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It's that time again. Don*t mlsa the fun.
Submissions due August 2014.
Send 3 original songs to:
shindig.submissions@gmail.com
Jl^asiTE/INEO/SPCHSORS; http://shindig.citr.ca
BAHHNeniNLEVr&DEnNNtPOSSE        HI FEME2EPKUN
254 East Hastings Street
604.681*8915
The Ponderosas, DJ Scovle
SEPTICFLESH Fleshgod Apocalypse, Black Crown
Initiate, Necronomicon
CLOUD NOTHINGS AND MFTZ
TheWytches
SHARON VAN ETTEN  $:§§^lf
JANA HUNTER (LoWer Dens)     , 11 \
THE X PRESIDENTS PRE-RELEASE PARTY &
ii FUNDRAISER        M^g^'r:
H NO CLAS^OMEDYBMDRAISER IN  M
SUPPORT OF BC TEACHERS y        ^
Addional show listings, ticket sate Wo, videos and more:
*1WW.RICKSHAWWEATR|.{IIH
Danny Echo, In Defense Of Tim Leary
RIDGEWEIi "1
Gyms,The Pit/Closer jg        *    |?t
OMNISIGHT RimALKER, HARVEST THE
INFECTION, ELYSIUM ECHOES, HOUCUS
UFE AGAINST DEA1H
Blacked Out, 88 Mile Trip and more
THEiAR ON DRUGS -SOU) OUT |||j
with special guests
MMONDRUGS^^^^^^^^^^^^^^^^^^^^^g
with special guests
C http://facebook.com/RickshawTheatre
Q ©rickshawtheatre [5] ©rirtshawtheat^ CO NTS NTS
21      PAT LOK
One part house producer, one part DJ,
Vancouver's Pat Lok is quickly making a
name for himself in both the local music
scene and beyond. While best known for
his infectious remixes, Lok's catalogue of
original tracks has also started to grow—
most recently with the get-your-body-moving
single "Needy." pi
31 \    HORSES RECORDS
■ .tap*'-'
Horses Records: With so much of Vancouver's
music culture being forced to operate
incognito, dispersed amongst illegal venues
and facing constant shutdowns, two local
musicians have decided to take action—in the
form of an East Van record store. But why
do Katayoon Yousefbigloo and Dan Geddes,
the proprietors" of Horses Records, think the
shop will stand out from the other local record
stores? Read on to find out.
06
wr
16
20
HOMEGROWN LASILft 108Op
DISCORDER R1VISITEDs
INFR&DIG
IN GOOD HUMOURs      -
ORAD SCHOOl IMPROV
CHARTS
39     DIRTY SPELLS
While most bands undergo at least some
degree of change over their lifetimes, few are as
dramatic as Dirty Spells'. In under three years,
the once seven-piece psych rock group have
scaled back to a trio and shifted their sound
towards a heavier, more ambient vibe. Find out
what caused the shift in personnel and why
the three remaining members still go by
Dirty Spells. M, •  ' V
49      B-LINES
Like they need an introduction, Vancouver's
favourite grunge punk-rock foursome are back
in the spotlight with the release of their second
full-length, Opening Band. The album is awash
with familiarity—the same fast-paced rock you
know and love—and B-Lines are more than
okay with that.
1
36
45
54
60
66
DISCORDER STAFF SOUND-OFF:
ROAD TRIP ALBUMS       t>        . >a
CALENDAR -    . V-   -
VENlWSt THE SOMETHING CLUB
UNDER REVIEW   .    v>*:,-** '
RIAL MVE ACTION     -     ,r" **. "=..••
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@citF.ca
SUBSCRIBE: Sand in a cheque for $20 to #233-6138
SUB Blvd., Vancouver, B.C., V6T1Z1 with your address,
and we will mail each issue of Discorder right to your
doorstep for a year.
DISTRIBUTE: To distribute Discorder in your business,
email distro.discorder@citr.ca We are always looking
for new friends.
DONATE: We are part of CiTR, a registered non-profit,
and accept donations so we can provide you with the
content you love. To donate visit www.citr.ca/donate.
* IJIfCE of digitization w it temm wttfflk kWwtiy
workigg to digitize $e entirety of Wswdefs archives. Soon all
of the past issues you know and love will be available til stewing
j^Slrie. Thanks, computers! If you have any questions «tjswicsms.
please contact Brenda$ stationraanagef^cifeca
Writers: Curtis AuCoin,
Willa Bao, Alex de Boer,
Robert Catherall, Andrew
Clark, Sean Cotterall,
Fraser Dobbs, Chen Du,
Natalie Hoy, Avash Islam,
Erik Johnson, Jonathan
Kew, Erica Leiren, Mark
PaulHus, Omar Prazhari,
Shane Scott-Travis, Elijah
Teed, Max Wainwright,
Chris Yee, Angela Yen
Photographers ft
.Illustrators: Sylvana
d'Angelo, Britta Bacchus,
Yuliya Badayeva, Eduard
Barcelon, John C Barry,
Brandon Cotter, Alisha
Davidson, Dana Kearley,
Steve Louie, Justin
Longoz, Rob Ondzik, Alison
Sadler, Nolan Sage, Ian
Sandilands, Karl Ventura,
Jon Vincent, Andrew Volk
Covert illustration by
Rob Ondzik
Editor: Jacey Gibb
Art Director: Jaz Halloran/
Sves Yeung
Under Review Utter:
Alex de Boer
Real Live Action Editor:
Robert Catherall
Web Editor-.
Marcin Lasinski
Ad Coordinator:
Ana Elena Garza
Copy Editors: Robert
Catherall, Alex de Boer
Proofreaders:
Alex de Boer, Robert
Catherall, Ogwaho
Powless, Ana Elena Garza
Penelope Pots
Calendar Listings:
Sarah Cordingley
Accounts Manager:
Corey Ratch
Official Tweeter:
Evan Brow
CiTR Station Manager:
Brenda Grunau
Publisher: Student Radio
Society of UBC
Student Liasons: Evan
Brow, Joshua Gabert-Doyon
EDITORIAL CUTOFF: June 26,2014
©Discorder 2014 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 10,200. Discorder is published almost monthly by CiTR, which
can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487,
CiTR's office at (604) 822-3017, email CiTR at stationmenager@citr.ca, or pickup a pen and write#233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Canada. MITT SKY
SITUATIOI
The first time I saw the Flaming Lips in v
concert, I was sure they'd changed my life
forever.
I was waist-deep in the bliss of
Pemberton and, having heard nothing
more than "Yoshimi Battles the Pink
Robots Part l"a couple times on the radio,
I didn't know what to expect from their live
show. When the band came onfstage with
a brigade of fans dressed as Teletubbies,
I thought Td been transported to another
world. Frontman Wayne Coyne climbed
into his signature hamster-style bubble
and as he traipsed across the crowd,
tumbling and rolling inside of the bubble,
confetti cannons erupted on both sides of
the stage while gigantic balloons bounced
on top of us. I remember stuffing my
pockets with as much crumpled confetti
as possible and later gluing them inside
my "Pemberton journal," alongside a
balloon popped. The Flaming Lips were at
Sasquatch, performing "The Soft Bulletin
and more," but a raspy Coyne could barely
make it through a song without erupting
in meandering monologues about how
the world was broken and we all needed
to "hold on together." They barely made
it three quarters of the way through Soft
Bulletin before running out of time and
having to cut things short. It was the first
time I'd ever been disappointed by a band
at a music festival.
I'm not alone in my Flaming Lips
fatigue and while I'm sure some people
have just tired of their race to be the
weirdest band alive—or maybe it's the
accusations of racism, who knows?—for
me, the Lips seem to be more obsessed
with themselves as a band rather than
the music they're creating. In essence,
they've become a shtick band.
There's nothing wrong with having something S
distinguishable about your band's live performances,
but you should never rely on the theatrics of       |
performing. They're not something a person can take
home with them after the show.
stick-figure illustration of Coyne, hoping
to immortalize a moment that, at the time,
meant so much to me.
I saw the Flaming Lips at Malkin
Bowl a few years later and was equally
blown away this time, but the following
year was when that colourful, oversized
Another example of shtick fatigue:
through some twisted fate, I've seen B.A.
Johnston perform about eight times
now in the last couple of years. The first
show I was starstruck with the way he
had all his music playing on a discman,
how he played the piano with his nose
EDITOR'S NOTE c
S
n
00
M
3
LU
I
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•5
s
5
and walked through the crowd, showering everyone with beer and armpit sweat
along the way. The second time seeing
him was more of the same and I honestly stopped paying attention after that.
("Hey, Jacey! If you don't like seeing a
band, then just don't go see them." None
of the recent shows have been strictly
B.A. They were either during Sled Island
or I went to see the opening bands.)
Don't get me wrong: I love shticks.
There's nothing wrong with having
something distinguishable about your
band's live performances, but you should
never rely on the theatrics of performing.
They're not something a person can take
home with them after the show.
Shticks are great the first time;
they're slightly leas enjoyable the second; and they can be downright insufferable as time goes on. Your shows can
be a spectacle but 111 give you a tip,
as someone who goes to an unreasonable amount of shows: as long as you're
showing up and making great music,
people will show up to listen to it. |g
On an unrelated note, you'll notice
our masthead's shifted around a fair
bit since the June issue. I'm pleased
to announce that two of our long-time
contributors, Alex de Boer and Robert
Catherall, are our new Under Review and
Real Live Action editors, respectively. IVe
had the pleasure of working with both of
them over the past year and I can't wait
to see all the great things they're going to
bring in this new capacity. I'd also like to
welcome Sves Yeung, our new art director.
This issue you're reading was a joint effort
between her and our outgoing art director
and I think they did an exceptional job.
That's all for now, folks. Well be
taking it easy for the rest of summer
but Discorder will be back in time for
September. See you thenl
So it goes,
Jacey Gibb
EDITOR'S NOTE 1080p
written by Curtis AuCoin   photos by Andrew Volk
What's the first thing that comes to mind
when you think about cassette tapes?
They seem to hold a curious place
in our hearts, reminding us of our first
beater cars or how making a mix for
someone used to be a serious undertaking rather than a couple ^keystrokes on a
laptop. Once the epitome of a DIY ethic,
cassettes were looked upon as the primary medium to release music without
major label interference; anyone that
came across a 4-track recorder could
put out their own stuff.
Despite the changing technologies,
there is a steady presence of physical
cassette labels still active today: one
particular cassette-focussed label is .
Vancouver's refreshing and hybrid
electronica known as 1080p. Though
it's been just over a year since founder
Richard MacFarlane started the
label, 1080p has already backed an
impressive array of releases, ranging
from Heartbeat(s)' Home Remedies to the
twisted sketchiness of Beat Detectives'
ASSCOP and the haze-rap tightness of
Young Braised's Japanese Tendencies.
When I ask about what spurred
his desire to start a cassette-and-digital
label, MacFarlane says he's interested
in capturing a glimpse of what he saw
as the hybridization of several different
electronica genres.
"I started to notice something of a
trend—if you could call it that—when I
was searching through SoundCloud and
talking to everyone in the online culture
that I knew. I wanted to try investigate "'a
particular moment and play around with
this loose assemblage of people working
in-between typical genres."
1080p wasn't founded on a whim, but
instead grew out pf MacFarlane's blog Rose
Quartz. As he began to garner far-reaching
connections through the artists he was
interacting with online and ****«—
•ft ^
at various' shows, he felt the
urge to promote and begin to
release material he-considered
interesting and excitable.
"When it started, I never
felt as though I Was attempting
to capture some monumental'
movement in music. I aim to
primarily create some eclectic
and refreshing vibes with
everything I help put out. It's
not as though I stick to some jjfc:
specific goal with the releases;
it's definitely pretty, casual in
terms of experimentation."
MacFarlane describes
his label-pwner role as being
curatorial but with tons of room
for the individual releases to
spdak out on their own. The
artists control most of the visual
and musical layout of the tapes
and in terms of production,
cassettes are cheaper and easier
to release in small runs than
vinyl. At/the same time, tapes
1080p HI
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allow 1080p to align itself with the sort
of DIY cultures MacFarlane interacted
with both online and through putting on
shows in the UK and New Zealand, while
also being a means to escape many of the
connotations associated with DJ culture.
"I've always felt that tapes have
steadily been around since they were
introduced," says MacFarlane. "CDs are
pretty much starting to lose their practicality because nobody ever wants to listen to a scratched-up disc that has been
kicked around in their car. At the same
time, cassettes are more movable than
vinyl and remind me of summers driving around in cheap and broken-down
cars." Tapes provide this odd realm for
artists to play around with, which helps
produce some trippy experimentation
without the feelings of seriousness associated witH vinyl.
