Discorder CITR-FM (Radio station : Vancouver, B.C.) 2014-03-01

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COMMUNITY FOR OVER 30 YEARS 254 East Hastings Street
The Shilohs
|»™m and Grace Under Pressure J|       Q] AlteredbyMom(Ex-Beekeeper)andAtennaJ.Stew
Grant Lazlo, Michael Fraser, Kasey Riot, and more
InhaMants.JonrfiyDeCoun^areltlBDeaihRangera    g| | AfterTheBurial,NaveneKandgueste
|KJvagabonds " 1 ,|g. g| The Coathangere
| Boats!
Music Programs^ Prisons w/The Sojourners & more
Additional show listtegs, ticket sdiinfo, videos and&re:
The Rock Band Called Time, Wiser Fool
7     DEAD SOFT For the past three years, Dead Soft have been busy making a name for
themselves in the local grunge-rock scene. While incredibly revered throughout Vancouver, it's
hard to believe Dead Soft have yet to release a full-length—though fans won't have to wait for
much longer.
13 SMASH BOOM POW In preparation for their upcoming album, the members of Smash
Boom Pow scoured the Internet in an attempt to round up and delete all previously existing
content of theirs. But why the attempt at a clean'slate? Read on to find out.
21    SPRING Some of the best bands in Vancouver have come from the demise of another
previously awesome band. While we're still mourning the loss of the SSRIs, Spring are here to
help make the grieving process a little bit easier for everyone.
25   THE AFTER MIDNIGHT EP While Nathan Shaw, Jacob Sexsmith, and Shawn Bourks
are known for their own projects and accomplishments in the Vancouver music scene, the three
artists recently joined forces to collaborate on a track titled "After Midnight." Now, what started
as a coincidence between musicians has spawned its own remix EP.
29   THE SHILOHS Biblically speaking, the name Shiloh means "he who is to be sent."
Musically speaking, the Shilohs means a four-piece hazy pop-rock outfit from Vancouver, While
it's been a year since their last release, So Wild, the group are gearing up to open for Real Estate.
55    NOBLE OAK Since Patrick Fiore was six years old, he's been a creator of music. With an
earnest and genuine connection to the craft (and an online presence that grows each day, Fiore's
ready to take his electronic solo project to the next level.
59 ROLE MACH A mainstay in the Vancouver scene, Role Mach are as good at making music
as they are at keeping their releases to a minimum. (After all these years, only one full-length is
even available online.) Fans of the group are in for a treat though, as Role Mach have a double-
release, a seven-inch and a cassette, set for the end of March.
6    Charts   ,.   t
f£ VeneVHK Rot. Cabaret
34 .Aft Pro}mm)Model
3& Calendar
4i„ In Good Humour:
'4%. '"Under Review
*4&' Real Live Action
50   On the Air
"'* "ttie Copyright Experiment
52  Staff Sound-Off
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@cftr.ca
SUBSCRIBE: Send in a cheque for $20 to #233-6138
SUB Blvd., Vancouver, B.C., V6T1Z1 witkyour address,
and we will mail each issue of Discorder right to your
doorstep for a year.
DISTRIBUTE: To distribute Discorder in your business,
email distTO.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 DIGITIZATION l^&fee known tW.CiTR is currently
working to digitize the entirety of Discordsfs archives. Soon all
of the past issues you know and love will be available tor viewing
online. Thanks, computers! if you have any questions or concerns,
please contact Brenda at slatiorrmartager@eitr.ca
PHOTOGRAPHERS & ILLUSTRATORS: Curtis AuCoin, Britta Bacchus, Yuliya Badayeva, Eduard Barcelon, Magni Borgehed, Paulette Cameron, Aaron
Davidson, Sylvana D'Angelo, Pyra Draculea, Jonathan Dy, Jensen Gifford, Dana Kearley, Steve Louie, Gina MacKay, Matt Meuse, Tiemey Milne, Rob Ondzik,
Alison Sadler, Sam Tudor, Jon Vincent, Ola Volo PROOFREADERS: Alex de Boer, Robin Schroffel WRITERS: Mariko Adams, Curtis AuCoin, Yuliya Badayeva,
Eduard Barelon, Alex de Boer, Evan Brow, Josefa Cameron, Andrew Clark, Sean Cotterall, Fraser Dobbs, Natalie Hoy, Ibrahim Itani, Mike Lakusiak, Erica
Leiren, James Olson, Keefer Pelech, Shane Scott-Travis, Maya-Roisin Slater, Lindsay Steward, Elijah Teed, Sam Tudor, Max Wainwright EDITOR: Jacey Gibb
ART DIRECTOR: Jaz Halloran COPY EDITORS: Robin Schroffel, Steve Louie AD COORDINATOR: Ana Elena Garza UNDER REVIEW EDITOR: Robin Schroffel
Brow CITR STATION MANAGER: Brenda Grunau PUBLISHER: Student Radio Society of UBC STUDENT LIAS0NS: Evan Crow, Josefa Cameron
EDITORIAL CUTOFF: February 20,2014
©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 fine 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. EDITOR'S NOTE
First, I'd like to start things off by saying
that I love what I do at this magazine.
Too ominous of an opening? I'd hate
to give the impression that I'm moments
away from announcing my resignation
or some other final note, but assuredly
that's not the case. I just wanted to make
it exceptionally clear that I love my job
before I continue any further.
Why am I fan of being editor-in-chief
of Discorder? I get to work with a whole
cast of amazing characters, I get to be on
the frontlines of what's happening with
the Vancouver music scene, and I enjoy
the taste of accomplishment that comes
with putting out a great magazine every
month. It's the whole package. But hot
damn, if there's one aspect of the job that
sometimes gets me down, it most certainly
has to be the complainers.
Ninety-five per cent of the people
I interact with through Discorder are
sensational. One of the reasons why I'm
such a supporter of the arts is the sense
of community that inevitably drives
everyone together. It's the kind of sense
that, "Well, this isn't the best situation to
be in but we're all in this so we might as
well be in it together." With that in mind,
IVe met some top-of-the-line knobs during
my tenure—namely musicians who get
offended when we don't have nice things to
say about them.
To our dear readers: if you're only ||||
interested in the stuff that's sugar-coated,
then perhaps these pages aren't your
thing. It's not like our magazine is the
edgiest, most radical around town, or even
the harshest for that matter, but some
people get really distressed about the
One of the cornerstones of music
writing is having an opinion. We could
be a magazine that gives nothing but
glowing reviews to every concert we
attend and every album we listen tc-—but
that's boring. The whole "If you can't say
anything nice, then don't say anything
at all" ethos doesn't apply here. We don't
have to be dicks but we're not your mom;
we're going to be honest with you.
Despite being the head of a music
magazine, IVe never been a musician
myself. (I tried learning guitar in junior
high, developed calluses, and then forgot
all about it the following week.) IVe never
spent months of my life pouring time
and dollars into something and had a
complete stranger say bad things about it
in a print-publication. I don't know what
it's like to receive a bad review but it's
something no one is immune to. I bpenly
dislike Radiohead. "Christmas in Hollis"?
I don't see what the big deal is. Heck,
some people don't even like the Beatles.
You might disagree with any or all of these
statements but that's just because you
have a different opinion.
I know it's hard to take criticism
but it's just something everyone has to
accept. For the most part, it's meant to
be something you absorb and take into
account for the future. Even sitting down
with our art director after the first redesign
issue last month meant going over things
that worked/didn't work with the new
format. The underlying message is, "This
can be better and this is how."
Opinions are a ravenous* thing.
They're important to have, but their
significance can diminish the louder you
voice them. It doesn't matter if you're a
musician or an artist or someone working
at Burger King. Learn to take the criticism
and move along with your life. No one
likes a person who can't let others have a
different viewpoint.
But hey, that's just my opinion.
So it goes,
Jacey Gibb
EDITOR'S NOTE illustration by Dana Kearley
Dog Day*
Sharon Jones And
The Dap-Kings
Fade Out ,;
Give the People
What They Want
Mode Moderne*+    Occult Delight
4    Cult Babies*+
%-   Tough Age*+
Cult Babies
Tough Age
Light Organ
-    c    .     c       *    Do Not Affect A        ....
6    Free ove Fenner*    „ „    .. Fixture
Breezy Manner
*"J':"'i,-"J'" :'"-'•?'<
■»     wli.**«v-!-...*.   > Crows & Kittiwakes       *'" ^s
8 Various**
9 Hallow Moon*-i
10 Quilt
Wheel & Come Again
East Van Special
Northern Electric
Blend: Dark Roast
Hallow Moon Neptoon
Held in Splendor      Mexican Summer
11   Eating Out*+ Burn 7
12  The Pack A.D.*+     Do Not Engage
^Hpm Dum Girls
14   Failing*+
16   PyPy*
Too True
The Apple in the
Pig's Mouth
"First Base
"Pagan Day
!W£$$£r Rysstad*       Harbours
18  Jung People* Gold Bristle!
i&$bm Silver Mt Son .•   Fuck Off Get Free We
Sub Pop
Memorial Orchestra*    Pour upon Everything
20  Lindsay May* Gin with Grit Self-Released
S   Tim Hecker*
22   Peggy Sue
Virgins ■
Paper Bag
Choir of Echoes       Yep Roc
23   We Were Lovers*    Pyramids
24  Wet Denim*
Wet Denim
|lifjftHvousTafk*+      Introductions
Mammoth Cave
w Biackie And The
<*& Rodeo Kings*.
27   SoftServe*+
'0' Moka 0W>
29   Suzka*+
31  Neil Young*
33 Bli$s Club*+
34 Phh&mm
Sink Deep
•Hag Face
Live At The
Cellar Door
Warpapt •
Bliss Club
Golden Age
35   Fred Eaglesmith*    Tambourine
36 GregRekus*
37 White Lung*+
38 Skinny Kids*+
Three Wolf
We Runt
41   Cheap Time
.?   Yamantaka//
Sonic Titan*
43 Alden Penner*
44 The Ketamioes*
45 CFCF*
46 Arcade Fire*
47 Angel Olsen
4R  Stephen Malkmus
and The licks
49   Energetic Action*
Robert Slasper
Down with You
Skinny Kids    -
Three Wolf Moon
Blood fijppr/'5
a Stone
Exit Smiles
Stay Awake b/w
Always Small
Burn Your Fire
for No Witness
Wig Out at
Black Radio 2
IteUnder.- Music
Rough Trade
.Daps -
jJprikoustie«.j      Self-Released
Blow It South b/w
Local Art Collective
In The Red
r%er Bag
Paper Bag
Energetic Action
Blue Note
CiTR's charts reflect what's been played on flic air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+1 are local. Most of these excellent albums can be found at fine independent music stores across Vancouver, if you can't find
them, give CiTR's music coordinator a shout at (604) 822-8733. Her name is Sarah Cordiiipfey. if you ask nicely she'll tell you how to line! them. Check out other great campus/community radio charts at www.earshot-onlms.com. ?l
m\ w
• »s.
J&\ w
i>. y
r7 s^^i^l'S^i^^^^^^K^&i^^^E
'■%-&.iiffl?Z!*''r. DEAD SOFT On a quiet night filled with possibility and
the unknown, I find myself in the living
room of an East Van apartment. Beers are
passed around and spirits are up as I take
a seat with the band Dead Soft. The trio
of rockers seem open and at ease as they
tell me about what a rush the last year has
been and what's next for the band. (Hint:
it involves a lot of shows and the release of
their self-titled first fulHength album.)
if& Currently based out of Vancouver,
Dead Soft first'started three years ago in
Victoria. Nathaniel Epp and Keeley Rochon,
childhood friends from Prince Rupert, met
up on the island and started jamming
together before relocating together to
Vancouver shortly after. In the band, Epp
covers guitar and vocals, Rochon delivers
the bass, and Graeme McDonald, who
joined the band last year, mans the drums.
Dead Soft harken back to *90s grunge-
pop with an affinity for overdriven guitars
and catchy vocal hooks. The three-piece
lays the fuzz on thick with their wall of
sound, punctuated by slower moments
of reflection, before the aural dam bursts
once more. Epp's singing is often marked
with growling accents and lazy falsetto
transitions that cut through perfectly.
Catchy background vocals often wander
in and out, adding texture and .inviting
participation. '^M
Since moving to Vancouver, Dead Soft
have steamrolled along from one gig to
the next, working to establish themselves
within Vancouver's crowded music scene. It
seems like karma is in their favour though,
as the band recently put on One of their
DEAD SOFT Dead Soft harken back to '90s grunge-pop with
an affinity for overdriven guitars and catchy vocal
hooks. The three-piece lays the fuzz on thick       i§
with their wall of sound, punctuated by slower    Jj^
moments of reflection, before the aural dam bursts
once more. 8
II biggest shows to date: on February 24,
they opened for the Courtneys and the
Pack A.D.
