk, singer-songwriter, jazz and much
more. Un programma bilingue che esplora il mondo della musica italiana.
Website: http://giveemtheboot.wordpress.com
Mantra THU 4-5 pm
Kirtan, Mantra, Chanting and Culture. There's no place like Om. Hosted
by Raghunath with special guests. Email: mantraradioshow@gmail.com.
Website: mantraradio.co.
DANCE/ ELECTRONIC
The Copyright Experiment
THU llpm-midnight
Pop Drones
WED 10-11:30am
  BPM Vibe                                              FRI 10:30pm-midnight
WORLD Everv week> tune in to BMP Vibe for the latest and hottest tracks from var-
 1  ious genres and BMP. We also discuss various artists from the tracks we
Afrobeat                                           Tuesday 10:30-11:30am play and bring up funny news-related topics. DJ Crave will be bringing you
A show dedicated to expose UBC students and Vancouverto contemporary African genres from Hip Hop, Trip Hop, Trap, Dubstep, Drum & Bass, Glitch, House,
music. Hosted by Achieng Orlale. Electro, and Moombahton. Tune in for a good laugh, to learn new facts, and
 :■■■■ to discover new tunes, mash-ups, bootlegs, and remixes.
La Fiesta                                      Alternating Sundays 3-5pm '*•-■•
Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host Gspot DJ. Techno Progressivo                         Alternating Sundays 8-9pm
  A mix of the latest house music, tech-house, prog-house and techno.
Shookshookta                                              SUN 10am-12pm $|§:i.-
A program targeted to Ethiopian people that encourages education and per- Trancendance                                         SUN lOpm-midnight
sonal development. Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been
 :  broadcasting from Vancouver, B.C. since 2001. We favour Psytrance,
Radio Nezate SAT 7-8am Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance,
A mix show with music and discussion in Tigrinya the language of Eritrea. Hard Dance and even some Breakbeat. We also love a good Classic
  Trance Anthem, especially if it's remixed. Current influences in-
Twofold THU 4-5pm elude Sander van Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace
Twofold, a Mandarin/English radio program featuring people and music from Ventura, Save the Robot, Liquid Soul and Astrix. Older influences include
the community. Hosted by Sandy. Union Jack, Carl Cox, Christopher Lawrence, Whoop! Records, Tidy Trax,
    Platipus Records and Nukleuz. Email: djsmileymike @trancendance.net.
G4E                                           Alternating Tuesdays 12-2am Website: www.trancendance.net.
Vinyl mixes, exclusive local tunes, good vibes from around the world, a
68
CITR 101.9 FM • PROGRAM GUIDE Inside Out |M| TUE 8-9pm The Shakespeare Shew WED 12-1pm
Radio Zero FRI 2-3:30pm Up on the Roof FRI 9-10am
An international mix of super-fresh weekend party jams from New Wave to	
foreign electro, baile, Bollywood, and whatever else. Breakfast With The Browns MON 8-11am
Website: www.radiozero.com Your favourite Brownsters, James and Peter, offer a savoury blend of the fa-
  miliar and exotic in a blend of aural delights.
Synaptic Sandwich |f|| SAT 9-11pm Email: breakfastwiththebrowns@hotmail.com.
If you like everything from electro/techno/trance/8-bit music/retro '80s, this	
is the show for you! Website: synapticsandwich.net Chthonic Boom! Alternating Sundays 5-Gpm
 &&•■;  A show dedicated to playing psychedelic music from parts of the spectrum
The Late Night Show FRI midnight-6am (rock, pop, electronic) as well as garage and noise rock.
POP / ROCK /  INDIE Crescendo    ^ ||    SUN 6-7pm
 j  Starting with some serene chill tracks at the beginning and building to the
Progression WED 3-4pm INSANEST FACE MELTERS OF ALL TIMEEE, Crescendo will take you on a mu-
Canadian progressive rock, including some of the Japanese and Russian sical magic carpet ride that you couldn't imagine in your wildest dreams,
scene. Besides overselling his show, Jed will play an eclectic set list that builds
  throughout the hour and features both old classics, and all the greatest
Discorder Radio TUE 4-5pm new tracks that the hipsters think they know about before anyone else does.