With a flurry new releases planned
for the coming months—including
Khotin's Hello World, ATM'6 Xerox, and
Tlaotlon's Ektomists—1080p's repertoire
of material is continuously growing.
Despite the gained recognition of the
label, MacFarlane jokingly realizes that
he might be playing a pretty small role
in terms of the big picture.
'{14,   "I get the feeling that [1080p] can   gf
be looked at as pretty miniscule, but I've
always been into finding smaller artists
and possible scenes via the net. I see a lot
of value in it. I like the idea of a new phase
in music or a sort of 'digital DIY' that is far
bigger than the post-Internet electronica
that is quite personal to me. At the same
time, I get psyched heading to the post
office each week to mail tapes all across
the world, even though I don't know if
anyone actually listens to the cassettes." p
If you're looking to pick up some digital
or physical copies of any I080p release,
check out I080pcollection.bandcamp.com
and snag yourself a sick tape before they
sell out.
10
7080/) I RHI
By Erica Leiren
T  photo by Neil Lucente
The idea of Infradig was born in the
summer of 1992, which I spent in Norway.
I took the summer off work to attend
the University of Oslo International
Summer School and really nail my
Norwegian. Dad was from a small town
on the fjords of Western Norway and he
always teased me, "It's a dead language, so
why bother?" For some reason, that only
motivated me more.
One night, while out on the town of
Bergen'with my university friends,- we
stumbled into a dark, subterranean club
called The Garage. It felt like we were
at the edge of the world, so remote from
anywhere else, that I was amazed when
Iggy>s "The Passenger" came oh. Hearing
that song so far from home was weird,
but in a good way. I imagined how cool it
would be if my band, the Hip Type, had
INFR4DIG
11 Infradig gigs were ;p: //:S
performance art—we
always stayed completely
in character as our |
Finnish and Norwegian
alter egos. We spoke
with the correct accents,
hosted an acquavit-    |
tasting contest between
songs, whipped the      S
audience with birch bark
sauna whips, served
pickled herring and    k
knackebrod, and other
exciting stunts during
our set.
t photo by Lynda Leonard
come to Norway. They would have loved
us in Bergen—return of the conquering
heroines and all that. Though we'd broken
up three years prior, the germ of an idea
began to form.
In 1996,1 called up my former
bandmate Tracy to brainstorm forming
a band with a Scandinavian flavour.
We'd both grown Up with Scandinavian
traditions, immersed in the food, accents,
and unique foibles of the Nordic character,
and so we decided to create our own
back-to-our-roots band: Infradig. We wrote
our entire band bio that day, creating
the personas of two Scandinavian-style
supergirls from small towns in the extreme
north. Our conceit was that we were a
band from Norway and Finland who moved
to Vancouver to perform while studying
at SFU. We named ourselves Kiva and
Wenche (pronounced Ven-ka) and, along
with our friends Gord, Tony, and David
(now Bjorn, Lars A, and Lars D), we soon
hit the basement studio and cut six songs
at our 1997 recording session.
Infradig's version of De Lillo's "Min
Beibi Dro Avsted" was released on Jon
Brotherton's Laconic POP records' 1998
compilation, The Basement Suites: Opus 1.
Until now, Infradig had been a
top-secret project, known only to those in
the band. With the recording complete,
our next step was to play live and for that,
we added a sixth member, Sigrid (Louise,
my friend from the UBC rowing team and
the Debutantes). The occasion was a big
Halloween party we threw at the storied
Room # 1 at North Van's NAL Sound
Studios. The place was packed and even
had a smorgasbord set out for everyone to
enjoy between sets. We opened with XTC's
"Life Begins at the Hop," and if you were
there, youll remember the festivities well
for various reasons, including Kiva and
Sigrid's surprise flash-dance!
Infradig gigs were performance art—
we always stayed completely in character
as our Finnish and Norwegian alter egos.
We spoke with the correct accents, hosted
an acquavit-tasting contest between songs,
whipped the audience with birch bark
sauna whips, served pickled herring and
12
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knackebrod, and other exciting stunts
during our set. We covered the Archies'
"Bang-Shang-A-Lang," the Modern Lovers'
"Roadrunner," and of course, "Does Your |
Mother Know?" by ABBA. ■      -1§;
We even had a fan club in Norway
that my cousins ran out of their bedroom.
We were interviewed (in character) by
various local newspapers, including our
favourite, the North Shore News. Another
time, we were on our way to meet up
for an interview and photo session with
Province music writer, Stuart Derdeyn,
when he recognized us as Erica and
Tracy from the Hip Type and our cover
was finally blown! We continued to play
through 2001, but our swan song was a
dramatically aborted gig at Rockridge High
in West Van.
The band was all plugged in, on stage
and ready to play, with the enthusiastic
young audience gathering on the gym
floor in front of us. But our lead singer
still hadn't arrived. Suddenly, Sigrid's
cell phone rang. It was Kiva, calling from
home with a traumatic tale. Kiva haji
been dyeing her hair blonder for the gig
when fate struck a tragic blow: she'd
accidentally swallowed the bleach that
had run down her face and it stripped her
throat, leaving her unable to sing.        . :||
We were devastated. With no lead
singer, there was nothing else to do but
cancel our performance. It was a tough
way to end such an epic project, but by
then Infradig had run its course. The
accident was like a sign from the gods; our
time was over.
You could say that Infradig has
now entered the hallowed halls of the
immortals. Thank you for being a part of it
all. Let's raise our glasses now in toast and
together cry "Jeg husker Infradig! Skal! (I
remember Infradig! Skal!)
14
iNpi*4dig Saturday July 19th and Sunday July 20th
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UP     '
by Max Wainwright   illustration by Brandon Cotter
photos by Nolan Sage
What do you get when you pair nine
comedians with a local venue/restaurant
and pit them against Game of Thrones?
While it may sound like the set-up for a
punchline, it's actually the story of Grad
School Improv, one of Vancouver's newest
emerging comedy groups.
Every Sunday night between 8 and
10 p.m., the improv nonet take over the
Seven Dining Lounge in Mount Pleasant
for two hours of fast-paced sketches,
ad-libed musicals, and various improv
games. The group has just wrapped up
another buoyant installment when I sit.
down to interview three of the members:
Evan Brow, Linden Maultsaid-Blair, and
Thomas Peters.
Along with the rest of GSI—Jill Alport,
Ghazal Azarbad, Allie Entwistle, Noah
Goldenberg, Mel Peters, and Thomas
Huryn—-Brow, Maultsaid-Blair, and Peters
all share strong ties to UBC, with most
of them being either current students or
alumni. Aside from that connection, all
of the members also have their hands
in various acting and comedy projects
around *the Lower Mainland/
Each of GSI's members have different
focuses that compliment one another
while improvising. Alport, Entwistle,
GRAD SCHOOL IbfPROV
17 Just like in the show, the guys have learned
to pick up on each other's thoughts and work
together in the conversation. Th#y*wJ»Siid   *
to narrowing in on a shared line of thought and
adding their own unique flavour to it.
Goldenberg, and Huryn have comedy
backgrounds and specialize in setting up
and jumping on punchlines; Azarbad, on
the other hand, is a trained actor and adds
strong, well-rounded characters to the
scenes; Mel Peters, like Thomas Peters, is
a Jill-of-all-trades. With so much going on
at any given moment, and so many unique
approaches involved, it's important for GSI
to have a good intuitive sense of narrative
to hold it all together.
"Linden is good with instincts,"
explains Brow, bringing up the i-word that
comes up often in our conversations.
"My favourite role to play is the
backroom wizard, trying^ to keep everyone
in line, making sure that the story is going
in the same direction," says Maultsaid-
Blair. "I'm not out there the most but I
try to make everything I do count a lot...
I try to inject that momentum ... That's
something I'm always looking out for, how
the story can be told."
"We work in a story idea," Brow
elaborates, "like a circle, having a want,
a need, searching for something, finding j§j|
it and having that need, returning to
something, and changing it. It's basically
creating those cliffhangers at the end. We
rehearse this so much. This idea of the
complete story."
GSI are able to hold a narrative
together in the whirl of the moment
because they're good at picking up on
beats, something Brow clarifies for me:
"It's when something gets a laugh or when
it hits its most crucial point and it can
only go downhill."
As much as GSI's show seems like
a wild, free-flowing entropy train, the
group works off a highly rehearsed and
internalized structure that relies on S
interpersonal instincts. "Instinct is one
of the most important things in improv,"
says Peters. "You're not even thinking,
you just go."
Just like in the show, the guys
have learned to pick up on each other's
thoughts and work together in the conversation. They're used to narrowing in
on a shared line of thought and adding
18
QUAD SCHOOL IhjPROV their own unique flavour to it—I suppose
this is how GSI can quickly morph a
scene about a blind Starbucks employee
into one about the joys of white-picket
fence painting. It's all a matter of practicing together and learning about each
other's different approaches to comedy.
While they already gel together flu-
idly onstage, GSI are constantly thinking
of ways to improve their Sunday slot: at
the moment, they're trying to develop a
serial hospital drama for the show, as
well as some of their own improv games
Whatever the energetic and hilarious
group oomes up with next, it's sure to
keep them on the up-and-coming and
keep audiences laughing along the way,
i
Now that Game of Thrones is on hiatus,
you have no excuse not to check out
Grad School Improv's weekly showcase
every Sunday at Seven Dining Lounge.
Admission is $4.
CRADSCHOOLIMPROV
19 IJM3&:j
STRICTLY THE DOPEST HITZ OF JUNE 2014
CITR 101.9 FM CHARTS
HI ARTIST   •
ALBUM
LABEL
ARTIST
ALBUM
LABEL      |i§
%t
• }s^^i00i^f
^flfllDig
famish Eye
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NUN ,'   „ ,\ ::
3JB&K
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Mac DeMarco*     g|
Salad Days
Captured Tracks
f       27
Thee Ahs*+
Corey's
Coathanger
Jigsaw
vf        -pll
Mountaffltops*
ffpplp
jQfeitsfde Mu^r -
1   28
Shimaiering
' Stars**
•last & &M-
Soun#!
SeJMSsleased
4
The Dishrags*
Three
Supreme Echo
29
Woolworm**/
Grown Ups*
7" Split    .■'.-.»
Debt Offensive
iP§
MM^Vi
j^.M^l^fmaf
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I   »
Avey Tare's
Stasher Flicks ,
Enter The Slasher
H&tse
-■■l&mino
6
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Best New Music
Self-Released
31
Flash Palace**
Ceiling All
Self-Released
fc ?<
Dixie's Death
Ifinfialaiaes
Hs^sUfrtfef >
■   32
toufeMhtn^:
Pincushion;Man
'^Nteleaised
8
Mu*+                  1
Wlu
Self-Released
33
Perfect Pussy
Say Yes To Love
Captured Tracks
P'ti
? i$age*4'.         j
siifap
Kingfisher Bluez
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Hand Drawn
Dracula
35
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Nikki Nack
4AD                  ^
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Young Liars**
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Light Organ
'■'■■:        37
Emm Gryner*
Torrential
Dead Daisy
v ?          V &
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1&omp,
3$
Ttte Fuzz Kings*
Self-Released
W, ^ ^         {|
14
if ^
Ought*
0owiect_ie8l*+J
Wore Than Any
3ther Day
Small Town By
fteStt' /
Constellation
39
Austra*
&80l*+
Habitat
Domino
40
llellowPli^
16
Sunny Pompeii**    j
/inegar
Leisure Suite
:   41
D. Tiffany**
D. Tiffany
1080p
f<17
Satftta***           »■!
Saboit'
(HyMtty Muste ■-
1 -*2
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^fSjt^itjMtf 4§?
■-1    18
Spring**              I
Celebrations
Self-Released
•   43
Slow Learners**
Grow on You
• Debt Offensive
* i          ./. «_:..   .3
|! 19
LanguageArts*    i
ifederfcmd;*
Setf-Refeased'
'44
Amen Dunes
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g#j            "■ :-   •    &&&§&:>   :'::  '   ^   --::: j*       ,JSW|
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Fist Full o'            <
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Tanya Tagaq*         i
Climb the Glass
Mountain
Self-Released
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Six Shooter
45
%'   A a
Hunting**
Hunting
Girts Sock Camp
Nevado
Self-Released
Idee Fixe
\nimism
46
47
1farious*jH *
BryWebb*
Sftawcase2013
FreeWill
**?*
Parquet Courts
tolmal -
i   ;   48
Jef Barbara*
Soft To The Touch
''^'^Roitht;^ ^*
24
Role Mach**
Holy Shades of
Yight
Self-Released
'   49
Craft Spells
Nausea
Captured Tracks
l;^:'-'-IP^^M '                 ^|»tmejrtafspaflilenws6()op      , j$0lf-Rgf0a$ed
CiTR's charts reflect what's been played on the air by CiTR's lovely OJs last month. Records with asterisks (*) are Canadian and tt-ose i
them, give CiTR's musk coordinator a shout at (604) 822-8733. Her name is Sarah Cordingtey. If you ask nicely i
50
Ben Arseuault**
Grand Forks
dent music
arts at www
Self-Released
narked (+) are local. Most of these excellent albums can be found at fine indeper
e'll tell you how to.find them Check out other great campus/community radio ch<
stores across Vancouver. If you can't find
earshot-on1ine.com.