The show provided Dead Soft witih a
chance to greatly expand their fanbase,
winning over the crowd with their brand
of infectious pop-punk. Rochon was also
impressed by the male-to-female ratio of
the show's lineup. "Only two boys on a bill
with three bands. That's a rock show."
Dead Soft have had a lot of experience
inciting energetic fits out of Vancouver
audiences, playing at many of the local
dives, as well as a sampling of home
shows. This history of riotous live sets was
put to test when the band embarked on an
ambitious cross-Canada tour last summer
with the band Sightlines.
"It was hard work, and also the most
fun IVe ever had," recalls Epp. Over the
five weeks of touring, Dead Soft made it
to the Maritimes and back, entertaining a
plethora of different Canadian audiences.
The band took the energy and presence
that defined their tour and upon returning
to Vancouver, they immediately put
themselves to work transcribing it onto a
new album.       m^
For their debut full-length, Dead
Soft reached out to Jordan Koop—who
previously helped the band record their
live EP. With a plan in mind, the trio
set off for Gabriola Island, home of
the Noise Floor Recording Studio and
resident producers Koop and Terry O. The
destination studio allowed the band to
escape from everyday distractions in order
to focus on their album.
"It made it a lot less tense than it
would have been if we were recording in
Vancouver," says McDonald. It was also
their first time recording in a real studio
The band spent six days together
laying down their parts. After the initial
batch of recordings, Epp returned alone
for a session to finalize his tracks. The
process allowed the band to explore each
song and achieve the sound that they
wanted. "Laying down the songs, having
that time to listen to it after our initial
blast of recording, and then going back
and really knowing what it was. It took a
while for it all to sink in, for me to hear
what it sounded like," says Epp.
"The new record's a little bit heavier. It
sort of represents our live shows, because
[our songs are more intense] live," says
"It has a different-attitude," adds
Epp. "There are still harmonies, but it's
moodier. It's not kid-ish."
Part old Dead Soft and part new Dead
Soft, the album is a reflection of their
history, with a combination of both old
and new songs. "It's almost like a timeline
of the entire band. It includes some of the
oldest material, as well as material that
was written a week before. It sort of spans
the life of Dead Soft up to this point," Epp
While the album's being mastered,
Dead Soft is already looking ahead to the
future—Epp is awaiting the next time they
go in to record, which he hopes won't be
long from now. "We have a lot of stuff on
the way. I think we grew a lot from the
combined experience of touring and then
going into the studio shortly after."
While the album wont be out until
later this spring, listeners can quench
their Dead Soft thirst with the band's
previous releases, all readily available on
Bandcamp at a "name your price" rate. $
Miss Dead Soft opening for the Pack A.D.
last month? Redeem your eardrums by
checking out their show on March 7 at
the Cobalt with Woolworm, No Boy, and
Tim The Mute.
— /»#*   ^
g^al^y Reinventing true grit with
written by Maya-Roisin Slater
photo by Pyra Draculea
illustration by Rob Ondzik (on previous page)
They say honesty is the best policy,
a policy since adopted by rock and rollers Smash Boom Pow as their mission
statement. With this phrase serving as
their unofficial motto, the band's'sincer-
ity is what largely sets them apart from.
others. With a lineup of guitar, drums,
and bass, the trio are bringing originality back in the most obvious way—by
playing music they themselves enjoy. On
this cold February morning, Discorder
caught up with Smash Boom Pow on
the questionably scented couch of their
off-white jam room and discussed the
band's evolution and their upcoming
Smash Boom Pow found its
beginning in Victoria as a duo formed
by brothers Zane and Ulysses Coppard.
Last year, with help from their producer
Tobias Schuch, the boys made the
move to Vancouver to open up new
opportunities for the project. "I was
moving from Victoria to Vancouver and
SMASH BOOM POW the day before I left I asked Ulysses if he
wanted to move with me. The next day he
packed a bag and we were here."
Ulysses continues: "We were able to
cut our teeth playing every week for a year.
We couldn't have done that in Victoria.
Here we had a fresh new audience every
time, which was really important."
"It Was a necessary stepping stone,
the first of a lot of steps that needed to
happen," Zane concludes.
Since the relocation, Smash Boom
Pow have integrated Schuch as a full-time
bassist, a change the Coppards embrace
fully: "Musically, it feels great! Before we
were filling up a lot of empty space, which
was actually really fun. But now that we
have the bass it's a heavier groove, there's
a lot more thickness to the sound; we
sound like a proper band now. I never
would have said this before, but when it
was just Zane and I, it was almost more of
a novelty," Ulysses explains.
The change in their sound is
prominent. Adding Schuch's depth-
summoning bass has cemented a signature
sound combining nostalgia for the punk/
rock vibes of yore with fresh hip-hop
percussion and lyrically moody R&B
vocals. These three diverse styles somehow
fit, seamlessly tied together by a dirty
distortion filter.
In an attempt to reintroduce
themselves as the bigger, better band
theyVe become, Smash Boom Pow removed
all of their old material from the Internet.
"That music doesn't really represent where
we are as a band anymore. I think, up
until this point, it's been a transitional
period," says Schuch.
"Now that we have the experience,
we're able to make the sound we want,"
remarks Ulysses. "It's better all around and
that's how we want to represent ourselves."
The production behind their
regenerative album was conducted in
a rather unorthodox way, or as Zane
eloquently describes it, as "a big pain in
the fucking ass." The drums were recorded
in the basement studio of the Coppards'
parents' home, guitars in a makeshift
soundproof box in Schuch's apartment,
and the rest is set to be completed ih their
recently acquired jamspace.
'   "It's very DIY. But so many engineers
focus on just getting a nice sound, they
lose the style or character behind a lot of
recordings," says Zane.
, "When they only have a week in the
studio, a lot of start-up bands don't have
time to dive into performance and groove,"
adds Schuch. "You're just trying to get all
your shit recorded."
The boys are doing their best to put a
positive spin on the frustrating process, as
the lengthiness and lack of consistency in
recording has given them time to further
develop their sound .and grow as a band.
"We could've saved up some cash, gone
into a studip, and done it really fast.
But doing it ourselves, we've had a lot of
control stylistically—that's what it's all
about," says Ulysses. ~%*0t Wq,
The breadth of time they've had to
spend on recording has opportuned longer
and more frequent hours of playing, which
has contributed distinguishably to their:.«
strength as a band. "The goal for a lot
of musicians is to be as authentic to the
message as possible. That's incredibly
difficult while still struggling with the
techniqal aspect," says Ulysses. "Now that
we're good enough at playing, we don't
worry about our fingers landing on the
wrong frets. We can focus on what the
songs mean and that leaves it open to pour
emotion into. Now we can do the songS;^^|
The true grit behind what Smash
Boom Pow is doing outshines any
spiced-up adjective-heavy description or
snazzy font over a moody band picture.
This trio of eccentric music aficionados are
creating catchy anthems about the highs
and lows of finding their place in the world,
and refreshingly, their musical actions are
speaking louder than hype. $f
To stay in the know, bookmark
smashboompowband.com on your
web browser. .
15 IM!
IB *"
<•%&* F< m €ABi k! IE*
In a sense, my tour of the Fox Cabaret
began before I even entered the building.
I arrive early at the Fox to meet
Danny Fazio of Arrival Agency, the group
responsible for transforming Vancouver's
last porn theatre (the last establishment
in all of North America to screen 35-mm
porn) on Main Street near Broadway into
a music and cultural venue. The marquee
of the building has been freshly painted
and new bubbly-lettered "Fox" signs hang
above the entrance. As construction noises
echo from within, I wander around to the
back. In the alley, bordered on one side by
a new condo development, I pass the rear
door of the theatre, where all manner of
god-knows-what took place. On one side,
a faded poster pasted to a dumpster of a
strung-out-looking Iggy Pop; on the other,
a security guard for a condo development.
The scuzzy but character-ridden
Vancouver of the alley, the trash, and
faded gig posters has long been beset
by the forces of development, real estate
values, and gentrification. No one knows
this better than the guys from Arrival,
whose Waldorf Hotel venue on East
Hastings ground to a halt last year when
the building was sold to a condo developer.
Inside the Fox, I meet Fazio and
another third of the core Arrival team,
Ernesto Gomez. The renovated space is
cavernous, with a long bar along the right
side of the former theatre area leading up
to a large stage. Red and silver paint is
caked presumably several layers deep on
the once appallingly filthy walls. Upstairs,
in what was the projection room and
balcony, there is now a large room with a
bar, and booth seating where the projector
windows remain in the wall. A small battered sign leaning in the corner advertises
the old Fox Theatre's daily fare of "three
adult movies starting at 11 a.m."
"It's a little bit like the Dr. Who phone
booth; the entranceway is quite small and
then you come in... it's a big space," says
Fazio as we stand in the upstairs room.
"I'm really excited about this bar here,
this area. We're seeing it as kind of our
neighbourhood bar. thatll be open seven
days a week."
Gomez explains that Arrival had been
eyeing the Fox even before the messy
business with the Waldorf s closure took
place. '■ 7MI
According to Fazio, the Fox provided a
new opportunity and had several obvious
upsides. "Everything we had issues with
at the Waldorf, this place was the exact
opposite. We had a huge issue with our
location at the Waldorf. It's in the middle
of nowhere; it was always a challenge
for us and this place is in the centre of
everything—as far as we're concerned."
"The .Waldorf was a very complex size
and space," Fazio continues. "The layout  .
was a maze of all different rooms and it
was really tough to book. Here, what we
love about this place is the simplicity. -♦
17 "We just feel like Vancouver is lacking in venues for
mid-size bands. There's a real vacuum there and we
feel that.this fits in really 'p*tfect\y.91i^..:%   :maj&
It was a theatre, so it was meant for
performance. It's a big black box with a
stage at the end of it, which is a perfect
size for the kind of entertainment we want
to put on. We just feel like Vancouver is
lacking in venues for mid-size bands.
There's a real vacuum there and we feel
that this fits in really perfectly."
Gomez runs through a mental list
of the types of events Arrival is looking
to house at the Fox, from concerts to art
shows, performances, and films. "Even at
a programming level, we're being inspired
[by the theatre's history]," he says.
"We really want to start our shows
early the way you would start cinema
stuff and program it throughout the week
with different cultural programming.
From comedy to jazz, to rock, to you name
it—completely eclectic."
Local architect Scott Cohen,
responsible for the Fox's revamp along
with the Waldorf complex and numerous
other local institutions, shared Arrival's
preservationist vision for the space.
"He, like all of us, is really interested in
preserving authentic spaces in the city,"
explains Fazio. "There is always this
feeling of danger in Vancouver, that we're
losing this city to development. So we're all
about preserving these authentic spaces
and that approach definitely bled into
what weVe done here. It feels a lot like a
theatre still." Gomez made sure to point
out that prior to its porn years, the Fox
was in fact an art house cinema.
Fazio and Gomez emphasize the
community of artists and groups on
standby, awaiting the opening. "Building
a community around it is important,"
says Gomez. "We're very close. A couple of
weeks... it could happen faster than that.
At this point, because we work with so
many people, everyone is kind of on alert
and everyone is supporting the project,
so if we're a go, everyone is all ready to
start putting things together and work
together. It's not just us. We see ourselves
as facilitators in a way. There are a lot of
people waiting for this place to open."
The paint fumes start to bother Fazio,
so he leads us to the railing of the balcony,
pointing out the original projector screen
still in place, obscured by the last remaining scaffolding. With one last inspection
standing in the way of the Fox's grand
opening, both men seem almost giddy at
the prospect of the project being finally up
and running. [They passed inspection the
day after our interview.]
"WeVe always made a big effort to
make sure everyone leaves happy, the
artists and customers as well," says
Gomez. "I can't wait to open to be perfectly
honest. It's been quite a ride."
(or. free tor station members)
Skateboard Shop
2337 Main St.
10% off
Australian Boot Co
1968 West 4th Ave
$30 off Blundstones
and RM Williams
2016 Commercial Dr.
10% offLPs/CDs
BadBird Media
10% off
The Baker & The
Chef Sandwich Cafe
320 Cambie St.
Band Merch Canada
20% off
Bang-On T-Shirts
Robson, Cherrybomb,
Metrotown locations
10% off
Banyen Books and
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
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
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3957 Main St.
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3293 West 4th Ave.