Discorder Magazine now has its own radio show! Join us to hear excerpts of •	
interviews, reviews and more! Definition Soundwave THU 1-2pm
  The now of folk. The now of rock. The now of alternative. Join Evan as he ex-
Tweets & Tunes WED 6:30-8am plores what's new, what's good, and what's so awesome it fights dragons
We practice what we Tweet! Showcasing local indie music and bringing in its spare time. As always, Evan ends the show with a special Top 5 list
bands, artists and fans together through social media. that's always fun and always entertaining.
Website: tweetsandtunes.com Twitter:@tweetsandtunes.       	
' Morning After Show TUE 11:30am-1pm
Duncan's Donuts THU 12-1pm An eclectic mix of Canadian indie with rock, experimental, world, reggae,
Sweet treats from the pop underground. Hosted by Duncan, sponsored by punk and ska from Canada, Latin America and Europe. Hosted by Oswaldo
donuts. http://duncansdonuts.wordpress.com. Perez Cabrera.
Samsquantch's Hideaway Alternating Wednesdays 6:30-8pm Stereoscopic Redoubt THU 7:30-9pm
All-Canadian music with a focus on indie-rock/pop. 	
Email: anitabinder@hotmail.com. Hans Von Kloss'Misery Hour WED 11pm-1am
  Pretty much the best thing on radio.
Parts Unknown MON 1-3pm
An indie pop show since 1999, it's like a marshmallow sandwich: soft and Suburban Jungle ^«& WED 8-10am
sweet and best enjoyed when poked with a stick and held close to a fire. Live from the Jungle Room, join radio host Jack Velvet for an eclectic mix
  of music, sound bites, information and inanity. Email: dj@jackvelvet.net.
The Cat's Pajams FRI 10-11am
The cat's pajamas: a phrase to describe something/someone super awe- Student Special Hour WED 11:30am-1pm
some or cool. The Cat's Pajams: a super awesome and cool radio show fea- Various members of the CiTR's student executive sit in and host this blend
turing the latest and greatest indie pop, rock, lofi and more from Vancouver of music and banter about campus and community news, arts, and pop cul-
and beyond! ture. Drop-ins welcome!
Chips'n Dip Alternating Thursdays 1-2pm
Dip in every second Thursday afternoon with host Hanna Fazio for the freshest local indie pop tracks and upcoming shows.
ECLECTIC / MIX
Canada Post-Rock Alternating Wednesdays 6:30-8pm
Formerly on CKXU, Canada-Post Rock now resides on the west coast but it's
still committed to the best in post-rock, drone, ambient, experimental, noise
and basically anything your host Pbone can put the word "post" infront of.
Are You Aware Alternating Thursdays 6-7:30pm
Celebrating the message behind the music: Profiling music and musicians
that take the route of positive action over apathy.
Peanut Butter'n'jams Alternating Thursdays 6-7:30pm
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 calendar.
CITR 101.9 FM • PROGRAM GUIDE
69 Live From Thunderbird Radio Heli THU 9-11pm
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.
Aural Tentacles THU 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.
Email: auraltentacles@hotmail.com
Stereo Blues FRI 11am-12pm
Every Friday host Dorothy Neufeld sinks into blues, garage and rock n' roll
goodies!
It Ain't Easy Being Green FRI 12-1pm
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, especially students, the opportunity to get their feet
wet on the air      p|*|
Nardwuar FRI 3:30-5pm
Join Nardwuarthe Human Serviette for Clam Chowder flavoured entertainment.
Doot doola doot doo... doot doo! Email: nardwuar@nardwuar.com
Randophonic SAT 11pm-2am
Randophonic is best thought of as an intraversal jukebox which has no concept of genre, style, political boundaries, or even space-time relevance. But
it does know good sounds from pad. Lately, the program has been focused
on Philip Random's All Vinyl Countdown + Apocalypse (the 1,111 greatest
records you probably haven't heard). And we're not afraid of noise.
Stranded FRI 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.
Shine On MON Midnight-lam
Connecting music and artists through a different theme each week.
JAZZ
The Vampire's Ball
WED 1-4am
Industrial, electro, noise, experimental, and synth-based music.
thevampiresball@gmail.comthevampiresballoncitr.com.