1
20 " /ft
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w/T written by Sean Cotterall   illustration Karl Ventura
photos by Yuliya Badayeva
I'm working on a track at the moment
that I started in Mexico when I was really
drunk after this 6 a.m. gig. You know,
when you're so drunk and you can't sleep?
The room was spinning."
It's in the evening's early hours and
I'm sitting on a rooftop patio with Pat Lok,
Vancouver-born DJ and house music
producer. It's just me, Lok, and the last
two beer he had left in his fridge.
"I opened my laptop and started
putting stuff down. I did that for a
couple of hours and came back to it the
next morning and said to myself This
is terrible!' but now it's evolved into
something that might be on my next tape.
So, sometimes you have to just open the
laptop and start something. You never
know where your inspiration mi^ht come
from." ■ Ifjmi
If Lok's name sounds familiar,
you're not alone. Since winning a DFA
Records remix competition back in 2011,
Lok's music has been gaining serious
momentum and recognition, while
simultaneously building his reputation
as a producer. A number of successful
remixes, edits, and originals followed over
the years and before long, Lok was given
the opportunity to tour around North
America and beyond. J|f
Near the start of our interview, Lok
tells me about how he just returned from
a tour that lead him through Toronto, DC,
Brooklyn, Medellin, and Bogota.
|||    "What is it like? To be able to tour
around the world and share your music?"
"There's nothing like it. It's amazing,"
Lok explains with a smile on his face. "The
crowds in Vancouver are great too, but I
think touring is very important. You have
to get out and find these different places,
these little niches, where the sound is
growing."
"Do you think touring has contributed
to your growth as an artist?"   |§l
"Totally," says Lok, "for example* |y^
when I was in New York this year, IVe
been a few times before but every time I go
I'm growing. I got a chance to go to a Red
Bull Music Academy session, which was
more clandestine, sort of an invite-only
session. My buddy was engineering at the
studio and I got to go down and see what
the people involved in the local scene were
up to. Olga Bell from Dirty Projectors was
there jamming out and all the engineers
were recording. It was really vibrant and it
inspired me to create."
After graduating from UBC with a
degree in English Literature, Lok worked
a number of odd jobs before catching fM
his first major break: he submitted a
remix that he made with long-time friend
Cyclist of "How Deep is Your Love" by the
. Rapture to a competition hosted by DFA
22
PAT LOK ■■■(■■i^iif
] "The crowds in Vancouver are great too, but I think
touring is very important. You have to get out and
find these different places, these little niches,
where the sound is growing." ^wm-'
Records. The win against several other
high-profile artists 'was a major boost
for both of their careers. lf|
"Do you feel that winning the remix
competition helped affirm to yourself that
this was what you should be doing?"
^"Definitely," says Lok. "We all have
a tough time judging our own art, so
sometimes we need feedback from other
people to know whether something is
any good."
Fast forward several years and Lok
has been on a serious roll. After releasing
an edit of AlunaGeorge's track "Outlines,"
the duo showed support by posting Lola's
version of the track online. This.past
month, Lok released his Needy Remix EP
via MANI/PEDI Records. The title track,m
"Needy," is a Lok original; a colourful "
tune that lies somewhere between nu
disco and deep house, decorated with
groovy synth lines and a close-to-perfect
vocal sample. The EP is completed with
two remixes, one from Montreal-based
producer Robotaki and another from
Vancouver's very own Ekali. Robotaki
delivers a pleasantly smooth, ambient
tune that operates in framework of R&B,
while Ekali tops off the trio with a glitchy,
downtempo showcase of his abilities.
Most recently, Lok's tune "Could
be Mine" was featured on Kastle's
highly anticipated compilation, Parables
Volume Two.
When Lok isn't on the road, on his
rooftop patio, or in front of his computer,
he co-hosts the Timbre Concerts-
sponsored White Noise night every month
at the Electric Owl. Alongside local DJ/
producer WMNSTUDIES, the evening
features a revolving door of special guests
who showcase the best in nu disco,
house, and R&B, supplemented by other
variations of indie dance music.
So whether it's by taking in the
monthly madness of White Noise or
having his remixes on repeat through
your laptop speakers, Pat Lok is the
perfect companion for your upcoming
summer.
Make sure to check out all of what
Lok has to offer on his SoundC loud
and support the Needy Remix EP via
Beatport.
24
PATLOK ^« CAVE SINGERS
SEPTEMBER   2,   2014
with special guests *   ^
£ NAUTICAL MILES    $20
^9;00PM
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SEPTEMBER  4 -  14,  2014
+ KARAOKE
* DANCING
FOOD TRUCKS'
PHOTO BOOTH
~ —     -      ~J     —   featuring   '
JORDAN KLASSEN * LOUISE 8i
PERCHERON I    FREE
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TONYEAGANABA
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St. Ambrotse
151
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1363 Raihpur Alley on
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^Online Music Partner) 2UirrESSi.ii
/LBUftIS
It's officially summer. Sunscreen,
watermelon, beaches, yada yada yada.
Let's skip to one of the most fun parts of
this sun-soaked season: cramming as
many friends as-there are seatbelts into
a vehicle, packing a cooler to the brim
with beer/snacks, and hitting the road
for whatever festival or body of water is
closest. There's a reason the livin's easy
in the summertime' and road trips are a
major part of it.
While a solid crew and road trip
games will help get you from point A to
B, it's a solid travelcase of CDs that will
keep everyone's spirits high. That's why
we decided to ask the boys and girls of
Discorder. what is your quintessential road
trip album?
Willa Bao, Contributor
Despite my being too young to remember
any of the road trips that I've been on, I
imagine AC/DCs Highway to Hell would
be fitting. A 70s album just sterns so
appropriate for a good ol' traditional road
trip. Heck, the title track is about driving!
I&ie choruses of each song are perfect to
belt out loud and keep one's energy up
through the monotony of miles and miles
of asphalt.
Andrew Clark, Contributor
I need something loud and fast to keep
me awake.and alert on the highways and
freeways. Bad Brains' Black Dots keeps my
eyes open, heart pumping, and foot down.
The basement recording makes the music
and sound quality of this early collection
of songs rawer and more intimate than
any of their official albums, with highlights
like "Banned in DC," "Just Another Damn
Song," and "How Low Can a Punk Get?" ll
Chen Du, Contributor
The album I highly recommend for
any type of road trip, no matter if it's a
week-long drive down to California or
even your life journey, is Appetite for
Destruction by Guns N' Roses. Every
single track is fast-paced, which makes
Appetite an ideal album to listen to while
riding on the freeway—you'll never want to
slow your car down. The road trip begins
with entering the jungle, a world full of
uncertainties, until you hit "Paradise City,"
where the grass is green and girls are
pretty, the dream destination for everyone!
Natalie Hoy, Contributor
One album that's a forever-staple in
the car is So Wrong, It's Right, the 2007
sophomore release from All Time Low.
First off, it has a lot of sentimental value;
the tracks on the record are some of the
first that got me interested in All Time
Low, who remain one of my favourite
bands to date. So Wrong, It's Right also
consists of 12 tracks, which is great if you
dont like to/are too lazy to constantly
switch CDs. It's really just full of upbeat,
infectious pop rock anthems that will have
you singing along for days.
STvA^P SOUND OPP
27 Erica Leiren, Contributor
Chicane by Vancouver's Daytona is my
pick for quintessential road trip album.
It does all that you want a driving record
to do: settles you in, calms you down,
builds you up perfectly, and whispers
in your ear to turn it up until your car
enters that perfect state. You feel like
you're in the best nightclub ever, driving
the best car ever, starring in the most
beautiful movie playing your real-life
soundtrack. Drop on the first three songs
from Chicane as you buckle in for a taste
of their magic: "Dragonfly," "Ciao," and
"Like Heaven." Jenny Lundgren and Colin
Cleaver tagteam vocals and trade riffs that
28
ROAD TRIP ALBUMS Omar Prazhari,
Contributor
The essential road trip album
for me would be Parquet Courts'
sophomore full-length Light Up
Gold. This LP provides the catchiest
modern "poetic-punk-slacker-indie-
rock" or whatever people call this
type of music nowadays. The album
starts off with "Master of My Craft,"
a great opener that fits the "driving-
through-the-desert scenario" with^
a solid quick transition to the next
song "Borrowed Time" that pumps
up the adrenaline even more,
encouraging you to drive faster.
There's nothing better than good ol'
Americana punk-rock tunes for a
road trip with your best buds.
Max Wainwright,
Contributor
Though it might not immediately
seem like the best choice, 111 be sure
to spin Pleased to Meet Me by the
Replacements in a car sometime
this summer. It has its side-steps—
the oddly hushed "Nightclub Jitters"
and bleakly-themed "The Ledge"—
but for the most part, this classic is
a thick hit to the dome that might
as well be the bastard child of Bruce
Springsteen and J. Mascis. Plus, I
can't think of two better songs to
end a trip with than "Skyway" and
"Can't Hardly Wait."
allude poetically to racing motorbikes,
fast cars, raceways, and everything that
lives in-between the lines. On stage they
projected a rare excitement, that delicious
sense that something was about to
happen, something thrilling.
ROAD TRII> ALBUMS
29 ||CiTR 101.9FM will be broadcasting live at thell
West 4th Avenue Khatsahlano Street Party on
Saturday June 12 and at the Vancouver Folk Music
Festival on Saturday July 19. Come say hello!
Check out citr.ca andfacebook.com/citrl01.9for
»- live broadcasts updates. 1 XL
JO.
V
m     i     I written by Robert Catherall   photos by Sylvana D'angelo
illustration by Justin Longoz (on page 31)
32
tyOftses /?£ cords "I have been running underground
venues for long enough now to know
how to do it, but this time I really §
wanted to do things legitimately."
Far from the bustling Main Street patios
and sun-speckled coastline of English
Bay, I'm crossing the intersection of East
Hastings and Nanaimo, the epicentre of
Hastings-Sunrise. Relatively untouched
by the chic image the rest of Vancouver
has come to know, this resilient
neighbourhood is one that I find myself
spending an increasing amount of time in.
However, like almost everywhere else in
this city, change seems inevitable.
"At least five cafes have just moved in
around here," says Katayoon Yousefbigloo,
Red Gate Arts, Society mainstay and
bassist for local garage-psych outfit
Other Jesus, "but it's still a very normal
neighbourhood."
A last bastion of unpretentious and
working-class residents, I absentmindedly
stroll past the Horses Records
storefront on my first pass even though
Yousefbigloo, the store's co-proprietor,
is standing out front waiting for me.
She's right in calling this an unassuming
location.
Inside principal songwriter and
frontman for indie-rock quartet Peace,
Dan Geddes, greets us. Together, Geddes*
and Yousefbigloo's combined interests and
workmanship at 2447 E Hastings have
A/0/?$£S RECORDS
33 34
HORSES RECORDS become Horses Records. Quick to admit
the namesake's Patti Smith allusion,
Yousefbigloo continues: "They're also just
a beautiful, majestic animal representing
freedom and power."
A symbol of liberation, the record
store was born out of Yousefbigloo's
impatience with bouncing in and out
of university and the looming spectre
of complaining neighbours, permits,
and police crackdowns that come with
running underground venues—it was
time to go legit.
Initially the two had secured a 300
sq. ft. space at the corner of Hastings and
Jackson. The city, however, denied their
permits on the basis of a shared entry
with thei|ommissary they had agreed
to sub-lease from. "After being bounced
around from desk to desk at city hall,
they basically told us we couldn't sell
used records there unless we created
a separate entrance and divided our
shop from the commissary kitcheri. We
knew that we could conceivably get away
with not dividing it, but the question
was for how long? I have been running
underground venues for long enough now
to know how to do it, but this time I really
wanted to do things legitimately."