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433 Dunlevy Ave
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3431 W Broadway
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644 Seymour St.
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147 East Pender St.
No cover Saturdays
(excluding special
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2972 W Broadway
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3357 W Broadway
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1317 Commrecial Dr.
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316 W Cordova St.
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clothing and shoes
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2505 Alma St.
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3278 W Broadway
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3972 Main St.
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3561 Main Street
10% off used, $1 off
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3116 W Broadway
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1131 Howe St.
1 free bag of popcorn
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1890 Pandora Street
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1391 Commercial Dr.
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7 Alexander St.
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3607 W Broadway
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3934 Main St.
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button with purchases
over $5
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4332 Main St.
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2418 Main St.
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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. tl
10% off food
UBC Bookstore
6200 University Blvd.
10% off clothing, gifts,
Used House of j
Granville, Robson St.
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Vancouver Music
118 Hanes Ave, North
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319 W Hastings St.
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Modern Diner
2420 Main St.
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Woo Vintage Clothing
4393 Main St.
10% off
WWW.CITR.CA  photo by Curtis AuCoin
written by Curtis AuCoin      ^^PS
illustration by Gina MacKay (on previous page)
Spring find themselves coming out of
the psyche-closet pn their new album
Celebrations (March 4). An afterbirth
of Vancouver's post-hardcore group
the SSRIs, the band is comprised of
Jo Hirabayashi (guitar/vocals), Elliot
Langford (guitar), Ridley Bishop (bass),
and Kevin Romain (drums).
Celebrations deliberately mends
heavy riffs with softer melodies to develop
a dynamic sound that is familiar yet
strangely experimental at the same time.
The album is uniquely both self-recorded
and produced in their home studio
and is riddled with artful psyche-pop
songs, where upon every listen youll   S
discover different noises lurking amongst
the soundscape. Celebrations is the
culmination of limitless hours spent in
the studio by four friends wanting to get
real experimental after they had found the
perfect ratio of bong tokes to beers. Their
songs effortlessly shift from blissful piano
and guitar lines to climatic doomy solos
with eardrum-shattering cymbals, all to
bring you back again, tranquilly left in a
peaceful stasis. I was hyped to meet Spring
in their shared home to chat about their
upcoming album and how they ultimately
arrived at their new refined sound.
Entering the band's mustard-yellow
kitchen, the band greets me as they're
shooting the shit and doing their own
things. Bishop is fiddling around with
some guitar riff as Hirabayashi starts to
boil some tea; Langford is slurping some
SPRING photo by Jon Vincent
"The songs take on a completely different £
structure because we were just figuring them out
as we went along," says Romain. "Some pretty  ' j|
weird stuff can happen when youVe searching for
the sketchiest sounds possible. I once played a
bow on an oscillating fan and it sounded cool, so
we put it on the album." §
soup, and Romain passes me a beer and
tells me to take a seat. We begin talking
about what led to the ultimate evolution
of the band and how they shifted from the
music of the SSRIs into Spring.
"Basically I was just tired of screaming
at people all the time," jokes Hirabayashi,
"but I am slowly building up the urge to do
it again.''
"Well, we initially tried to make
another SSRIs album, but that never
happened. We were all interested in writing
newer stuff and exploring different sounds,
so it just made sense to start fresh,"
Langford adds.
Celebrations provides a sophisticated
range of sounds drawing from many
different genres including psych, folk,
pop, hardcore, and jazz. There's a ton of
differing content on the album, but it never
seems scattered or incongruous. All of
the ranges and transitions are seamless.
Spring find a way to blend explosively
guitar-heavy tracks with soothing pop
ditties containing piano, saxophone,
ukuleje, 12-string guitar, and bowed
instruments. The band's ability to compose
an album with such a diverse array of
musical contrasts was definitely assisted
by their immediate access to their home
recording studio.
"The songs were almost all written by
23 photo by Curtis AuCoin
mashing together different parts that we
had jammed out. We never really tried to
simply add stuff onto any particular jam,
but worked, with the recordings instead,"
says Langford.
This technique of developing songs
from a collage of random riffs and melodies
is quite evident on Celebrations, where       |
there is almost no evidence of a standard
verse-chorus song structure. Instead,
Spring will stock a song full, with six or
seven parts of complex acoustic guitar
lines, heavy blast beats, stoner-metal
breakdowns, and some ripping solos.
"The songs take on a completely
different structure because we were just
figuring them out as we went along," says
Romain. "Some pretty weird stuff can
happen when you're searching for the
sketchiest sounds possible. I once played
a bow on an oscillating fan and it sounded
cool, so we put it on the album."
Spring used the recording process
as. a way to compose their songs in a^way
that the majority of up-and-coming bands
cannot. With their own studio, they could
spend countless hours fooling around
without having to worry about the costly
bill at the end of a recording session.
"It would have been cool to have just
prepared a ton of songs and taken them
to Steve Albini" laughs Hirabayashi. "But
even then, there is no way the album would
have turned out the way it did. I look at
having our own space as an investment for
future albums to come." |
"There were times when we would just
be insanely messed up, all hanging Out and
then we would see what could, come out of
it. We had this unsung rule that no matter
what, the first suggestion would be what
goes in. It didn't matter how ridiculous it
was, that's just how it went," says Bishop.
"Without the studio, none of the
random subtleties would have been
thrown in. I hope everyone can catch
something different each time they listen
to the album, whether it be just someone
coughing or the few lyrical bars of The
Sweater Song' in the background of one
track," remarks Hirabayashi.
"What?" Langford interjects, "I had no-
idea that was in there."
Celebrations pushes the boundaries
of studio experimentation and draws on
a myriad of antecedent influences. The
insane psychedelic songs build upon
the familiar to inevitably stick in your
head for weeks. When asking how they
would label their sound, the band laughs
and starts speaking over each other
trying to come up with the most absurd
description. With answers ranging from
"trippy songs with trippy stories" to "casual
sex and riffs," Spring eventually settles
on calling themselves a "trans-idiomatic-
post-concept-post-anti-solo rock band."
Revealing how even though they might
have made an austere and dark album,
they are far from taking themselves too
seriously. $
If you're Interested In seeing some
eclectic musicians play melodic doomy
Jams, then check out the Celebrations
album release show at the Rickshaw
Theatre on March 7.
j£Z~*~~^. ^s
* i
mV      /SPv^ rV.     AS
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• i ~ ■ A ■ — „-,
OU    -
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e n
j> Somewhere
I Bet wee
written by Sean Cotterall
photo by Matt Meuse
illustration by Eduard Barcelon
(on previous page)
It's a cold yet clear evening in Vancouver
as I make my way to Caffe Cittadella,
eager to meet the team behind the freshly
released After Midnight EP.
Everyone is running late, so I seize the
opportunity to order myself a coffee. After
placing my order, I spot Nathan Shaw,
bass and synth player for the acclaimed
Canadian band Said the Whale and one
of my interviewees this evening. We take a
seat in the corner of the cafe to enjoy our
coffees and begin our discussion with just
the two of us.
Prior to joining Said the Whale in
2011, Shaw had been taking a break
from music. The opportunity to join their
lineup arose simply by chance: "I was at a
house party in Vancouver and there were
some people jamming, so I picked up a
bass guitar and joined in. The drummer
happened to be Spencer [Schoening] from
Said the Whale and we had really good
chemistry. He asked me to audition and...
weVe been touring ever since."
For Shaw, joining Said the Whale and
touring full-time was a dream come true—-
an exciting and equally exhausting dream.
Time is plentiful when you're driving
around North America four times a year in
a small van, which actually enabled Shaw
to start dabbling in electronic production.
"I've been touring six or seven months of
the year since.2011. All of the time I spent
on the road led me to start making music
with Ableton Live."
After experimenting with beats, Shaw
became more familiar with the program
and began releasing music under the
alias Ekali. "It feels more free a lot of
the time," Shaw replies, when I ask him
what the main differences are between
composing music on a computer and
making music with an instrument as part
of a band. "I have to shift into my own
headspace and be in my own world, which
is nice. Sonically, it was difficult for me to
comprehend electronic sounds. When I'm
programming drums I'm trying to make -+
AFTER MIDNIGHT EP  One day, Shaw went over to Bourks' house
and showed her a track he'd been working
on. Sexsmith came over shortly after and
presented both of them with a beat comprised
only of drums that, through serendipitous
circumstances, happened to be at exactly the
same BPM as Shaw's.
them sound humanized and imperfect,
which I find challenging."
At that moment, we're joined by the
other two interviewees: Jacob Sexsmith,
a sample-heavy producer, drummer
by the name of the Oneiroscopist, and
co-founder of the Mountainous Collective;
and Shawn Bourks, an active member of
the Vancouver music scene. In addition to
singing under the name VZNS, Bourks is
also a DJ, producer, and local musician
With the group now assembled,
we take a quick walk back to Bourks'
apartment to continue the interview. After
settling in, I inquire as to how the trio met.
"I met Nathan a while back at a friend's
house," explains Bourks. "It was right
before I was going to see a Flying Lotus
concert. We started talking about Flylo,
Teebs, and Lapalux and found out we like
a lot of the same music."
One day, Shaw went over to Bourks'
house and showed her a track he'd been
working on. Sexsmith came over shortly
after and presented both of them with
a beat comprised only of drums that,  *||
through serendipitous circumstances,
happened to be at exactly the same BPM
as Shaw's. Because the tracks matched
tempo, Shaw was able to combine the two
in order to create the beat that would be
used for the group's first release, "After
Midnight." IlllP -       %
"It was pretty magical how it worked.
After a bit of editing (and some alcohol),
the beat was done." Once Bourks added
vocals to the track, "After Midnight"
became a mellow and soulful R&B tune
in the framework of forward-thinking,
experimental electronic mUsic. The
collaboration was quickly picked up by the
music blog futureclassics.ca to be part of
their first compilation album.
Following the success of "After
Midnight," the three musicians, who came
together purely by chance, decided to form
a group and release an "After Midnight"
remix EP. Two members of the Chapel
Sound community, "lhasa and QRLFRNDS,
had a great appreciation for the track
and decided to make remixes that were
eventually featured on the release—with
up-and-coming Austrian producer Salute
as the third remix artist. Each deviation
of the track highlights distinct elements
of the original while offering unique
additional layers.
While "After Midnight" was the result
of three musicians coming together and
discovering common musical bonds,
the remix EP represents community of
an even higher level. Facilitated by an
open and inclusive environment meant
to enable local musicians, Chapel Sound
helps artists to hone their craft and
meet like-minded people, It's this type
of collaboration that serves as a perfect
example of the budding electronic music
scene in the city of Vancouver. $f
$$ i
You can listen to the After Midnight
Remix IP on Bandcamp and keep a
lookout for an IP of original material
from these three in the early spring*
AFTER MIDNIGHT IP jf-- m w ■ "Twi■■■+ if
-+■*■ ■+ '+■ *: #f #■■-#,
H    , fi||It I. -4" ■       '^1^* 1
••' •-fit■♦« + i
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f H   ..n -• i§ ■   l_
'+ 1
■f II I ^he f Shilohs
written by Elijah Teed   photos by Sylvana D'Angelo
|||S illustration by Glna MacKay (on previous page)
Amidst the dimly lit ambience of the
Brixton Cafe, an Atari arcade machine
hums and beeps, glasses are repeatedly
filled and emptied, and the Shilohs
recant the joys and tumults of life on
the road. Mike Komaszczuk is the only
Shiloh missing from the table,.but his
faithful cohorts Dan Cplussi, Ben.Frey,
and Johnny Payne are quick to address
| the absence of the band's "papa bear,"
and provide excellent conversation on
his behalf.
It's been over a year since the
Shilohs' last album, So Wild; a wickedly
accessible compilation with sounds
reminiscent of yesteryear, when pop
was cool, guitars were clean, and love
songs didn't involve the word "twerk."
But it's not due to lethargy that the
quartet hasn't released any new music
since last year—rather quite the
opposite. Between two tours spanning
both coasts of the US, time spent in
Vancouver's late, great Mushroom
Studios, and. their current travels with
Real Estate, the Shilohs have more.than
their fair share of stories to tell.
|$f;  Payne, one of the, two singer/
guitar-players in the band along with
Komaszczuk, seems caught between
sighing and laughing as he tries to
pin down what it's like to tour as a
relatively unknown act. "Just curveball
after curveball: that's what tour is like.
We played a pizza restaurant, a bicycle
repair place... just whatever."
Drummer Frey and bassist
Colussi add their own fond and bizarre
memories, including bachelorette
parties, shows in hotel lounges, and
a vague recollection of homemade
spaghetti in Penticton. "It felt like we
should pay our dues la bit. You know,
head to the States, play some shitty
bars. Put us wherever you want and
^ well get some experience on the road,"
Payne notes of their exploits.