SKA
Ska-T's Scenic Drive
MON 11am-12pm
CINEMATIC
Exploding Head Movies MON 7-9pm
Join gak as he explores music from the movies, tunes from television and
any other cinematic source, along with atmospheric pieces, cutting edge
new tracks and strange old goodies that could be used in a soundtrack to be.
The Jazz Show MON 9pm-midnight
Vancouver's longest running prime-time Jazz program. Hosted by Gavin
Walker. Features at 11 p.m. Vancouver's longest running prime-time Jazz
program. Hosted by Gavin Walker. Features at 11 p.m. April 7: Celebrating
the 99th Birthday of the one and only Billie Holiday and some of her finest
recordings from 1939 and 1944. April 14: Another Birthday but this time one
of the finest tenor saxophonists: Gene Ammons at a live concert in Sweden.
April 21: One.more Birthday and it's the composer/ trombonist Slide Hampton
who is still alive and well. His great recording "The Drum Suite". April 28:
John Coltrane with the Red Garland Trio. Garland (piano), Paul Chambers
(bass) and Arthur Taylor (drums). One of Mr. Coltrane's first steps to greatness: "Tranein' In".
Little Bit of Soul MON 5-6pm
Little Bit of Soul plays, primarily, old recordings of jazz, swing, big band,
blues, oldies and motown.
HARDCORE
Flex Your Head TUE 6-8pm
Punk rock and hardcore since 1989. Bands and guests from around the world.
LITERACY / LANGUAGE
Sne'waylh j|f$f| WED 4-5pm
In many Coast Salish dialects, "sne'waylh" is the word for teachings or laws.
The aboriginal language-learning program begins with the teachings of the
skwxwu7mesh snichim (Squamish language). Originally aired on Coop Radio
CFRO 100.5 FM in Vancouver, Tuesdays 1-2 p.m.
Simorgh THU 5-6pm
Simorgh Radio is devoted to the education and literacy for the Persian
speaking communities and those interested in connecting to Persian oral
and written literature. Simorgh takes you through a journey of ecological
sustainabifity evolving within cultural and social literacy. Simorgh the mythological multiplicity of tale-figures, lands-in as your mythological narrator
in the storyland; the contingent space of beings, connecting Persian peoples within and to Indigenous peoples.
Language to Language THU 2-3pm
Encouraging language fluency and cultural awareness.
• PUNK ROCK / POP
Rocket from Russia THU 10-11am
Hello hello hello! I interview bands and play new, international and local
punk rock music. Great Success! P.S. Broadcasted in brokenish English.
Hosted by Russian Tim. Website: http://rocketfromrussia.tumblr.com. Email:
rocketfrom russiacitr@gmail.com. Facebook: https://www.facebook.com-
RocketFromRussia. Twitter: http://twitter.com/tima_tzar.
70
CITR 101.9 FM • PROGRAM GUIDE Generation Annihilation SAT 12-1pm
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: generationannihilation.com.
Facebook: facebook.com/generationannihilation.
SPORTS
Thunderbird Eye THU 3:30-4pm
Your weekly roundup of UBC Thunderbird sports action from on campus and
off with your host Wilson Wong.
METAL
Power Chord SAT 1-3pm
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.
GENERATIVE
Skald's Hall FRI 1-2pm
Skald's Hall entertains with the spoken word via story readings, poetry
recitals, and drama. Established and upcoming artists join host Brian
MacDonald. Interested in performing on air?
Contact us on Twitter: ©Skalds Hall.
The Absolute Value of Insomnia SAT 2-6am
Four solid hours of fresh generative music c/o the Absolute Value of Noise
and its world famous Generator. Ideal for enhancing your dreams or, if sleep
is not on your agenda, your reveries.
I would like:
[ j an annual subscription to Discorder
magazine ($20 for Canadians, $25 for
US subscribers).
U to support Discorder magazine with
a donation of:
total:
CITR 101.9 FM • PROGRAM GUIDE
71 Winul
OPEN 12-6 PM DAILY
321W HASTINGS ST
(VICTORY SQUARE
604.488.1234
COME AND CHECK
OUT OUR VAST   1
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NEW, USED AND
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