But this isn't your typical record
shop, insists Yousefbigloo. Horses has
been envisioned as a purveyor of local
culture on the whole. "There are like 10
cafes on this block but nowhere to be
exposed to culture besides the mediocre
cafe art," she says.
Built on the crate-digging of        j
suburban basements, Horses will start
out with about two thirds used stock
from the personal collections of Geddes
and Yousefbigloo. The former adds that
the shop will incorporate books of poetry
and those about music along with a small
exhibition space and live music when
possible. There will also be a cassette
vending machine on site. (Local musicians
seeking exposure take note.)
Given these diverse offerings, Geddes
believes that Horses will quickly stand
out amoi^gst other record shops. And
with the promise of couches, coffee, and a
circulating zine rack, you can count on a
laid back atmosphere, says Yousefbigloo,
"I feel like the best kind of record store is
one you'd want to hang out in ... and I'm
really into hanging out. I'm good at it." $5
Horses Records is set to open at 2447
E Hastings on July 6 with a kick-off
celebration of art, friends, and in-store
performances by Wetface, N.2I3'$
Group Vision, and Gretchen Snakes
starting at 8 p.m. You're invited.
HORSES RECORDS
35 M
i
Venetian Snares,
Vincent Parker
@ Fortune Sound Club
Beats Antique
@ Venue
|f ■ w Jj
2
Painted Palms, Imperial
Mammoth, Jay Arner
@ Biltmore Cabaret
Pure X, Dada Plan,
Geddes Gengras
@ The Media Club
TH
3
Fuck Buttons
@ Fortune Sound Club
Geographer,
Oceanographers
@ Biltmore Cabaret
Black Milk
@ Venue
Lee Fields &
The Expressions w/
The Ballantynes
@ The Imperial
7    -
Ram On:
A Tribute to Paul
McCartney's Ram
w/Spring, The Classic
Rick Resurrection:
Ricksureetion, Spencer
Owen and members of
Synthcake
@ The Biltmore Cabaret
8
The Antlers
@ Venue
Young and Sick
@ Fortune Sound Club
9
Amen Dunes
@ The Biltmore Cabaret
Wizard Apprentice,
Best Girlfriend,
Nancy Leticia, Skunt
@ Fingers Crossed Studios
10
Science Fair
with Sinoia Caves,
Kensington Gore,
Von Bingen
@ H.R. MacMillan Space Centre
Postponed
@ Venue
14
Gord Oownie, The Sadies,
The Conquering Sun
@ The Media Club
15
Nervous Operator, Blankets,
Slaylor Moon, Bubby
i 247 Main
16
Magic man,
Night Terrors of 1927,
Pride
@ Biltmore Cabaret
TV Girl, Brother Tiger
@ Fortune Sound Club
17
Fake Tears, Sur line Plage
@ The Lido
The Salvos, Gnomadics,
Late Spring
@ LanaLou's
21
AuRevoirSimone,
The Lower 48
@ Biltmore Cabaret
22
MM
23
Poor Form, Cascadia,
Love Cuts, Toilet Heart
@ The Astoria
M
24
Sun Araw, *
Je Suis le Petit Chevalier
@ Fox Cabaret
Hundred Water
©The Media Club
Cygnets, Weird Candle,
The Will to Power
@ Electric Owl
The Chain Gang of 1974,
Empires® The Imperial
28
29
The War on Drugs
@ The Rickshaw Theatre
30
The War on Drugs
@ The Rickshaw Theatre
31 Little India, Jess Cullen,
Modern Limits
@ The Imperial
Greys, NEEDS, woolworm,
Time The Mute
©The Cobalt
UNA Skate Jam
© UBC Skate Park lit
11
The Fresh and Onlys,
The Shilohs
© Electric Owl
Los Rastrillos, Providencia,
Los Furies
@ The Imperial
18
Yung Lean & Sad Boys
(all ages)
©Chapel Arts
Bishop's Green, Fashionism,
Pura Mania
©The Media Club
25
Potential Apparel
© Venue
5
Hot Panda, Altered by Mom
@ Biltmore Cabaret
Cloud Nothings, METZ,
TheWytches
© The Rickshaw Theatre
12
Khatsalano Festival
© W 4th Ave, Kitsilano •
Girls Rock Camp Vancouver
Showcase (1pm)
©The Rio Theatre
Plaid
© Fortune Sound Club
Kongos, Blondfire
© The Imperial
19
Dmnisight, Riftwalker,
Harvest the Infection
©The Rickshaw Theatre
26
6
//Zoo, Weird Candle
© Electric Owl
Gretchen Snakes,
N. 213 Group Vision,
Wetface
© Horses Records
Sharon Van Etten, Jana
Hunter
©The Rickshaw Theatre
13   j
Wolves in the Throne Room
©Venue m
u
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20
Black Cobra, Hoopsnake,
Waingro
© Electric Owl
27
Cymbals
©The Media Club
The Donkeys
© Electric Owl *>****wc**(w
38
T illustrations by Dana Kearley ►
j
1
Hpfi
1111111.
►
*
►
*
► written by Fraser Dobbs   photos by Jon Vincent
illustration by John C. Barry (on page 39)
"We were eating nachos the last time you
interviewed us, too,"
The last time I sat down with Dirty
Spells—for the April 2012 issue of
Discorder—also included that venerable
staple of musicians and journalists alike.
And, while the faces across from me are
familiar from that meeting two years ago,
the band I'm interviewing couldn't be any
more different.
It was a fair spring day when I met
up with Dirty Spells back then, and
the seven-piece outfit were coming off
their recording-day highs at Foundation
after completing their psych-rock EP,
No Fun City. Now, I'm sitting with three
of the Original members at the Narrow,
celebrating the release of their third
album, Teeth, and their first as a post-
rock trio. It's a huge change for violinist
Emily Bach, bassist Doug Phillips, and
drummer Ryan Betts—not to mention
their fans, who have stuck through genre
and lineup changes between then and
now—but that's a part of what makes the
;',;€>irty Spells of today so interesting.
At its core, the musicians insist Dirty
Spells is, in spirit, the same band as the
one I talked to underneath Foundation's
hyper-loud hip-hop environment. Despite
the massive shift in cast and content, the
band is still Dirty Spells in their eyes. "A
Jot has happened in two years. We only
lasted as a seven-piece for a few months
after [recording our first EP], but this
lineup is effectively a year old," Betts
confirms. "There was a short period where
we thought we might want to change the
name—but we kinda like it, so fuck it."
As to how the band came to adopt a
post-rock soundscape over rock 'n' roll
underpinnings, Bach has a deceptively
simple answer: "The three of us had
all these interludes that we wrote and
played while Greg [Pothier, their original
guitarist] was tuning his guitar. They
were tiny little things, but... they were
so different, and the three of us vibed so
easiry.":|? ft| "" ;-^^-   '        :||'
"Vibing" is a strange concept
considering the backgrounds of each of
the musicians involved in Dirty Spells.
Bach is a classically-trained violinist
familiar with sheet music, orchestras,
and conductors; Betts is one-third of
machine-gun art-punk darlings the New
Values; and Phillips is otherwise known
as the Dooouge in the franken-stoner-rap
group Too High Crew. It's a pedigree
that, on paper, mixes like oil and water.
In practice, it makes for one of the most
fascinating Vancouver bands to pop up in
a long time.
The aptly-named Teeth is a full-
length easy to sink your jowls into. The
mostly-instrumental affair has just
the faintest whiff of No Pun City in its
space-rock violin chimes, but apart from
the occasional production nod it's miles
away from Vancouver's familiar rock
community. Bach's violin doubles as a
saxophone; synthesizer, guitar, and organ
40
DIRTY SPELLS .wv,... ■>■■•■»>■ .v*.1.'* ■.■.•.■>■ •'•
:MM by a creative combination of pedals and
playing styles, and Phillips' bass lines
more often than not creep their way
into each song's melodies.
This isn't Godspeed You! Black
Emperor Lite, nor is it Mogwai-minus-
15-guitars—instead, Dirty Spells
borrow much from Japanese post-rock
bands like Sgt., Hyacca, or even
Vancouver's own the Barcelona Chair.
The unique blend of punk drumming,
classical melodies, and heavy bass
lines makes Teeth a. unique record with
plenty of bite. The band owe a lot, says
Phillips, to procfucer Felix Fung. "He
was integral in terms of us realizing
that, as a three-piece, we could make it
all work. We've just evolved as a result."
Not to be outdone by their own
recording, Dirty Spells are just as
captivating in a live context. Figuring
out how each weird sound is being
generated, or how the odd trio work
around equally odd time signatures
and rhythms, is half the fun, like
watching ipmeone stuff broken jigsaw
puzzle pieces together and admiring the
abstract result.
And what's next for the ever-
changing Tiand? "What history tells us
is, who the fuck knows?" Betts chirps.
"We're slowly moving towards a band
in which there are zero people, and no
music whatsoever. The [next] album
will be a tribute to John Cage." $
While the band figures out when/
where the album release party will be,
you can buy Dirty Spells' latest album
Teeth through their Bandcamp page.
wm
Wmsm
42
DIRTY SPELLS "Vibing" is a strange concept considering
the backgrounds of each of the
musicians involved in Dirty Spells...
It's a pedigree that, on paper, mixes like
oil and water. In practice, it makes for
one of the most fascinating Vancouver
bands to pop up in a long time.
m
Wm
IHf: I El
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WWW.CITR.CA  "It's a bit like the Wild Wild West out
here. You're kind of on your own,
but you can do anything ylii want."
VENEtyS
t illustration by Alisha Davidson written by Alex De Boer   photos by Ian Sandilands
illustration by Britta Bacchus (on page 45)
iiiii$
u
!i^og|Ci^
Inside freshly painted walls, a sizable
crowd congregates. Tidy, white-faced
tables crafted by Ian Sandilands
make practical bar stands for the beer
Natasha Lands' sponsorship connections provided. For entertairimjsrit,
Genesis Mohanraj's musical taKp^l
attract and entertain the audience.
The venue's soft opening is a perfect
representation of what the Soinething
Club is all about.
Pooling their skills for show
promotion, carpentry, visual arts,
music, and performance, Lands,
Mohanraj, and Sandilands have
fostered a sustainable, creative economy
amongst themselves. Though their
partnership is small, it is an exemplary
balance of resources and talents. Their
new space aims to facilitate this type
of artistic cooperation both within and
beyond its walls.
Clean and spacious, the Something
Club is a professional venue for artists
to come together and build connections
with other individuals, organizations,
and businesses. The space is there to
be one link in a larger chain; it is a
facilitator of creative commerce.
Chatting with Lands, Mohanraj,
and Sandilands, I soon learn why
East Hastings was the most viable
location for their new art space: the
industrial neighbourhood has low rent
and few noise complaints, in addition
to a burgeoning DIY arts scene. As the
city continuously fails to support and
orchestrate arts and culture events, «
grassroots studios and venues have
picked up the slack. As Lands puts
eloquently, "It's a bit like the Wild Wild
:J|test out here. You're kind of on your
ownf but y$u can do anything you
want."
The problem with some of these
venues—or rather the charming flaw—is
that they don't always serve as the best
platforms for professionalism. Lands
explains, "A lot of times bands end up -
performing in really grungy spaces."
Most of which exist as much for
debauchery and escapism as they do for
art and music.
In many cases, becoming a late
night party spot has been the only way
for East Van venues to pay their rent.
Lands, Mohanraj, and Sandilands are
resolute that for them, this won't be
the case.
Warding off after-hours
implications, shows at the Something
Club are scheduled for early evenings.
Additionally, the venue's demeanor
is determinedly neat. Its three rooms
have bright, white walls and sparse
furnishings. According to Sandilands,
the space is designed to "bring an
aesthetic and a sentiment that's more
associated with* higher-end galleries and
then apply that to different types of arts
and music." The three friends want to
encourage emerging artists to present
VENEWS
47 their work in a reputable venue; they
believe that professionalism carries with it
opportunity.
In Vancouver, one of the most
beneficial opportunities for an artist
is simply to engage with other artists.
According to Mohanraj, the Something
Club could be "that stepping stone."
Besides being a literal location to network
and experience what would otherwise
be fringe elements of Vancouver's art
scene, the Something Club intends to
have proper press releases and marketing
for their shows. An event planner and
DJ at Fortune Sound Club, Lands has
experience with promoting/building
creative commerce, which has already
led to talks with Timbre Concerts about
future collaborative projects, while local
label 1080p is also set to host a show
release at the space this summer.
The Something Club's ambition
as a connector is what makes it most
notably unique: "When you look at the
scene in Vancouver, there's not—as far as
venues go—much of an overlap between
the different disciplines of art," says
Sandilands.