"The term is called trailblazing,"'
adds Frey, to the laughter of his
bandmates, and Payne explains. "That's
Ben's favourite term. I'd overhear him
at a club talking to some stranger and
he'd be saying 'Yeah, we're kind of just
trailblazing right now."
Despite those less than ideal
circumstances, it's obvious that
THE SHILOHS the Shilohs have become a tighter, and
increasingly matured Unit from, as Frey
would put it, their consistent "blazing of
trails." "WeVe shown up to these random
shows on tour and you have to adapt to
the place," Payne remarks. "We can mellow
all of [our songs] out or play them really
loud to match whatever the mood is,
which is nice. It keeps things interesting.
In Canada, we call that dynamics; in the
States, they call that 'feelin it.""
is certainly more personal and less afraid
to be upfront. fmk
"There's a definite feeling that this
next record has been [made by] a band
that's been around together with each
other, had experiences as friends, and is
more mature," says Frey, with a nearly
tangible enthusiasm. "With-this new
record, I feel like everyone who hat written
a song has been more vulnerable by letting
themselves open up a bit. I mean, we've
"There are always those comparisons to '60s and 70s
bands, but it's not really pigeonholing us because m
[those decades] are basically the foundation of what
rock and pop is,9' says Colussi.
Colussi can't help but laugh. "They're
still swinging from the trees down there,"
he quips. ?M
Payne's musings of the band's sound
are certainly on point. -The Shilohs are
often commended for their '60s and 70s
vibe, with vocals and instrumentals coming
across crisp and clear, unburdened by
monstrous peddleboards or layers of
reverb. But the frequent likening to the
Beatles and the Byrds doesn't seem to
bother these gentlemen at all. "There are
always those comparisons to '60s and '70s
bands, but it's not really pigeonholing us
because [those decades] are basically the
foundation of what rock and pop is," says
Colussi. &MM
Payne is quick to agree: "I.know where
it all comes from and I'm proud to carry on
the canon as best we can." And carrying on
the canon appears to be exactly what the
Shilohs intend to do, with their upcoming,
self-titled LP scheduled to drop this spring.
Considering So Wild began production as
far back as 2010, it's not surprising to hear
that the new material the Shilohs have
been working on has undergone changes,
both musically and thematically. Payne
acknowledges that their earlier songs were
some of the first he'd ever written, and
with all the experience the Shilohs have
acquired over the past few years, the music
been a band for about five years now."
"Borderline too long," adds Colussi, to
the laughter of all.
But the new record isn't the only thing
the Shilohs have to be excited to about.
Their tour with Real Estate began on
February 28, and is continuing until the
two groups split at the legendary SXSW
festival in Austin, Texas. "We're just super
enthused to tour with them [and] to watch
them play like 10 shows; it'll be awesome,"
Colussi comments, with equal buzz from
Frey and Payne. It's clear that the prospect
of playing a show in their hometown with
a band they admire is going to be a tour
highlight for the Shilohs.
With their calendars in line and
tour dates picked out, the Shilohs have
embarked on yet another escapade.
Between the exposure from playing '$M
alongside Real Estate, and their own
official shows at SXSW,,there's no doubt
that the foursome will have yet another
batch of stories to tell by the time their new
album bits the shelves—presumably with
less about pizza parlours. $
1  m i
Be sure to check out the Shilohs on
March 4 when they open for Real Estate
at the Rickshaw Theatre.
31 THE SHILOHS jp^yw>iyj
Magni Borgehed
T 60x50 cm, ink and silk paint on sailing canvas, 2013
Model is a project space in Vancouver
run by Rebecca Brewer, Emily Hill, and Laura Piasta.
modelprojects.org PI     M/|||§|
Real Estate,
The Shilohs
© Rickshaw
Mujeres (Spain),
Dead Ghosts, Skinny Kids
© The Media Club -
Richie Ramone,
The Isotopes,
The Rock n' Roll Rats
© Biltmore   1
«ff#ii^iij|IVit:fli.l» MARCH 1
JD Samson and MEN
Dead Meadow,
Defektors, Charm,
© Cobalt-
Three Wolf Moon,
The Highway Kind
© Electric Owl
© Media Club
The Binz,
Real Problems,   lip
What's Hot,
©Railway Club
The Sounds
Crystal Swells, Yes Bear,
Nils Frahm, Douglas Dare
© Venue
Nobody, Mother Upduff
© Railway Club
0 Electric Owl
27                       ^****i
Perfect Pussy
The Black Lips,
© Cobalt
© Media Club
The Coathangers      g|||
lll^iro-                                               *
Islands, Escondido
© Fortune Sound Club
*                                                     b.it+Wjfl 1 2
Broken Water, Weed, Anciients, War Baby
Other Jesus, © Neptoon Records
Gretchen Snakes
© Rainbow Connection
Jay Arner, Tough Age,
Fountain, Pinner,
Samantha Savage Smith
© Heaven
MKwMORlllt FEB 27 - MARCH 6
The Tubuloids,
Ovary Action, :?"i
East Van Playboys
©Funky Winker Beans
International Women's Day
Pink Brown, Man Your
Horse, Double* Standards,
Mi'ens, The Repossessors,
Still Creek Murder        M
9 Rainbow Connection'
Three Wolf Moon, War Baby,
If We Are Machines,
Born In Waves
© Railway Club
Mounties, Rich Aucoin
© Commodore    111
Head Hits Concrete,
Cetascean, AHNA,
Cooked and Eaten, Soot
© Rainbow Connection
Anciients,       l0i
Christian Mistress,
© Astoria       ¥%i
Cool, Pups, Diane, KMVP
9 Rainbow Connection
Jay Malfnowskl I
the Deadcoast,
Astral Swans
©Media Club
Mark Sultan,
Neighborhood Brats
© Electric Owl
The War on Drugs,
White Laces
© Biltmore
Childsplay, Flub the Duck,
She Dreams In Colour,
Ginger Johnson &
The Furious Four
0 Astorino's
Yellow Ostrich,.
Pattern is Movement
©Media Club
30  Magni Borgehed
I ^Installation view at Galerie Martin Janda,Vienna, group show (next to perplexed you)
curated byJanVerwoert, 2013; from left to right: 179*l45 cm, ink,silk paint,glue, oil and gesso
on s^illnf -canvas*^&|^|e 145x89.5 cm, silk paint on silk, wood and ink, 2013; 60x50 cm,
gess#,j||^irik on canvas, 201X photo: (H' Markus Worgotter courtesy Galerie Martin Janda.  n written by Evan Brow   photos by Aaron Davidson
Much like the intricacies of Improv
comedy itself, Hip.Bang! is difficult to grasp
in conversation. When I ask the duo, comprised of Tom Hill and Devin Mackenzie,
what kind of performance I could expect
from one of their improv shows, it's hard to
get a definitive answer.
"You might see a continuous story, you
might see a bunch of one-offs... It really
depends on the show," says Hill. "Expect
really fast, barely noticeable transitions
between scenes, a lot of fucking with each
other, some mutual sabotage, and anything
being a game." Wm^M
Meeting at UBC Improv in 2006, the
two formalized their comedic partnership
at a show put on for the UBC Player's
Club. The two gelled during a very strange,
absurd performance that was only meant
as an opener for the mainstage show.
Whereas we can only guess the effect the
show left on the small audience of UBC
students, the performance confirmed a
comedic chemistry and a long-lasting
relationship that has led the group's show
across Canada and into the States.  -
As for where the duo's name comes
from, the explanation matches the
alternatively odd, bizarre hilarity the
group seeks to snatch out of mid-air for
every performance. Much like the group's
style, the pair have no definitive answer
as to how or when the name manifested;
their comedy and their persona exist
independently, as if scientists merely
observing a.phenomenon that has arisen
before them. ||j
"IVe always liked the explanation that
it's not a literal *hip' or "bang,' but that ||p
the sounds, with the punctuation where
it is, Hip.Bangl' the sound of it is just the
energy that we perform live," says Hill.
"And it's a very absurd show we do, so we
like to capture that."
"Yeah, and *Hip.Bang!' is evocative of
shooting from the hip, like quick-drawing,
HIP.BANGI HIp.Bang! on what drew them
to improv:
MACKENZIE: "What drew me
was the immediacy of the humour
and the connection you have with
the audience and the cathartic
release that improvising gives you.
Because it really does give you
a rush."
HILL: "Probably babes, fashion,
glamour, the money's real good,
and exotic trips, you know. But
yeah, it's really satisfying to
have people laugh because of
something you said, so that's kind
of addictive. But also the babes."
but also like banging hips, you know,
having sex... so violence and sex. Hip.
Bangl is about violence and sex," says
Mackenzie, with both of them chuckling
over an explanation I suspect is half-joke
and half-truth.
From their founding to the present,
Hip. Bang! have managed to charm the
alternative comedy community with two
of their self=produced improv shows, one
being their weekly Cloud Comedy show, and
their most successful being 10 Speed.
"10 Speed is a monthly improv show
where six improv groups get 10 minutes
each [to perform] and if they go over their
10 minutes, we will fuck with them really
bad until they have to leave the stage,
essentially disrupting their scene," says
"It's like an improv buffet," says
Hill. "Instead of having to order one
performance, you get a whole delicious
variety of things. And then a lot of crazy
stunts will happen, that youll probably find
visually disturbing." f>W$
The duo's 10 Speed show, which
operates out of the China Cloud Theatre,
is famous for its "disruptions," the
various creative ways the two can "usher
you off stage."
§§!P'"My favourite was when I bought one
of those remote-controlled blimp sharks
and I flew it in from the back of the room
while playing the Jaws music. It looked
really amazing," says Mackenzie.
"We also potted a Craigslist ad with
Kyle Fines' phone number that said he had
two free Persian rugs and that you could
just call him anytime day or night to pick
them up," says Hill, "He got about 60 calls
in two hours. His phone was basically
destroyed for a couple days."
Other disruptions have included
releasing two live crabs on-stage, eating
garlic and then breathing in people's faces,
as well as attaching an enormous dildo
to a reciprocating saw and "harassing the
While 10 Speed has been an
established show for over three years
now, Hip.Bangl have recently banded
together with The Sunday Service, another
Vancouver-based improv group, to
establish Blind Tiger Comedy, a comedy
collection that offers improv and sketch
classes, with a plan to feature stand-up
classes in the near-future.
"Blind Tiger is what they called in
the prohibition era a speakeasy," says
Hill. "You'd pay to see a 'blind tiger' and
you'd actually be paying for your sneaky
booze. And we just loved that idea of being
underground and exciting."
So whether they're teaching improv
and sketch to promising newcomers or
buying remote-controlled animal blimps
for a one-off gag, Hip.Bang! is as active in
the Vancouver comedy scene as ever
before. And if you're near the China
Cloud, maybe stop by for a show—where
else are you going to see the comedic
potential of a dildo saw? $f
mi ■
Join Hill and Mackenzie on the first
Tuesday of every month for 10 Speed
at the China Cloud Theatre. Visit
hipbang.ca for more Information.
43 BETRAYERS | Let The Good Times Die | Perfect Master
Considering the amount of time that one is subjected to spend
inside during the long and cold Prairie winters, it makes sense
that some of the best Canadian garage-rock bands hail from
the Great Plains. With their hard work, Edmonton's Betrayers
are proof of this, as they're one of the few bands these days that
really get good old rock fn' roll right.
Betrayers' debut album, Let The Good Times Die, sounds like
it could be the soundtrack for a remake of Easy Rider. The album opens with the languid
vocals and flower-child garage rock-inspired riffs of opener "Spinnin' Wheel." Veering the
album in a slightly livelier direction, the bouncing bass line and fuzzed out guitar solos in
"Ain't No Lie" would sound at home on a Stooges record. Betrayers continue their nuanced
take on psychedelic garage rock with the sublime and slinky standout "Do You Smoke?"
and energetic punk-tinged number "Little Girl (You Got Some Growing Up To Do)." On
the album's closer, "Top Much Fun," frontman Travis Sargent sings "We're dangerous and
we're young / But it doesn't matter now cuz you're having too much fun," which could
easily be the tagline for the band and this album. For sun-fueled road trips to times spent
inside drinking and dancing the cold away, Let The Good Times Die should be your rock *n*
roll record of choice. —Mariko Adams fijd&
CHUNG ANTIQUE | Sweeter Weather | 20 Sided Records
Chung Antique is guitar rock for rainy days and winter evenings.