"We're trying to build these new
relationships of blurred lines," adds
Lands. j*|; ^
This means intertwining visual artists
with performance artists and considering
business sponsorships for cultural events.
It also means allowing small-scale artists
to work with already established music
labels and arts organizations. At its very
core, Mohanraj says, "It's about creative
ideas that feel exciting."
Right now the city's art scene is
polarized. The majority of artists make
little or no income off their work and
are scarcely known of, while a small
percentage are wealthy and enjoy wide
recognition. Vancouver needs a middle-
class of artists—and the Something Club
hopes to bring it one.
From its core as a small partnership
of close friends to its potential as a
catalyst for creative economy, the
Something Club might be the city's
boldest new art space. The future of
Vancouver's cultural character seems
to be on the verge of a reinvention: from
scattered, smoky 3 a.m. shows to an
interconnected and cohesive art scene,
this could be the something that pushes
Vancouver's culture out of the fringes and
into the forefront. $
m   l ; -      -
Want to learn more about the
Something Club? Check out some of
their upcoming events at
www.thesomethingclub.ca
48
VENEtyS  written by Elijah Teed
illustration by Alison Sadler (on page 49)
photos by Jon Vincent
"WeVe learned nothing-about anything, and
weVe forgotten most of what we knew."
Drummer Bruce Dyck may be quick
to crack wise about the five years between
B-Lines' releases, but his witticism
couldn't be farther from the truth.
While the past few years have seen
their ups and downs for the punk rock
four-piece—with periodic breaks to deal
with personal affairs, amidst a bevy of
shows and festival appearances—the
time itself has been well-spent. Between
performing countless shows, recording a
new album, and nearly getting themselves
killed, B-Lines have emerged bloodied,
bruised, and ready to do it all again.
"I remember once when Ryan was
trying to bite into a cord connected to a
projector and he ended up tearing the
whole thing down. [The bouncer] was not
happy," reminisces bassist Todd Taylor.
Frontman and vocalist Ryan Dyck notes
their last show at the,Cobalt when the
same bouncer threatened to shoot him
after he threw a cinderblock through a
mirror behind the stage. f$§
"But he likes us now," guitarist and
band diplomat Scotty Colin interjects. "He
doesn't want to kill us anymore; we're
friends."
Memories like these are frequent
amongst the band, and it's not hard to
see how the group quickly developed a
reputation for blitzing through their often
violent sets. But luckily for their fans,
these harrowing experiences haven't lead
to any sort of change in character for ||f
B-Lines.
"So many bands just play songs; I
can just listen to records if that's
what I want to hear." ;Ryan's
attitude towards live performance
is fitting, considering his is the
body that's most often seen
contorting and smashing into    &||
things on stage. His sympathy
for an audience tl>at doesn't see
the point in shows "unless they're
watching someone flail around on
the floor embarrassing himself" is
certainly in-tune with the raucous
performances B-Lines are known     ||
to give, and shows a few broken
bones can go a long way.
On June 27, somewhere in the
midst of the chaotic performances,
B-Lines found a time to release their
newest album, Opening Band. A nine-track
outing, their latest effort is—at times—as
tongue-in-cheek as the title would suggest,
and packs the same amount of punch
the bands' punk sensibilities have been
known to produce.
Listeners waiting for the day when
B-Lines offer up a truly lengthy album;
however, shouldn't hold their breath.
Much like their pearlier work, Opening
Band is chock full of blisteringly fast,
in-your-face tune's, and doesn't even give
you the time to slap ointment onto your
whiplashed neck before another track calls
for your head banging to continue.
ft "It's like drinking really strong tequila
instead of a 12-pack of Bud Light,"
Ryan offers. "Some of the shorter songs
actually started out longer, it was just
as we were writing them we decided that
we didn't need to do certain parts three
50
fi-t//V£S times if we could just do them twice."
"You want to push yourself," adds
Bruce, "every song is a race."
With a name like Opening Band,
it's hard to not assume B-Lines have
crafted an album to celebrate, or perhaps
denounce, the time theyVe spent fledging
their act as musicians.
"All of our songs reference things
we know about," says Ryan, criticizing
the notion that good music—and good
punk music, in particular—can be made
from writing about disingenuous or trite
concepts. "A lot of punk bands write songs
about classic punk tropes or weird British
stuff or weird LA stuff. I mean, IVe been
to LA, but I don't know anything about
the sun. [Opening Band] is a celebration
of shitty local bands that no one will
remember but you. And we're that band,
that shitty local band that goes on stage
and knocks stuff over and steals the beer
out of the back room."
"If anything, we're sincere and we
don't do anything because* we have any
expectations," Colin concludes. "We do it
because we love it."
With those sentiments expunged,
B-Lines are ready to get back on the
road and kick off their tour down the
West Coast in correlation with the new
album. As Ryan notes, they're anxious
to get started with "meeting a lot of new
people, sleeping on a lot of new floors,
and puking in a lot of new garbage bins."
Don't fear, punk rock fans—B-Lines are
back in action. $5
Make sure you pick up B-Lines9 newest
album, Opening Band, available now
through Hockey Dad Records.
£-t/Af£$
51 iiliil  THE RUFFLED FEATHERS
Bottom of the Blue
Independent
The Ruffled Feathers waste
no time charming hearts
and minds alike wit^gtheir
latest re|ease, Bottom
of the Blue. Channeling
themes of transience and
reconciliation amongst sweet harmonies
and soaring instrumentals, the Vancouver
six-piece paint lush soundscapes that flow
effortlessly from one to the next. It's rather
easy to be swept up into their diverse,
instrumental driven chamber rock when
they execute it so well.
"It Doesn't Last" is a folk pop-tinged
tune with the ability to entice listeners
in its opening notes. The airy vocals
provided by Gina Loes complement its
sentimental nature; life is littered with
such short and insignificant moments,
and it is the questions like, "What would it
take to forget where IVe been?" and "Will
I find my destination?" that remain. The
most energetic effort on the release, "It
Doesn't Last" is a shining reminder of the
band's unique sound with
its pleasing harmonies and
distinctive trumpet.
Taking cues from
classical and jazz pieces
glorified far before their
time, "Little Sister" and
"Tough Love" exude smooth
harmonies with an indie pop
twist. The latter could have
been pulled straight from an
old Hollywood musical, with
Loes lamenting of lost love:
"I was breaking your heart
while my own fell to pieces."
:;■"    Closing the EP, -^R:;    \
"Siberian Springtime" is an
.effervescent listen that has
a little in it for everyone.
Hints of classical, jazz,
and folk are accompanied
by heavier rock chords,
demonstrating that the band isn't afraid
to experiment with different genres.
Seemingly about the separation that
comes with the changing of a season,
"Siberian Springtime" has an undeniable
summer charm with its quirky vocals
and carefully crafted melodies. Though
I consider the majority of their lyrics left
up to interpretation, I found the last lines
rather fitting and poignant: "Siberian
spring time / It's cruel and it's kind / It
gives back what it takes from you / Most
of the time." 8j|
Nothing short of a masterpiece,
Bottom of the Blue is a wonderful release
from a band full of youthful energy, ample
musicianship and originality to boot.
—Natalie Hoy
BEST NEW MUSIC
COOL
Best New Music
Yellow Plum Records
It's hard npt to get excited
about something as unique
and mesmerizing as a lathe-
cut seven-inch. COOL's
latest offering, Best New
Music, is cut into a square
54
UNDER REVIEW sheet of clear plastic, following
a trend for the band of DIY-style
physical releases. This one, put
out by Yellow Plum Records, is a
great example of an interesting
alternative to traditional vinyl
pressings, albeit one that is ^
difficult to get a needle onto and
suffers from a relatively thin
sound as a result.
The four tracks, on the
other hand, don't have a single blemish
on their beautiful production. Continuing
in a theme of mixing uplifting art-rocky^
la frontman Adrian Teacher's previous
project, Apollo Ghosts, and COOL's old- m&
new funk sound, the 45 (which actually
plays at 33 1/3) alternates between
soul-searching tracks and discotheque
anthems. Opener "Best New Track" may be
cheekily named, but long-time Ghosts fans
will experience serious nostalgia trips over
its gorgeous guitar lines and Teacher's
melancholic vocal delivery. "Cool TV" and
closer "I'm One pf Them" are more steeped
in retro vibes, with analog delays warbling
over each hook and a thick, plucky
bassline from Amanda Pezzutto cementing
the short ditties.
What Best New Music emphasizes
is COOL's fantastic experimentation,
moving away from the garage-rock of late
Ghosts tracks and into other methods of
creating upbeat and fun pop songs with
serious backbone. "Weird Buzz" pulls off
some great *70s-pop guitar tapping in a
way that doesn't feel like a throwback
or a reference-^everything the trio pull
off feels refreshing, even if the resources
it's mining are older than most of its
audience. There's something entirely
intangible about COOL's
gracious approach to rock
music, but it's that hint
of nostalgia at the back
of your head that makes
Best New Music so damn
good.
—Fraser Dobbs
THE MARTS
The Mfnts
Shake! Records
The Mants are coming! The
Mants are coming! You can
run, but yo^ can't hide. TTfese
extraterrestrial half-man, half-ant
creatures will crawl out of your
speakers and march into your
ear canals, infesting your brain with
their buzzing garage rock. Resistance is
futile. No "Insecticide" on earth can stop
their catchy B-movie rock *n' roll from
overtaking your soul. In fact, once you
have "Mants in Your Pants," you won't
want them out. You will unabashedly
shake your ass around your living room
with a goofy smile on your face.
The alien trio's self-titled release—
available^Snly on cassette—consists of
eight tracks, a majority of which were
previously released on various seven-
inches. The compilation moves between
full blast rockers like "I Smell... Woman!"
and well-devised instrumentals like "Six
Million Dollar Mant." All are steeped in
shameless shtick and unadulterated
fun. After one listen youll find yourself
rewinding the cassette while cheering "The
Mants! The Mants!," eager to press play
again!
When you can sing and dance
no longer and finally pass out from
exhaustion, instead of terrifying
nightmares of being abducted and
imprisoned in giant anthills in another   \,
galaxy, you will have pleasant dreams of
blasting off with these bug-eyed men and
getting lost in the "Fuzz from Planet X."
—Mark PaulHus
1NRDCROY
MDCHJJSS NORMAL
LHRDCROY     ^
Much Less Normal
1080p
In his latest release, Much
Less Normal, Vancouver-
based musician LNRDCROY
shows off his talent for *
blending crisp percussion
UNDER REVIEW
55 and ethereal, but worldly synth patches.
This album is stoic yet emotionally replete.
It cycles between intimacy, detachment,
euphoria, and bliss, never missing an
opportunity to express a new combination
of each characteristic. '-■'
The opener, "Sphere gf Influence,"
kicks off the album with a hazy
introduction that builds into a percussive
climax; "Land, Repair, Refuel" builds up to
a slow, peaceful stroll and transitions into
"Slam City Jam (Mix Assist Mix)," a catchy
breakbeat with a warm, wintery melody;
"Eye of the Wind" continues the energetic
pulse of the last track but takes a more
mechanical turn with a pounding techno
beat, a groovy bassline, and a dash of
digital nostalgia."Telegraph My Love (Live
Mix)" has a thumping beat that continues
the powerful rhythm of the previous
tracks.
At this point, the album gives
listeners a break with "Ad in the Paper
(Mix 5)" which features a lilting guitar line
that fades to a euphonious peak. The lead
synths in "Now I'm In Love" slowly move \
into a more orchestral, natural territory
and transition into the next track-, "I Met
You On BC Ferries." Soft but powerful
ringing synths are attenuated by an
addictive breakbeat to create a song that
is both energetic and intimate. "Sunrise
Market" brings back the detached, pulsing
feel of earlier tracks. The album closes
with "If Sylvia Built A House," a track that
gradually builds to a piercing ending.
Overall, this is a versatile, carefully
crafted, and highly listenable album that
can shine in almost any setting. I love it
when I find an album that doesn't make
me choose between inventive songwriting
and quality production.
—Erik Johnson
D. TIFFANY
D. Tiffany
1080p
The cover art on 1080p's
s/t release, D. Tiffany, is
congruent With the label's
inclining reputation for
S^iP^llP^lPll
postmodernism. Its late 80s colour palette
has shades of peach suspended above
a sea of Screensaver water. There's a
dystopian ease in the image's soft hyper-
realism: a subsumed Crucifixion is affixed
to the foot of a bridge, foreshadowing the
gilded sand on the horizon. The overall
impression is sedate, save perhaps the
Terminator glare on the bridge pillars and
the sharp knives that are the boat-sails.
For myself, a total neophyte with any
genre of electronic, it's easiest to comment
on the superficial. The cover art is an apt
outside for what's inside. The immediately
evocative quality of D. Tiffany's music
is its lo-fi production. Her music grants
warmth to grooves and takes the edge
off of percussive rasps. It has a raw and
consciously unrefined texture. Dl Tiffany
is not the type of album that attacks
or commands. Its tone lures you into a
collage of fuzzy nostalgia.
Though consciously indefinite, the
experience on D. Tiffany is engaging
rather than antagonistic. The industrial
clattering on "Chains" doesn't submerge
the innervating groove. Penultimate
track "Fade Groove"—with sinister synth
warps-T-manages to sound urgent while
building at a casual progression. Closing
track "I Want To" ends the album on a
dark note. It has a low jutting bassline,
a repressed and submissive percussion,
and a distressed intermittent warble. If
the album is a hypnagogic traipse through
deceptive luxury, then D. Tiffany ends
logically: perturbing.
The less foreboding tracks corroborate
D. Tiffany's penchant for curious techno
progressions. "Tranq moon" employs
alluring chopped voices and layers of
complementary melody,
while "Tiffany Sway" has a
cheeky bass-pop swagger
and "Ccoco" carries
catwalk claps and clicks.
There's a confidence in the
unhurried—though never
unoccupied—tracks. No
mad tangents or staggering
crescendos, just steady
accretion and the patient
1 ■;'	
-»***
56
UNDER REVIEW m iioRiEi i
play of palpable textures. This compulsive
building lulls you into the album. D.
Tiffany is a waking dream of compliance
and comfort, with uncanny elements just
beyond the mind's eye.
—Jonathan Kew KUBLA KHAR
Pincushion Man
Independent
Psychedelic alt-grung||rockers Kubla
Khan, delight in the fa^ftat t&day'ii
post-punk revival haji^pw retro^M
again. Their April relBase, Pincushion
Man takes you back in a time machine.
Its sound is something that might have
been composed by Syd Barrett and Black
Francis while they were getting high and
picking apart the rock oeuvre of the past
fifty years.
Keyboardist Danika Speight plays
like a musical Billy Pilgrim, come unstuck
in time. Her keys seem to float between
different eras and genres. On "Bad News,"
her synth playing is funk-inspired, while
the piano on "C'est la Vie," owes more to
the Arcade Fire's twinky stylings.
Tom Messent's guitar melodies are
immensely listenable. They combine
old-school blues sensibilities with grungy
panache and effortlessly catchy rhythms a
la Is This It era Strokes. Meanwhile, Reise
Rooney's bass riffs anchor the eclectic
aural mix. Aside from being pleasantly
alliterative, his chords prevent tunes from
floating too far off into the ether.
Drummer Adrian Long adds his
own strength to the album by providing
solid rhythms. Unfortunately, his
beats fail to contribute energy and
progression, leaving some songs to get
lost in themselves. Tom Messant's vocals
function to counter this meandering. His
singing has an odd warble, that a times
sounds like Win Butler straining to do
his best John Lennon impressonation. He
seems to be consistently at odds with the
melody, sometimes even threatening to
overpower it. Yet, matched to the album's
whimsically bleak lyrics, the tension
between his breaking vocals and stipingly
swe^et melodies comes off as fitting.
"Who Cares," is the standout track
on Pincushion Man. It starts out with
a beautifully dreamy acoustic guitar
riff that slowly becomes darker and
more confused as the lyrics become
increasingly hopeless.
The danger of listening to a band
that wears its influences on its sleeve
like Kubla Khan, is that it can seem like
you're just listening to another album
you can't quite place. Yet, even this
phenomenon of presque vu seeii^tg    *#*,
fit in with the album's theme of suri^jpt;2
maliciousness of the banal. PincushiqMr^
Man is the kind of album best appreciate^
at the end of a long night, wh£n you'r^?
tripping off to sobriety. iKjf
— Avash Islam Mli
JUiv0Vmm.com is the longest running*
largest of its kind 9 top recemmendm
starting point for music in Vancouver*
Music Calendare Galleries  Directories Arch
HI
completely updated and populated with
promoters,
The Activist Banker
^JoinSs Today! ||
VM
■Mmm
y^f%.
58
UNDER REVIEW ♦ • • •: / <
T illustrations by Dana Kearley
59 JONATHAN RICHMAN I
The BfiUmore Cabaret / June 4
I've heard it said—and I have to agree—
that there are two types of people in this
wor^i: Jonathan Richman fans and those
who haven't yet seen Jonathan Richman.
Best known for his efficacious and influential *70s-era garage rock/proto-punk
band the Mpdern Lovers, Richman has
since come to epitomize musical majesty
thanks to his fiery cult following and his
idiosyncratic delectus.
His acolytes run an interesting
cross-section, as evidenced in the active
crowd filling the shabby-chic Biltmore
on a warm Wednesday evening. Froi$* jf
fans Richman's age (a lively and lithe
player, he's an impressively youthful
63), to budding, baby-faced hipsters, his
music affects a diverse and delighted
congregation. Much less the proto-punk of
the past, his music now has a more folk-
rock vibe with Americana and occasional
cowpunk detours, f
;'.';■■     Joined by his ready consort on
the drums, Tommy Larkins, Richman
graciously took the stage, eschewing any
opening act, and lunging lovingly into a
set marked by fan favourites such as "No
One was Like Vermeer," "That Summer
Feeling," "Let Her Go Into the Darkness,"
and a sparkling, show-stopping rendition
of "La Bamba." Displaying his usual
"oh gosh, oh gee" idiot savant-like
persona (and I say this with warmth),
and numerous diverting dance breaks,
Richman puts on one upbeat and utterly
ecstatic show, and always has.
Sweat-soaked and unceasingly
smiling, ffcichman's banter and wide-
eyed elocution resulted in numerous
anecdotes, dance steps, audience
interactions (including a handful of
snappy sing-alongs), and crowning
moments. I thought for sure, about five
songs in, when "I Was Dancing in the
Lesbian Bar" was plaj^ed, that Richman
had peaked early, but I was marvellously
mistaken. "Keith Richards," a laudation
to longevity and old pro prodigy was
another gem, and everybody, without
exception, was bouncing to "Give Paris
One More Chance."
Musicianship and delighted
dramaturgy aside, Richman's relation
to his fans is what I found the most
commendable element of the evening, as
is so oft the case with hij| performances.
That he can inspire and enlighten with
very personal and sometimes prosaic
platitudes or simple truths is one of
the reasons he has so many diehard
devotees. I remember about a decade ago
seeing him open for Belle & Sebastian
at the Orpheum. When Stuart Murdoch
and his charming Glaswegian cohorts
followed him they seemed fitfully
infatuated. "I can't believe Jonathan
Richman was just on this stage,"
Murdoch said, adding, "we're the ones
should have been opening for him."
After being called back on stage by
60
*£4£ LIVE ACTION the enchanted audience, Richman gave
a final a cappella send off en espanol
before self-effacingly suggesting that, as
an audience, "YouVe suffered enough."
Nothing could have been further from
the truth as the glowing perspiring crowd
absconded into the warm night air, with
faces happy and hearts full.
—Shane Scott-Travis
MUSIC WASTE 2014 - DAY 2
Various Venues / June 6
It's no longer an exaggeration to call
Music Waste, which turned 20 this
year, a venerable institution. Like every
installment that came before, Music Waste
2014 boasted a spectrum pf local talents
as diverse as the city it's hosted in.
Surrey's She Dreams in Colour,
who bill themselves as an "all-girls
alternative punk rock band," seemed
in their element at Kingsgate Mall on
Friday. Playing a Go Your Own Waste
show as part pf the 'Kingsgate Waste'
series curated by artist/ filmmaker Casey
Wei during her month-long installation
event titled Kingsgate Happenings, the
ladies sounded exactly like a band of
high school-aged kids from the *burbs,
Paramore covers and all. (Not an act
you'd generally expect at Music Waste.)
But lest you think this is a pan
of She Dreams in Colour, it islnot.
Nimble-fingered guitarist Ashleigh
George's chops are undeniable, and the
band's last two songs showed they can
do rugged and garagey, too. Give them a
couple of years, and maybe a few Dead
Moon and Pack A.D. albums, and who
knows where they'll be at.
After She Dreams in Colour's set,
yours truly hoofed it from Kingsgate
and headed to Main and Hastings,
missing what probably would Ve been a
phenomenally incongruous noise/EBM set
from //zoo.
Here's another thing about Music
Waste that's not at all hyperbolic: it's
really hard to decide which shows to go
to, since there is usually more than one .
phenomenal performance going on at any
given time. Good problems, right?
Alas, I very much wanted to check out
the show going on in the SBC Restaurant
at 109 E Hastings, the cafe-cum-skate
shop located in the space once occupied
by an historic venue in Vancouver.
After a stint across the street at the
Remington Gallery, frhich was exhibiting
photographer Steve Louie's documentation
of recent local music historj^ I popped
Into SBC well in time t$|eateh a black-
clad TAXA pummel a small audience
into submission with Rickenbackers.
Indebted to noisy post-hardcore bands
like Unwound, TAXA's two guitarists (and
vocalists) deftly played off each other
over the unrelenting, elemental rumble
of the drums and bass—the guitar lines
moving from legible and melodic to blurred
cacophony with a certain jouissance, the
vocals turning from crooning andffcooing to
spine-chilling shrieks and back again.
Napkin Records mainstays Night
Detective resumed the attack on SBC, this
time clawing at an equally small audience
with goofy, yet intense prog-punk—think
the brothers Wright meeting the brothers
Dyck. Against a backdrop of skateboarders
going up and down SBC's ramps, the
three-piece tore through their set with the
velocity of the B-Lines. I wanted more.
It wasn't long before Lie's set came
up though. Featuring members of //zoo,
the band wasted no time getting started
as a throng of onlookers glutted the
shop, their garbled post-punk filled the
room like a head-bobbing gale. It passed
as quickly as it came.
A refugee from the onslaught on SBC,
I wandered into Pat's Pub just as hard
rockers Brass were getting ready to thrill a
corn-fed, check-shirted audience. Sadly, I
had to take off soon after their set, but not
before heading back into the Remington
Gallery to see Fake Tears, whose ethereal
yet personable synth stylings were a fitting
closer for this reviewer's night.'
—Chris Yee
/?£4£ LIVE ACTION
61 MUSIC WASTE 2014 - DAY 4
Anza Club / June 8
Playing host to the 2014 wrap-up party,
the Anza Club was packed with both
music fans and performers alike on the
last day of this year's Music Waste festival.
One of the most talked about acts of
the festival, Jordan Minkoff s one-man
experimental/comedy act Wetface was
the first performance I managed to see.
Playing fifth in the evening's lineup of
eight bands, Minkoff began by fiddling
on his double keyboard/ electric organ,
spewing out some tacky but groovy synth
beats. The set was peppered with surreal
incidences, like when Minkoff invited
any bassists in the audience to come up
and join him or when he started banging
on a drum kit with his hands and later
a pen. After a brief rendition of "Killing f|
Me Softly," Minkoff then exclaimed that
this had all been a soundcheck and he
was ready to get down to business—what
made it even more humorous was that the
whole set still went on like some wacky
soundcheck. Improvising lyrics and belting
out his best gospel pipes like a sweaty
James Brown fallen to his knees, Minkoff
was born to perform. His nods of approval
and zany grin at the audience came off as
entirely sincere rather than some stupid
shtick, and though most of the time it
did feel more like an SNL skit than a
serious music performance, underneath
all the silliness were some catchy beats
and an impressive voice—albeit way, way
underneath.
Continuing the carefree, I-don't-
give-a-shit-train was pop-punk trio, Love
Cuts. Sporting the Riot Grrl attitude to a
tee, Love Cuts' songs often ended before I
could even decide if I liked them. But the
song "Extra" stood out as a definite gem
where guitarist Kaity McWhinney chanted
"E-X-T-R-A" with total conviction. Whereas
McWhinney had the more desirable lead
vocals, bassist/vocalist Tracey Vath had
the personality with her quirky style and
gangly stance. Falling somewhere between
the Marine Girls and Bikini Kill, Love Cuts
are circling around the sounds of some
beloved bands but haven't yet pinned
down a sound that's uniquely them. For
now, they delivered an enjoyable head
bobbing set that you really can't do much
complaining about.
Up next were Defektors, who were,
for lack of a better adjective, loud. They
had an expected crunchy guitar and a fat
booming bass that was pretty sweet when
Jeremiah Hayward plucked those rapid
running bass lines featured in a couple
songs here and there. But overall their
set was undeniably sloppy since they had
to restart a couple songs from being off
tempo; the best part of the set actually
had nothing to do with the band, but
was when Music Waste director Dustin
Bromley walked on stage and slowly
took off one Music Waste shirt after the
other and threw them out to the crowd.