The trio may be from Seattle, but Sweater Weather, recorded
here in Vancouver, takes the best of Cascadia and transforms it
into a seriously excellent math rock album.   ^
Following after two lo-fi EPs, now over three years old,
Sweater Weather is a refreshing update on Chung Antique's core
sounds and ideas. Cute song titles like "Stop Making Synths"
and "Siskiyou and I" are good introductions to tracks that aim to mellow rather than
to alarm—even when guitarist Charlie Zaillian's tone shifts from technical precision to
roaring, overdriven arpeggios. The beautiful! strength in Chung Antique's mathy, almost
prog-influenced song structures come from excellent self-control and moderation: no two
tracks on the six-song album ever threaten to make tired or obvious choices, and for a
band with no lyrics, that's exceptionally rare to see.
The two tracks held over from their previous EPs—"Room with a Door" and "Bagel
UNDER REVIEW Blue Eyes"—have gotten a beautiful and glorious glazing of recording-room perfection.
Chung Antique's pitch-perfect compositions have had a wonderful helping of audiophile-
quality bliss layered on top, with sharp drums and thick, mega-technical bass tones
punching through the mix alongside fantastically warm, fuzz-coated guitar noodling. Don't
come into Sweater Weather expecting an overwhelming urge to dance, but sitting down
with it between a comfy couch and a pair of headphones might just be one of your winter
highlights. —Fraser Dobbs
DAVID WARD | Go/den Future Time | Independent
Vancouver songwriter David Ward seeks to expand his futuristic
soul/R&B sound on his second solo album Golden Future Time.
An ambitious follow up to his 2012 EP trilogy The Arrival, the
album is divided between Side A, entitled "Lost" and Side B,
"Golden Future Time." The division of the album into two parts
is not only reflected in Ward's thematic undertones about/ear,
loss, and ultimately, hope, but in the shared production duties
on each side. Of particular note are the contributions of TOm Dobrzanski (The Zolas) who
helms production, engineering, and mixing duties for Side A.
yjii|;. Golden Future Time reaps the rewards of an intricate and meticulously detailed
production as shown within the first few seconds of "Slowly through the Night." Ward's
falsetto soars over groovy, distorted bass, swelling synths, and controlled drum work,
pleading "Please don't take me now" in a haunting fashion. The album showcases the
multifarious character of Ward's songwriting. "Ghost in the Woods" and "Be Here" display
Ward's talent for crafting subdued, lush ballads. The title track is an upbeat, funky space
disco number that Could even put Daft Punk's latest work to shame. "Fly" is a trippy
electro gem accented by glitchy synths, heavily distorted bass, and anchored by Ward's
undeniably soulful vocals. The future is golden and so is this album. —James Olson
ROSS BIRDWISE | Frame Drag | Let Discos Enfantasmes
Allow yourself to enter the melting pot that is Frame Drag—not
only a series of electronic tracks, but more importantly an
experience. The individual tracks are seemingly meaningless in
the fluidity of the large experience that is the entire sound of the
record. The transition between tracks seems at points almost
aggressive, leaving you disturbed, yet hungry for more.
This composition certainly takes inspiration from hip-hop,
jazz among other genres as made evident by the sporadic trumpet sounds, spliced vocals,
and snare hits. It gives the record the ability to continually surprise and keep you on your
feet. Right when you think the arrangement has reached a ceaseless flow, you're whirled
into a different oratory journey just as mismatched and chaotic as its predecessor. It's
also important to note that Birdwise brings a fresh approach to time and rhythm that
heightens the surreal and frenzied stream that is Frame Drag. While ranging from simple
synth sounds accompanied with soothing vocals to a fusion of samples from police sirens,
snare hits, jingles, barking dogs, muted horns, and so much more, Ross Birdwise truly
creates a beautiful mess with this record.
Frame Drag mirrors no rational journey, splicing sounds from almost every genre,
keeping the listener entranced in a lovely disordered medley. —Ibrahim Itani
February 15, Neptoon Records
On February 15, music blog/arts nonprofit Weird Canada launched Wyrd Distro,
describing it as a "massive, loosely curated
consignment store" for Canadian DIY
artists, or a "central repository for emerging
music on a physical and digital format."
It's a milestone for the self-styled
lizard army of underground musicians and
music enthusiasts. What began in 20Q9
as the enthusiastic musings of one Aaron
Levin is now, in Weird Canada's words,
a community "dedicated to encouraging,
documenting, and connecting creative
expression across Canada"—and the Distro
definitely fits that description. It's one of
many initiatives Weird Canada hopes to
put into place after spending a year as an
official non-profit organization.
To mark the occasion, Weird Canada
volunteers threw afternoon parties across
the country. Playing host to the Vancouver
launch party was Neptoon Records, which
despite the typically gloomy weather saw
a steady stream of people dropping off
recordings for Wyrd Distro's warehouse,
catching the musical performances, or just
picking up free Weird Canada swag.
Given Weird Canada's predilection for
the experimental, the lineup at Neptoon
was a fitting one, with two of Vancouver's
more notable members of its noise and
ambient scenes playing. Nic Hughes (as
N.213) played a set, followed by Luka
Rogers (as Sisters of Seance).
Hughes started N.213's set quickly,
thudding yet colourful beats issuing from
his loop pedals. Outside, the burgeoning
rainstorm finally picked up, becoming
a slashing downpour. Inside, Hughes
pranced about the storefront—alone-in-the-
bedroom jamming, with claustrophobically
reverberating vocals, the whole thing taking
on a vaguely industrial tinge. (Hughes later
described one of the songs in his set as "a
little Lost Highway* referencing the Trent
Reznor-produced soundtrack of the David
Lynch thriller.) »';$$$§
Rogers' project, Sisters of Seance, was
named/or the Fox sisters, 19th-century
mediums who, in the aftermath of a family
feud, exposed themselves as frauds. But
Rogers freely admits he chose the name
because it sounded "spooky" and "cool." "I
like the idea of tricking people," he said.
It's certainly a spectacle of sorts, even
in the tiny space in front of the Neptoon
Records storefront, Rogers tending to his
gear just-so. Like Rogers's band Basketball,
Sisters of Seance played with Middle
Eastern themes and digital synths—and
kaleidoscopic and cinematic imagery to go
with the alternately organic and synthetic
soundscapes conjured by Rogers.
More than anything, Rogers's
audio-visual set evoked a journey with
mesmerizing synchronicity: through cities,
through flames (a conflagration of some
kind?), through vast expanses both calm
REAL LIVE ACTION and stormy. The set ended with a supercut
of helicopter accidents at airshows playing
on the wall. This much can be said: it could
have gone on for ages. —Chris Yee
February 11, The Media Club
Amidst the sluices of rainwater displaced
by careening automobiles and a sky heavy
with cloudburst, a small crowd assembled
at the Media Club on February 11, hoping
for a respite from winter's wet malaise.
Greeting the sodden scattering of
music admirers was Vancouver's Joyce
Island (the nom de plume of Lisa Joyce), a
personable and pleasant singer/songwriter
whose pretty guitar playing may not be
technically flashy, but whose very fine form
and shiny smile were endemic. Joyce's
tasteful, almost twee, set of songs seemed
obsessed with both death and boys while
a graceful cover of Waylon Jennings'
"Dreaming My Dreams With You," made all
in attendance forget about the clammy grip
of wintertime.
Now I've been to shows before that,
have been sparsely attended (Scout Niblett
at the same venue a handful of years
back drew a similar slight number), and
a Tuesday night during a deluge after
a long weekend can take a tariff, to be
sure, but hot on the heels of just dropped
chef d'oeuvre Held in Splendor, I was still
shocked at the slender assembly. That
said, we few were overjoyed to share so
intimate a space with East Coast (by way
of Massachusetts) indie-pop paramours,
A Laurel Canyon country-rock vibe
bubbled up out of "Mary Mountain" as
Quilt, a four-piece of likable longhairs
with poor posture but engaging presence,
played with passion and snap, as if it were
a sold-out show.
Lead singer Anna Fox Rochinski's
banter was bullet-proof and she came
across well-mannered and affable, but
mostly she providing an otherworldly glow
with twang-pop gloss and psychedelia
glisten. Her's and lead guitar Shane
Butler's harmonies altered Quilt's
chemical makeup more than once, and the
occasional British accent inclusion to their
already wistful psych-folk variant added
undeterred delight.
Allowing room for spacey freakouts
("Saturday Bride" is a microdot version
of the Mama 85 the Papas), reflective
reservations ("Eye of Pearl" has a MaZzy
Star meditation to it), or just a rustic
rock 'n' roll reverie ("Tired 8b Buttered"
has a Byrds-like boogie to it that's
breathtaking). At times touching on that
Elephant 6 aesthetic, a dreamy depiction of
psychedelic pop that's rooted in the present
but with hearts and flowers for the past.
As Rochinski's rainless and sunshiny
voice belted out "Cowboys in the Void" from
their 2011 self-titled debut, the artistry and
allure on stage was unmistakable. "There's
a real clubhouse vibe in the room right
now," she teased to applause and shouts of
approval before launching into their latest
single, "Tie Up the Tides," which may hold
the honour for most confident and complex
pop single since Dirty Projectors' "Stillness
is the Move" (and with angelic harmonies
all it's own as well).
It's no doubt that Quilt's star will
continue to ascend and larger venues will
follow; for the time being, I'm fine being
one of the privileged few who shared a
wonderful night with these exhilarating
up-and-comers. —Shane Scott-Travis
February 5, The Electric Owl
Perhaps the best cure for an alarmingly
cold February evening in Vancouver is
a solid dose of wave-soaked guitar licks
melded with doo-wop harmonies followed
by hazy, sun-kissed dream pop. This was
a remedy tried and true when two Pacific
Northwest bands graced the stage of the
Electric Owl on February 5.
It is fortunate that the night's opening
band, La Luz, made it to Vancouver as
they endured a miraculously nonfatal
collision with a semi-truck whilst touring
47 last November. Although instruments
and sound equipment were destroyed, no
serious injuries were sustained.
The band resumed touring once the
non-metaphoric sensation Of getting hit by
a truck dissipated and made it to their first
ever Canadian gig with no interference from
destructive motor vehicles.
Upon taking the stage the all-girl
four-piece encountered a few technical
complications, which left drummer Marian
Li Pino temporarily void of a functioning
monitor. Soldiering on, La Luz churned
out a dozen of their supremely satisfying,
reverb-drenched songs.
Despite the late Jimi Hendrix's
infamous claim that without Dick Dale
the world would "never hear surf music
again," La Luz produces music of a similar
calibre to predecessors of the genre. It's no
surprise that the band cites the Ventures
and Link Wray as influences, as they stay
truer to surf roots than many of their fellow
genre revivalists.
The title track of their 2012 release,
Damp Face is particularly demonstrative Of
their proficiency. The instrumental guitar-
heavy surf anthem stood out among their
set for its wildly catchy riff, which could
have rivalled "Miserlou" back in the day.
Such upbeat numbers were interspersed
nicely with heavier tracks featuring eerie
electric organ solos and tantalizing vocal
he band's stage presence was
refreshingly unobtrusive, simultaneously
allowing their energy to be delivered by
their music alone, and upping their cool-
factor tenfold. %$$
The band's charming chemistry
and cohesion was accentuated by their
semi-synchronized choreography, which
was restricted to some sly footwork and
comically exaggerated bows, providing
ironically dramatic song conclusions.
Their less sunny take on classic surf
music is likely the result of grey Seattle
skies where white California sands
should be. La Luz has expertly honed
a darker, mysterious sound, flawlessly
embellished with touches of doo-wop,
garage rock, and jangle pop to create an
equally exquisite style of their own.
Portland's Pure Bathing Culture were
next to the stage, delivering an entirely
different style of West Coast-inspired music.
In addition to their latest record, Moon
Tides, the duo was featured on Foxygen's
highly-praised 2012 LP (vocalist Sarah
Versprille performs the enchanting vocal
echoes on "San Francisco.")
As a dream pop duo, being compared
to Beach House in an inevitable fate.
PBC's drum beat patterns bare marked
similarities to those heard on Beach
House's Teen Dream and Versprille's vocal
register is reminiscent of Victoria Legrand's.
The musical/ romantic partnership that
is Pure Bathing Culture along with their
touring bassist and drummer delivered a
slightly sleepy performance, enhanced by
the labours of a fog machine.
Nevertheless, the short and sweet set
livened up for the catchier standouts "Ivory
Coast" and "Dream the Dare." Despite not
concluding with their cover of Fleetwood
Mac's beloved "Dreams," a down-tempo
rendition which an audience member
vocally requested, Pure Bathing Culture
provided a pleasant and, at times, hypnotic
detente to the night's end.
—Lindsay Stewart
February 6, The Biltmore Cabaret
At once harrowing and stolid, a three-
piece collaborative project comprised of
Vancouver experimental noise enthusiasts,
Nausea, Rusalka, and Worker steeped
Thursday's scene in oppressive salt and
pepper sound. The Biltmore Cabaret, dimly
lit and appearing to be under construction,
was further darkened by the crackle of
brutalist static.
Looping pedals, sound panels, and a
screwdriver-shaped tool, were provoked
into prolonged rebellion. As patterns ridged,
abrasively they were washed over. The
trio commanded an acreage of unadorned
clatter, without melody to catch.
The next band was a punk four-piece.
REAL LIVE ACTION Self-indicted "Cowards," in their first
song they built a platform of sound,
momentarily bracketed by guitar riffs.
During their set the lead singer's lyrics
fluxed between berating and booming!
There were glimpses Of more accessible
Pixies grunge stylings and alternatively,
metal .charged chanting. Likewise, song
pacing swung in pendulum. The "war"
within their band name was strategic,
and it played out in an array of punk
Quite dichotomously coined, Peace '
played third. Guitar notes moved forward
with steady steps, shaking off much (but
.not all) of the past set's indeterminate
reverb. Individual riffs were knocked
out, occasionally bumping against one i^g
another. Sometimes brooding, Peace's
punk tales continually unfolded with
earnest conviction. The movement of .
their songs offered, without instructing,
as approachable pop structures lay
casually behind the fuzz.
The headliners, with a playful
preposition/noun namesake took to
the stage in promotion of their debut
seven-track album release, The Apple in
the Pig's Mouth, Failing's introduction
embraced the audience with mass
ambience. Imitating no natural
landscape, thick industrial reverb poured
out like cement. jfpi
Shaunn Watt (guitar, lead vocals)
strummed his guitar frantically,    ||||
seemingly, to thrust noise out at    j^f
onlookers. Watt's fevered voice bellowed
out demands. Where his words hit,
craters were left. Kneeling down in
determination, Lindsay Hampton (guitar)
quickly filled them with distortion while
Will Kendrick (drums) pounded out any
spaces left unscathed.
There was a particular cadence
to Watt's words that seemed Slightly
stretched. Far from artificial, his distressed
vocals continually found reinforcing context
alongside Hampton's shadowy scenery.
With the guidance of Kendrick's
linear beats, Failing's sullen songs were
lightened by rhythmic stability. The.
engaging structure of their sound, (wherein
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hfhousands of people deofyifip^A
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a message always hid beneath the murk),
allowed Failing to build badlands. Their
eroding notes wore away an arid, but
beautifully melodic terrain. —Alex de Boer
interview by Sam Tudor   Illustration by Tierney Milne
On The Copyright Experiment, Jeff Fenoll
and Tim Fernandes combine their love
of electronic and dance music with an
interest in the issues surrounding current
copyright laws. Maybe it's an unexpected
combination, but by solely playing
music available for free online, Fenoli
and Fernandes prove every week that a
changing system changes music. The three
of us found a couch at CiTR and sat down
to talk about democratic radio, sampling,
and Bis Marine getting in trouble.  f^|
Why did you start
The Copyright Experiment!
FERNANDES: It's kind of a combined
brainchild of ours. I know we both wanted
to do a show for a while, but I was never
sure what I wanted the concept to be.
Jeff had the idea of doing a show where
we only play free music, which I thought
was a really cool idea and something that
hadn't really been done before. IVe been
interested in intellectual property law and
how that works in society for a while, and
so I thought those two ideas could work
together.   j||
FENOLI: Simply having the ability to do
a radio show every week with free music
within our style and meeting all the content
requirements is pretty astonishing. It kind
of speaks volumes as to where we're at in
terms of how we treat intellectual property
in music—we wanted to explore that.       |§y
THE COPYRIGHT EXPERIMENT What is the most Interesting ease study
you've come across? ■ ftf?:
FENOLI: The most interesting cases to me
are the ones that have historically set the
precedent for the way we view sampling
and fair use laws. The thing is that the
precedent is usually a lot different from
the actual letter of the law. There was a Biz
Markie case that we talked about where
he sampled a bunch for his record, but
one of his copyright holders won a lawsuit
that forced the label to remove the samples
before the record could be sold again. That
set a precedent for people to be much more
careful and conservative in the way they
sample in hip-hop, I imagine if that didn't
happen, the music people make would
sound different today.
FERNANDES: Sampling wasn't something
that was really conceived of when the US
introduced fair use into their copyright
act in the 70s. Sampling uses a direct,
copyrighted recording, which is totally
different from using the same kind of ideas
or themes as someone else, so it raises a
bunch of questions. The laws just haven't
caught up yet.
Where do you see issues surrounding
copyright going In the future? What   «
would you be discussing on this show
in 10 years?
FERNANDES: I would hope we're hot still
discussing the ways in which copyright law
is failing the current state of affairs. That's
a central idea on our show: the idea that,
in a lot of ways, copyright law is not really
suited for the way that people are treating
intellectual property these days. So I'm
hoping in 10 years we aren't having the
same discussions.
FENOLI: There's so much music out there
that is completely sample-based. For that
to be existing and flourishing now gives
me hope that maybe copyright laws will
become less stringent and allow for more
creative flow to happen naturally without
as many barriers and pressures.
FERNANDES: The biggest problem right
now is that the primary benefactors of
the current laws are the people who hold
rights in the interest of making money
off of them, rather than to have creative
control that they are artistically interested
in disseminating. The people who lobby
for the laws that are in place now, they're
acting against the interest of improved
creative flow, and more in the interest of
just, um... ||fi
FENOLI: Cash flow. 'M
You play a lot of electronic music.
Is music of that genre more likely to
be free?
FERNANDES: I think the reason there is
so much free electronic music is because
the barriers to creating it are fairly low cost
now. The fact that the tools to make it are
easy to come by gives more of an incentive
for people to just put it out for free. If
you have a full band, it takes quite a bit
more effort. It's an interesting work flow
for electronic artists in that it essentially
allows people to make something and get
feedback on it in the same day.
In what ways Is this an experiment?
FERNANDES: The reason we called it
that initially was because 10 years ago we
wouldn't have been able to do this show.
Free music on a traditional radio station is
a fairly new concept. We also put download
links for all the songs we play on our blog
as well. So I think it's kind of an attempt
to democratize radio, because radio can
be, very authorial. This way, if you like
something we play, you can download it
too because it's free, just like we did. Then
we're all sharing in the music goodness,
and it becomes a bit more communal. $
Listen to The Copyright Experiment every
Thursday at 11:00 p.m. on CITR 101.9 FM.
Also, chock out the blog for their show at
51 Before losing yourself to the brohemian merriment of St. Patrick's Day on
March 17, it's important we honour March 8, also known as International Women's
Day. While female artists have always played a crucial role in the music we love,
the industry is far from immune to the challenges women sometimes face. Sexism,
inequality, misogyny, Whatever you want to call It, there are some people who
never left the early 18th-century and still think this crap Is acceptable. That's
why Discorder is paying tribute to all the women who rock, the ladies who roll, and
those who refused to let someone tell them anything different.
Carole King is my queen. Not only did she
have her first hit song by the age of 18,
but she's written almost 120 hits on the
Billboard Top 100. Needless to say, the girl
got stuff done. On top of that, the theme
song for the women-centric television
show GUmore Girls is a reworking of Tier
song "Where You Lead," which is from her
most successful and my favourite album,
Tapestry. What's more, her life story got
honoured in a Broadway musical last year.
How many people can say that?
Laura Marling is a gem singer/ songwriter
from Eversley, United Kingdom. Her voice
is beautiful and eloquent all at the same
time haunting, in a Virginia Woolf sort of
way. From previous collaborations with
Marcus Mumford and Johnny Flynn, she
has carried her elegance on through her
solo work—namely her second album, J
Speak Because I Can, which was stocked
with prose of dreaming, longing, growing,
and all things life related. She takes
matters to that liminal state, where music
meets feels.
EDUARD BAREL6N, Contributor
Sharon Cheslow is one of the most j
impressive female musicians of all-time. A
founder of Washington DCs first all-female
punk group, Chalk Circle, and member
of Bloody Mannequin Orchestra, she also
collaborated with Kathleen Hanna in
the group Suture. Cheslow was also in a
one-off project with Fugazi's Joe Lally and
co-published a seminal photographic punk
book, Banned in DC. She encapsulates
everything great about punk: open-
mindedness, nonconformism, and down-
to-earth attitude. In her own words: "Make
music with your friends. Dont worry about
what people think. Have fun, be creative,
stay positive, do it yourself."
EVAN BROW, Columnist
The first time I saw the Pack A.D., I loved
their sound. It was tough, relentless, and
meaningful, like all garage-rock should be.
The second time I saw them, I loved their
performance. They exuded the sweaty,
focused, yet somewhat unhinged persona
IVe grown to idolize in garage-rock bands.
The third time I saw them, I finally realized
I just plain loved them: their band, their
albums, their dominant presence in the
Vancouver rook scene. They were fresh
electric air to my uncharged lungs. Thank
you, the Pack A.D., and keep rocking.
in        t     ■■ i..— . ..mii i  i .ii  —— ■■ iiiiii —.i.i—.ii  .  ■ i  !■■■—■ ii ■   ii   '
ANDREW CLARK, Contributor
I never get sick of listening to my favourite
female band, Shonen Knife. They play a
perfect blend of Beach Boys and Ramones
with a cute Japanese twist. The name is
also fitting, as it translates to Toy Knife,
a cute version of a something dangerous.
They never disappoint because, like the
Ramones, no matter how many times
they switch line-ups, they still sound like
Shonen Knife. The live shows are always
high energy, plus they seem genuinely
happy and excited to be there. I always find
myself singing along with the Japanese
songs, even though I don't speak the
language. ||§|
FRASER DOBBS, Contributor
My favorite female musician has to
be Sarah Lipstate, the woman behind
Brooklyn-based experimental guitar
project Noveller. Noveller explores the full
range of what a guitar is capable of, from
irradiated drone to careful ambient pieces,
and everything in-between. Her newest
album, No Dreams, toys with synthesizers
as well as her exploration of the electric
six-string, and the inclusion is even
more powerful than her previous works.
Not Only does Lipstate provide a huge
amount of influence and motivation for
my own projects, but she reminds all her
contemporaries to distance themselves as
artists from their art.
NATALIE HOY, Contributor
It's a tough choice between the front
women of two of my favourite bands, but
I have to settle on Tonight Alive vocalist
Jenna McDougall. IVe been fortunate
enough to catch their live set twice, and
McDougall never fails to captivate with her
53 spunky, yet genuine stage presence; IVe
seen her leap off more speakers than any of
her male counterparts. Combine that with
her raw vocals, and one can't help but have
a smashing time at their shows.
ERICA LEIREN, Contributor
Short, sharp, sweet, Dolly Mixture are my
favourite girl group. I love their melodies
and lyrics, such as "Take a girl who's 19
and nearly 20 / tomorrow's her birthday
but she's not ready / Time is running out
and she still can't believe that in just a
few hours she'll be a Been Teen!" They had
beautiful harmonies, charming accents,
and clever lyrics. The sweet and sassy
Pollys gave their fans all they could ask
for when they released their White Album,
a double record set of 27 demos with a
plain-white cover and each copy numbered
and autographed by the girls. "How Come
You're Such a Hit with the Boys Jane?" is
my favourite, but "Sidestreet Walker" is
equally good. Like the candies, the Dollys
are sweet, but you never get tired of them.
Try some.
A band so short-lived but so influential,
I became captivated with Marine Girls
after discovering them on Kurt Cobain's
top 50 albums and during the C86
dance night era (again, short-lived) at the
Waldorf. Tracey Thorn would then become
Everything But the Girl but that would
become another obsession. At a time when
punk was most of the rage in the UK,
Marine Girls' debut of "Beach Party" was
the perfect lo-fi pop antidote to the sound
of that era.
JAMES OLSON, Contributor
Alexis Krauss and Derek Miller a.k.a.
Sleigh Bells are making some of the loudest
and most challenging pop music on the
scene today. Miller's bone-crunching riffs
and noisy industrial beats would certainly
be less invigorating without Krauss' commanding vocals. Whether she's shouting
like a domineering cheerleader on "Infinity
Guitars* or providing breathy, dreamy
melodies over the persistent chug of "Road
to Hell," Krauss perfectly complements
and anchors the sheer volume of Miller's
compositions. Sleigh Bells are a winning
combination of tactical aggression and
catchy songcraft, lead by a spunky and
confident frontwoman.