When Defektors weren't just thrashing
away at their instruments and went for
their good ol' fashioned punk tracks like
"Far Away," the crowd was just an "oi oi"
and a "hey ho" away from .shoving some
bodies around. But with such a tight
time slot, the set ended before any such
thing could happen.
Closing off the night were Shindig
runner-ups Skinny Kids with their beach
bum, reverbed tunes. Opening with one
of their strongest tracks, "All Gold," it's
almost instantaneous to get what the
band is all about. Harnessing the familiar
West Coast surf elements with a hazy
wash of distortion and echo, Skinny Kids
hone the sound effortlessly. Lead singer
and guitarist Trevor Gray had a real ease
and chill presence On stage, with vocals
that were a healthy balance of Liam
Gallagher and Ty Segall. One downside to
the set was that all the tasty guitar solos
and licks were barely audible and overly
washed out.
Having Skinny Kids as the Music
Waste closers fit rather nicely, since they
represent what Music Waste is all about:
discovering budding new bands that you
know you'll want to follow and keep your
eyes and ears on for years to come.
—Angela Yen
62
*£4£ LIVE ACTION DESTROYER / SLACKOUT BEACH fgg
June 12/ The Rickshaw Theatre
A night of dynamic solo sets at The
Rickshaw began with Carey Mercer's
project, Blackout Beach. Below the watch
of red backlighting, he looped drum beats
while strumming live guitar riffs. As the
two sounds collaborated throughout his
tunes, the fact that one was live and one
pre-recorded never detracted from the
music's spontaneity. Mercer's ambient
undertones were equally as organic. His
rendition of "Broken Braying Sound of the
Donkey's Cry" left behind rippling reverb
in its wake.
Mercer was quick to distinguish
his strength as storyteller. The rhythm
in his tunes seemed to predominantly
exist as a canvas for his rushing words.
Besides the occasional concentration q$?
strumming, Mercer's riffs and drum beats
were stretched and linear. Geography was
graphed in verse, jumping and falling in
patterns of cadence.
The sincerity and fervor of his set
may have been best expressed in the
tune dedicated to his wife. Of love songs,
he admitted, "I've only had to write
one." Eyes closed and head upturned,
Mercer's sentiment was visual as much
as it was audible. Repeating the words
"nobody, nobody," and "no, no, no," gave
prominence to his romantic ramblings
and made poetic his impassioned
stuttering.
Afterf&n intermission, the
backlighting went off and Dan
Bejar's red acoustic guitar replaced
its allure. Without any pre-recorded
accompaniment, Bejar played "My
Favourite Year" and then "Your Blood."
His strumming enacted the first of many
conversations between slow and surging
guitar melodies. When combined with his
elegiac voice, these pacing changes gave
the momentary impression that Bejar
wasn't alone on stage.
"The Chosen Few" came third and
displayed Bejar's vivid skill as a lyricist.
His phrasing was succinct and verging
on laconic. As he hit the final chord
on each riff, he let the last word in the
accompanying verse drop: "I know the
judge played a part / I know the jury
played a part." This cohesion enunciated
his ideas in both rhyme and rhythm.
Next was a track off of Five Spanish
Songs. To a non-Spanish speaker, the
tune immediately stood out as less
idiosyncratic than the others. Bejar's
distinctive stylings, however, soon
reappeared as he played "Foam Hands#"
"New Song/Strike An Empty Pose," and
"Helena." The set traveled melancholieally
through the Rickshaw's dimness.
During each song interval, Bejar
would take off his guitar, bend down for a
drink, and then throw back his head in a
long sip. These habitual breaks gave off a
solemn air and added to the artist's poetic
enigma. Without any banter, the divide
between stage and audience seemed very
real. Bejar made little attempt to engage
and everyone watched him in awe.
||     "Tonight Is Not Your Night" was -9p§
followed by a setting-appropriate rendition
of "Chinatown." In each song, Bejar's
words resonated with notable clarity. His
lamenting was lucid and never mumbling.
Rising above the guitar rhythm, every
affecting expression was collectable.
After a couple more tunes, Bejar
thanked folks for coming out and left
briefly before being called back on stage
for an encore. His final song choices
were "What Road" and "Virgin With a
Memory." As Bejar riddled repeatedly,
"She wanted blood, all she got was
sacrifice," his minimalist set ended in
full, multifaceted fury.
—Alex de Boer
$£4£ LIVE ACTION
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VALUE OF INSOMNIA DIF FIC U LT Radio Free Thinker                                               TUE 3pm
— j— Promoting skepticism, critical thinking and science, we examine popular ex-
Bepi Crespan Presents...                                        SUN 7am ' traordinary claims and subject them to critical analysis.
Bepi Crespan Presents... CiTR's 24 Hours Of Radio Art in a snack size for-    j  j   s	
mat! Difficult music, harsh electronics, spoken word, cut-up/collage and The City                                                              TUE 5pm
general Crespan© weirdness. Twitter: ©bepicrespan. Blog: bepicrespan. An alternative and critical look at our changing urban spaces,
blogspot.ca New Website: www.thecityfm.6rg. New Twitter handle: ©thecityjm.
CLASSICAL Terry Project Podcast                      Alternating Thursdays 1pm
  There once was a project named Terry, That wanted to make people wary,
Classical Chaos                                                    SUN 9am Of things going on In the world that are wrong without making it all seem
From the Ancient World to the 21st century, join host Marguerite in exploring too scary.
and celebrating classical music from around the world.     m	
4'33" 1/3 MON 6pm
This program showcases "new music"- contemporary classical and experimental music, especially highlighting Vancouver's local performers and
composers of new music, to uncover a new musical niche to the broader
public in a friendly and accessible manner. |p
_ _____
All Ears J|g      Alternating Wednesdays 6pm
(Alternating with UBC Arts On Air.) All Ears is an advice radio program tar-
getted to the UBC community. We try to answer your questions and address
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Extraenvironmentalist WED 2pm
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Alphabet Soup Alternating Wednesdays 11:30am views with leading thinkers in the area of sustainable economics and our
Alphabet Soup is a talk show which focuses on the writing of MFA Creative global ecological crisis.
Writing students at UBC. Topics include events happening in the program F  	
and the Vancouver art scene while promoting the writers and the genre Arts Report WED 5pm
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AstroTalk THU 3pm the Arts Reporters.
Space is an interesting place. Marco slices up the night sky with a new topic	
every week. Death Stars, Black Holes, Big Bangs, Red Giants, the Milky Way, UBC Arts On Ah* WED 6pm
6-Bands, Syzygy's, Pulsars, Super Stars... (Alternating with All Ears.) on break from June-September 2014.
The Sector                                                           FRI 8am Sexy In Van City                                                  WED 10pm
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Dedicated to the gay, lesbian, bisexual and transexual communities of.
Vancouver. Lots of human interest features, background on current issues
and great music.queerfmradio@gmail.com
REGGAE
The Rockers Show
Reggae inna all styles and fashion.
SUN 12pm
CITR 101.9 PKl PROGRAM GUIDE
67 So Salacious MON 3pm
Skadz and Sprocket Doyle bring you Electro Swing, Alternative Hip Hop,
Dubstep, Acid Jazz, Trip Hop, Local and Canadian Content—good and dirty
beats.
EXPERIMENTAL
More Than Human SUN 7pm
Strange and wonderful electronic sounds from the past, present, and future
with host Gareth Moses. Music from parallel worlds.
Pop Drones WED 10am
Unearthing the depths of contemporary cassette and vinyl underground.
Ranging from DIY bedroom pop and garage rock all the way to harsh noise
and, of course, drone. g||
WORLD
ROOTS / FOLK / BLUES
Blood On The Saddle Alternating Sundays 3pm
Real cowshit-caught-in-yer-boots country. |fl|
Pacific Pickin' ||i fl TUE 6am
Bluegrass, old-time music, and its derivatives with Arthur and the lovely
Andrea Berman. Email: pacificpickin@yahoo.com
Folk Oasis WED 8pm
Two hours of eclectic folk/roots music, with a big emphasis on our local
scene. C'mon in! A kumbaya-free zone since 1997.
Email: folkoasis@gmail.com
The Saturday Edge SAT 8am
A personal guide to world and roots music—with African, Latin, and
European music in the first half, followed by Celtic, blues, songwriters,
Cajun, and whatever else fits! Email: steveedge3@mac.com.
 ppi  Afrobeat §fg THU 2pm
Code Blue f§|       SAT 3pm A show dedicated to expose UBC students and Vancouver to contemporary African
From backwoods delta low-down slide to urban harp honks, blues, and music. Hosted by Achieng Orlale. ||§
blues roots with your hosts Jim, Andy, and PagtM §■	
Email: wcodeblue@buddy-system.org. La Fiesta Alternating Sundays 3pm
 —I i . t|—_.  Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host GspotM.
■'.■;■••.. SOUL / i|##; ■     -   .1-	
_ _-.—— Shookshookta H SUN 10am
Soulship Enterprise jjf|jji SAT 7pm A program targeted to Ethiopian people that encourages education and per-
A thematically oriented blend of classic funk, soul, r&b, jazz, and afrobeat sonal development.
tunes, The Happy Hour has received great renown as thewond's foremost      	
funky, jazzy, soulful, and delightfully awkward radio show hosted by people Radio Nezate m SAT 7am
named Robert Gorwa and/or Christopher Mylett Gordon Patrick Hunter III. A mix show with musk: and discussion in Tigrinya the language of Eritrea.
  I   ;/_ \ , i	
ELECTRO / HIP HOP   ;•¥ . AsianWave j| I THU 4pm
 — '■     i Tune in to Asian Wave 101 to listen to some of the best music from the
Vibes and Stuff WED 1pm Chinese language and Korean music industries, as well the latest news corn-
Feeling nostalgic? Vibes and Stuff has you covered bringing you some of the ing from the two entertainment powerhouses of the Asian pop scene. The
best 90s to early 2000s hip-hop artist all in one segment. All the way from latest hits from established artists, rookies only just debuted, independent
New Jersey and New York City, DJ Bmatt and DJ Jewels will be bringing the artists and classic songs from both industries, can all be heard on Asian
east coast to the west coast throughout the show. We will have you remi- Wave 101, as well as commentary, talk and artist spotlights of unsigned
niscing about the good of times with Vibes and Stuff every Wednesday af- Canadian talent. Only on CiTR 101.9 FM.    |||§f. |M
ternoon from l:00pm-2:00pm PST. E-mailfVibesarKlstuflhiphop@gmaiLcom   	
4 PS 64E Alternating Tuesdays 12-2am
Beaver Hour TUE 11pm Vinyl mixes, exclusive local tunes, good vibes from around the world, a
Dance music from local scenes, particularly underground music by African thought and a dream or two. Reggae, House, Techno, Ambient, Dance Hall,
Americans, with a strong focus on music from ghettos. Hip Hop, African, Psychedelic, Noise, Experimental, Eclectic.
Bootlegs ft B-Sides SUN 9pm Nasha Volna SAT 6pm
Hosted by Doe Ran, tune in for the finest remixes from soul to dubstep and News, arts, entertainment and music for the Russian community, local and
ghetto funk to electro swing. Nominated finalist for 'Canadian college radio abroad. Website: nashavolna.ca.
show of the year 2012' Pioneer DJ Stylus Awards. Soundcloud.com/doe-ran        p        •■•#<•	
and search "Doe-Ran" on Facebook. African Rhyhms FRI 7:30pm
 •••••■ W$§> "  Website: wwwjjfricanrtiythmsradioxom
Crimes ft Treasons TUE 9pm
Uncensored Hip-Hop & Trill ish. Hosted by Jamal Steeles, Trinidad Rhythmsindia Alternating Sundays 8pm
Jules & DJ Relly Rels. Website: http://crimesandtreasons.blogspot.ca. Featuring a wide range of music from India, including popular music from
Email: dj@crrmesandtreasons.com. the 1930s to the present; Ghazals and Bhajans, Qawwalis, pop and
68 i CITR 101.9 PKl PROGRAM GUIDE ^ regional language numbers. i j|
 I up       m- • .   ROCK / POP / INDIE -'.   ..