My devotion to pop-goddess Beyonce is
unparalleled by love for any other thing on
this scorched earth. Her confidence and
magnetism have maintained her as one of
the only female pop stars to sexualize and
embrace her femininity in a positive light
that doesn't make her audience piteous or
uncomfortable. Her songs are infectious
and her voice and presence is breathtaking.
She has been reigning queen of the charts
since she was 15 and is undisputably one
of the greatest performers of all time. As an
added bonus, she happens to be one hell of
a honey. ii|iJ|
How many classically trained musicians
can cover Big Black and match their
venom? How many guitarists shred without
a pick? How often do Conan musical guests
nod to Elvis Costello's infamous SNL stunt
on national television? Even if any of these
weren't impressive enough, St. Vincent
a.k.a. Annie Clark, writes some of the best
art-pop of our time. Songs like "Laughing
With A Mouth of Blood" and "Year of the
Tiger" are strange, sinister, and beautiful.
St. Vincent demands explanation but
refuses definition.
written by josefa Cameron
photo by Paulette Cameron
Illustration by Britta Bacchus (on previous page)
The energy is alive at Los Cuervos.
A sumptuous array of taco toppings are
spread out-of-reach from where I chat with
Patrick Fiore, a.k.a the man behind Noble
Oak. The workers are racing in-between
chairs; the cooks hastily* crush ice and
steam tuna. We're sitting at the bar sipping
salty margaritas and deep in airless        fpp
conversation, as if in a bubble, secured
from the restaurant's vibrant affairs.
The name Noble Oak may or may not
sound familiar. If it does, you're probably
a web maestro and have his majestic
tunes queued up to crank on hazy days.
If it doesn't, you're quite frankly missing
out. The electronic producer's timely
releases and distinct sound have gained
him substantial Internet recognition after
releasing a number of singles and EPs
Amid the vivacious Los Cuervos and
the coziness of J J Bean, we summon
details concerning everything from Fiore's
beginnings to his future. "IVe been playing
music, mostly piano, since I was six."
After unearthing his unique recognition
for perfect pitch at a young age, his love
for piano blossomed. "In first grade I saw a
teacher playing piano and was like, 'Oh my
God, that is the coolest thing in the world.
I want to do this, I want to learn it.' I had
a toy piano and could tell it wasnt in the
right key."
Playing classical piano throughout the
majority of his life sanctioned his joining a
folk band, 41st and Home. Fiore's interest
in music software sparked the transition
from folk to experimental electronica.
"I first found GarageBand and began
experimenting with other softwares. Now I
use Ableton."
The Internet has inescapably aided the
snowballing of Noble Oak. "The Internet
has provided me with so many different
outlets, especially with SoundCloud. It
allows people to find and share ideas. It has
helped create a large community around
music." For the most part, the Internet has
taken on an active role, allowing him be
more passive in regards to distributing his
Gathering inspiration from a vast
accumulation of things, Fiore's songs rarely
follow a similar process of development. H
The Medio Club i March 3 I
with guests
■ Biltmore Cabaret
PIMofch 10 • Doors Spun
F/tfdtfe Offfaef
LI If •"Lli H Mi f kfm I #• '
lifLr sM 11 is 11
 . ..-JBfe ■ ••^Ir'uMWi/' ■ \:™Y^w??*££&'J>
mmmMM? "I can be looking or reflecting on
something for a longtime and eventually
an idea will come into my head." He
mostly finds influence through sceneries,
scenarios, and other bands. "Recently
IVe been listening to a lot of Breakbot,
Deafheaven, Drake, Vanguard, Jessy
Lanza, and Boards of Canada. I think a
lot of what I listen to comes through my
As for the future, Fiore plans to focus
on progress and complacency, though
finding a balance of what people want to
hear and what satisfies him is arduous.
"I will always aim to do whatever makes
me feel content... People who are making
music projects have to be in tune with
what makes them happy. Your pride in
your work will diminish over time so don't
be afraid of your originality."
Fearing the idea of becoming boring,
Fiore wants to veer away from plunging
into a confined idea of how to write
music. "A lot of artists try to preserve ¥|-.
their old sound, but I don't think change
is necessarily something to be afraid of.
You need to have some sort of expansion,
otherwise you will be inevitably accused of
writing the same thing over and over."
Although still in progress, Fiore is
expecting his next release to involve this
sense of evolution. "IVe recently started to
experiment with different genres of music,
particularly laid-back house and R&B. I   .
would definitely consider my music more
groovy now and less wavy." Maintaining
a sense of nostalgia despite the notion of
progression, be it grim or not, has played
an important part in his music-making
process. It remained a central theme in
Away, released by Jellyfish Records in late
2013. "Lately, I have been making a lot
more music that reflects my past. I've been
making more complicated piano music, I
want to make it work in a more acceptable
way; I'm beginning to take music more
seriously. I'm glad that I'm still maturing
as a musician."
A UBC Linguistics major, Fiore finds
the idea of sound a recurring curiosity.
Both music and words have acted as
muses throughout his life, though he
can't consider one without the other.
Despite the highly spiritual aspect of his
music, it is actually of a mathematically
manufactured nature. "There are only so
many combinations of chords, and we '
are coming close to using them all up.
Musical ideas sort of just come to me. I
feel like they're always out there and I
just pick them out to use as a language to
communicate my ideas and thoughts." Wm
Viewing music as a calling, an interest
and an escape, he hdpes to blend these
in order to manifest the career of his
dreams. "Today we are more ready than
ever to allow our career paths to also be an
escape. We turned art into profit. It would
be so nice to make a living off an escape."
Rather than basking in the attention
he receives, particularly fleeting online
reception, he hopes people find inspiration
through Noble Oak: "My biggest fear
is that music will make me a very
selfish person." To avoid this common
phenomenon, he tries to stay mindful of
how the people around him feel. "When
the attention turns more to myself, I get
uncomfortable. I just want to keep track
of other people. IVe watched a few people I
know just lose themselves and grow super
selfish." He needn't be too wary of this,
considering the purity of his intentions
when it comes to the message he wishes to
communicate. "I only really want to convey
some sort of beauty through my music. It
is fully possible to have a really profound
impact on people."
It seems as though Fiore and music
have a well-rounded and equally as giving
relationship. Music has done as much
for Fiore as he is attempting to do for it.
"I think music will be helpful to me no
matter what I do and I am really grateful
for that." $
Catch Noble Oak's next show at
Fortune on March 20 with Australian
group RiiFiiS.
*H -v I.
I o
'"s 5fcsf- 5^ ?*fr]&flp3*Sf^.
written by Alex de Boer
photos by Jon Vincent
illustration by Rob Ondzik (on previous page)
Carl Orff's political convictions are
highly contested. Having composed
Carmina Burana during the rise and reign
of Nazism in Germany, his orchestral
masterpiece remains muddied in scrutiny.
This scrutiny, so often souring into
condemnation, is misplaced on his music.
When it comes to personal beliefs, art is
divorced of authorship.
Art and ego are not as autonomous.
While it is a fallacy that art is a moral •
extension of its creator, it is a verity that
no art is without an author. Ego does not
live in a work of art, but in the ties between
that work and its maker. Treading these
ties can incite feelings of pride or shame.
To a more vulnerable artist, shortcomings
sear and scar, sometimes so painfully that
the artist retreats entirely.
Recovering from self-imposed creative
restraint is not an easy process. Patrick
Geraghty of Vancouver rock band Roie
Mach is a veteran survivor his own
limitations. On March 28, Geraghty will
be releasing two Role Mach albums that
have been collecting dust over the past few
years. By combating his insecurities with
humility, Geraghty has found a way to
tolerate the indestructible ego.
Selecting Christmas music on the
toonie-eating jukebox in Reno's, Geraghty
and I pick up where the last 2010
Discorder feature on Role Mach left off.
His Carl Orff-inspired album, Orffesques
& Fugues, still stands as Role Mach's only
physical output. Geraghty explains the
band's guarded pace by recounting his
musical beginnings. -»
m —:—:—: —- • S   ^s a teenager, Geraghty4iad a
combinable obsession with home=jecording
and genre parody music, resulting in
hundreds of self-produced songs. At the
time he thought his efforts rebellious,
but after releasing two albums (under an
undisclosed moniker), embarrassment took
hold. Feeling he had been misguided all
along, Geraghty closed his musical career
until 2005. . f<*
Reflecting back on the (self-perceived)
failings of his early work, Geraghty comments, "It taught me a lot about making
music, but not a lot about the restraint
involved in putting out something that
you can actually respect as you get older."
When he returned to music, he had a
much humbled mindset. This time around,
Geraghty planned to "let songs germinate
for years before I pulled the trigger and
actually did anything with them."
True to his intent, Travels in the
Interior Districts (recorded at Otic Sound
with Josh Stevenson in 2011) and Holy
Shades of Night (recorded with Tanis
Gibbons at the Hive the following year) are
being released later this month.
Travels is a cassette release inspired
by Geraghty's exploits in Africa and Europe
in 2005/2006. The first track, "Via Delle
Zite," is named after a street he lived on
during a summer in Naples; its-verbose
lyricism and crouching instrumental
attacks project scenes of perilous urban
living. "Shanklin Down" references the
Julien. Gracq novel A Dark Stranger. Its     m
romancing saxophone riffs and low bass
are idyllic inversions of the "unromantic
experiences" Geraghty had on a lonely
voyage to Britain's Isle of Wight.
Holy Shades of Night is less
conceptual. This seven-inch was composed
two years ago during a wave of momentum
following the recording of Travels. The
songs are a jangly, haunted collection,
inspired' by Geraghty's experiences in
Vancouver that year.
Both albums are what Geraghty
describes as "globalization rock." The
genre refers to a merging of his influences,
ranging from Carl Orff to prog rock to
Ethiopian jazz. As culminating as the
genre, instrumental arrangements include
a three-part horn section, saxophone,
trumpet, and clarinet. Currently, however,
the once 12-member group stands at six.
The current lineup consists of Geraghty
(guitar/lead vocals), Liz Horner (clarinet/
vocals), Michelle Furbacher (trumpet)
Jarrett Samson (bass), Tom Whalen
(drums), and Aaron Cumming (saxophone).
Newly 30, Geraghty is resolved to.be
less susceptible to judgement. The two
albums exemplify Geraghty's integration
of modesty into both the consumption     |p
and composition of his music. Regarding
consumption, Geraghty insists there not
be any credits on the physical releases of
either album. He also decided that Travels
and Holy should be given away for free at
Role Mach's March 28 show.
Examining these efforts, ambiguous
album credits are a reach for humility, but
ROLE MACH as Geraghty admits, "Obviously I'm doing
an interview on behalf of my band so I
have some ego." Just as, although the two
albums are free, there is a cover charge for
entry to the show. The connection between
art and ego, like art and commerce,
is resistant, maybe even relentless.
Acknowledging this bond allows Geraghty
to focus on minimizing their dependence.
In regards to composition, Role
Mach's music uses humour and derision
to diminish its self-importance. Geraghty
reasons, "I find it hard to enjoy or respect-
music that has no humility or sense of
humour about it. With all art, I find if an
ego weighs too heavily on something, it
makes it really difficult to identify with the
product." As applied to, his specific sound,
Geraghty says, "A huge ethos of Role
Mach is taking songs that sound almost
chauvinistic and have a lot of bravado to
them and then writing about weakness
and cowardice and trying to subvert the
rock and roll." Instead of outright mocking
patriarchal ideals, he complicates them,
winking away heavy-handed sincerity.
Largely reclaimed from his splayed
pauses, the immensely talented Geraghty
has learned to tolerate ego by weaving
humility into both his songs and his
relationship with those songs. If ego
cannot abandon art, it can at least bow in
63 man w ^^—^~
SKA-T'S       L
PODCAST       wv
NEWS 101
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.
blogspot.ca !;^s,||
w L Ao o f U A L
Extraenvironmentalist 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.
Arts Report WED 5-6pm
Reviews, interviews and coverage of local arts (film, theatre, dance^vir
sual and performance art, comedy, and more) by host Maegan Thomas and
the Arts Reporters. ftnsli
Classical Chaos SUN 9-10am Arts Project WED 6-6:30pm
From the Ancient World to the 21st century, join host Marguerite in exploring (Alternating with UBC Arts On Air) Stay tuned after the Arts Report for Arts
and celebrating classical music from around the world. Project Interviews, documentaries and artsy stuff that doesn't fit into CiTR's
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Experiments In Happiness 4'33" 1/3 MON 6-7pm
This program showcases "new music"- contemporary classical and exper- UBC Arts on Air WED 6-6:30pm
imental music, especially highlighting Vancouver's local performers and (Alternating with Arts Extra!) On break from June-September 2013.