The Leo Ramirez Show , W MON 4pm       :
The best of mix of Latin American music. Email: leoramirez@canada.com Canada Post-Rock                    Alternating Wednesdays 6:30pm
   H  Formerly on CKXU, Canada-Post Rock now resides onfie west coast but it's
Give Em The Boot                                                   TUE 2pm still committed to the best in post-rock, drone, ambient, experimental, noise
Sample the various flavours of Italian music from north to south, traditional and basically anything your host Pbone can put the word "post" infront of.
to modern on this bilingual show. Folk, singer-songwriter, jazz and much ' |
more. Un programma bilingue che esplora il mondo della musica italiana. Dave Radio with Radio Dave FRI 12pm
Website: http://giveemtheboot.wordpress.com. facebook.com/givetheboot. Your noon-hour guide to what's happening in Music and Theatre in
 •     ■•'• I  sVancouver.$@ts of tunes and talk.
Mantra 1111811    SAT ^Pm              88    :	
An electic mix of electronic and acoustic beats and layers, chants and med- Discorder Radio                                    jl|          TUE 4pm
icine song. Exploring the diversity of the worlds sacred sounds - traditional, Discorder Magazine now has its own radio show! Join us to hear excerpts of
contemporary and futuristic. Email: mantraradioshow@gmail.com interviews, reviews and more!
||       DANCE / ELECTRONIC Tweets & Tunes §                   ^                WEO fsBOam
 ! m j  We practice what we Tweet! Showcasing local indie music and bringing
The Copyright Experiment                                      THU 11pm bands, artists and fans together through social media.
• •"■■" •••■■^•-••-•"■•'||<! -- — •• -y ■■|*| Website: tweetsandtunes.com Twitter:@tweetsandtunes.
MoonGrok FRI 10:30pm     m j|f— .j$||; •■''■'T'"'^i/'y'^^M^"'>-' ;$j|
mgj^  v&Si©- Duncan's Donuts                                                   THU 12pm
Electronic Alice                                              - TUE 10:30am Sweet treats from the pop underground. Hosted by Duncan, sponsored by
A variety of electronic pnres.    ||§ donuts. http://duncansdonuts.wordpress.com.
Techno Progressivo                           Alternating Sundays 8pm Samsquantch's Hideaway           Alternating Wednesdays 6:30pm
A mix of the latest house music, tech-house, prog-house and techno.      IB- Ail-Canadian music with a focus on indie-rock/pop. -jgf
 | *J|f l Email: anitabinder@hotmail.com.
Trancendance                                                     SUN 10pm |jjf                                 -0
Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been Parts Unknown                                                      MON 1pm
broadcasting from Vancouver, B.C. since 2001. We favoiJIPsytrance, An indie pop show since 1999, it's like a marshmallow sandwich: soft and
Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, sweet and best enjoyed when poked with a stick and held close to a fire.
Hard Dance and even some Breakbeat. We also love a good Classic f	
Trance Anthem, especially if it's remixed. Current influences in- The Cat's Pajams FRI 10am
elude Sander van Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace The cat's pajamas: a phrase to describe something/someone super awe-
Ventura, Save the Robot, Liquid Soul and Astrix. Older influences include some or cool. The Cat's Pajams: a super awesome and cool radio show fea-
Union Jack, Carl Cox, Christopher Lawrence, Whoop! Records, Tidy Trax, turing the latest and greatest indie pop, rock, lofi and more from Vancouver
Platipus Records and Nukleuz. Email: djsmHeymike@trancendance.net and beyond!
Website: www.trancendance.net. .  ^Jfe:" 	
■ Chips 'n Dip   ,&&                            Alternating Thursdays 1pm
Inside Out        |p                                                TUE 8pm Dip in every second Thursday afternoon with host Hanna Fazio tor the fresh-
 |h ••••••; I - est local indie pop tracks and upcoming shows.
Radio Zero ||g FRI 2pm
An international mix of super-fresh weekend party jams from New Wave to
. foreign electro, baile, Bollywood, and whatever else.
Website: www.radiozero.com
Synaptic Sandwich ^P SAT 9pm
If you like everything from electro/techno/trance/8-bit music/retro '80s, this
is the show for you! Website: synapticsandwich.net
The Late Night Show FRI midnight
The Late Night Show features music from the underground Jungle and Drum
& Bass scene, which progresses to Industrial, Noise and Alternative No Beat
into the early morning. Following the music, we then play TZM broadcasts,
beginning at 6 a.m. &$|
A Deeper Reverb SAT 8pm
Bringing you the chillout world of the heavy reverb genres: shoegaze, post
rock, dream pop, space rock, trip hop and everything in between, including
new tracks and old favorites. Online: facebook.com/adeeperreverb. Contact;
adeeperreverb@gmail.com.
E       crp~rip
V/ 'nil '*h    V-*     I     I   V/
Regional Blackout SUN 6pm
A variety show! Arts & Entertainment in an editorial and comedic style.
Soul Sandwich MON 5pm
A myriad of your favourite music tastes all cooked into one show. From
Hip Hop to Indie rock to African jams, Ola will play through a whirlwind of
CITR 101.9 Fly PROGRAM GUIDE
69 Vancouver, but sometimes bands from across the country and around the world.
Aural Tentacles THU 12am
It could be global, trance, spoken word, rock, the unusual and the weird, or
it could be something different. Hosted by DJ Pierre.
Email*, auraltentacles0hptmail.com
Stereo Blues FRI 11am
Every Friday host Dorothy Neufeld sinks into blues, garage and rock n' roll
goodies!       ¥m
different genres, each sandwiched between another. This perfect layering of
yummy goodness will blow your mind. AND, it beats subway.
The Shakespeare Show WED 12pm
Dan Shakespeare is here with music for your ear. Kick back with gems of
the previous years. m:
Up on the Roof FRI 9am
Friday Mornings got you down? Climb Up On the Roof and wake up with
Robin and Jake! Weekly segments include improvised crime-noir radio dramas, trivia contents, on-air calls to Jake's older brother and MOREfWe'll be 	
spinning old classics, new favourites, and lots of ultra-fresh local bands! It Ain't Easy Being Green THU 1m
 •'••  CiTR has revived it's long-dormant beginner's show It Am%'Easy Being
Breakfast With The Browns MON Sam Green! With the support of experienced programmers, this show offers fulty-
Your favourite Brownsters, James and Peter, offer a savoury blend of the fa- trained CiTR members, especially students, the opportunity to get their feet
miliar and exotic in a blend of aural delights. wet on the air.
Email: breakfastw^|ftebrowns@hotmail.com.       	
         I  Nardwuar |p FRI 3:38pm
Chthonic Boom! Alternating Sundays 5pm Join Nardwuar the Human Serviette for Clam Chowder flavoured entertainment.
A show dedicated to playing psychedelic music from parts of the spectrum Doot doola doot doo... doot doo! Email: nardwuar@nardwiiar.com
(rock, pop, electronic) as well as garage and noise rock. 	
 ....,Wi|,..   Randophonic SAT 11pm
MoonGrok MON Midnight Randophonic is best thought of as an intraversal jukebox which has no con-
 A|fpf ••    ; ||; -:§^ : cept of genre, style, political boundaries, or even space-time relevance. But
Thi Morning After Show       0$, TUE 11:30am it does know good sounds from bad. Lately, the program has been focused
The Morning After Show with Oswaldo Perez every Tuesday at 11:30a.m. on Philip Random's All Vinyl Countdown + Apocalypse (the 1,111 greatest
Playing your favourite songs for 13 years. The morning after what? The morn- records you probably haven't heard). And we're not afraid of noise.
ing after whatever you did last night. Eclectic show with live muic, local  	
talent and music you won't hear anywhere else. Stranded FRI 6pm
 ;......,,......:..   Join your host Matthew for a weekly mix of exciting sounds, past and pres-
Stereoscopic Redoubt THU 7:30pm ent, from his Australian homeland. And journey with him as he features fresh
Experimental, radio-art, sound collage, field recordings, etc. Recommended tunes and explores the alternative musical heritage of Canada. §m
forthe insane.     '	
      The Vampire's Ball      :-#: "     '• ''W    '    WED 1am
Hans Von Kloss' Misery Hour j      WED 11pm Eclectic audio alchemy; the soundtrack for your transmutation. Rock, weird
Pretty much the best thing on radio. stuff, dark stuff, and whatever's banging around in the mind of maQLu this
   - week.ftevampiresball@gmaH.corathevampiresballoncitr.com
Suburban Jungle WED 8am  j	
Live from the Jungle Room, join radio host Jack Velvet for an eclectic mix CIN E M AT IC
of music, sound bites, information and inanity. Email: dj@jackvelvet.net. —	
Exploding Head Movies MON 7pm
Student Special Hour TUE 1pm Join gak as he explores music from the movies, tunes from television and
Various members of the CiTR's student executive sit in and host this blend any other cinematic source, along with atmospheric pieces, cutting edge
of music and banter about campus and community news, arts, and pop cul- new tracks and strange old goodies that could be used in a soundtrack to be.
ture. Drop-ins welcome!  P	
■ i ;  -•   ' ';     4    JAZZ ' :#.   -    ■■
Are You Aware Alternating Thursdays 6pm
Celebrating the message behind the music: Profiling music and musicians
that take the route of positive action over apathy,
jfei •_ _
Peanut Butter V jams Alternating Thursdays 6pm
Explore local music and food with your hosts, Brenda and Jordie. You'll hear
interviews and reviews on eats and tunes from your neighbourhood, and a
weekly pairing for your date calendar.
Live From Thunderbird Radio Hell THU 9pm
Featuring live band(s) every week performing in the CiTR Lounge. Most are from
The Jazz Show MON 9pm
Vancouver's longest running prime-time Jazz program. Hosted by Gavin
Walker. Features at 11 p.m. July 7: Tenor saxophone heavy Gene Ammons
with organist Richard "Groove'' Holmes and his trio. Hot and funky: "Groovin'
With Jug". July 14: One of the finest editions of The Stan Kenton Orchestra
and a classic: "Contemporary Concepts". July 21: Pianist McCoy Tyner with
one of his best dates with, Wayne Shorter, Gary Bartz and Woody Shaw:
"Expansions". July 28: Trumpeter Lee Morgan on a lesser-known session
with alto master Jackie McLean, McCoy Tyner and Art Blakey and others:
"Tom Cat". Aug.4: Juno Award winner Christine Jensen and her Orchestra:
70
CITR 101.9 Fkt PROGRAM GUIDE "Habitat" A Canadian and B.C. born icon. Aug.ll: Miles Davis' first studio recording by the "Second Great Quintet" with Wayne Shorter, Harbie
Hancock, Ron Carter and Tony Williams: "E.S.f.". Aug.18: One of the finest
big-band recordings ever! "The Fabulous Bill Holman Band" Chock full of
all-star players. Aug. 25: An overlooked pianist/composer: Bobby Timmons
with Wayne Shorter, Ron Carter and Jimmy Cobb: "The Soul Man".
ITERACY / LANGUAGE
Sne'waylh WED 4pm
In many Coast SalLsh 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 5pm
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^tpryland; the contingent space of beings,.#nnecting Persian peoples within and to Indigenous peoples.
Language to Language MON 11am
Encouraging language fluency and cultural awareness.
DRAMA/ POETRY
Skald's Hall' ^^^^^^^^^^^^^^B; FRI 1Pm
Skald's Hall entertains with the spoken word via story readings, poetry recitals, and drama. Established and upcoming artists join host
Brian MacDonald. Interested in performing on air? Contact us on Twitter:
©Skalds Hall.
SPORTS
Rocket from Russia THU 10am
Hello hello hello! I interview bands and play new, international and local
punk rock music. Great Success! P.S. Broadcasted in brokenish English.
Hosted by Russian Tim. Website: http://rocketfromrussia.tumblr.com. Email:
rocketfrom russiacitr@gmail.com. Facebook: https://www.facefjook.cqm-
RocketFromRussia. Twitter: http://twitter.com/tima_tzar.
Generation Annihilation SAT 12pm
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: gen-
erationannihilation.com. Facebook: facebook.com/genera.tionannihilation.
Regional Blackout SUN 6pm
A variety show! Arts & Entertainment in an editorial and comedic style.
Power Chord SAT 1pm
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.
Flex Your Head B TUE 6pm
Punk rock and hardcore since 1989. Bands and guests from around the world.
GENEF
The Absolute Value of Insomnia SAT 2am
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 youragenda, your reveries.
Thunderbird Eye THU 3:30pm
Your weekly roundup of UBC Thunderbird sports action from on campus and
off with your host Wilson Wong.
jSUBSCRtBETO. D/SCORDER^ i,
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r~| an annual subscription to $sc$$fer magazine
($20 tor Canadians, $25 for
US subscribers).
!__ to support Qk
U a donation of:
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PsssWWS
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CITR 101.9 FKl PROGRAM GUIDE
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