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public in a friendly and accessible manner. Sexy In Van City WED 10-11pm
—i—j r  Your weekly dose of education and entertainment in the realm of relatlan-
TA L K sn'Ps and sexuality. sa^nvancity.co.m/category/sexy-in-«v9tKB>radio.
Democracy now Wednesdays 1-2pm End of the World News |||| THU 8-10am
Synchronicity MON 12-1pm Language to Language THU 2-3pm
Join host Marie B and discuss spirituality, health and feeling good. Tune Encouraging language fluency and cultural awareness.
in and tap into good vibrations that help you remember why you're beret  ■ \ 1 1	
to have fun! REGGAE   \
News 101 FRI 5-Bpm
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, i
The Rockers Show
Reggae inna all styles and fashion.
SUN 12-3pm
Queer FM Vancouver: Reloaded TUE 8-10:30am Blood On The Saddle Alternating Sundays 3-5pm
Dedicated to the gay, lesbian, bisexual and transexual communities of Real cowshit-caught-in-yer-boots country.
Vancouver. Lots of human interest features, background on current issues ft    	
andgreatmusic.queerfmradio@gmail.com Pacific Pickin' . TUE 6-8am
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Programming Training TUE 3-3:30pm Andrea Berman. Email: pacificpickin@yahoo.com
 ,\ .........   * 1 ;  ...
Radio Free Thinker TUE 3:30-4:30pm Folk Oasis WED 8-10pm
. Promoting skepticism, critical thinking and science, we examine popular ex- Two hours of eclectic folk/roots music, with a big emphasis on our local
traordinary claims and subject them to critical analysis. scene. C'mon in! A kumbaya-free zone since 1997.
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The City TUE 5-6pm ; 	
An alternative and critical look at our changing urban spaces. The Saturday Edge SAT 8am-12pm
New Website: www.thecityfm.org. New Twitter handle: @thecity_fm. A personal guide to world and roots music—with African, Latin, and
         -•■ European music in the first half, followed by Celtic, blues, songwriters,
Terry Project Podcast Alternating Thursdays 1-2pm Cajun, and whatever else fits! Email: steveedge3@maC.com.
There once was a project named Terry, That wanted to. make people wary,  •'• - ■'••••■■■■••	
Of things going on In the world that are wrong without making it all seem Code Blue SAT 3-5pm
too scary. From backwoods delta low-down slide to urban harp honks, blues, and
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Email: wcodeblue@buddy-system.org.
67 SOUL/R&B Shookshookta SUN 10am-12pm
■—"—■ i  A prdgram targeted to Ethiopian people that encourages education and per-
Soulship Enterprise SAT 7-8pm sonat development.
A thematically oriented blend of classic funk, soul, r&b, jazz, and airJBbeat ...••••v-—-■;-< ..••:• ■••, .^^^;
tunes, The Happy Hour has received great renown as the world's foremost Radio Nezate SAT 7-8am
funky, jazzy, soulful, and delightfully awkward radio show hosted by people A mix show with music and discussion in Tigrinya the language of Eritrea,
named Robert Gorwa and/or Christopher Mylett Gordon Patrick Hunter III. !$&B
„,-,-       ■    I-           r    - 1n,n.„,..„,..„.,.r ,-i-i|- <    ' "i «„»..,,,.■■., . '. .. ♦ J. . .J.'. .'.	
POP Twofold THU 4-5pm
■■T- : i '■ -fj Twofold, a Mandarin/English radio program featuring people and music from
Parts Unknown MON 1-3pm the community. Hosted by Sandy.
An indie pop show since 1999, it's like a marshmallow sandwich: soft and   ,  •• ■••••■.•;^|i;- ••• .•^•^> ••••■•':?4l*^^'
sweet and best enjoyed when poked with a stick and held close to a fire. G4E f§*l Alternating Tuesdays 12-2am
^^^sM^^^P^w^^^^Jl^^r"''^'^''' '/^W^W^i Vinyl m'xes> exclus'Ye local, tunes, good vibes from around the world, a
Duncan's Donuts THU 12-1pm thought and a dream or two. Reggae, House, Techno, Ambient, Dance Hall,
Sweet treats from the pop underground. Hosted by Duncan, sponsored by Hip Hop, African, Psychedelic, Noise, Experimental, Eclectic.
donuts. http://duncansdonuts.wordpress.com.  :M$pip;r- v-v.■•..•- .■••; „,|^.~,...,.,.^|^..,>..
"^^^r'':'^^$^^0M-f^^^^^'' H^^^Ni NashaVolna - SAT 6-7pm
The Cat's Pajams FRI 10-11am News, arts, entertainment and music forthe Russian community, local and
The cat's pajamas.- a phrase to describe something/someone super awe- abroad. Website: nashavolna.ca.
some or cool. The Cat's Pajams: a super awesome and cool radio show fea- '''':"$p||§?'-: - ■• •4^-'i- ■^■■'■■■"■'::«^*mv*---:-
turing the latest and greatest indie pop, rock, lofi and more from Vancouver African Rhyhms FRI 7:30-9pm
and beyond! 0|li- Website: www.africanrhythmsradio.com
Chips'n Dip Alternating Thursdays 1-2pm Rhythmsindia Alternating Sundays 8-9pm
Dip in every second Thursday afternoon with host Hanna Fazio for the fresh- Featuring a wide range of music from India, including popular music from
est local indie pop tracks and upcoming shows. the 1930s to the present; Ghazals and Bhgjans, Qawwalist pop and re-
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Bootlegs & B-Sides SUN 9-10pm
Hosted by Doe Ran, tune in for the finest remixes from soul to dubstep and.
ghetto funk to electro swing. Nominated finalist for 'Canadian college radio
show of the year 2012' Pioneer DJ Stylus Awards. Soundcloud.com/doe-ran
and search "Doe-Ran" on Facebook.
The Leo Ramirez Show
The best of mix of Latin American music.
Email: leoramlrez@canada.com
MON 4-5pm
Crimes & Treasons
Email: dj@crimesandtr6jasons.com.
TUE 9-Hpm
So Salacious MON 3-4pm
Skadz and Sprocket Doyle Bring you Electro Swing, Alternative Hip Hop,
Dubstep, Acid Jazz, Trip Hop, Local and Canadian Content - good and dirty
More Than Human SUN 7-8pm
Strange and wonderful electronic sounds from the past, present, and future
with host Gareth Moses. Music from parallel worlds.
Pop Drones
WED 10-11:30am
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 ii mondo delta 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.
BPM Vibe FRI 10:30pm-12am
Every week, tune in to BMP Vibe for the latest and hottest tracks from various genres and BMP. We also discuss various artists from the tracks we
play and bring up funny news-related topics. DJ Crave will be bringing you
genres from Hip Hop, Trip Hop, Trap, Dubstep, Drum & Bass, Glitch, House,
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      Techno Progressivo Alternating Sundays 8-9pm
Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host Gspot DJ.      A mix of the latest house music, tech-house, prog-house and techno. •• j|*
CITR 101.9 FM • PROGRAM GUIDE .............:,..: —v^'  that's always fun and always entertaining.
Trancendance SUN 10pm-12am y...^...:.:.^.
Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been Discorder Radio TUE 4:30-Spm
broadcasting from Vancouver, B.C. since 2001. We favour Psytrance,    : Discorder Magazine now has its own radio show! Join us to hear excerpts of
Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, interviews, reviews and more!
Hard Dance and even some Breakbeat. We also love a good Classic  •■■■•          	
Trance Anthem, especially if it's remixed. Current influences in- Morning After Show TUE 11:30am-1pm
elude Sander van Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace An eclectic mix of Canadian indie with rock, experimental, world, reggae,
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Platipus Records and Nukleuz. Email: djsmileymike ©trancendance.net.	
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 .-' ■'•■ All-Canadian music with a focus on indie-rock/pop.
Inside Out TUE 8-9pm Emaii.-anitabinder@hotmail.com.
Radio Zero FRI 2-3:30pm Stereoscopic Redoubt f|& THU 7:30-9pm
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foreign electro, baile, Bollywood, and whatever else. Hans Von Kloss' Misery Hour WED llpm-lam
Website: www.radiozero.com Pretty much the best thing on radio.
Synaptic Sandwich $$& SAT 9-11pm Tweets & Tunes WED 6:30-8am
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 - -.- •  Website: tweetsandtunes.com Twitter:@tweetsandtunes.
TheBassment FRI 9-10:30pm
The Bassment is Vancouver's only bass-driven radio show, playing Glitch,
Dubstep, Drum and Bass, Ghetto Funk, Crunk, Breaks, and UK Funky, while
focusing on Canadian talent and highlighting Vancouver DJs, producers,
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U P B E AT Various members of the CiTR's student:executive sit in and host this blend
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Good Morning My Friends MON 6:30-8am ture. Drop-ins welcome!
ECLECTIC/MIX Duncan's Donuts THU 12-1pm
  Sweet treats from the pop underground. Hosted by Duncan, sponsored by
Breakfast With The Browns 1111111       M"N 8-11am donuts. http://duncansdonuts.wordpress.com.
Yourfavourite Brownsters, James and Peter, offer a savoury blend of the fa- 	
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Chthonic Boom! Alternating Sundays S-6pm  ;(.,............	
A show dedicated to playing psychedelic music from parts of the spectrum Peanut Butter V jams Alternating Thursdays 6-7:30pm
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Crescendo jj|f|| SUN 6-7pm weekly pairing for your date calendar.
Starting with some serene chill tracks at the beginning and building to the
INSANEST FACE MELTERS OF ALL TIMEEE, Crescendo will take you on a musical magic carpet ride that you couldn't imagine in your wildest dreams.
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
new tracks that the hipsters think they know about before anyone else does.
Suburban Jungle WED 8-10am
Live from the Jungle Room, join radio host Jack Velvet for an eclectic mix
of music, sound bites, information and inanity. Email: dj@jackvelvet.Rjet.
Live From Thunderbird Radio Hell 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.
Definition Soundwave THU 1-2pm
The now of folk. The now of rock. The now of alternative. Join Evan as he explores what's new, what's good, and what's so awesome it fights dragons
in its spare time. As always, Evan ends the show with a special Top 5 list
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
69 Stereo Blues FRI 11am-12pm
Every Friday host Dorothy Neufeld sinks into blues, garage and rock n' roll
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.
Nardwuar FRI 3:30-5pm
Join Nardwuar the 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 bad. 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 Dn MON MidnighMam
Connecting music and artists through a different theme each week.
-Jackie McLean. "Miles Davis Quintet/Sextet". March 31: One of pianist/
composer Thelonious Monk's later masterpieces with his working group.
Little Bit of Soul MON 5-6pm
Little Bit of Soul plays, primarily, old .recordings of jazz, swing, big band,
blues, oldies and motown.
i inr\uvvr\L
Flex Your Head TUE 6-8pm
Punk rock and hardcore since 1989. Bands and guests from around the world.
Sne'waylh 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
sustainability 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. Mp
The Vampire's Ball
WED 1-4am
Industrial, electro, noise, experimental, and synth-based music.
Ska-T's Scenic Drive
MON 11am-12pm
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-12am
Vancouver's longest running prime-time Jazz program. Hosted by Gavin
Walker. Features at 11 p.m. March 3: As this is the only Fun Drive 2.014
Jazz Show the Feature will be some great studio jam sessions produced
by Norman Granz with a cast of hundereds like: Charlie Parker, Stan Getz,
Buddy Rich etc. March 10: The amazing saxophonist/composer Oliver Nelson
with "Screamin' The Blues" with Eric Dolphy and Richard Williams. March
17: The extraordinary piano virtuoso Phineas Newborn Jr. with Sam Jones,
(bass) and Louis Hayes (drums). March 24: A personal favourite of host
Gavin Walker: Miles Davis with vibist Milt Jackson and alto saxophonist
Language to Language THU 2-3pm
Encouraging language fluency and cultural awareness.
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.timiblr.com. Email:
rocketfrom russiacitr@gmail.com. Facebook: https://www.facebook.com-
RocketFromRussia. Twitter: http://twitter.com/tima_tzar.
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.
Thunderbird Eye THU 3:30-4pm
Your weekly roundup of UBC Thunderbird sports action from on campus and
off with your host Wilson Wong.
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? ijfk
Contact us on Twitter: ©Skalds Hall.
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.
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.
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